ART

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Post

THE

TRAINING

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Fred

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Nature

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161

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HANSON

67

FIFTH

AVENUE,

but

general

"

NEW

interesting
culture."

COMBA,
YORK.

reading

Ltd.,

/^ATEURg
BY

MILLER

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AUTHOR

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TheTRAININGoFACRAFT5/1AN,ETe
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TRUSLOVE,

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CONTENTS.

"""

PAGE

CHAP,

I.

II.

III.

Method

Wood

Study

of

Carving

Beaten

15

Metal

Work

Repousse

or

44
.

IV.

Clay

Modelling

Relief

in

'

71
.

V.

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Jewellery
.

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.

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and

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VIII,

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Wood

Painting

or

in

Decoration.

Relief
.

IX.

X..

Fret

117

135

156

Work

Needlework:

Planning

and

Designing

175

XI.

Animal

Forms

in

Decoration

.198
.

XII.

XIII.

Stencilling

212

Work

Poker

on

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and

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XIV.

Decorative
Furniture

Painting

for

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224

and

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OF

LIST
DESIGNS

WHOSE

REPRODUCED

ARE

Nuiribers

The

given

ARTISTS

are

those

under

each

BOOK.

THIS

IN

Illustration.

PAGE

Allport,

148

Miss
C.

ASHBEE,

R.

Bassett,

Miss

Bennett,

E.

-45

4
F.

T.
.

MiSS

BiRKENRUTH,

Brateau,

.68

Jules
H.

Brewer,

42,

166,

Carpenter,

Hon.

Chiswick

167, 172,

School

of

Arts

Crafts

and

...

38, 65,

58

Miss

Miss

Grimavood,

W.

G.

C,

F.

24

R.B.A

52,

53,

Sons,

HoKousAi

93

".

....'...

.122

.142

George

69

Janko
Jenkins,

54
66

Reginald

"

a.

Hallward,

Hulbe,

64
168

Harris

to

Gimingham,

Hallin,

120

170

Alex

FoxLEY,

177

150

....

Louis

Fisher,

46

79

Walter

Crane,

Haite,

175,

Mrs

Davis,

.145

143
F.

Lynn
.

92,

103

ARTISTS.

OF

LIST

Xll

PAGE

Cherry

Kearton,
Kerby

67

Class

Lonsdale

Leighton

Class

Buzzard

56

Frank

LuTiGER,

80

Freres

Majorelle

Gilbert

Marks,

.41

Martin,

Miss

Miller,

F., 7
40,

43,

123

to

Moira,

Gerald

Moore,

Miss

Moss,

144

-57

to

16,

44,

48, 70

135,

to

137

21,

20,

19,
to

26,27,30,31,331037,39,

78, 81

to

91, 94

151

to

164, 169.

140,

J
Joseph
"

Rope,

Miss

104

"

"

118,

92,

103

...

Sons,

47

E.

49
.50

Dr.

SCHUFELDT,

R.

School

Southwold

I46
Industrial

of

Art
.

So-Shiseki

H.

Hans

Thoma,

.171
173,

Mrs

Traquair,

141,

c.

voysey,

f.

174

176, 178

Herr

Ubbelohde,

136
149

Mrs.

Waterhouse,

Yattender

.147

Theaker,

Webb,

55

"

RosKAM,

to

-51

...

"

Potter

loi,

Esther
.

Phillips,

to

Stephen

Class

102

."

.'
.

.3,28,29

CRAFTS

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becomes

receive

work

Let

studying

ground if our

fresh

conventional

suave

splendidly

primitive peoples.

as

and
make

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barbarity and

stimulatingto study is

one

have

over-cultivation

virility
; for

polish, the

hard

other

Chinese

The

do

though

not

use.

qualitiesin

we

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Vigour, character, even

and

ferent
dif-

us

superior person

contemplating

advance

of

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some

by precedent.

first be

at

rare

slight as

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the

makes

art

surelyfind expression and

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think

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us

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be

soil may

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other

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classics,but

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not

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their nine
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genius

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professor'sconception of

learned

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personalitymay

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to

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out

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avoid
and

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to

Bookbinding.
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everything else

Miss

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cease

head, Nature, for she, after all,is the

You

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work

old

something

Tooled

Buzzard

STUDY.

that

study

means

and

Leighton

soul

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much

specimens

No.
the

OF

METHOD

source

but

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Bassett.

to

the

of all

fountain

inspiration.

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be

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on

on

ART

lo

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alert for

CRAFTS

strikingcombinations

at

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of
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;

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the

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rightwell.
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one

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effects

of work

the alterations

learn

soon

by tooling just as

and

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the

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difficulty

great

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work

activity.

yourself by

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to

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brings us

of
position,the desirability

designer of

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in

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to

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"

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inactivity. It

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its

as

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nature

travellingthat

place blossoming

to

bone,

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start

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one

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and

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comes

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source

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note

remember
increase

only

not

plant-form,and

endeavoured

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as

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any

memory;
you

fish's

practiceof sketching from

form, but
an

is
that

to

come

may

unlikelymaterial.

most

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Craftsman.

the

ornament

from

moth,

; ideas

through

one

come

may

markings

of

for the

suggestion

AMATEURS.

FOR

instead

back

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of

once

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fettered

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the

STUDY.

OF

METHOD

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Swan

Hotel,

ii

imposed

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Xo.

-Oak

Settle

Southwold

With
in

regard to

former

in

School

fashion

paragraph,

the

no

in
one

of

Industrial

design
can

which

Southwuld.
Art.

touched

help being

upon

influenced

by

ART

12

the

work

CRAFTS

admires

one

feelingabroad
in

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of
of

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out

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books

Set
student

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those

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at

receive

in

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only

transcendent
venerate

at

the

now

to

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after years

was

upon

of
the
of

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rebelled

ego

qualitiesin

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is

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Think

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spent

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over-

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tyro's attention.

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to

is

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the

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own

learns

career:

custom

advice,

feelingsdid

own

was

study

thus

Study

one.

with

one

no

is of

all that

canons

at.

be

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work.

bur

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force

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we

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master,

dogmas

old

of

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hold

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to

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as

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much
one's

world

wish

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recommendation

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up

ventionalities
con-

whole

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one

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affect

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reproducing

always

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have

artists and

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and
principles,

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excellencies, so

It is

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the

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see

many

when

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and

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upon

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the

spiritdenominating

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the

master

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progress.

good report

him

qualitiesseized

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pupil,but

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their master's

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to

gets

only excellent

is the

the

we

of

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dominating personality-

happens

true

trickeryof

get the knack

man's

as

than

surface

mere

it is

as

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for

often

so

but

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that

qualitiesthat

unfortunate

be

strong personalityimitate

as

him

around

particularway,

AMATEURS.

FOR

past
Were

the
to

classical
than
I to

it
be

planning
devote

out

much

the

time

No.

seeing nature

OF

trainingof

more

Welbeck

MRTHOD

6.

through

student

Wood

designed

the

eyes

13

in the

direct

work

to

Carved

"

Class

STUDY.

crafts I should

from

nature

than

Panel.

by Joseph Phillips.
of other

folk, which

is what

ART

14

do

we

when

And

for

the

should

he

rather

than

from

what

is

in

examples

in

wonderful

how

definite

when

to

to

wrinkles,

set

as

an

worker

amateur

is

craft

is

with

While

feel.

be

to

when

good

visits

it

for

experiences

one

direct

to

is

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seen.

one

motive

no

rather

where

feeling

the

to

within

feels

he

museum

are

museum

different

around

one's

gaze

particular.

art-crafts,

imparting

about

and

apprentice,

severely

you
to,

like

give

will

we

pages

leading

resorts

so

his

being

should

he

visit

and

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so

whatever

or

him

the

tool-using

from

which

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of

some

influenced

do

seen.

pleasant

that

labour,

be

particular

the

to

me,

reader

tells

following

the

attention

to

else

helpful

in

anything
In

and

that

walks

his

as

being

man

is

what

forget

can

life,

in

without,

progress

purpose

one

of

craft

he

certainly

someone

work

any

which

rejoice

should

who

portion,

in

of

rendering

follows

disappointments

and

animal

who

hobby

AMATEURS.

others'

amateur

miseries

FOR

accept

we

recreation,

than

CRAFTS

and

the

best

knowledge
let

to

and

handicapped.

for

him

term

the

individual

some

pick
the

want

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way,

is

to

treat

the

up

helps
of

the

which

seems

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dodges,
sional
profesthe

i6

CRAFTS

ART

individualityinstead
reproducers

No.

of

Sketch
7.
is used
as

FOR

of

the

AMATEURS.

being
of

work

to

minds

other

copyists or

be

and

hands.

For

the Vine
table-top in which
is kept entirely flat,the
effect being obtained
chiefly by the
grounding out," for
beyond the veining of the leaves, and the slightcutting away
of one
form
to give relief to another
coming against it, the
It would
actual carving ends there.
be possible to treat this
design as a carving in low relief. By planning the design

design

"

the

for

content

carved

The

motif.

work

"

geometricallyit

surelyevery
which
to

are

one

born

matters

desires

to

in his brain

originate one's

own

which

side it is

not

from

be

original,to

"

his

designs

ego,

is for

as

express

seen.

the

it is termed.
'

most

amateurs

ideas
But
the

CARVING.

IVOOD

directed

not

are

them

time

skill upon

it is

of

new

to

always

to

few

very

give them

life.

new

servilelyreproduced
passing through
ourselves, comes

panel of

of

to

engineerfriend

has

and

has

churches;
and
and

planning
will
work

look

out
as

an

idea

whole,

this

plan

have

of

main

of

impress
a

new

carving he

scription
super-

bits

carving
c

work

and

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tools,gets
with

meets

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the
look

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of how
which

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one-ness.

are

skill in

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of the

as

of

use

notion

central

lines

it

material,it

some

some

by

carving his hobby,

wood

unity of design.

gives it a

together and

of details until the

and

to

being

suggested by

claim

to

of old

of such

in

wanting

of

departures made

the

exercises

one

arrangement

of

altered, and

was

7,

skill in the

in

scrappy

No.

made

designs by taking rubbings

selection

in

source

instead

and

any

personality

powerful
us,

in

things

our

jnint with

men

his

unless

old

see

and

fact.

considerable

but

of

waste

the sun,

receiving the

minds'

One

carrying

departure

with

of

and

enable

obtained

fresh

adapted

important to
sufficiently

means

high degree of

under

so

most

be

who

lavish

them

carving; yet

German

in

grievous

new

design,for instance,

old

involved

me

work,

our

to

are

possible to

it,in

hall mark

we

vine

The

Old

brain

out

purchased

make

can

our

be

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to

stimulus

inspirationand

that

to

by colouring

and

way,

no

design.

it is

But

by

fingers,to

is

they

it ; yet it is

labour

seems

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there

work.

the

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or

poor
that

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branch
a

know

We

it

merely employ

to

few

The

it because

attempt

about

set

quiteunworthy

and

out,

to

design?.

often

too

are

how

obtain

to

easy

few

comparatively

and
"difficulty,

17

no

are

then

use

the

work

ties the

thinking

securelylaid,
putting

them

i8

ART

all
the

together later
examples

No.

8.

"

very

frame,
The

classed

the

as

as

lead

fragments

two

of

it

that

fmit

AMATEURS.

the

to

best

results.

seventeenth-century carving in

Church

border

FOR

cannot

on

characteristic

relief,so
the

of

These

existing

from

CRAFTS

to

the

St.
of the

can

Mildred,
lime.

the
in
The

undercut.

panel, would
design is admirably

"Grinling

are

met

with

make

in

8 and

Pulpit in the no-longerthe Poultry, London,

are
candng is in considerable
The

each

festoons

pulpitof

be

from

Nos.

Take

frame,"

"

very

adapted

to

all work

which

good
wood

which

was

picturecarving.
has

been

Gibbons."

St. Mildred's

Church

(now

no

more), and

it

WOOD

CARVING.

19
.

will be

No.

seen

that there

is this

unity or

one-ness

of St. Mildred's, which

Pulpit from the Church
9.
stood
in the Poultry, showing the general design.
"

of the

work

on

larger scale

are

given

in No.

8.

justspoke of.

formeriy
Portions

be

must

the

illustrations in such

feeble
letterpress,

illustrate one's
Moreover

take

one

of

trammelled

seek

to

to

of

bondage

the

Gothic,
"

In

tradition

let

and

that

work

your

that, and

am

all

having
looking

at

one

of

matter

way

for many

is
the

three

latter

under

grouped

old

examples

ichool, and

there

the

of wood

have

all

checks

so

it should
in

be

perfect

"

Learn

of

We

are

one.

claiming

his

every
stantly
con-

o?ie

way

rendering his impressions as

blinded

was

years

no

and

Rudyard Kipling,nine-and-sixty.I
and

and

emphatically,

and

style.

copy

startingup
and

nature
no

the

above

the

else.

one

some

schools, but

critic

is

There

way.

of

ego

that

chaste

very

of

Virtue

I say

amateur

done

like

style

(H.

which

precedent

it is better

than

rococo,

in

the

yourself:

purist in

no

to

This

century

rest

the

so

rage
cou-

the

thirteenth

exalted

to

the

to-day,

the

been

anything

Craftsman

to

just as

me

had

to

and

but

reader

precedent.

of

of

I.

I have

adherence

shadow

study

one,

be

even

style,"but

of

Training of

originalimpulse, and

instead

Limited, 1897),

Company,

all

is work

now

century

my

of

groove

Cinquecento, Frangois

Schools."

have

carvers

one.

way,

carving has

sadly hampering

want

we

nineteenth

the

is

for

only

adapt

can

better

can

leaving each

He

the

one

the

as

important

as

illustrated

them

Wood

of

out

past

originality.What
of

will.

past that few

get

be,

showing

as

across.

come

the

by

find

them

he

being

efforts may

work

own

my

work

treating wood,

what

reject

material

adapt

give

not

way

and

one's

as

ideas,than

own

I do

merely

referringto

for

pardoned

designer,but
as

AMATEURS.

FOR

CRAFTS

ART

20

to

head

at

are

least,according to

Gothic

am

the work
of

in

sentiment,

which

for

venience
con-

Renaissance.

carving I give
this with

the

are

all of

intention, for

Yet
the
so

WOOD

much

amateur

work

wherein

Xo.

the

merely

is seen,

letter

of

servile copy

the

Gothic

spirithaving escaped,

of a portion ot
the carved
panels
rough sketch
in Trinity College, Oxford.
The
forming
workmanship
is as iine as anything I know, and
the whole
being pierced, has a
and
which
is
light
elegant appearance
design is
delightful. The
the ingenuity with
which
the curves
play into
very intricate, but
lo.

"

each

Tiiis

is

other

festoons
so

of

the

is

carving

the

that

CARVING.

are

often

Screen

evinces

good

met

with

angels' heads

it appeared
work

which

much

skill

instances

of

in the

gives a

likelyto

and

the

seventeenth-century

decoration
human

lead

is considered

of the

interest

to
to

wreaths

The

resource.

more

be

to

time.
the

The

"

and

conceits"

introduction

work.

useful ends

opposed

to

to

the

examine
Gothic

AR2'

22

No.

II.

Nature

"

that

noticed
nature

Notes

apples

should

be

to

nature"

"Truth

FOR

CRAFTS

used
are

made

is

base

that

you

gain thereby.

in

making
anything

feature

being

design upon,
your
of the
certain
features

AMATEURS.

of in

true

however

plant.

If

Designs 6 and
round, and
a
carving based
the grow'th of

but

to

much
you

you

depart

may
from

It will be
7.
their
angular
("n

the

the

apple.
plant you

ornamentalise
nature,

be

sure

ART

24

further

no

design,

of

The

No.

13.

two

"

Clock

AMATEURS,

could

remains

ore

genius

mine

that

sympathies

our

such

no

FOR

artistic salvation

any

all that

until

out

CRAFTS

as

to

us,

out

from

this great

fragments,

Bracket.

acanthus

it is

but

been

wilful

purview

our

seventeenth-century
8, from

No.

The

the

yield having

for

shut

in

of the flowers

introduction

worked

narrowing

the

work

of

carver.

pulpitin

the

in

leaf

the

no-

in the bracket

portion is a decorative
conceit," though it is often possible to find
time, while in such
an
apple tree flowering and fruitingat the same
the
usual
and
the
it
is
as
course
: it is left
plants
blackberry
orange
well as his point of view.
to the designer to select his example, as
*'

longer-existingChurch
conceit
flowers
an

is

adapted
and

which

fruit,which

undulating
one

to

scroll of

has

often

of

St.

Mildred's, show

pilaster. A
are

attached

foliagetwists
been

rod

central
to

it

festoon

supports

the

by ribbons, while

around

worked,

the

and

it.

The

frame

will continue

to

f
CARVING.

WOOD

be

carved, as it is
the

as

carver,

so

thoroughlyadapted

designsseem
of it are

Many modifications

swell

to

possible.

for Carved

Design

14,"

The

shelf
the

supported by

is referred to,

tree

a
position,

"

trees

panels.

The

The

are

spaces

forms

in

flowers.

wood,
Wood

he
as

is

carvingis

old work
a

say

to

not

should

study
that

of

is of

Nature
there

run

nature,

one

imitate

no

alone

is

this

attire in wood.

in

is meretricious
work
to

content

though

these

guard against,viz., a

to

Gibbons'
nature

occupying

suffice, but

tendency
What

are

being architectural
rendering
place. The smaller

without the other.

danger

turn

individual

naturalistic.

Study of

might

to
directly

of

more

I would

use

in
No

as

flowers

parallel with
and

be

to

also lend support to the shelf

as
dividing the length into

well

as

piece.
Mantel-

naturalistic

too

be out

would

these

the tree.

supportedby
in

Oak

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side, while

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"

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of the

out

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the needs

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he

is that when

attempt
were

to

of

some

he refers

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imitate

modelling

wax

but carrying
out
imitation,

26

ART

CRAFTS

design, which
wood

by

be

to

tools, the

the

imagination, in

the
use

to

learn

how

follow' is

craft you

which

of

true

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needs

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of

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to

is

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think ; it is

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outline

as

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There

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be

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stalks

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way

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in

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an

piece of

upon

simplifythe

how

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the

apple.

the

as
truthfully

loose

with

of

exigency

books,
sketch-

(No. 13),both

tell

and

few

carrying out

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ever

see

ii

of my

of

twist

may

involved

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one

cause
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this,and

in

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way

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instance, that

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carving as

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with

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and

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give

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and

to

much

fancy

our

design.

apple, taken

reason

design,however

to

the

treated

good

they think,

little closer

and

for

to

appear
end.

to

nature,

(No. 12), or

are

is

of

help

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with

start

studies

look

us

in

is involved

what

mysteriousness,as

Let

some

means

design

to

attempt

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adaptation of

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in

mystery

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amateurs

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AMATEURS.

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FOR

from

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the

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not

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to

CARVING.

WOOD

should

reader
way,

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nature

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ration,
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is the

of nature
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to

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in

forms
medium.

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in

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work

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Sketch

never

plant except
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sees

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for

tive
sugges-

as

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15."

plants,

pencilor

may

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Poor

me

study nature

himself,

studies

to

of studies

books

upon

No.

Take

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the

shape

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of

apple,how

an

it is !

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angles its sides

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"

"

square

it is !

rather

How

than

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Cockayne

carving
brought from
!

century.

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in

century, and
execution.

Choir

Hatley

this

The

church

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Italy early in this

probably dates from

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Bedfordshire.

fine

tiful
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Church,

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27

of

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and

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istic
characterfine

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28

you

ART

be

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CRAFTS

with

FOR

AMATEURS.

advantage

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carve

/(TnnniRin'r
I 'twM-

No.

i6,

Studies

"

carvings
if birds

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themselves

bird

helpfulj in

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low

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to

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their

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place

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carving.

highly ornamental

wings

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Japanese
is necessary

treatment

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"

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apple,

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diagram.

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CARVING.

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will

mechanical,

No.

17.

"

and

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Gibbons

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nature,

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patterns well

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to

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men

reference

without

apples

29

twist

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If

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evolve

into

nature
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a

the

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quaint
(No.

cunning

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10)

design logicallyfrom

we

some

find
one

ART

30

plant, but

CRAFTS

he

scroll-work

the

acanthus-like

is evolved

wreaths,

two

of laurel

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the

breath

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is

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professingto

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It

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our

point

books
to

teach

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no

and

shapes.

term

I lean

vine
"

to

in No.

; for

7,

though

than

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the

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as

bons,
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and

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; and

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an

make

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for music

conditioned

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shape of

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conceits

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like the

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copy

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principles,

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to

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the

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up

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nature,

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imported

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"

artist,though

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of fruit,no
are

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introduced

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The

AMATEURS.

FOR

eye for

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the

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agreeable lines,

ART

32

CRAFTS

Hand-cunning,
recommend

tools, and
a

how

to

practicalcarver,
like the

work
the

No.

to

here

and

then

for

taught,

work

on,

7, in which
of

there

taking

out

in

of

simple
out"

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carving

under

vein

with

actual

coming

of

use

lessons

grounding

*'

work, the

form

the

few

would

in

beginning

the

the
a

and

instruction

carving, to get

taking down

and

be

another

the

leaves

Gurnard
and
Japanesque'y for low
water, treated
of other
of water,
form';, is
as
Japanese treatment
of study
valuable
and
is
most
course
ornamental,
as
a
ingeniously
all
think,
The
to
to see,
)d-carvers.
( r
by all wo
Japanese appear
call a decorative
i.e.,they devel""p the
we
objects in what
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o
f
else
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ornamental
simplify it by showing
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object,
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Panel
19.
relief.
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"

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to

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get the
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smoothness

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roughness
marks

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AMATEURS.

can

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apple, but give

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no

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of the
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and
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CARVING.

WOOD

facets

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table

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14,

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ot

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20.

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each

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lor

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relief.

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to

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endea-

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to
12

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in low

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ject
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suggestedas successfully

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work

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to

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"

illustrations I have

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as

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work

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one

vigorous cuttingis

Crisp,nervous,

gem.

33

brackets,

I^have
natural
also

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project further

support
D

the

shelf.

bird

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carved

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nesting

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than
The

the

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roots

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31

ART

developed,

as

There

is

CRAFTS

will

nothing

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in

FOR

AMATEURS.

noticed, into
the

of

arrangement
should

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this

effort of

there

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to

panels,

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21.

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type of

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nature

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of

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dividing trees,^

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Portugal

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particular^tree
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as

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no

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reference

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may

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growth

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shrub

panels,
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the

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to

roots^

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generally to be
The
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preferred.
a
are
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have
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example
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the

such

bird,

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the

inta

ornamental

any

in

and

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free treatment

foliage, as
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up

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suggestiveness
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hints

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developing

parts of the

imagination^

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spaces

by

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to

of

invention,

features

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scope

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the

but

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is

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for

i.e.,something
pure

design

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an

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ornamental

an

taken

representation of

an

as

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CARVING,

WOOD

vidual

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the

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woodpecker)
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birds, which,

design,nor
select

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fresh

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carving:
often

fact.

the

like

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the

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latter is
and

his

angels'heads,

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to

the

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which

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panel

give varietyto

introduction

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the

human

very

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to

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"

animal

so

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in

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terest
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squirrelor birds, like

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birds

of mental

flowers

much

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of the

the

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roots

give a point

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have

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flowers

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too

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35,

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to

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ducing
intro-

them.

ART

Sb

Those
15,

the

the

main

wings

is

suggest

carver,

No.

AMATEURS.

FOR

stalls

features

the

treatment

Frame

of chair

after the

Early Eighteenth

My
unless
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you

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confident

to

amateurs

feel up

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on

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might,

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to

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Century.

foliageand
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arms.

is,don't attempt the

it ;

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the

carving.

happy,
particularly

Picture

22."

of

Hatley Church,

Cockayne

at

exquisitelywrought, though

are

indicates
of

choir

the

on

No.

CRAFTS

child's

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human

figure
until

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be

WOOD

and

sure

know

finds

sculptor I
in

modelHng
"

Heads

in the

National

simplifiednature
the

to

antithesis

3d

are

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than

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what

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leave

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out

to

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eyes

hair ? for this

can.

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seize

; it

away

carving

the

feit
counter-

piece of
or

how

be imitated

cannot

story of knowing

old

tion,
restraint,selec-

means

essentials,and

on

be

treatment,

the

throw

or

are

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give

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head, and

render

to

You

nature.

be
should

to

attempts

children

painter has

would
head

carved

your

useful

AngeJs'

"

his

the

helpful,as

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very

Reynolds'

that

say

doll, which
of

children

of

paintings,which

for

wax

like

shaped

you

any

imitation

or

wo

in his

living child.

Gallery,and, indeed,

still

carver,

of

from

studies

I should

be

37

photographs

heads.

generally,would

help

few

make

CARVING.

ignore

that

which

is

accidental.
In

carving animal

knowing

how
be

to

not

language
show
No.

of

wing, when

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not

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must

as

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hairs.
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we

surface

be
were

all

over

as

the
to

in
A

ornamental

in

student
found.

wherever

thought of

many

if

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direct the

suggestions

feathers, and

the

wings, and

as

are

help

interestingfeature

an

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adaptations of Japanese

ornamental

child's

forms, and

of

forms

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carve

into

them

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an

mass

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will be

of the

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render

copied,

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16

to

forms,

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wing, again,

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with

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the

lines.

we

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38

ART

Bul

wood

by

out,

"

counsel

one

If

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to

train

of the

how

it has

best

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The

become,

in

taste

artist learns

Century.

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by imitation

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our

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knows

done

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as

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in

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AMATEURS.

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23.
border

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time

can

ART

40

One
work

CRAFTS

well-known
better

patterns,

from
the

as

FOR

told

carver

charcoal

rough

does

cartoon

AMATEURS.

that

me

sketches

not

he

than

trammel

modelled

as

modelled

sketches

do

ling
model-

patterns you

your
could

beside?,,

are

you

half

them,
time

carve

and

is

to

amateurs.

such

work

as

details

spaces

until
been

vided
di-

up

and

the

lines and

No.

once

it will

14,

shelf

portance
first im-

the
to

our

Gothic

(Mr.

rest, and

H.

also

serve

capitalsof

after that
to

break

see

of

sense

that

security

was

and
satisfied,

that

end

to

Pane],
Grim

wood.)

the
to the

be

support, it

to

of

was

"

more

that, there being

seen

24.

for.

arranged

Referring

No.

your

have

constructive
forms

tel-piece
man-

think

don't

ject
ob-

planning a large

In

to

save

surely an

with

of

men-

from

them

while

his

finds

were
pillar,

the minor
up

the

in

supports

side

the

tops of

panels,equivalent

higher relief than

to

the

top of the mantel

the

shelves,which
into

panels

or

WOOD

Having

spaces.

and

the

if

chest

divided

are

with

appropriate

these

works

two

styles around

the

of

part

one's

in

Those

taking

the

while

wood

done

be

can

side of

and

work, and

certaintyof touch,
which

upon

good

designs

been

undertaken,

panel

and

as

fewer
we

come

to

6, in

it

for

with

2, could

be

to

such

as

natural

themselves

with

for

no

and

carving

successful

cal
mechani-

the

to

is

wood

one

rigid

there

working
be

can

no

precisionof execution,

quality of carving depends.

Chapter

I.,

No.

or

preliminary

some

of

the

by

the

mirror

frame.

to

carve

on

the

beginner,

geometrical pattern
like No.

has

work

work
a

are

24

practice

Much

flowing design

design

panels, instead

suggested

easilywrought
or

effect

appliance for holding

requires some

more

of

an

the

feeling.

purely symmetrical
difficulties than

the

every

plainer than

two

equip

it is

thai

after

carve

curves

coffer. No.

of

No.

as

unless

what
some-

less with

breadth

being paid

sharpness

no

much

so

Such

scrolls

attention

been

architectural.

should

being worked,

so

the

the

on

decorate

spaces

so

and

borders

to

have

are

criticise

to

competed

and

treated

are

have

mistake

might

gouges,

without
one's

have

fillingof

carving

it is

ventured

Relief

niches

properly secured

be

can

the

up

good chisels

some

the

severe,

growth, seeing that

one

by leaving some
2

so

the spaces

to

as

equally.

No.

being quite

so

surfaces

the

then

the

details.

Chapter I.,

that

5 should

obviously a

work

others, while
of

character,

5, in

No.

that

No.

the

arrange

see

urge

in

panels

obtained

be

only

can

the

for it is

panels,

might

one

in

severer

If

ornament.

to

we

and
geometrically,

up

features,it is, comparatively

seat

designs

these

analyse

we

the

or

2,

main

business

easy

No.

41

all these

settled

speaking, an
Take

CARVING,

24.

No.

presents
When
25,

we

ART

42

are

CRAFTS

FOR

AMATEURS.

and
gettinginto difficulties,

ambitiouSjTail,and
small

by
valued

so

be

done

Much

gettingused

to

be

can

their

wise

not

discouraged :

successes.

when

it is

far better

is

that

foolishly
age
gain cour-

to
interesting

accomplished by

tools, and

be

to

acquiring

after

command

some

with

and

varietyand

in

not

amateurs

be

to

at

what

knowing

amples
ex-

through

pages,

ought

the

of

wealth

scattered
these

and

amateurs

them,

over

do

loss

shall

they

do.

No.

In
a

of

treatment

with

front

intended

to

relief, so

as

No.

25.

Venetian

"

Sixteenth
in

high

being

should

not

the

craftsman

considerable

be

would

greatly enhance

depends
in

the

upon

light and

treated

would

away

with

shade.
a

Tn

the

of

of
The

mental
orna-

would

in

be

the

same

of

the

plane

as

the

nose

in

give
the

masses

allow

to

wings

has

practice

cut

half

tempted
at-

simpler work.

being

in

be

highest part

Frame.

This

Century.
rehef
until

had

Mirror

is

carving

undercutting.

some

the

article

the

The

carved.

ing,
blow-

suggests

of

purpose

bellows

head

this

as

give

20,

wood

around

depth

of

No.

shadow
21

quaint rendering

"

you

is another
of

an

while

owl,

the

the

head
which

shadow

Carving

effect.
of

head,

in

high

have

to

bellows
to

be

relief
think
front

carved

CARVING.

WOOD

in

reUef.

high

study

to

obvious

and

head,

more

difficult

is

it

in

modelling
As

It

regards

is

by

Gibbons

which

is

probably
and

pine,

free

tools.

gilding,
wood.

would

clay
wood,

his

for

light

and

have

Such

should

is

has

one

found

design
be

is

and

work:

and

and

of

one

acquired

some

wrought

23,
in

more

in

work

in

these

pine

to

it

No.

as

design,

be

be

can

which

Cedar

gilded,

good

carved

with

of

is

other

22,

would

woods.

command

or

used

were

frame

and

suitable.

very

sycamore

frames

as

No.

the

popular,

most

fanciful

even

excellent,

as

the

such

for

is

carving,

round,

fire-places

Lime

in

it

helpful.

course,

carved

knots,

when

preliminary

some

carve.

well,

cut

from

Here

graceful,

been

in

get

we

for

goes,

the

of

light

preparatory

skill

flat

the

brackets

to

good

approaches

be

oak,

as

mahogany

rapidity

carve.

wood

good

to

articles

such

from

work

our

be

manipulative

as

further

the

would

work

far

so

that

the

for

Such

43

adapted
free

one's

for

cutting

CHAPTER

BEATEN

III.

METALWORK

OR

is

HERE

no

amateur

in

take

metal.

distinction

be.

line

printed from,
line

produced

produced

by

"

the

itself

work

surface

is

design

of

couplet

appropriate

An

qualities

craftsman

of

beaten

prominence,

for

of

Lend

the

lend

is

design

should

reproduction.

method

the

design partly by beating

by

work

from

the

front.

brought

are

the

in

one

always
Now,

and

makes

it

be

in,

that

words

in

"

which
into
be

the

One

can,

for

the

to

well
that

the

tasteful

poet

nuity
inge-

metal.

the

peculiar

well-considered
conditioned

repousse

from

there

fairly

beaten

of

out

silver,

as

of

is the

paraphrase

skill and

the

to

preciousness

"

design
metal

the

to

"

has

looks

might

We

metal

indifferent

anything

because

"

work

we

being

repousse.

designer

whether

which

pattern

delightful

So

it which

so

of

when

has,

value,

interest.

steel

out,
in

unique

an

bitten

poor

about

hammering

hammering,

thy voice,"

of

of the

it

or

Longfellow's

music

gives

absorbing

the

beats

wrought

and

as

lacks,

means

up

by

of

he

when

the

of

brass, pewter

danger

which

produced

copper,

other

any

beating

"

preciousness

the

by

give

to

copper

quality

in

however

Just

on

the

work

seems

design,

itself it may

engraved

than

up

Metal
to

craft

fascinating

more

can

beaten

REPOUSSE.

back

we

and

instance,

by

produce
partly
start

by

BEATEN

WORK

METAL

OR

outliningthe design by punching

the

of

The

it is

and

the

the

design can
flow

metal
swell

of

the

when
and

out

We

must

up

exercise

the

upon

inch

an

relief, while

from

it up

(one might
and

metal

selection

lose

flat

Lniuiu

be

merely

this

to

siderable
con-

the

flowers

danger

of

into

the

might

leaves

less

or

amount

copper

the

retire

the

more

punched

beat

portions

some

up

up

having

Plaque, suggested by

always

you

front,and

background

sea), find itself

judiciously beating
accent.

is

45

obtain

to

to

The

up.

basket-work

there

possible, but

through

beaten

be

beat

hammer

"

to

as

the

depends

26.
Original Design for Tray or
The
Speciosum.
foliage in low
intended

and

so

half-an-inch

from

"

is

back,

possible to

relief

from

pitch,and

of reHef

amount

beating,for

No.

the

from

design

relief.

in

the metal

this,bed

done

REPOUSSE.

are

lined,
out-

on.

of

breaking
The

extent.

liken it

to

and
itself,

the ebb

by

thus

give it variety and

we

in

settlingwhat

part

46
of

ART

scheme

our

completed
some

and

CRAFTS

one

work

No.

27."
while

very

in

by beating

up

where

be

outlined, or

The

petals of

while
relief,

one

at

leaf

the flowers

the

stamens

are

be

should

behind

kept

nearest

still

can

the

be

higher

only punched

able
consider-

relief.

In

in very low relief,

in higher relief.
be

only just

than

the centre

others,

out

give

we

leave

we

way

it need

another

lower

effect of

bring

we

foliage to

insects

comes

all events

into

The

26, for instance, the leaves

and

the

upon

design

our

Original Design for Tray.

and
the frog, chameleon

up,

for
high relief,

while
relief,

low

features

two

or

in

up

AMATEURS.

largely depends

prominence

No.

beat

we

portions in
to

FOR

those

might
in

on

be
the

beaten

only

in front.
in fuller

front.

48

ART

CRAFTS

produced by hammering,
a

"

Original Design
plain metal
or
or
the

relief,while

marks
a

should

piece of nicely wrought

]s4^o_^o.
min

"

produce

AMATEURS.

FOR

for

be

metal

Hanging
and

stars

should

series of facets which

preciousness,"and

that

Candle-holder
The

bat

If

find

we

in centre.

sunflower

valued.

in silver such

the

with

examine
hammer

either

and
be

alone
a

we

rays in very low

in higher relief.

gives the

surface

is far

metal
more

METALWORK

BEATEN

beautiful
frosted

No.

than
in

31."
metal

is
to

highly polished plate.

which

appearance,

Original Design

flowers

in centre.
and

owl

The
in

The

stars

be

and

metal

to

beat

Yet

this surface,

by beating silver,

with

leaves

49

in low

mirror

or

relief,while

plain
the

relief.

valued, so used have

highly polishedplate of
best

obtain

we

for Candle-holder

higher

only just beginning to

the

REPOUSSE,

OR

we

become

commerce.

is copper,
E

as

it is very

tough

and

CRAFTS

ART

so

elastic.
is

is harder, and

Brass

pleasanter than

belt

and

given

"

Frame

up

effective.
There

elsewhere.

brittle than

more

worked

Pewter

chatelaine

frequently

was

eighteenthcentury craftsmen,

pewter

for
effectively

very

electro-

The
design is beaten
Repousse Copper.
majoiity of examples given. (Fivemiletown,

No.

is

than

copper,

and

beat

up

well, and

reasonably they

wrought

some

Fisher

Silver

in

of the

plates

pewter

picked

in, but

work

brittle.

more

Tyrone.)
It is softer

Hers.

therefore

Mr.

and

used

has

Ashbee

Mirror
32.
in, the reverse
Co.

Old

to

seventeenth

the

by
Mr.

No.

is

in it which

used

brass

Steel is used, and

copper.

AMATEURS.

FOR

by

method

should

Gilbert

Mr.

46 is

very

Marks

eating away

as

they
I

which

of beaten

easily.

beaten

tried.

be

good example

of

be

can

to

are

be

have

seen

were

very

pewter.

portion of

the

copper

METALWORK

BEATEN

with

nitric acid

beating
The

them

punched

round,

this alone
transfer

Brunswick
this is

with

the

sides

black

and

flat

acid.

nitric

acid

quickly

portions not
the acid

operation

of

doors,

it. If it were

upon

When

away.

tray, then

perform
out
No.

33.

objectionable.

You

"

Heraldic

Beast.

the

as

are

very
well

covered

acid

the

will

its way

eat

this the

acid

be

the

acid

attackingany part

off

into

the

left,and

bottle,wash
in

the

action

of the

for the

length of

acid

places
is

time

will

you

well
with

also

must

through

do
with

not

wish

black.

In

quickened by warming
the

acid

must

remain

If you

find
it

acided, pour

water,

warm

that

pinhole that

any

enlarge.

soon

see

Brunswick

the

with

copper

your

may

"dry touch

eaten

you

the

as

be

to

with

paint over

then

works

better

black,

and

might

You

pattern.

Pure

and

have

metal

the

to

the

and

keep

had

fumes

to

back,

the

at

pet
para-

to

in the

relief

through

you
a

of wax,

it

be

face,
sur-

then

make

mark

should

acid

the

by

relief.

further

them

acid.

the
a

left in relief

acided, or

not

parts

give

to

as

the

51

to

the

If it be

you

further

design

only

in

must

to

as

quite hard, pour

cover

pour

so

black

have

you

design

gives

your

leaving

slightlyso

up

of the

edges

either

and

REPOUSSE,

OR

cold
the
on,

and

when

weather

the

metal.

As

nothing

very

ART

52

definite

can

be

if it had

than

FOR

CRAFTS

said.

When

been

used

AMATEURS.

the acid
before.

is

it works

new

From

quicker
half-

a-quarter

to

an-hour

would

produce

decided
The

very-

result.

surface

acid

the

by

given

broken

is

but

one,

unpleasant.

not

26

and

might

be

Nos.
27

largely wrought
by adding

away

backgrounds.

the

second

the

In

the whole

design
of

ground
back-

the

could

be

to

removed
certain

depth by

the

acid,

then

the

and

surface
with

covered

nish
stopping-outvar-

such

"

sold
No.

34.

Heraldic

"

Dragon,

suggested

Sixteenth-century Renaissance, in
human
the blending of animal
or

by

ornameDt

is often

met

this
The

ground

with

form

and

and

the

spider-

with.

sharp instrument

frog,chameleon,

for etchers

Rhind

which

web
on

Mr.

by

the

"

with

is

as

and

insects could

marked

further

then

out

acided.

be beaten

up

METALWORK

BEATEN

and

wrought

as

could

would

should

do

edges, leaving

the

relief obtained
but

the

by

the

be

must

the

thought

No.

In

in, and

eaten

design

the

beaten

particularlythe

"

flowers

the

at

the whole

corners

and

away

be

then

stopping-,

varnish, the

work

scratched

this and

eaten

the work

with

covered

"

of the background

could

out

the

background

be

then

either

26

basket-work
could

by

out

for himself.

worker

up

and

these

considerations

other

or

in

foHage just

acid;

to

outline

an

round

it

say

merely

hammer

the

fohage,

the
I

though

in repousse,

basketaw

ay

on

bitten in.

-^"^- 35Original Design for

place
Panel
fur Side of Firea
"

other

or

treated

with

purpose,
decorative

of
sea-weed,
sea-horses, fish and shell.

rendering
The

wavy
can

in, bitten
omitted.

lines
be
in with

in

ground
back-

punched
acid, or

OR

REPOUSSE.

53

ART

54

acid

The

has

the

design,so

the

edges
be

cover

your

used

it is

of the

might

well

as

developed

by

Original

36.
"

If

Sunflower.

modified

be

can

flower

punched
fine bradawl

in the

lines

other

or

so

away
be

the
coarse

ground

for
the

come

the

of

tool, and

the

should

enough

within

dish,

that

to

with

away

by the
the circle,

outside

The

circumference.

the

suggested

come

the

could

similar

Dish

metal

on

You

amateur.

Repousse
leaves, which

of

edges

littlebeyond

Etching

ground

wax

the

centre

holes

having

front.

scratched

portions from

some

by scratching this

hollow
the

in from

soft

to

as

so

the

forms

ingenious

then

Design
desired,

black

for this.

allow

into

its way

eat

paint your

an

with

metal

to

to

to

pattern

by etchers, and

No.

to

tendency

AMATEURS.

FOR

CRAFTS

to

away.

tell at

can

Afterwards

beat

The

back.
not

applying acid, you

be
a

too

tool

you
you

fine, as

distance.

use

your

can

to

eat

up

scratch

lines

want

5^

ART

it is obvious

that

flat metal

it

treat

the

the

FOR

further

removed

the

skill and

greater

38.

"

or

candle-holders

Rose-Water

tyro'sattention

the

craft.

candle-holders
centres

our

work

is from

the

required to

knowledge

Dish

could

give
for

when
in

in

and

Nos.

has

on

mastered
31

walls.

the

flat metal

engage

School

Crafts.

and

30

to

Chiswick

Repousse Copper.

he

hanging

either be

capital articles

are

cf Arts

the

AMATEURS.

successfully.

Sconces

No.

CRAFTS

or

the

rudiments

suggestions for
In

mirrors.

both

cases

The

stars

of
two

the
and

METALWORK

BEATEN

in No.

rays
be

beaten

are

30
up

39.
the
can

the

Sticks
could

such

"

in the

Design

worker.

for

Poppy.
wrought with
edges.
be

must

be

be

beaten
or

No.

brazed

the

sockets

with

to

could

by

those

skilful

get them

presents

no

the

hold

to

cast

be

the

enough
for you

in

candle-

airangement

pierced,but
avoid

might

bat
could

if desired

cutting

out

of
it
of

themselves

candle-holders

The

on.

The

decorative

edge is shown
plain edge so as

57

sunflower

The

out

you

treated

relief.

low

the

centre

Dish,

Opium

work,

in very

be

little further,while

fuller relief,and

No.

to

REPOUSSE.

OR

to

undertake

by

specialdifficulty.The

brass
leaves

58

ART

should
should
the

in

be
be

no

distinctive

with
The

No.

than

more

be

in

just the edge

mirror

two

32,

practice,though
and

character

class.

No.

the

I,

is well

be

of

design

the

reader

accompanying

these

notes

certainlyseems
animal

of
be

can

to

of

number

forms,

on

to

of these

them, while

others

very

strikingfeature

No.

34

look

to

my

reHef, such
the

fitness

as

space,

which

I have

of

the

cover

in beaten

house

the

in the

plain
room

was

and

33

34,

with

decorated
inches

of

animal

forms

with

put

square,

part of the

chimney

quaint animals

wrought

lower
had

Nos.

ment
treat-

metal.

was

six

about

squares
were

in

barbaric

heraldic

The

instanced

as

or

savage

in

for the

penchant

hammered

metal, and

this hammered

ornament

being

copper.

Renaissance,
suggested by sixteenth-century

was

is

designs

the

from
a

suit repousse.

effective

very

gather

touch

panels,

copper

Some

blending

will
that

in

saw

together like tiles

breast.

to

me

in

work

village

and

out,

decorative

rendered
effectively

most

fireplace

than

of

little

get the finish

pleasantly occupies

grotesque.

to

i, and

chap,

successful

very

animals

of

repousse', and

and

of

naturalness.

mere

Quaint renderings

quaint

this

possesses

preferredto

rims, as

after
to

expect

instead

in

which

and

balanced,

far to

of

work

i,

undertaken

be

cannot

effective

less

edges

appearance

Ireland, No.

might

amateur

the

thin

it

flat metal.

from

is beaten

32

is far

thinking
No.

of

outside

and

at

make

to

as

stars

moon

into rounded

beaten

papery

of the

frames

the

be

so

the

in the

owl

The

sconce.

very

articles that

are

The

further,

up

the

flowers,while

the

just seen.

should

work

AMATEURS,

than

beaten

feature

give

FOR

relief

candle-holders

it would
end

lower

could

top

these

CRAFTS

the

very

of

feature

noticeable

59

obtain

reader

can

can

adapt

he

which

old work

suggestionsfrom

many

The

work.

such

REPOUSSE.

OR

WORK

METAL

BEATEN

to

his

specialrequirernents.
I confess
in which

No.

is

nature

home

at

more

am

such

on

"

Design
Ragged

be

to
to

be

material

individual

This

within

more

be

can

historyand

for

covered.

found

botany,
to

express

class

the

in

while

of

scope

rendering of
introduced
to
give

are
a

border

butterflies

of

of

amateur,

the

35,

suit the

to

would

considerable

No.

decorative

the

and

On

as

design

museums

himself.

design

arranged

only simplifiedand

Bowl, with a
Repousse
snail
Tulip. The
frog and
have
base
to
variety to the design. The
treated.
ornamentally
40.
the

space
me

books
scope

other

appear

on

the

as

natural

is left for

hand,

to

the

the

work

!
6o

ART

known
of

action.

worked
and

Renaissance
It is

in the

bounded

41."

Bowl

constant

past, and,

Victorian."
to

utter

AMATEURS.

does

for

has

Mr.

prefer the
upon

in such
This

art

been

breathe

deserts

hot orchid

naturalesquedesign of Daffodils,
Marks.

air

This

outside.

reference

contemptuouslyterm

by precedent
inspiration

stagnation
; then

trammelled

so

the air of

bracing

we

thoroughly

very

past models, without

as

liberty

volition almost

my

Gilbert

more

much

one

myself,I feel

Silver with

in beaten

leave

not

that

attemptingto

working

nature, ends

"

mine

by

house;

FOR

by precedent that

It is like

me.

No.

'^

as

CRAFTS

is the

time

to

go

seems

to

to

"early
to

the

lead
well-

spring of

familiar

very

adapted
of

out

shell is

another

to

necessary

rehef

low

they

be

Coming

of

around

the

number

of

metal

sides.
small

can

It

is

hardly

in

in very

against

comes

the

thought

ground
backde

trop^

of

oneself

dish

the

punched

into

the

copper

am

needlesslyis
that

such

the way

be

any

warranty

for

to

by

using

the

them

steel

in

used

believe

punches

frequently employed

were

often
I

the

have

with

puristin

no

ot

wrought

could

are

backgrounds.
I

be

to

dish

but

cutting

constitutes

the

designs

the

the

circumference

intended

are

sunflower.

inexpedient,

of

quite think, however,

past, if that

of

the

36,

beyond

is considered

centre

their use;

to

art, the

necessitate

within

various

in No.

treatment

the leaves

course,

which

especially in

trammel

They
the

carried

part

The

dots

Punches

work,

to

if

in,or,

simple

If that

centre

petals of

puristsobject
and

it

of decorative

of

round.

The

flower, the

punch.

easilybe brought

can

circle.

the

have

would,

pieces all

leaves

giving

kept

lines

wavy

acided

on,

friend

old

our

rim, which

away

The

as

be

parts where

little varietyI have

give a

the

punched

dishes, we

to

suggested by

outer

form.

well

panel.
should

growing

left out.

be

can

in those

has
hollow

it

make

to

the

to

with

conceit, as

seaweed

the

that

say

prominent
can

To

interest

barely seen

"

more

of

for the

plant is obviously

craft,and

the

perfectlynatural

object

Such

afloat.

of

needs

the

to

weed

are

nature

seaweed

the

and

one,

the

keep

to

to

used

made

which

fish

back

forms

animal

(an

gurnard,

for

the

that

seen

sea-horse

the

ornamentalist), the

vessels

Coming

Nature, for refreshment.

ones,

ornamentalised

USSE.

35, it will be

No.

REPO

OR

WORK

TAL

ME

all art,

design

the

TEN

BE

some

this sense,

court

defeat.
be

can

workers
now.

used.
misof
The

62

ART

Other

dish, No.
The

sconce.

the

CRAFIS

have

37,

FOR

dish

whole

be

into

made
In

the

No.

38

42.

and

purpose

be

concave,

to

the

head

the

of

the

of

and
owl

this should

why

not

candle-supports.

example

of

Silver, exhibited

in beaten

P^xhibition

the

the

work

of

design is pleasantlysimple,a

The

Goblet

for

reason

no

excellent

an

craftsmen.

Plate

"

is

giving

by leaving out

have

we

Chiswick

No.

dish

out,

There

prominence.

adapted
is intended

designs just brought

chief

AMATEURS.

by Jules

at

the

Paris

Brateau.
.

decorative

of

seem

of small

would

paper
rim

treatment

and

dish

that

the

working

the

centre,

valued

well

worth,

of

ornament.

the

the

as

possession.

beating up
of the

as

leaves,and

Jt

rim

is
and

it

were

but

the

ornament

hardly
centre

merely

drawn

of the

beating up
makes
itself,
necessary
must

on

to

precede

the
say
the

ART

64

CRAFTS

FOR

AMATEURS.

The

tulip(theragged variety)is

has

only

be

can

made

to

bind

the

f^
The

43.

strength

must

Have

be
a

"

can

at

go

Original Design

carries

in

or

the

aloft

design
only

preserved

torch

as

well

be
so

few well-defined

for
of

to

the

give

civil life.

as

avoid

forms

nature

Skill and

way
of

and

leaf

and

be

another, and
it

The
a

genuity
in-

can

is

owl.

foreshortening

certain

crowding

so

unity,which

Plaque, representing 'Night.'

and
is riding upon
stars
an

suggested, and
as

from.

back

design together, and

whole

boy

design by

plant used,

departed

not

in

shown
around

wrap

ENo.

of forms

modified,

been

the

and

simplicity
confusion.

give prominence

to

parts

BEATEN

of

introduction
I

some.

IS'o. 44.
on

"

advocate

of the
not

am

almost

that

to

their
the

admission
scheme

being helped by
be made

into

is made

Mr.

the
more

the introduction

be

Gilbert

65

themselves.

objected to

Marks

in

design ;

Neptune seated
background.

still I have

interestingas

as

would

Infant

of animal

feature of in themselves
F

lose

snail may

Original Design for Dish, with figureof

of waves
treatment
fish,with ornamental

feelingthat

can

others

frog and

sure

REPOUSSE.

OR

WORK

design, leaving

the

The

by

METAL

well

forms,
as

well

as

they

as

being

foil

66

CRAFTS

ART

the

to

better, it

confine

bowl.

good practiceto get

be
works

these.

as

beaten

shows

the

which

is

often

and

one

and

Ostade.

in beaten

wrought

into
to

Teniers,

effective

schemed

than
for

in the

taken

made

into

torch

the

the

of

if you

craft

in

France,

stereotyped wit

of

its

as

are

the

on

pictureby

where
in

the
the

lead

to

me

for

figure is

the

on

more

you

from

are

back
the

tion
decora-

feeding swans,

woman

to

design.

the

imagination,where
in

seems

likelyto

not

Neptune

removed

go

imposes

after

place

in

carved

or

Night (No. 43), where

pipe, or

when

ness
different busi-

very

metal

young
of

one

treated

treatment
pictorial

result

take

Teniers

figure is introduced

dish, is

the

be

bronze,
a

stars, appears

you

world

possible,whereas
limitations

of

case

one

It

1900.

simple designs, Nos.

in

as

smoking

man

such

French

designs after

surely a

in which

to

the

(No. 44), or

boy carries

tainly
cer-

on

modern

very

with

cast

circular

idea, therefore,

fish

the

may

beating up

on

and

in

"

tendency

figures

be

harmonious

or

out

fanciful
of

that

and

the

and

wrong,

'

are

It would

Exhibition,

of

of decoration.

scheme

of

couple

It is

metal.

dish

me

so

how

beating up

the

from

to

to

Paris

the

of

coalscuttles

prenticehan'

treated

modelling figures
stone,

shape.

as

beating up figure compositions,

made

show

to

into

naturalistic

of

plaques

I have

44,

border,

craftsmen.

fond

sees

and

example

an

recoil

were

bowls

"

the

strong

French

Dutch

and

in

wholesome

is

42

was

present

average

The

43

No.

silver,and

of the

beaten

merely

floral

is

base

particular part

one

large

as

the

on

introducing a

foliage to

our

if

pleasant

butterflies

of

than

me,

articles

Such

very

border

to

seems

then

we

The

plants.

AMATEURS.

FOR

realistic

actual, and

anything

is

design, the

chieflyfelt.

silver

is, as

No.

Cellar

I
and

able

am

45, but

beaten

to

The

present

and

Mustard

fiom

other

of

of the

beaten

silver

the

beaten

appearance

choice-

material.

coarser

Mr.

design

same

giving a

metal

Pot

designs by

with

different

very

in the

give examples

several

67

charmed

of

surface

white

the

wanting

House,

will be

beautiful, and

most

in copper,

Salt

"

REPOUSSE.

OR

copper

in.

silver will

refinement

45.

beaten

work

said,

it does

and

only

to

have
in

what

ness

metal

as

wrought
to

have

who

Those

WORK

METAL

BEATEN

in Silver

at Essex

Ashbee.

wrought

silver in

designs might

Nos.

have

41

been

in silver.

Essex

wrought

House

silver and

produces
the

two

some

characteristic

examples

in No.

45

examples
are

of

certainly

68

ART

individual
the

No.

two

46.
"

in

CRAFTS

Poppy

simple, the

if

design, and

articles

Clock

FOR

we

that

see

wrought

in Pewter

reversed, all the

surface

part in the effect.

of
Mr.

the

AMATEURS.

examine

we

the

motifs

the
are

details

of

remarkably

The
by Jules Brateau.
being symbolical.

base

is

details

metal

Gilbert

itself
Marks'

playing an
bowl

important

is conceived

in

BEATEN

different

and
spirit,
The

ornamental.
breaks

No.

up

47.

"

WORK

METAL

the

the

Cabinet

design

narcissus
without

surface

in

Wiouyhi

of the details

it will be noticed

flowers

the

The

being

clock, No.

only
46,

forms

was

OR

lies

is

REPOUSSE.

69

naturalistic

more

pleasantly on

the

bowl

destroyingits contour.

Messrs.

Iron.

are

kept in

accented

also shown

by

T.

very

Potter

low

than
and
Most

"

Sons.

the
relief,

fuller relief.

in the Paris

Exhibition,

ART

70

and

be

can

bullion

be

heightened by
enamelling

branch
A

few

and

is

in

get

little

anvil

an

There

such

as

artistic

still

by

the

hopes,

be

do

The

in

that

that

it will bend

can

be

old

always

smith

made

setting up

could

get one's

was

fashioned

readily.

in

and

found

in

wrought

iron

curves,

No.

when

the
the

be

villagehandicrafts
agencies will,one
of
in

tasteful

villages.

iron
47,

the

will

which

deHghtful
iron

ested
inter-

be

is made

admirably designed
"

and

to

appear

some

be

It is

and

dexteritythe

iron

other

back

in

artist and

an

mechanical

to

figured

of bent

was

sign-boards, locks

worker

bring

to

worked

cabinet

peculiarbeauty

scrolls

or

one

effort to restore

entirelyof wrought iron.

the

this

success,

can

before

own

certain

the

once

have

the

forge

near

delightfulscrolls

Association

something

who

Those

are

on

laudable
Arts

hand-cunning

to

in this craft.

overcome

villagesmith

into

seen

aspirations of

Home

chapter

with

iron

boires, and

beyond

now

atrophied.

be

of one's

when

his iron

bent

hinges, but

the

attention

friendly smith,

forge

time

can

in

farrier's anvil.

the

and

shaped

who

or

from

small

was

especiallyif

"

wrought

up

judicious pour

on

"

ornaments

beating

the

jewellery

worker's

the

or
jeweller's

wholesale

enamels, and

of

taken

country

and

in

hand

of

to
great difficulty

help

friendly by

of

ounce.

an

way

directed

have

no

the

class

any

work.

amateurs

there

Those

addition

I have

of metal

in the

buckles, hair

shoe
the

at

6d.

2S.

done

and

it is evident

that

so

purchased

about

at

could

of waist

on

be

AMATEURS.

of this metal.

out

can

dealer's

Much
out

beaten

silver

Sheet

FOR

in pewter,

wrought

was

effect

CRAFTS

to

and

curves

is heated

show

so

that

work
comes

in

relief.

it thinner

with

Or

of the

out

and

feet, as

FOR

CRAFTS

ART

72

it over,

in sketch

and
No.

then

48,

it

drain-pipe as

the

by pulling out

press, and

bending

with

start

can

you

shown

AMATEURS.

put

top

making

"

bottom

it

to

pleasant shape

very

is obtained.

decorate

then

can

You

the

surface

with

work

in low

relief.

I found

it

plan

good

model

to

and

leaves, etc.,
stick them

then
the

on

carefully

vase,

wetting the clay

make

them

You

adhere.
in

can,

roll out

leaf and

shape

clay from

it,or

build

up

Vase

mented

of

Drain

with

the

made

in Relief

fingers

Pipe ^Oiiia-

plan
clay well, working
Those
have
amateur

who

have

noticed
should

in
seen

how
bear

free

sculptor

square

this in

and

make

angular

mind,

is

for

he

your

to

your

good

thumb

the

rough

somewhat

and

you

fashion

to

it,for it

Bi amble.

the

straight
using

away,

"

actual

an

design

48.

clay

dough,

take

can

No.

fact,

your

thin, hke
and

to

manner.

sketch

will

works, and

the

clay

it is all

too

easy

to

MODELLING.

CLAY

difficultyis

modelling tools,and

wooden
steel

one

with

these

can

be

wire

in

one's

work

crispness, vigour, "go."

obtain

to

finish

so-called

and

smoothness

get

73

the
few

one

(all

scraper

a,

of

had

colourman),

all

are

Throw

rest.

ments
imple-

the

fingersdoing

the

necessary,
the

good artists'

chief

your

up

objects, working freely,and

finish until

the

design

the

chief

decorative
on

the

of

is

fired

when

angular

work

is

effective

than

where

is smoothed
You
of

the

done

in

don't

not

reference
hand.
be

afraid

for you

crisp,

much

more

everything
doll.

wax

the

up

tool

whether
or

out

surface

"1^

by scratching it with

vase

it, but

by

break

point of

the

be

your

like

away

can

mapped

roughness,

will find

can

of your

don't

But

certain

of tickling

whole

scheme

vase.

position
dis-

forms; this

the

when

of
the

The

resisted

be

individual

done

lines

fixed, and

built up.

must

be

general

are

masses

up

obtaining

of

thinking

avoid

to

try

can

to

All
too

by dotting

or

this

should

only

be

the
one

be

decided

work
particular
can

''busy";

say

is,

aim

at

PM

ART

74

CRAFTS

simplicityrather
being
its

far

effective than

more

is in

while

the

water

if the

once

dries, all

work

50.

your

work

is that

or

it is

get your
Before

dried, and

of

chance

tool

as

effect
your

well

to

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diy, you

it with

even

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better

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be

can

doing

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over

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carve

at

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in

much
in the
must

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the

by

any

my

clay

On

over.

up

clay
with

over

if your

for

it is

fired, it
done

cloth

Modelled
Vintage.
Freres, Brussels.

entirelyby modelling
work

bewildering in

spray

steel scraper,

placed forms

well

working,

thumbing

for Boch

it is

wet

and

Panel.

Roskam

when

hand,

keep

before

few

of detail

mass

progress,

Stoneware

"

to

is hot

weather

M.

Other

careful

Be

AMATEURS.

multiphcity,a

than

complexity.

No.

FOR

part

of

impression

this

way,

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plasticstate.
be

thoroughly

pottery, for if there

CLAY

be

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moisture

in

the

work

chances

are

tiles

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to

take

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those

design

depth

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then

kib,

tool

higher

to

the

the

out

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ground
back-

thick, then
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f-inch

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"

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design,adding clay

the

relief

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take

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"

in

work

background

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model
where

parts

with

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were

you

then

can

you

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the

it is put in the

split.

decorated

out

75

clay when

will

certain

could

you

on

the

be

can

scratch

could

MODELLING.

required ;

in

but

in

the

t
No.

51.

"

in Relief.

Work

decoration

of

high

relief

the

work

surface
,

it will

impression that
too

with

vase

.He upon

to

appear

Esther

Miss

By

drop

spoilsthe

Piano

in Silver.

Moore.

in relief the

design

securely,and

off of its

contour

Front

of the

give

not

weight.

own

should

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in

by aggressively

vase

assertingitself.
As

for

give you
and

the

designs,the adaptation of

all the

skill.

Such

opportunity you
a

is full of decorative
other

familiar

plant

as

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that

would

form

require for showing

blackberry,

but
suggestiveness,

plants

plant

any

do

used

there

are

equallywell.

in

will
taste

Fig. 48,

dozens

of

76

ART

Animal

by

those

life,
as

well

feel

who

who

many

CRAFTS

make

FOR

the

as

equal

but

to

AMATEURS,

human

it,and
hand

poor

it is worth

find

being

latter

the

under

the

form

is felt in

only

state

is

forms

with

line.

"

Steerage.
Designed by

produces
in

much

The

work
the

same

G.

in

and

afterwards

and

glazed
as

at

No.
in

be

49

clay,

coloured
the pottery

Delia

Birkenhead.

Dressler's

relief,covered
as

can

pottery, like Mr.

Haite.

way

is

Robbia,
This

in

Volatile."
C.

This

particularly

panel

known

52.

the

makes

course,

modelled

was

at

in

too.

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Berth

plastic

sharp point,

colour

used

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the

draw

to

incised

where

of

it is

of decorating

way

effective,

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because

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more

modelling,

clay in

"

and

drawing

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grow

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^^"^i^Hl^Hi^H^BHH

in

the

hand,

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forms

^ffaiPPW^^^yiliiSi^H

No.

they get

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_"^^^^^^r."^,

essayed

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on

^"^^

be

form, should

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with

Italian

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near

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Conrad

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glaze
sixteenth

MODELLING,

CLAY

of

Lucca

blue,

is

which

century,

the

to

but

work,

without

almost

them

to

glazed and

modelled

the

number

name

of

dull

colours,

pink,

to

be

can

heat

great

is

coloured, glazed pottery

for, unless

amateurs,

fired at

work

attempt

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example

of

with

it is fired

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reach

the

get their works

for

and

as

palette is limited.

the

certain

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brown,

given

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Robbia.

della

77

No.

nature.

and

pottery,

can

pottery, it is impossible

this

of

they

in

was

is

50

an

Paris

the

Exhibition.
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terra

^^-

without

53-

damage
for

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this is

the

wax,

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a

"

Door.

on

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panel

be

fired

cost, and

with

can

Volatile."

usuallydone

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way,

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in sand

modellers

cast

as

is

model

make

in wax,

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for

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amount

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by

Miss

as

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steel scrapers,
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hand,

kiln.

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Such

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wax.

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finish.

metal

material

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on

Butterfly Hinge

"

at
difficulty

littlerisk of

not

cotta,

Esther

they
finish

of
of

in

high

Moore,

78

ART

No.
method

of

is

51,

of

the

work

of

caster

to

sketch

has

do

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only

Miss

see.

we

this is then

this
who

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lation
manipu-

Moore

makes

in

cast

plaster.

special calling,largelyin

of

lines

the

careful

very

artist's

the

being

subtle,and

it is advisable

work

any

that

result

t'o be

is

here

clay, and

Italians,and

around

men

the

that

way,

rehef

in

come

AMATEURS.

this

delicate

so

produce

finished

hands

in

The

design are

Casting

FOR

produced

could

her

CRAFTS

to

get

round

go

professional

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nature.

several

are

studios

to

the

to

do

done

at

casting.

IS^

""%'.
.

^W%

No.

54.

"

Details

of

Cupboard
"The

With
a

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work,

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regard to

as

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cost

base

at

of

silver

would

be

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castingin metal, this

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too

only

can

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have

for small

used

is the

Bronze

great.

castings

some

be

must

metal

made

been

in

aluminium.
Such

designs

yacht designed by
scope

of amateurs,

the

as

Mr.
as

suggestingmotifs. The

hinges
Haite,

Nature

animal

and

No.
is of
forms

ornament

52,
so

are

on

more

are

much

door

within
assistance

of
the
in

manifestlyinspired

8o

ART

would

not

metal

is

be

CRAFTS

ruinous

trifling
; and

entirely oneself
experienced to
is made
and

clay

or

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No.

to

see

that

in

portion of

56.

Calendar,

"

it

of

frieze shown

Louis

wrought

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must

work

your

it

quality

possessed in its

flat

portion

and

valued.

suggestion of

restraint

knowledge.

the

It

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well

oneself

in one's

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surface

places

whole

of

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part of the

the

where

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by

wax

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not

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know

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relief.

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to

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Lutiger.

is

panel

is

work

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rightly

happily given, and

evinces

design

work,

is

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water

checking
with

in

55

in low

decorated

surface

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in No.

Design

XV.

concentrated,

certain

bronze

of

cost

state.

example

the

has

one

fact that

mere

or

the

pleasure

dreamed

never

you

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bronze

that

of

pang

silver

in

work

any

realised.

be

AMATEURS.

outlay, while

gives

permanent

value

FOR

much

tyro, the

being

impulse
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effect.

too
to
to

and

taste

of

need

boisterous
cover

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every
it

to

CLA

illustrations

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should

one

is

and,
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this

example

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fettered

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to

as

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be

the

greatest
lines.

these

for

gathered
possible

is

that

well

for

is

''

anyone's
what

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style
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ego
I

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to

styles

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to

is

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working

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adopted,
find

me,

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objection

chief

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all

in

shown

of

rest

appeal

strong

no

arbitrary

from

to

pages,

skill

the

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much

the

impossible

may

strong

given.

that

by

makes

that

as

in

in

work

acknowledge

an

is

chapter,

represented

Renaissance

quite

such

56,

to

be

so-called

No.

calendar,

The

MODELLING.

expression,
elsewhere,

on

such

it

CHAPTER

ENAMEIvUNG

AND

V.

ENAMEIvIvBD

HERE

has

been

of

enamelling

is

one

this

the

of

crafts

it is
here

him

to

that

given

delightful
small

work

when

it

there

effects

is

play

great

of
The

which
and
enamel

by

usually
pieces

some

the

be

information

applied

then

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course,

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culties
diffi-

upon
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by

overcome

beaten

in

design
enters

one

no

very

to

it.

figure

by

comparatively

to

is

skill

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or

kiln

practice.

either
are

colour

out

colour,

only

can

equipment

heated

of

the

some

be

and

teachers,

and

can

in

given

amateurs,
with

nical
tech-

Fisher,

It

and

carrying

to

of

it

London

craft.

enamels

give variety

to

which

comes

the

as

the

are

the

much

obtained

be

can

comes

of

of

art

and
the

beautiful

most

reach

the

equipment,

metal

this

concerning

beyond

means

for

indebted

am

work

one

the

Alexander

Mr.

is

in

by

whose

chapter,

in

years,

taught

established

of

examples

few

last

Council.

County

revival

great

classes

this

JEWEIvIvBRY.

work

for

gas

sold
of

you

is

enamelling
or

in

charcoal,

lumps

copper,
have

the

fire-clay

repoussed.

themselves,

enamels

coloured

resembling
unless,

muffle

as

have

glass,
said,

you

pounded
then

difficult

as

colours

one

them
of

the

little sugar
the

did with

china

them

metal,
be

must

when

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in

to

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to

but

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if

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sticky-lookwill

dry, they

bubble

be

to

used, for

remain

enamels

and

might

adhere

to

and

sugar

easily,and

more

surface

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water,

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worked

they

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of

soup^on

cause

then

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mixed

added

glass

manipulate.

to

be

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and
of

slab

gritty and

be

just

on

83

JEWELLERY.

be

to

mortar

muller, but

will

be

in

up

ground

with

have

enamels

The

ENAMELLED

AND

ENAMELLING

kiln

the

crack

and

be

spoilt.
of

One

is

enamels
metal

of

take

to

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size of

the

and

button,

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colour, using

on

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plenty

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colour

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must

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of

coat

camelYou

hold

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therefore

metal, and

disc

long,

for the purpose.

the

of

hair brush

get

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haired
longmore

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one.

drop, as

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on

57.

"

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Enamel.
to

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can

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wet

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until the

B.

Martin,

in

Silver

Designed

by

and
Miss

84

JRT

tyro has

felt his way,

covering the
the

metal

become
on

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the

58.

"

against
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a

given),if

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is

metal

enamel

flat,as

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to

on

''

miniature

front.

also

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to

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heat

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to

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than

"

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thin

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on

to

pull

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rings

archery target

practise in manipulating
they fire, for

of

kiln it will

of the

float

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sides

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pull

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enamels, something
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little

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the back

on

with

content

colour.

ground

owing

the

on

coloured

requirea

remain

(though

the

the

to

in Wrought
Steel and
^Jewel Casket
Fisher.
Alex.
Designed by

colours, and.

The

the

enamelled

metal, and

AMATEURS.

it is better

convex
slightly

No.

on

be

FOR

with

metal

must

need

coat

CRAFTS

some

the

enamels

others.

various

sizes, but

it would

be

ENAMELLING

advisable

only

for

you

sufficient

to

be

place

your

melt

the

with

work, and

of

amount

is

heat

Practice

heat.

the

reached, but

long pincers,and
it

melted, and
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should

work

it too

much

and

this

be

must

be

looked

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at

in the

is apt to

just
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cool

to

enamel

will

heat

firingcan

left

be

quickly the

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enamel

here

to

the

right

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flake

even

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the

but

off.

spoil,

and

carefullyguarded against :

most

pair

by cooling

as

cinder

to

right

if necessary.

again

crack, and

enamels

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see

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of

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soon

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soon

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itself; to

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on

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quite a

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enamel

85

JEWELLERY.

have

to

is closed

front, which

which

of

beginner

articles should

small

in

ENAMELLED

AND

under-

is

fault

fatal.

colour, produces
form

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Inmy

the

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of
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blob

look

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of

2"(i,composed

diameter, with
to

which

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page

rich

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name

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in

Craftsman^

simple

some

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the

the size of

yellow

enamelled,

were

one

Mr.

silver

lightenamel

small

ot

pearl being replaced by

jewel by

discs

80, for instance, composed

silver

in

engage

about
.silver,

colour, the

different

of enamel.

on

of

Jewellery

well

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necklace

buttercup, would

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or

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very

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on

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book,

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necklace

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composed
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linked

former

shown

attention.

pleasant effect,and

ornament,

and

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are

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silver

in

of

if it be

design,applied to metal,

much

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Frampton

\\

about
on

on

inches

dark

plain discs,about

page
in

ground,
f-inch in

86

CRAFTS

ART

The

enamel

different
metal

effect

showing

schemes, such

No*

very
the

59-

might

be

pieces of

Those
colours

who

do

not

in

enamels

of

assume

small

gold

added
have

to

are

and

to

the

their proper

the

under

copper,

certain

Enamels.

Fisher.

gem-like

pearl in

silver.

painted china

of

elaborate
on

The

effect.

the

disc of silver if the

if of

metal

Steel

the

to

in

placed

are

produce

referred

replaced by
or

gold foil

Repousse
Designed by Alex.

above

copper,

these

Girdle

"

transparent
necklace

are

silver and

pieces of

small

have

colour

and

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of Mr.

those

as

gold, will
the

to

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the

and

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was

metal, owing

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unique

an

and
silver,

copper,

on

each

on

colours, made

and

personal ornament,

same

AMATEURS.

in various

diameter, enamelled
beautiful

FOR

In

original

quatrefoils

enamel

binds

parent.
or

pottery know

that

tint until fired,and

some

this

88'

any

ART

No.

FOR

collection, such

fine

British

CRAFTS

Museum,

60.

"
"

we

Olivia."

ground
enamels

covers

the

play into

the Waddesdon

as

find

that

Enamelled

Designed

by

The

dark,

Plaque
Alex.

while

copper,

this.

AMATEURS.

bequest

at

the

serai-opaque blue

in Translucent

Enamel.

Fisher.

translucent

sixteenth

and

century

opaque
craftsmen

AND

ENAMELLING

were

skilful in

very

modelling

given by

was

white.

the

using

When

plaques, ewers,

the

other

and

ground

consider

we

to

through

go

of their

admiration

61.

No.

carried
has
works
their
made
a

the

may

size

the

of

risks

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by fire, it
the

not

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quite

enamellers

attempt

used
to

to

that

our

in

taste.

these

thoroughly gauged

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miniature, but worked

to

the

the

best

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display the

an

our

designs they

and

Anyone

sixteenth
the

these

work

wherever

run

productions, though

the

dishes,

fired by
successfully

ordeal

enamelling knows

craft,and
no

that

Enamels
Eldorado, set with jewels, in Translucent
Steel Settings. Designed by Alex.
Fisher,

"

out

tried

the

so

showing through

colour
the

articles

Limoges craftsmen, knowing

has

enamel

opaque

an

89

JEWELLERY,

ENAMELLED

who

century

of
capabilities
results.

oil

They

painting or

peculiar resources

ART

90

and

CRAFTS

individualities

should

do

these
the

and

old

we

attention

that

enamelling

of
qualities
well

colour
the

as

The

the

is

colour

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art,

overlaid

we

themselves,

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bird, or peacock's feather, and

carry

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varied

admiral

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and

use

portions
enamel,

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in

we

handle

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on.

casket, No.

58,

would

metal

spaces

cut

filled in with

57, would

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also

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out

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the

colours

ornamental
be

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powdered

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gives

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kingfisheror

No.

about

them

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natural

design is given by

the

as

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spoon.

think

to

these

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of

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upon

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gems),

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thick

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plate

enamel,
with

to

the

of

which
metal

polished.

it,chase

affect

them

after

our

only thing

these spaces

fired,and

then

and

of

essay,

enamels

metal, and
is then

to

in

And

of the

again

here

champleve

with

beetle,
butterfly,

brilliant than

more

resources

the

of the

as

be

?
butterfly

all the

metal, and
to

could

simple work

certain

that

the

out

their colour.

palettes,shaped

enamelling

The

before

prerogatives of

as

Treat

objects.

chieflyfor

forms, for what

we

take

these

suggested by

red

direct

keeping

the

are

such

that

metals

we

imitating

way

end

of

just]what

this craft alone.

tyro

rich and

that

importance

(as though

colours

this craft,and

It is to

is

in any

do without

can

to

AMATEURS.

craft, which

enamels.

reader's

one

as

of their

what

Limoges

FOR

we

have

enamels, and
as

handmaids

the

then

done

on

enamels
to

metal

metal, indent
it with

cover

the metal
used

in

work.

pattern

translucent

will

materially

this way

may

be

AND

ENAMELLING

of

Much

the

touched

up

jewellery

fine

of which

unique specimens
are

ENAMELLED

with

JEWELLERY.
of

the

in

the

are

enamels,

that

sixteenth

91

century,

Waddesdon

is,they

are

room,

employed

to

\Lm^mMmmmim

No.

62.

"

Triptych, in

heighten the
taking up
of

fine

old

effect

such

work,

Enamel

and

by adding

craft
not

as

with

Bronze.

colour

Designed

to

this,should
an

idea

Alex.

The

form.

make

of

by

careful

Fisher.

tyro, in

study

doing anything

like

ART

92

it, but
The

Py

FOR

catch

the

spiritof

girdle, No.

59,

could

to

permission

No.

melled

CRAFTS

of

63.

in

ornamental

"

some

the

Hon.

Mrs.

Percy

AMATEURS.

the

have

work

the

of

circular

of

simple design,while

portions could

masters.

spaces

ena-

iryndhain.

in Translucent
Lady Elcho
Designed by Alex. Fisher.

Portrait

the

also

be

the

Enamels.

pierced and

enamelled.

beaten

makes

skilled worker

varied

very

learning what

tyro had

the

it is

employed

used

is rich and

outline

an

as

must

applied in

fired.

when

harder

with

finished

be

last

the

requiringless heat,

Collection,

jewels are

well

rendered

the

flesh

of

which

old

china

form

the

of

fired

ten

first and

on

enamels

opaque

in

Limoges portrait

is made

No.

to

in

24,

the

get the effect

of

scheme

is

colour,

strivingafter

no

flesh.

the

painting,

sometimes

Lorraine,

there

so

The

drapery

The

with

the

white

of the

pink,

which

should

worker

painting,but

for

go

enamel

done

be

can

not

used

seek

simpler

to

and

get

more

treatment.

Battersea
covered

metal

being

Upon

this the
and

work

colours, and

quite simple

enamels.

colours, but

characteristic

were

in

ing
requiresburnish-

in the

to, but

slightlytinted

effect of

china,

his time

richlycoloured, jewellerybeing particularly

by

is

china

The

china

modelling, characterises

and

with

to

china

The

attempt

no

it

being

afterwards.

in

flat treatment,

elaborate

for

himself

ground, and

in

as
firing,

ordinary

portraitin oils,but

with

make,

Limoges

in in

used

enamels

enamels, like that of Catherine

Waddesdon

old

effect is fired

is often resorted

portraitthis

is put

gold

to

elaborate

An

times, the

eleven

waste

dark

the

on

Gold

effective.

and

be

in

"

yellow powder, similar

of

confine

than

enamelling

dull

can

better

rather

them

in

is often used

Gold

those

colours, but

own

experiments.

chemical

or

his

of

93

enamels, chieflyof French

with

do

to

JEWELLERY.

some

of

assortment

purchased, so

be

can

ENAMELLED

AND

ENAMELLING

the

painted

used

same

in

worked

were

thicklywith

design was

with

sometimes

enamels

as

colours.

addition, but

milky

on

opaque

it would

have

Translucent
these

the

copper,

Battersea

enamel.
been

on

enamels
snuff-

CRAFTS

ART

94

boxes

bijouteriehave

and

work

they are

too

like

much

figure work

In

No.

The

64.

attempting

to

60, the

Voices

to

be

be

flesh

and

very

few

Night," in Translucent
by Alex. Fisher.

too

realistic.

was

kept

gold

painters

many

of the

very

being slightlyoutlined.

contour

was

splendour of Limoges

painted china

mistake

the

Designed

mass,

of the

none

ful
success-

enamels.

as

No.

AMATEURS.

FOR

threads

brilliant,
looking like

In

the

Enamels.

head

of

Olivia,

simple, the

features

hair

treated

The
were

black

was

introduced.
velvet

and

is

make

The

silver.

and
as

dress

CHAPTER

BOOKBINDING

VI.

AND

LEATHER

would

HO

have

that

ago

yet

thought

in

of

the

67,

4,

work

be

may

original
Thrd

76,

always
in

shown

object

this

we

all

the

Gold

2.

Inlaying.

3.

Incising

and

to

of

and

and

of

the

such

an

but

to

an

the

the

original

note

of

besides
that

not

as

would
in

is after

hear.

leather
work

embossing.

may
done

be

divided

with

small

this

manner

itself

book

both

cover

Not

doubt

whose
is

contrived,

emphatic
I

Women

of

the

on

in

see

that

book.

purists

reference

covers,

waiting

Tooling

1.

in

done

tooling

ingeniously

contents

direct

ornamentation

The

the

example,

of

are

The

we

of

work

out

the
ation,
Associ-

example

an

turn

Arts

that

as

Art,

65,

is very

be

often

or

ornamentation
what

of

such

to

No.

Glass

symbolical

being

of

craftsmanlike.

Looki?ig

guilds

such

School
in

seen

and

the

while

Chiswick

and

Binders

can

and

cuted,
exe-

under

which

of

is

work

Home

be

amateurs,

villages,

examples
Nos.

by

excellent

even

years

could

followed

most

auspices

few

bookbinding

successfully
and

WORK.

into

stamps.

the
all

AND

BOOKBINDING

Of

course

as

the three

rule

the

only

leather is touched

in

upon

of the

development

it is

first

two

doubtful

However,
touch

are

though

cover,

Poker

work

on

XIII.

leather
rather

be

cannot

addition

an

to

said
to

be

it,and

book

to

cover.

shall

leathers in this

further

united.

Chapter

craft,but

one

painted

upon

ter,
chap-

will

we

in

expedient adding paint

we

as

WORK,

combined

colouringor paintingof

The
a

be

may

LEATHER

leave

consideration

until then.
No.

is

65

of pure

tooHng,

ing
the lines form-

where

the

design
into

pressed

with

leather
tools

ample
ex-

an

are

the

heated

afterwards

and

gilded (though they

left

be

may

"blind"

or

this

carried

tooling

very

grotesque
very

to

No.

remain.

with

"

School

of Arts

Chis-

Tooling, by
and

suggestion of grotesque
managed.
skilfully

far, for

The

Crafts.
heads

is very

render

heads, and
expert,

as

The

accomplish this

to

there

mistakes, for
retrieving
to

of

Example

65.
wick

is

example

it is made

be

it is

as

termed). The
in

plain

binder's

is
line

craftsman

no

altering wrong

once

pressed into

skill is best

comparatively simple means

the

the

shown
most

in

must

lines
leather

or

has

tooling,for

beautiful

effects

ART

cj8
be

can

obtained,

itself a beautiful

Ko.

To

66."

help

out

FOR

CRAFTS

as

line

or

AMATEURS.

curve

tooled

on

leather

is in

thing.

Inlaid

the

Book

Cover, designed by F. A.

tooling,small stamps

cut

Hallin.

in the

shape

of

AND

BOOKBINDING

leaves, stars, flowers, and

effects
As

of

example

an

instance,

admirable

Exhibition.

example

have

the

inlaying No.

and

shows

what

shown

was

in

is

the

most

done

by

Paris

recent

y^"^

we

and

tree

\^

dark

in

while

morocco,
rest

of

the

light

is in

cover

varietyof

dd
be

can

the

used.

are

In

this

deer

forms

considerable

ways

elaborate

It

craftsman.

skilled

99

wrought.

be

can

simple

other

in various

these

combining

By

WORK.

LEATHER

The

colour.

tooled,

leaves

are

not

stamped.

Tnis

example

tour

de

is

force^ for

difficulties in

the

the

rendering
and

swans

its reflections

with
are

they
with

executed

of

many
An

No.

first tooled

Class, under

Harris.

Messrs.

are

much

skill.

restrained

Whether
I

will

binding
not

should

decide.

go

The

work, is certainlymore

so;

less

satisfying

us.

exam.ple of
67.

Leather, by the Kirby

Repousse

"

pictorialdirection

ambitious, more
to

67.
Lonsdale

as

in

No.

able,
consider-

veiy

far

water

The
on

repousse

design
the

front

work

is beaten
to

give

on

out

the

is

leather

from
outline

the

in

seen

back, being

which

is

to

be

"
followed

in the

obtained

in this way,

shall

68.
An

"

her

bindings,and
in
a

excellent effects
not

of

present the difficulties

tooling in

No.

67 is blind.

developments of

and

be

to

are

it subsequently.

embossing

tooling and

in

Bookbinding, designed and executed by Miss J. Birkenrutli.

example of toolingstamping with figme panelin repousse.

68, by Miss

on

the

as

combination

No.

shown

it does

and

this work

with

deal

have

We

No.

embossing. Very

gold toolingdoes,

that

AMATEURS.

FOR

CRAFTS

ART

100

this

punched

Birkenruth, who
the

example.
or

resources

The

powdered

is
of

always originalin
her

craft

are

well

fish, by being left plain

ground,

have

almost

the

BOOKBINDING

of

effect
it

AND

inlaid.

being

veil the

leather

designs

are

employed

No.

leather

painted

wall

coverings,and

when

treatingof

into

toolingby using

lines

but

in

described
will

We
that

might

touch

first
the

upon

in

embossed

in their

taken

been

consider

to

introduced

the

subject

technique

new

produce

to

only straight

not

usually produced by
examples,

some

deal

now

of

in

seen

of work.

Training of

The

has

ever

be

may

treatment

better

forms

with

method,

The

it

as

wheel

and

curves

the

have

MacColl

embossing

to

it will be

this class

Miss

and

Mr.

t^*.\V

helpful.

carried
far

as

as

of various

Punches

bloom.

of colour

and

adds,

'seems
;ili
binding, Tcjil,

the
a

leather

'

very

Spanish

The

69.

of

loi

"','
produce these J)^^g,roundS;"
|"lld^^'

to

are

combination

The

it

WORK,

dotting

to

give

and

rightlyused

when

This

colour

another

were,

LEATHER

will

certain

matter

of

fully

making

of work

class

attention

amateur's

an

found

Craftsman.

detail with

occupy

be

stamps.

designs

and
for

then

leather

work.

attention

Much

within

the

last few

admirable, and
than
very

has

been

and

years,

the work

by

H.

Mr.

the

Jacobsen,

an

the scope

its

embossing

obtainable

effects

within

which

leather

to

first consider

brieflyits technique,

contributed

as

is more

will

"tooling," we

given

are

of amateurs

and
possibilities,

take

from

eminent

an

article

worker

in

this way.

design

The
and

then

laid

tracing

sponge.

over,

thus

over

be

to

wrought

taken
the

With

on

stout

leather, well
a

leaving

hard
an

point

impress

must

made

be

full
which

tracing

paper,

damped

beforehand

the

design

upon

the

is

size,

now

leather.

is
with
gone

For

ART

I02

cutting
hard

No.

the

CRAFTS

FOR

outlines, the

wood-

-or

better,

69. Painted, embossed,

George Hulbe, of Frankfort.
"

plate-glass.
penholder,

the

small

AMATEURS.

is

leather

slab

stone

and

lacquered
Exhibited

sharp

sharp ^^g^

in

put

knife

on

sheet

or

Leather

at

is

the

Screen

Paris

used,

front, and

board
of

of

thick

by

Mr,

Exhibition.

held

like

it is advisable

ART

I04

depends

CRAFTS

the

upon

FOR

modelling

wax.

hands,

the

as

which

force

hollowings, they

these

AMATEURS.

be

must

This

be

must

of

presence

is used.

But

filled

at

up

pressed

the

will

back

dry
the

prevent
of the

the

wax

leather.

fill the

The

only just

must

wax

with

with

adhesion
to

preserve

home

moisture

any

to

hollows, for

if it

project beyond

the

plane

of

the

leather, it will make

it

when

uneven

is laid down

leather

millboard

the

upon
or

other

to

cover.

of

the

the

give

70."

sixteenth-centuryMork
and

embossed.

The

punched

to

dotted

be

to

be

ornament.

"Star"

giving

and

each

permanently

"

the

punches

incised

spaces

used

are

by keeping
sharp

of

various

present
re-

according

dimensions

blow

leather

the

with

hammer,

to

of the

moist
it is

indented.

By working
the

punch

ring

"

sizes,

and

give

on

surfaces.

wrought,

also
to

the
work

leather

prominence

and

modelled

Design,

Panelled

face
sur-

different

texture, and

No.

it is

surface

Punching

will

the

the

leather

from

the back

and

punching

surface, quite sufficient relief will be obtained

for

down
chair-

AND

BOOKBINDING

backs,
It is

seats, where

or

only

in book

that

higher

should

be

and

is

70,

ment.
treat-

process

reads

in

one

articles,

it
a

technique
acquired, so

soon

the

is

amateur

enabled

produce

to

creditable

work

time.

short

is

Leather

pleasant
work,

indeed

material

touch,

to

the

to

that

so

work

have

not

in hand

it is very

as

responsive

does

and

which

sufficient

in

suchlike

wax.

71

this

simple enough,

very

and

use

able
suit-

all

are

The

that

covers,

to

of

use

Nos.

for

is

box

covers,

inadvisable

indispensable.

72

is

be

105

relief

the

Designs
and

it would

WORK.

attempted,

then

wax

LEATHER

to

be

long enough

for all interest in it to

vanish.

On

the

trary,
con-

effect

an

is

quickly
.1

^""i
though,

No.

Design

for

Chair-back, suggested
by sixteenth-centurywork"
strap-work
71."

obtained
r

of

to be
ornament,
The
background

course,

as

indicated.

incised
can

be

and

embossed.

punched

over,

io6

ART

CRAFTS

leather

embossing

artisiic

finish.

given

that

yieldsthe
the

best

worker
The

though

as

the

more

of

as

the

the

brief
skin

pig

of

description
calf,

stout

or

of the

skin, too,

dyed

stain

this

If

high degree

the

depth

very

than

process

liquid dyes.

to

material

gives

scope.

workers

some

enhanced,

leather, such

colour

the

to

brought
from

much

so

AMATEURS.

is obvious

result,as

natural

suitable

be

can

It

thick

FOR

be

done

of

like
the

more

morocco,

with

design

the
artistically,

surface

natural

leather

portions

be

to

seems

of the leather

is

effect

is in

no

way

impaired.

Miss

Eassett, in the

ings
bind-

wrought

under

direction

her

Leighton

Buzzard,

stains

uses

at

the

upon

leather, keeping
tint very

pale,

the

wards
after-

varnishing the
No.

72.-Chair

Seat.

To

No.

71.

inclined

am

to

o.btainedwithout

be

with

go

think
the

quite

that

Bassett

blind

tooling [i.e. tooling without

is

undoubtedly

these

mistake

portions would

Those

have

no

readers

soon

who

proper

medium.

to

the

relief.

raise

rub

have

and

the

these

bindings
of

use

For

gold),

book

design

covers

with
it

shabby.

become

; but

with

highly,as

too

got their 'prenticehand

notes

can

the back.

at

wax

calf

in trying experiments
difficulty

suggested possibly by

the

relief

sufficient

effective

some

parts of the design in low

some

with

necessityof using

Miss

produces

^^ather

Design

in

to

in

will

new

directions,

the

beginner, it

certainlybe advisable

would

so

much

the

use

few

107

under

lessons

quicker acquired by
of tools
With

be

alone

can

basis

of

it is easy

knowledge

methods

fresh

existing

one's

to

get

practicaldemonstration.

imparted by

add

to

by hearing,while

seeing than

to

is

Method

practicalbinder.

WORK,

LEATHER

AND

BOOKBINDING

craftsmanship.
speaking of

In

designs

have

schemed

out

to

point

they

notes

diagrams,

or

in

and

looked

suggestive

as

upon

no

be

the

look

of

leather.

degree,
work

in

No.

73.

"

back

Of

course,

for Chair

Design
and

72 for the

See

seat.

with

leather

Figs. 71

and

details.

kept steadilybefore

myself the
cases

to

by
how

in

Only

of actual

faint

the

render, in

can

even

by

used.

photographs
work

effects

obtained

processes

as

way

indicatingthe
to

that

out

be

must

company
ac-

hints,

these
I may

the

your

of

method
draw

the

means

effects

securing

the

such

production, and
effects

as

employed.
are

obtained,

results, that

could
It is
and
one

in all

endeavoured
be

adequately

dered
ren-

only by remembering
the
can

tools

design

employed
for

the

io8

ART

craft.

CRAFTS

designs

The

experiments

as

modified

reallygrow

wholly

realised

for

wallet

place

for

certain

forms

design

if the

forms

might

be

The

dark

dyes.
be

like
full

would

present

leather.

and

is

effect

parts around

diflicultyto

no

It should

have

flexible,and

if the

it would

not

require any

that

be

can

The

left to

front

the

though

it could

highly

ornamentalised

feature

being

made

supports, which

is

incised

could

be

in

could

be

piece of calf,
a

to

suit

matter

of

foliage, a
the

tooling,
It

embossed.

and

twistingof

the

itself

working

this is

designed

treatment

of

might

discretion.

74,

be

with

//^/'^ millboard

stout

flower

wallet

papers

backing, though

worker's

also

for

of

such

wallet

to

good

of

made

were

design, No.

cover

of

and

tinted

the

used

divisions

the

in

up

These

of the

one

backing

of

making

The

stars.

beating

by being
edge

with

tooled

be

the

too

design

papers,

obtained.

the

be

is

is essential

accentuated

be

never

77

could
but

be

to

design

can

No.

be

to

craftsman

contain

to

tulip flower

hang against the wall,

to

wall

embossed,

the

it

the

decoration

further

with

punched

should

The

incised

or

elsewhere,

fingers, and

nor

on

calendar.

embossed

said

upon

need

would

by his diagram.

hang

to

the

paper,

bound

have

looked

be

may

carrying out

under

on

tied and

As

AMATEURS.

drawn

in the

altered.

or

have

which

should

much

FOR

distinct
the

around

stems

is

by tooling or

adequately rendered

incising.
No.

is

suggested by

Renaissance

name

Mr.

70

is

class

of

to

which

book

cover

design
A

loosely given.

Jacobsen's suggested the present design.

enclosed

by

punched

with

the

''strap work"

stars

or

dots.

"

strap

work

of

portions

is intended

border
This

The

the

be

to
"

is

ingeniouslytwisted

most

and

them

and

71

the middle

of the

obviously

fitted

sixteenth

72,

modelled

I have

work

panels, French

strap-work carved

some

upon

is

planned.

regards the designs,Nos.

As

109

century, and

sixteenth

of the

in the work

distinct feature

WORK,

LEATHER

AND

BOOKBINDING

century.

This

ot

is

strap work

so

for

being reproduced by
sing,
embos-

incising and

so

itself

is in

and

that

fective,
ef-

and

ingenious

could

give,it seems

not

suitable

more

me,

to

tion
decora-

of

schemes

for leather.

seats

and

backs

Chair

obviously

are

cles
arti-

admirable

such

to

attention

amateur's

that

have

some

devoted
to

space

designs

of

ing
mak-

for these

purposes.
sketch

the

engage

give

No.

74.

"

able
chair suitaround

for leather work.

Those
wish
out

when
as

readers
to
a

toolingor incisingand

embossing.

who

get chairs

made

chair-maker
it will

gested
SugDesign for Book-cover,
the
of
tendril
a
twisting
by
to be
stem
a
produced by
;

be

to

found

they anticipate.

Of

to

the

particular design should

trade

that
course,

the

and

get

charge

large and

is

find

an

estimate,

not

so

elaborate

heavy
chairs,

CRAFTS

ART

no

the

"uch

as

some

five

pounds

of

furniture.

pieces
and

seat

effective
The

No.

to
*

crafts.

'

the

to

always

are

then

position
No.

is of

shown

in

background

prominence

to

heraldic

excellent

instead

here
of

with

cost

imposing

are

for

leather

73), and

quite a

be

was

back

leather

stout

decidedly

67.

should

be

different

wrought

genre

by incising

Quaint

in character.

motifs in designs for

would

In

into

come

incisinguse

No.

the animal.

they

the

saw

would

73.

frame.
75,

embossing

The

effect

foliated

in

seat

examples, being

great effect ; but

the

in

No.

Design supported by Heraldrj',to

and embossing.

the Other

beasts

one

design, No.

other

75."

In

is the

fastened

so

in

least, but

at

"laced"
so

AMATEURS,

sketched

one

was

thongs (and

FOR

the

blind

with

toolingto get

heraldic

kept pretty flat,so

Heraldry

play

the

beast
as

to

is full of decorative

the

give
sug-

CRAFTS

ART

112

treated
of

animal

as

"

as

more

decoration

in

Figures

are

"

than

children

for

leather

which

cupids

or

should

amateur

difficulties

have

joining of

the

as

not

and

is due

to

the

care

The

flat
as

of

effect

rich
and

this

while

backing

the

should

be

being

beaten

out

down

from

of

stout

brown

of the

back
well
out

home,

leather

relief be

those

the

also

glued,

portions in

back

before

them

of

paper
into

the

on

cover

old

in

the

might
to

hollows

be

those
;

Spanish

The
on

to

The

large extent,

have

described

by

parts in low

in

glue
then

paper

merely

portions
I

and

the

pressed

well

until the

enough

sheets

again pressed

be

front

relief

three

or

soaked

though

which

relief.

if two

the

to

idea that the skin

relief should

from

large

ghied

backing dries, as

the

it

Or

obtained.

that

and

to

those

well

were

paper

to

embossing.

an

way

front, and

being pressed down

thicknesses

working

the

I have

back, and

the

leather

the

from

in

leather

up

effected,

plastic.

was

at

be

to

manipulated

pressed
good

have

The

pieces of

paper

portions hammered

would

reason

in bookbinding,

are

the

the

it,and

manipulation

no

colouring, in

had, I believe, a backing of thick

the

see

paperhanger gives

leather

kept

to

purposes,

they

as

together, so

important part,

gildingplays an

the

painted

of this kind.

decorate

to

things, the

two

of

many

other

works

great

as

these

expensive wall-papers.

persons.

and

put, and

essay

only

requires

surface, only

leathers

escape

embossed

of

are

certainlynot

are

for you
"

leathers

Spanish

thought

adults.

revival

we

be

extent,

great

representationsof

as

wall-coverings,screens,

old
the

why

been

has

to

being simplifiedand

"

"difficultiesinseparablefrom
There

AMATEURS.

should,

forms

shapes

choosing

By

FOR

in

should

the

as

required
glue

to

relief, well
say

"

for

BOOKBINDING

I have

yet put it

not

the effect could

the

over

in

described

there

as

much

be freer and

As

regards

colouring,two
be

can

dye

be

in

front.

Of

designs bolder

have

already

the

in

Spanish
the

course

than

stance
sub-

incised,and

remember,

all

paper
more

be

as

way

what

much

so

might

leather

the

had

book

work
cover.

the

plans

adopted

to

stain

or

from

the

then

same

blind-tooled

are

if you

further

The

experiment"that

actual

of

would

the

though,

leathers

carried

WORK.

LEATHER

the test

to

manipulate.

to

should

be

back,

treated

AND

the

paint it

leather, or

in ordinaryoil
solidly
colour.

plan

The

is

better

former

certainlythe

adapted

to

material,as

it

pity

loose

of the

surface
which

to

seems

the

leather,
if you

do

you

the

7.
with
"

paint it, though

the

was

in the

could

is added

gamboge,
yellow, and

blue, cobalt

and

raw

burnt

golden

If solid

with

varnish

after

they

and

have

little hard

very

ochre

be

colours

floated

begun

to

with

green,

madder

they

freely,and

on

Your

set.
I

amber

as

verte,

viridian,
Indian

brown,
of

some

among
used

terre

used

turpentine,to

dry varnish,such

sienna,
are

colours

transparent
thinned

employed,

be

copal. Prussian

useful.

The

Spanish leathers.

by artists

or

Decorated
Design for Wallet.
incisingand embossing.

plan adopted

old

which

this

should
not

scheme

the
be

be
of

most

mixed
touched

colour,

ART

114

CRAFTS

therefore,must
be

must

almost

Prussian

leaves

blue,

Indian

yellow,

madder

brown.

The

animals

might
down

those

used
much

so

book

of

The

decorated

with

planned
does,

to

or

the

as

old

In

in

the

made

greens,

work

the

ground
back-

small

as

as

decorated

be

will

planned

tree

as

indefinitely.A
look

very

as

way

having

wall-paper
suitable^

be

sketch

to

rich

design

screen.

did, would

of

ribs

design,as

the

would

leathers

leaves

The

to

of

same

in

and

be

not

of

room

or

stems

the

on.

continued

be

the

Spanish

the

stems

surface

; so, too, would

much

pigment

of

and

the

leather,

as

the

leather

saw

'at a

each

friend's

the

showing through produced

cowhide

plenty

coloured

partiallywiped off, and

was

harmonious
is

There

of

examples

the

yellow
rich

parently.
trans-

separately.

some

house

the

by being punched

up

should

they

smoking

it materiallylessens

section

broken

as

the

tooled

be

treatment

could

leathers

repeat

in

used

cream

while

foliagepart

ornamental

libraryor

; and
cover,

series of scrolls,and

dado

as

an

could

its surface

greater.

noticed, is

be

frog could

high relief,and

edges,

leaf

punches
a

or

in rich varied

be

in

the

at

have

on

white

could

design, or

varying proportions,and

^should be

disc

with

over

of

colour

sienna, golden ochre, gamboge,

of each

centre

could

flowers

could

raw

in

incised

be

get tacky, it is

colours

78, the bird, animals, snake, and

give.No.

The

be

the

manipulation

your

Semi-solid

them.

in spots, say

and

varnish

slightlyheightened "with

of

AMATEURS.

upon,

these

impossibleto'use

be

is

decided

be

rapid/as when

introduced
one

FOR

warm

very

effect.
of

Screen

evidences, for

for

room

No.

here

we

69
have

experiments
shown
a

work

at

the

in

colouring

Paris

in which

bition
Exhi-

tooling,.

AND

BOOKBINDING

No.

78,
"

dotted
forms
work.

embossed

Suggested design for

lines show

where

to be in relief.

the

This

WORK.

LEATHER

leather Wall

joins might

design could

be

Hangings.

made.

also be

115

The

treated

The

animal
in

poker

ii6

ART

embossing
boats

itself is
and

and

the

on

be

finished
other

applying

*"

colour

the

of

so

long

as

either

great

keep

lost ?

given

consideration

made
Coloured

when

its part

plays

be

may

made

of

vellum, which, being

colouring being

as

that

seen

one

to

is

made

surface

finished.

work

in

to

one

yield a

advocate

the

should

and

leather

be

does

other

certain

class

was

always

be

not

finished

this
of

employment

tinting leather,
shall

the
in

It

us.

no

working

of

trace

give

the

of

use

will

leather

have

medium.

another

as

it will

very

make

highly prized

leather

in

should

and

finished, all

else

and

piece of work,

same

is the

and

combination,

means

be

what

colours

of the

the

of work

me

yield its quota

leather

in

rightlyused

nothing

in

or

command,

your

uses

"

incising

"

his reach.

in should

transparent
the

singly
at

kind

work

if

materials, because

but

parent
semi-trans-

be

tooling,"

"

within

it,else

to

our

imagine

such

of

within

works

one

if,when

here

of

the

all three

imitatingone

leather

even

coloured

be

to

work

you

resources

are

you

value

dyes with

of

employed

using

utmost

effects

outline

tooled

colouring can
which

on

allows

in

material

of

the

leather

under-surface

of effects

hesitation

The

that

say

processes

has

no

at

blind

the

material

yet the

colouring mention

the

to

three

class

attempt

have

of

effect

vellum.

craftsman

varied

The

effect.

embossing,"

the

to

surface

semi-transparent,

With

clouds

then

methods

the

blended.

are

ornamentally.

necessary

the

that

so

through

the

as

light,as

AMATEURS.

and
highly pictorial,

is treated

hardly

should

Of

is

water

water

It is

FOR

colouring

considered,

the

in the

CRAFTS

so

that

obliterate.!,

result.
be

well

varnished

CHAPTER

Inlaying

VII.

Coloured

in

Woods

Stained-Wood

and

Decoration.

the

exhibitions

of the

work

executed

of the

Home

Arts

seen

some

carried

stepped

had

breaking

brief

cutter,

and

by

and,
possibilities,

important

An

is

work
''

Trial

to

kind

this

charge

of

"

; and
to

the

be

may

hope,

the

start

judge's

an

the

some

and

open
on

can

first

is

novel

and

one

take

of

some

him

fresh

of

branch

any

Gilbert's

In

from

'*

with

thing

thus

track.

new

mind.

open

by

to
to

up

the

marquetry

attention

studying

refrain

for

disposal

my

his mind
in

inlays,

and

inlayer

reader's

be

to

are

responsible

at

the

stimulus

wood

groove,

space

Hall

original designs

obtained

designer

heart, for

those

followed,

it with

the

Association

the

consideration

approach

by Jury,"

every

craft

directing

that

methods

the

the

of

survey

the

the

coloured

had

in

I shall

striking effects.

under

in

of

tradition

from

away

Albert

and

that

out

in the

clever
out

showing
treatment

held

bias

free

advantage
has

to

of

take
do

in

ii8

ART

making
while,

the

that

has

familiar

it were,

disinfect,as
of

FOR

is

original effort

an

all

chance

CRAFTS

it

been

not

with

done

forget, or

to

devices

one's

acting

AMATEURS.

and

mind,

and

then

in

ways

is

there

same

way

course,

some

is

under

the

one's

for,

all know

we

there

nothing

new

be

To

sun.

self,to

act

taneously
spon-

from

one's

and
initiative,

own

to

"

doing something

quite the
of

the

for

well-worn

freshness, and

before

banish

from

free

self-consciousness,
that

so

gives

one

fact

one's

"

is

"

take

is

what

to

within

pression
ex-

in

ego^

to

be

original,I

it,

and

therefore

the
styleis individuality,

expression of

critics have

Some

for

me

sured
cen-

advocating
with

doctrine

such

insistence,because
No.

^Wood
Inlay, by the
79.
the Hon.
lico Class, under
"

will

Pim-

self.

one's

be

"

no

there
"

in

style

Mrs.

work

Carpenter.

done

under

such

controlling idea, they

say.

doesn't

I fail to

note

work
of

is
live

these

in his

give himself

personal
one's

what

see

critics

work, what

everything,the
and

tradition

"

interest
the

being

one

other

for if

mean,

does

he

give ?

quality which
people.

trammelled

at

The
makes

The
the

man

start

lowing
fol-

by

ART

120

what

has

been

being

but

always

It is not
all

that

is not

enunciate
has

the

into

than

one's

at,

truism

that

thus
self is

The

many.
but

will

we

towards

ornamental

are

have

we

originalitywe
putting

as

flowers

he

but

it.

If

is

nature

design

other

suggestions
( n

to

make

some

saw

which

the

of

planning

on

modelled

are

of

not, it is bound

or

in
repeating Border
plant being taken,

seed-pods and

the

we

being, becoming part

our

seeing everything as

one

no

before, for w^hat

thing

same

Ornamental

hinted

in

and

worker,

such

gone

effort

any

glasses,and

1."

the

stronger

one

fibre,and, whether

but

to

passes

expression in

No.

some

of what

find

worker's

of

studied

mental

our

AMATEURS,

paralyses

"

necessary

and

FOR

behind.

result

the

seen

done

shadow

be

to

CRAFTS

the

we

only
from

bine,
Colum-

is the

tirst

consideration.

are

going

thing, by
has

into

been
the

the

the

way,

done,

we

being original)we

as

must

matter;

leave

Whether
but

Academicians

fallinginto

original effort (not quite

an

unknown.

is another
what

make

to

certain

that
of

many
call

the

must

well-worn
will
us

definite

groove,

what

and

strike

to

I take
so

that

to
we

goal

our

willing to

are

style(which

us

same

forget
path

bring

the

forego

mean

can

the
be

INLAYING.

pigeon-holed

121

bureau) for

critics' mental

in the

of

sake

the

individuality.
of

craft

the

In

unfortunately, forget
which

has

one

its

with

; and

by tradition
this is fatal

82.

to

in

that

to

Number

of The

modern

movement

In
on

some

is

choice

far

abroad,

as

Art
on

No.

and

the
81

subject as

in which

instance,

I wish

to

possible;

settle in tlie
of

did

not

the
go

Paris

Extra

of

the

seen.

purposely

give
but

men
crafts-

examples
be

may

interesting

who
the

ment.
orna-

pure

example

an

to

is

simplest

French

and

readers

refer

Continent
for

of

80, is

as

most

quit Paris

that

see

the

Only
is treated

group

those

Journal,

lines,because
of

to

Oak.
stem

to

consequence

of the

some

itself should

designs.No.

traditional

wide

so

the

in that

found

be

the

on

while

Wardrobe,

Exhibition

the

founded

bound
hide-

more

are

beginning

are

art,

preventing all

us,

virility.The

and

patterns

traditional

who

French,
are,

Exhibition

gone

The

spiritthat

new

to

have

provinces.

we

taken,

plant are

departures are
who

than

Border,

Paris

the

the

even

progress

Simple

"

facts of the

This

shackles

well-recognisedformulae,

cannot,

one

well-known

of

dozens

let into furniture.

seen

free movement

No.

the

instance,

for

inlayer,

the

the

where

work

student
I do

as

so,

though

admit

I must

motifs

the

certain

import

to

try

are

Renaissance

in

having
what

to

earn

their

living,they

paid

for

are

them

asked

being

83.

forms.

The

insects

might

craftsman

the

best

data
In

I have

stimulus

or

leaf stems

use

and

into

rein

not

as

of

reproduction.

number

of

pieces

which

that

speaking
far

prefer

freshness

The

plant

of

amateur

and

insect

feature.

The

ivory.
in

work

do

and

of my

some

do

to

particular
just as

conditions, will

designs

to, is

to

use

it

strivings,
act

as

for

something original;

essay

them

as

dogmas.

designing inlays,the

method

or

fancy

artificial

no

am

ornamental

an

his

to

but

would

imposed.

obligation to

put my

can

they

mother-of-pearl

readers

my

notes,

that

conventionalised

only hope

can

they

of

no

imposed

when

I think

; but

"

made

are

choice

no

do

to

period, because,

original design,

of

formed

give

can

dictates ; and
where

Border

be

have

say
"

an

only condition

the

is under
but

groove,

make

Continuous

"

doing

when

to

being

treatment

such-and-such

of

compelled

often

too

are

style

of

most

No.

designers

the

they

for

French

this so-called

in

as

this where

work.

Professional
work

known

scheme

the
do

difficult to

it very

I find

into

touches

personal

well

so

AMATEURS.

FOR

CRAFTS

ART

122

thing

first
The

have

to

is the

remember

design is composed
to

be

cut

out

of

very

of

thin

INLAYING.

wood

let into

(veneers)and

certain

We

silhouette
certain

in

combine

us

of

fact, and

not

showing
"

skill in

our

Nature
and

stimulus,

ingenuityfree play, and

fruit

"

and

limitations

the

utmost

tendril

or

leaf-stem

feature,take

what

want

of the

and

accordingly

balance,
extent

The
natural

with

plant

amateur

form

we

faithful 1

be

the

by

taken,

fancy

our

as

and

restrained

be

must

way

given

be exhibited
must

the

and

true

as

nature.

chance

no

allow

we

by

the
the

twist

We

take

can

into

stem

it becomes
and

selected
we

craft.

our

zigzag,

geometrical device, develop

want,

form

do

purely

leave

out

what

the

basis

of

as

this

method

with

of

ornamental
we

our

do

not

design ;

fitness, ingenuity,

reproduction,

to

that

successful.

be

remember

that

reproducing

it in

must

and

by

us

until

suitabilityto

shall

all

nature,

we

as

on

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scroll, or
a

''

can

as

must

we

shape,

made
the stems
are
Border, in which
being only distantly suggested in

imposed

Hcence

continuous

our

leaves."

"

the

but

above

84." Simple continuous

leading feature, nature
"

such

is

there

taken, indeed

be

can

as

displayed in

be

characterise

transcriptof

giving

form,

of the natural

guide

No.

as

decorated.

be

to

everything

of

forms, seeing that

our

painter.
our

surface

ingenuity,therefore, should

we

coppie

think

must

the

severity,should

simplicity,even

design.

123

designing is not
a

certain

taking a

conventional

ART

124

is

but

way,

carrying
bear

them

resemblance

Rubinstein's

wine

but
to

nature

Our

distant

very

of

does

to

the

taking

amateurs

85.

"

formed

Border

and

lessons

for

firms

in

though

large

relationship
is

which
brief

times
some-

description
tion
considera-

technical

It

is

effects

coloured

wood,

repeating

some

possible

to

obtain

by inlaying,as

pearl,ivory,and

metals.

we

and

beautiful

ones

I have

as

details

can

be

top

with

engraved

simple
beautiful

material,

to

mother-of-

quaint

pewter,

effects

while

some

produced by using

been
class
on

inlaying;

any

some

seen

the

to

most

use

can

have

engraved ivory, especiallyfor

91,

the

varietyot colours,

produced by inlaying light oak

refined

get

the

at

understand

makers

to

nothing else,

for

kept

are

cabinet

well

forms;

used

cabinet-maker
men

in its infinite

fish-like

do

of "waves."

borders

are

craft would

the

up

two

of

good

most

inlaying.

of

bottom

half-a-dozen

No.

be

nature,

are

same

give a

to

as

advanta^se

grapes

the

the

to

on

may

with

grape,

I shall

As

one.

"

bear

result

inlaying.

Those

from

can

will pass

design, we

of each

design

and

form

might
that

nature,

final

natural

One

aphorism

champagne

as

No.

is art."

The

the

to

ourselves.

recognised only by
remember

suggested by

harmoniously.

out
a

AMATEURS,

ideas

developing

distant

so

FOR

CRAFTS

of

the

design

seen

ivory,and

in
these

INLAYING,

carried

in

out

two

inlays

the

directions.

various

in

in

wrought
browns,

the

and

No.

86.

forms.
the

glue, SO

that

weight

dry.

In
be

carbon

paper

themselves
accuracy
spaces

and

departing

be

could

with
the
care

the
from

used, detail

can

same

of the

must

be

by

transferred
be

put

two

the

also

in

Where

were

the

design
it

the

on

is

work

marking

always

lines.
in

them,

plant and

no

this will tend

exercised
is

cut

inlays coming

times

of

wood

there

to

section.

until

them

tracing,as

same

to

for

that

so

in each

hard-point, and

is

in browns.

made

varied

number

the

to

inlays,for
the

yellow

lib., of alternate

ad

upon

the

fresh, strong, boiling

danger

kept

of

inlaying:

recesses

be

is the

no

repeated

transferred

but

is

there

should

from
;

repeated

latter

foliageportion

patterns

should

be

can

These

alike,while

hot

are

which

Border,

"

in

with

in

them

thoroughly glue

to

animal

out

fit into the

pieces accurately to

from

harmony

observed

be

points to

two

are

effect is

general

the

of

(marquetry)

varying

woods,

three

or

that

so

There

two

furniture

inlaid

seventeenth-century Dutch

say-

wood

deal

good

tones,
the

given by using

be

variety can

yellow brown,

is

design

similar

of

woods

three

or

Where

black.

with

in

filled

lines

engraved

125

to

over

inlays
insure

cutting out
the

the

danger
light

by engraving,

and

of

woods
then

126

ART

rubbing

in

indicated

be

dark

some

in

FOR

CRAFTS

AMATEURS.

this way

87.

No.

there

; but

ornamental

like

suitable

the

next

The

at.

The

Japanese,

inlayers,carve

it

have

kept
trust

the

let
very

is flat.
Z^

No.
the

is

to

flat, unless

in relief after

objectsin

the

in.

them

little

more

details in relief while

whole

himself

skilful

very

few

could

work

are

of

rather

give varietyto work,

of the work

relief,as

then

on

would

instance,in

If the

who

be

some

the rest
for

given

much.

too

then

would

trouble, and
to

is

for I would

many

and
relief,

think

bein^

facts

design

than

engraving

no

low

must

page.

imitatinga woodcut,
have

foliage
yellow
forms, to
be
greatly

the

bare

bottom

at

the

of

animal

inlays,

for

simplified, only
hinted

Frame

other

can

attempt

no

rendering

flag. Birds,
be

in leaves

be

must

for inlaid

Design

"

an

veins

the

Thus

colour.

to

the

of wood
perfectlylegitimate'^form

berries,

be in

could

in

acorns

be

of

The

slight

No.

82.

French-polished,

the

the

gluing

work

must

could

worker
in

the

polishingis
decoration,

be

portions
finished.
and

one

128

CRAFTS

ART

get into the knack

polish is put

on,

of

using

and

the

polishing is badly
in

reproduced
made,
and
the

as

is

one

and

not

much
It

the

give

for

give

to

the

Wardrobe,

brush

80,

No.

skill is necessary
into

woods

should

append

will

so

of

be

to

cut

elaborate

so

content

{^"^ notes

take

them

that

little

to

thing
some-

essay

almost

suggestions which

student

modifying

and

himself, adapting

in

order.

to

next

he
them

object is

work

must

to

bility
impossi-

an

chief

my

The

is made

attempt

no

or

again

then

the illustrations

on

being

inlaying,that

thing, and

one

be

severelysimple.

effect

the

can

far, in fact the effect of

very

Enormous

will understand

reader

the

In

be

use

you

the

could

modifications

where

the

way

spoilt if

be

designs given

certain

coloured

is the

will

down

is carried
at.

remains

themselves,

the

inlay.

amateur

more

now

tied

you

various

and

scheme,

All

so

when

arrived

fit the

rubber, which

decoration

done.

pictorialeffect

painting is

AMATEURS.

staining,though

liquidas

FOR

to

for

out

circumstances

as

demand.
No.

around

distributed

growths,
by

the

details

line

running

suggested by

are

being speciallydrawn

columbine

to,

the

as

details

character, the

waved

adhered

means

no

the

All

border.

in

ornamental

is very

81

being
the

through
various

plant

though

upon,

entwining tendril

has

no

counterpart in the aquilegia.

This
any

class

work, in which

nature

is

should
particularplant being specified,

to

amateurs,

as

it is in the
No.

the

of

82

leaves

as

success

is

not

more

ornamental

is founded

upon

and

is

acorns

so

suggested without
itself

commend

difficult of attainment

here

stylesof design.
the

oak, but

followed, the

stem

only

the

being

shape

treated

ot
as

INLA

follow

that

skill as

designer is

adapted

suit the

is

necessityof

to

the

which

with

spontaneity

rapidity, but
hard

be

fact is

the

not

Your
obligatory.-is modified

nature

way

in hand.

certain

inlayis not

our

it does

basis

like

simplicity
brush

of

used
and

is

ible,
inflex-

and
and

for

case,

colour

can

work

as

to

in

shown

I2""

nature

adherence

close

and
a

taking

In

ornament.

pure

YING..

88."

No.

Circular

berries, the
an

of the

and

made

Border

leaves

of

formed

beinn;
important feature
is
design ; nature

only

hinted

model

can

stems

at, and if any

be pointed to,

it is theVirginianCreeper.

slow

operation

compared

as

therefore

painted decoration;
utmost

be

displayed,so

of effect is

of

imply

that
but

scamped,

reproduction.
you
a

obtain

kind

of

the

that
In

the

design

be

should

selectingthe woods,

relief between

lightand

should

work

shade,

with

the

This

the

it were.
K

does

arrange

of

means

them

the different parts of the

as

least

hastily and

done
suit

maximum

the

time.

the

should

means

that

produced

expenditure
not

of

economy

with

so

that

design ;

ART

I30

No.

CRAFTS

is of

83

material,such
into

FOR

simple character;
shell

pearl

as

the
butterflies,

the

lightwood

be

possibly to
markings

used

the

would

worker

choice

some

introduced

be

If

enhanced.

be

add

could

of the

if

but

ivory,could

or

effect

the

effect

his work,

to

design, by engraving

as
butterflies,

the

on

AMATEURS.

indicated

I have

on

and

few

of

one

the insects.

84 I started

No.

In

series of curves,
with
a

and

then

forms, one

two

the

developed
line,very

much

as

in No.

of

composed

the

efl"ective in

look

inlay,and

work

nature

be

must

one

fish.

treated

are

the

too

patterns.
for

in

Think

think

simple

facts

of

wings,

are

central

this

border,

distant way,

very

as

the

was

using

animal

being

efforts

to

the

made

and

to

to

forms

occupy

tendency
their

invent

If it be

colour, but

beak, tail and

and

forms

86, the animal

arranged as

so

no

"

objects as shapes.

head

present

simplified merely

reference

of feathers

fish.No.

should

fight against

their

of all

instance,don't

no

and

Beginners must
natural

much

design. No.

next

ornaments,

as

spaces.

being

the

In

In

very

generalised shape taken,

any

In

the

ornamentalised

highly

in carrying out.
specialdifficulty

for such

character

plant being made,

one

any

in

the other

82.

border

85, would

to

at

the spaces

about

stalk will.

forms

and

seed-pod

it entwine

nasturtium

fill out

to

its ornamental

to

stalk, making

direct reference

The

proceeded

add

to

line, which

central

though suggested,is hinted

nature,

case

the

suggested by

and

tripleleaf;

no

with

of

own

bird,

of

the

feet,and

forget all else.

87 shows

the

foliagepart

of

No.

The

several

of the

other

treatment

the

of

scheme

designs,and

mirror

is
is

more

or

other

frame.

naturalesque

than

simphfied renderingof

I NLA

YING,

131

ARl

132

the
be

yellow flag.
in the

natural

strive for

relief

in

only

woods

the

woods

colouring, this
green

leaves.

yellows

and

browns,

light

be

can

this way,

few

in

AMATEURS.

having

if desirable

and

obtained

of

sense

by opposing

Stained

one.

FOR

regards

As

harmony

necessary

of

CRAFTS

are

to

for

great

be

not

might

You

getting the

against a
of

purchased

darker
chants,
mer-

veneer

variety of

colour

harmonies

with. the

simple

but

colour

need

preferred to

be

can

use

extended

more

palette.
No.

88

table.

would

do

distinct feature
in reds

harmony

and

introduction

animals
Such

into

objects,as

the

!han
in

introduced

as

grain of

the

of

deal

many

designers

order

of the

them.

The

floated
than

in, not
others.

at

No.

decoration,

evenly
The

designed

treated

as

as

of

quaintness

''

to

work.

be

no

mere

as

carefully
rather

ornament

is made

be

"

obtained

different

animal

forms

the

of

effect

by using

would

as

the

sea-horses

but
are

the

colour

angles.

considerable
much

is too

89,

all over,

same

suggestions, and

it with

vegetable kingdom

stained-wood

stalks.

guide.

directions, for the

seen

used

panel.

round

suitable

be

of character

be

ornamental

have

entwining

accessories.

variety may

is full of

Seaweed

the

hinted, must

must

the

in various

wood

deal

feature

to

quite different

will look

they

A
add

good

and

of

birds, frogs, lizards,insects, and

details, and

to

90,

edge

would

elsewhere

nature.

the

foliageas

autumn

but

nature,

bits from

fungi are
A

I have

ornamental

No.

browns

warm

of

of

inlays,gives a good

transcriptsof
as

at

is made

regards colouring,taking
The

border

be

effect,this

neglected by

very

suitable

for

could

be

background
darker
very

though

in

some

ornamental

places
crea-

YING.

INLA

interest

and

give variety

and

tures,

^11

the

to

the

of

rest

design.
Figures

treated

when

greatlyto

No.

91.

been

this is
the

interest of

the

an

In

could

the

engraved

tyro unless

success.

This

been

added

Panel

Figure

insects.

design.

be

and

fact

feels

adequately rendered,

as

if

cases

boxwood

boy ridmg on a dragon-fly

reproduced in stained decoration.

and

employed,

should

black.

not

be

capable of doing

figures are

inlays, and

add
realistically

some

filled in with

and
difficulty,
he

In

into

of

materials

on,

than

rather

ornamentally

ivory have

have

introduced

been

alwajs

Ornamental

"

driving

or

have

best

badly

avoided
done

they

Of

details
course

attempted by

this
unless
mar

the

and

with

some

they
the

are

whole

effect.

would

They
in

they

should

in

decorations

introducing
being

children

with

figures of

the

scope

are

it

of

ingenuity

that

it

difficult
known"

pearl shel], and

dark

ground,

little

How

inlaying can
late

be

of

chiefly
beautiful

the

like

heads
of

tones

or

only

be

the

of

flowers.

Much
waxed.

so

that
of

has

it is full

with

nice

have

to

exceedingly

91,
be

wood

of

much

viotifsare

could

suggests

there

is

no

in with

box

or

well

so

put

79

the
and

on

treated

as

the

this

veneers

whole

inlaid

of
the

In

works

only giving
The

effect
80.

remarkable
were

and

forms

class

produced.

paper

hemlock

the

it is

No.

one.

white

quite

some

brown,

harmony.

unpolished

on

the

insects
in

pared
com-

within

objection I

by referringto Nos.

seen

Plants

the

planned,

that

in

graceful

That

profit, for

The

all

could

effect

design

massing
by skilfully
shape

figure

Exhibition

Paris

shown.

if the

and

the

well

inspiration, is

good

with

very

In

as

Renaissance,"

proportion.

hackneyed.

trammelling,

such

"

where

ease

certainlymore

are

their

reason

motifs^ too, look

study

can

individual

even

comparative

name

in

designs,one

grown-ups."

"

decoration,

successful

very

into their

; such

usually

and

of

be

to

is

and

source

were

with

the

under

of balance
as

French

than

designer

The

century

adults

amateurs

design, grouped
in

design.

bargain. They

in the

of

of

rendered

they

fanciful

scheme

cupids

or

that

and

sense

last

the

put in

be

can

general

part of the

really form

and

the

details

and

regards the figuresthemselves,

As

with

fit in

difficulties if reproduced

fewer

outlines

the

fine brush.

or

pen

AMATEURS.

far

present

stain, as

with

FOR

CRAFTS

ART

-134

were

veneers

the

general

used
effect

furniture

were

was

was

obtain

to

CRAFTS

ART

136

design

portions

it

places, while

No.

certain

One
92.
Trocadero
F.

fancy
obtain

that

relief than

gesso

the

the

Panels

in

Coloured

Designed

by

little

have

can

these

amateurs,

or

can

for the
Relief, executed
Gerald
Modelled
Moira,

Jenkins.

relief;

wouldn't

reply:

Relief

design

the

certain

to

thickly in

on

chieflyaddressing

am

question being asked,

this

different

the

parts of

Restaurant.

Lynn

the

As

of

"

by

To

by putting

applied.

none

easily develop

can

working by giving prominence

are

of

AMATEURS.

relief,you

quality and

you

FOR

effect
if it

to
were

the

"

painted

is

design

to

take

Why

merely painted,as

trouble

decoration

relief,and
have

the

it

gives

it carried
no

be

amount

out

to

cient?"
suffi-

very

in lowof skilful

GESSO.

brush-work
the

to

the

panel,

No.

find

working

93."

Two

gives.

effect gesso

painting. Furthermore,

the

in gesso

reference

words

than

better

demonstrates

92,

modelling helps

will

the

produce

can

how

amateur

an

fascinatingoccupation,yielding

I
T^o.

Gesso

Designed

more

alone.

his
outset

Panels
and

from

executed

result
satisfactory
He

will

see

brush), and
he

will

the

Pulpit of Teddington
by Mr. Reginald Hallward.

than

his work

growing

by obtaining
be

led

on

to

can

success

attempt

be

obtained

by paint

his

fingers (or

under

(of
more

Church.

kind)

difficult

at

the

effects,

ART

138
and

decoration,

the

on

other

difficulties increase

his

far

as

is

as

finallygiving

muddle

reached

Gesso,

unlike

No.

AMATEURS.

his

unconsciously develop

thus

work

FOR

CRAFTS

hand, the

rather

in

there

despair owing

in his attempt

paint, seems

such

in

carrying

of

condition

of

the

result.
satisfactory

pleasant material

Writing Cabinet, the front

design is a free treatment
reference
direct
flowering shrub, though no
will be noticed, the stems
As
plant is made.
Decorated
94.
The
let down.
"

be

to

ornamental

with.
the

on

gesso

you

is arrived

at

all

recall

own

my

hopeless
difficult

on

and
in

thicker

suggests, and

too

soon

things to

bring out
places

reach

never

first efforts

condition

play

some

any one
made

are

feature.

it

blob

You

to

to

made

of

to

an

the

is the likelihood
to

produce

to

painted

In

is apt to find the

amateur

diminish

than

desirable, and
up

craft.

soon

manage

that

in the

got
at

as

the

fancy

your

state

the

by

design by getting

your

of

in.

oil-painter.

of oil colour
There

outset

copy

imbecilitywhich

amateur
use

or

than

are

and
few

the
more

oil colours

"

GESSO,

said it was

Ruskin
to

obtain
is

Gesso

like

modelling

it in

95.

clay or

about

Design

"

in

than

more

are

design both
value

for Coffer, with

is

details

in oils than
uses

to

more

the
which

gesso

desired

gesso.

it cannot

panel

and

lid.

have

craft like gesso

the

have

simple

same

qualityand

in the former, unless

possessed by

the

painter

in gesso,

and

this

quite apart

be

put

where

painting

can

the

96.

It will

skill is

tool

is obtained.

effect

decorated
No.

adequate

finger and

can

by carrying out

technical
worker

see

he

an

many

give an

in
possibilities

seen

paint and

in the latter which

great deal

the

in

as

practice.

that

respect,

object can

an

wax,

ornamental

painting,as

this

until the

For

There

in

and

"

of considerable

matter

paint

cannot

plasticmaterial

No.

is

mastery

rendering of

difficult of all handwork

most

any

who

amateur

the

139

from
would

ART

140

be

of small

other

CRAFTS

effect.

frame,

of the
the

frame
of

use

equal

ornamental

; but

in

value

painting

longer apprenticeship,and
painted,it would
use

as

decorative

here

glue, and

he

tells

manipulated
wood

with

before

the

brush

rather

panel,

other

Of

in

should

is

be

not

is

which

making

makes
a

very

certain

limit

for the

gesso

his work

"

and

stained

Denoline

good

composition

"

gesso,

for oneself.

can

and

out

on

plaster or

therefore

bastard
be
saves

the

it is obtained.
relief that
that

remember

must

in

repeats

of

amount

should
not

works

up

lets it flow

bas-relief,but

to

relies upon

merely

the

worker

allowed

''blobby" quality to

worker

to

down

who

he

the

it differ from

The

in gesso,

called

that

sizes

thinned

Hallward,
me

fish-

He

be

must

(a rigger),and

sculptor carving

material

size

glue

are

easily

gesso,

requireshigher relief until

he

attempted,

it is,work

with

takes

He

service.

and

hard.

veiy

Mr.

gesso.

makes

painting in relief,and
what

the

gives

relief

there

course,

course,

brush

which

operation where

done

material, tells

this

and

work

drying

entirely.

almost

decoration

the

this

long-haired

the

the

Paris

of

of

gesso

panels

admirable

be

can

Of

in

deal

plaster

and

this

applying

uses

it makes

makes

gesso

be

might

be of small

of whose

that

warm,

first,and

good

to

when

paintwould

three

93,

me

boilingwater.

dry
a

No.

reproduced.

it

well

of
much

require a

this alone

and
relief,

where

agent

would

practice in

decoration

then, however

Reginald Hallward,

Mr.

the

not he in

little

obtain

to

simple

the flat surface

up

this after very

material

new

break

gesso,

agreeably,and

our

picture or

could, by puttingsome

We

it in

running-patternupon

this clear, take

make

To

of oak.

say

AMATEURS.

FOR

sort

decorator
be
of

purchased
the

he

frankly
carving.
in

trouble

tins
of

GESSO.

141

!="

'^

Si

4J

aO

"

J^.

v^

0.

(U

fcC

Pox
^2

r-

rt

ART

142

Gesso

CRAFTS

be

can

down

scraped
of contour

tooled

and

cotton-wool
stuck

on

when

this foundation

hollow

to

94,

as

suits gesso,
be

can

made

has

work

not

lot

of

and

of

part
the

used.

well

leaves

lettingit come

here

to

the

leaf turned

is

by

meant

brush
the

of

gesso

"

the

of

of it

he

outline.

gesso

that

effect

pencil,

it holds

as

the

cabinet, No.

is

point only
could

94,

be

end, and

where

the

could

be

loaded

those

describe
who

me.

in

wTitingwhat

familiar

are

suggest

Jap

artists call

the

darks

efiect of

give the

to

on

takes

by dexterously pressing on
to

so

up

part, and

the

is able

the

broad

at

follow

in

the

in

brush

but

obtained

be

can

spread

leaf is neared,

the

and

rapidly put

be

can

brush

the

the

Scrolls, curves,

the
gradually lifting

point

What

the

hair

to

No.

as

the

brush

on

will

upright

general work,

deal

brush-work,"

colour, and

an

for

the

such

freely,so

curves,

It is difficult to

over.

leaf widens,

drawing

decoration

Japanese

the gesso

round, long camel-hair

good

produced by pressing on

come

of

up

leaf,and
of

end

The

on

brush

the

appearance.

little practice. A

small, does

as

as

painted

danger

no

design,

it pretty

from

made

by just pressing

that

be

keeps

wool

"

brush-work

spontaneous

gesso,

broad

and

in this way,

is then

there

desired

gesso

can

gesso
The

freely.

the

built up

more

and

in

soaked

required.

"

flow

forms

too

dried

sharpness

relief is

of

form

by holding

as

to

continuous
in after

be

used

and

it dries.

is known

What

be

can

amount

the

extent,

some

cracking as

is

if

manipulated, and

should

has

surface

sharp instruments,

the knife

surface,and

if a better

on

then

fibre

or

the

with

up

considerable

any

AMATEURS.

other^^'ise

is desired

Where

FOR

the

form

accidental

with
a

full

hair

as

without

qualities

ART

144

CRAFTS

technical

and

utterance,
small

skill
that

so

of

dodges

that

workers

have

you

effects

not

kind,
from

apart

often

material

it will

or

where

effort

be

which

cannot

master

of

and

you,

results
of

than

therefore

all
be

your
free

purely painstaking

is revealed

work

and

lecognised by

by accident

master

method

your

blundering

your

must

certainty ot
and
stippling^

to

it is well

You

bttter

to

in

resort

hide

to

come

soon

will lead

treatment

to

that

by deliberation.

obtained

itself

exhibit

should

that

And

bungling.

AMATEURS.

FOR

instead

of

concealed.

said

I have

it is

course,

one's

and

here

is

put

the

to

with

done

be
is

gesso

result.

plays
who

Those

that
the

one

beginner

inental

work,

he

then

and

must

avoid

should

have

getting

gesso,

used

his efforts

vv-ith a

cientlyexpert

to

little
be

to

should

the

in

oil

to

use

not

At

the

the

wish

outset

it for

use

first of

ways,

amateur

gold

of

painterswould

and

Gilding is

take.

much

finished

the

should

medium

practice the

able

role

and

panel,

be

can

colouring

paintingthickly.
a

the

remove

it is obvious, therefore,

and

try colouring it in various

can

direction

gesso,

the

it partially

painting,as

You

panel.

gesso

crispness of

the

lose

than

accomplished

not

are

task

good tip,

oil,and

The

colours.

comes

colour

and

important

an

will

The

varnish

exacting

such

delightin colouring

the

with

"

wipe

then

which

work,

transparent
less

much

in relief

work

to

the

fairlythinly,diluted

may

and

on,

me

gave

for, of

oil colour

takes

accident

happy

parts in highest relief.

in those

used

"

Hallward

colour

over

rag

It

state.

again

Reginald

colouring gesso,

about

raw

Mr.

by passing a

colour

its

aid.

that

off

far

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left in

not

pleasantly,and

most
to

nothing

leaf with

can

experiall,and
so

learn

help

to

get 5ufiimuch

effect

GESSO.

for

M5

touchingiLpand accentingparts of

afterwards

gold

with

be coloured

is

gildinga flat surface, which

A
accomplishsuccessfully.
hints in

few
found

in

gesso

can

can

very

different business to

requiresmuch

practiceto

will be
gilding

Chapter XIV.

for the

As

This

design.

transparentcolours,so that the

through. This

shows

the

to

uses

be put

as

agent, so many

which
rative
deco-

objects

///^-"^-o-^g^r^r
\

No.

98. Design for a Stool or a Coal-box, decorated with ornament

suggestedby Venetian work of the sixteenth century. The top and
sides (showinghow the front should be made
to let down) are shown.
Gildingcould be introduced with considerable effect.
"

suggest themselves
this

subject,and

it will also afford

sayingsomething about
accompany

better devote

that I had

these notes.

an

littlespace

Let

me

to

of
opportunity

illustrations I have

the

me

drawn

repeat here,what

to

I have

1^6

ART

had

CRAFTS

occasion

to

diagrams,

for

This

only

can

94

is

made

to

let

inside

could

No.

be

to

free

made.

the

This

design might

oak

or

the

whole

colours
flat and
could

should

play

thickness

in the

No.

up

into

the

decoration

of

and

design

of

and

gesso

The

tinted

in

be

left

others, again,
in

gesso,
used

be

not

pine and

on

might

leaves

relief.

if it were

design

the

with

flowers.

and

wrought

of the

through

the

form

one

stem

somewhat

and

panels
in

certain

to

No.
that

and

the

fact,
same

that

they

the

end

ornamentally

are

lid

of

seen

I have

in the

linen

give

chests

sketch

which

of

of the

reader

largely

gesso

and
I

three

96

uniformity

panels, as

work, and

coffers

decorated.

so

largerscale, so

details.

century, used

furniture,and

Coffer, the

shown

on

be

an

they

as

wood

plain

then

higher

articles

the

among

95

the

can

into

considered,
leaves

plant

one

any

everywhere.

in gesso,

run

white,

over

decorated

the

it

or

The

highly

developed

the

by

be
the

etc.

papers,

to

first

on

Italians,in the sixteenth

The

were

be

only just touched

brought

for

are

transparently. Some

others

be

wood,

coloured

used

stems

worked

while

foliage somewhat

is clothed

be

choice

other

of

should

which

skeleton

divisions

main
and

were

might

writing slope,

particularreference

The

important feature,
are

with

of which

front

as

treatment

no

effect of gesso.

the

work.

serve

fitted

practical

or

figure panels, which

the

Cabinet, the

down

is

in

trations
illus-

these

that

notes
pictorial

represent

sense

actual

small

ornamentalised,

being

no

chapters,

as

upon

seen

from

be

decoration

in

AMATEURS.

former

looked

they

photographed

in

say

be

must

FOR

should

by side, and

arranged

apple

and

are

clearly

see

arrangement
side

be

can

panels

may

in

the

pear

so

main

panels.

GESSO.

The. birds
but

I have

looking,

it would

as

be

too

of

out

transcriptsof nature,

not

"

keeping

made

"

with

quaint

the

"

general

introduce

to

birds

are

slightly ornamentalised

are

scheme

introduced

M?

treated

quite

naturally amid

such

conventionalised

surroundings.
middle

yet

The

panel is of

ornamental

more

character,

so

foil

to

as

those

act

as

on

either side. I had

of

sort

some

to

lilyin

my

mind

drew

this,and

the

when

I
even

ornamental

base

suggested by

was

lily bulb,
object was

but

in

with,
in

contrast

the

design

to

something

mony
har-

and

yet
the

to,

foliage panels,
varietyor

for

is

contrast

essential in any

planned

wellNo.

scheme

99.

"

Panel

of

founded
with

the
upon
bird.
quaint

flower,
Sun-

decoration.
In
made

designing

the

subservient

instance,might

be

to

the

twisted

and

pear

panels

decorator's

wishes.

apple

into

any

shape,

is

nature

A
and

stem,
one

only^
for
does

148

ART

tell

not

the

untruth

an

of the

growth

adhered

CRAFTS

of

The

much

very

the

colour

could

backgrounds

getting it lightertowards
such

No.

as

100.

oak

from

of the

ought

to

and

effect,and

give

or

The

colouring must

unless

bottom,

tintingin

but

plan

to

good

an

not

the

even

be

that
result.

good

in transparent

on

then

colouringthe

In

blues,
wood

good

could

oak

Scroll Design, suitable

for decoration
frame, suggested by Italian cinque-cento work.

nature,

therefore

much

thought of

agreeable

harmonious

as

of

be

painting

reliefs,and

manner

scheme

for

strictly

been

Continuous

"

frieze

Stained.

the

used,

be

has

nature

floated

be

done

I have

as

simplified.

for

gesso

off the

wiping

fruit

and

leaves

panels rely upon

dodge

by twistingthem

though

to,

AMATEURS,

FOR

of

is

colour

essential.

most

Diaper

like

that

effective in gesso.
but

the

sort

of

gesso

outline

suggested in

The

could

might

moths

be
be

used

put

need
to

No.

97

could

be

raised

not

emphasise

around

the

them.

be

made

all over,
Thus

insects, and

the

GESSO,

ornamentation
gesso,

No.

of

also

as

the

"

all

wings

ornament

on

cculd
the

be

suggested

background.

over

rose

reason

should
why stencilling

design.

Gesso

would

stencil

be

not

in

resorted

blobby

to

manner,

tl:e

by

in

no

sec

on
Repeating Diaper Design, founded
Certain
such
as
features,
(Rosa rugosa).
Japanese
flower
and
leaf-stalks
base
of
and
bracts at
tally
calyx, are ornamendeveloped.

loi.

An

the

149

the
the

such

which

CRAFTS

ART

ISO

would

yield some

FOR

accidental

happy

The

moths

four

wings separately; see

ornamentation

The

suggested by

was

of

made

to

make

the

dulci.

and

yellow, helped

its art

here

the

in

be

furniture

be

was

to

with

utile

of

tones

gilding.

mth

could

idea

"

could

out

making

value

The

98,

sixteenth

the
actual

coal-box

decorated

century

of

The

decoration.

colouring

The

furniture

Museum.

stool

No.

Coal-box,

or

costly, as

the

upon

combination

sixteenth

of

be

not

depend

and

brown

Venetian

by cuttingthe

XII.

Stool

Kensington

article need

the

the

coloured.

when

stencils

as

Chapter

on

some

century in South

effects

treated

easilybe

could

AMATEURS.

would

study

here

be

helpful.
The
the

of

Panel

spiritas

same

arranged

to

(or drawing
of

the

suit the

conditions

the

sunflower, No.

treat

is

and

to

same

succeed

flat.
than

actuallyin relief,and
gesso

instead

could

be gold,

as

blues

with

and

varnish.

leaves

in

within

one's

of

It

over-ambitious

by

or

the

to

bird

in with

give

capacity,and

be

can

pale quiet greens

to

still more

to

; but
not

to

attempt
Gesso

The

peacock

tones

too

little

can

can

by

be
be
the

background

blue, mixed

of blue, and

it is better

attempt

eye

to

colours, such

transparent

in

too

effected

be

can

deep

way
as

the

painting.

elaborate

"

flat

difficult than

nearer

modelling

"

decoration,

fail.

and

forms

these

floated

greens,
The

as

This

more

is,therefore, better

all

littleforeshortening

perspective,and

form, is much

be

helpful here,

very

in

draw

foliageis
is about

that

necessarilygood

not

foreshortened

the

and

shape decorated,

in much

The

96.

perspective)is attempted.

in

think, but

paint a

No.

observed, except that very

treatingnature

some

in

panels

is conceived

99,

to

much.

keep

the
well

Where

tion

whicli

to

with

meet

such

the

than

ironclad

when

man

tubes,

goes

galley to

from

be

about

in

is

old
of

rendering

strike

us

of

make

such

but

at

present

pulpit that

was

in

motifs, do
but

9,

age

through

Chapter II.,
now

if you
modern

some

to

or

ship. Always

from

back

turn

an

and
inspiration,

work

not

in

City church

portraitof
of

The

prefera galleon

we

in No.

fountain-head

more

is shot

or

we

reason

objects.

one

The

the

motif

flyingmachines,

so

much

so

as

good decorative

ram.

them,

I think

decoration.

they

and

pretend,"

can

contemporary

the

to

use

or

carved

first-hand
to

may

monitor

destroyed,and

elect

in

present

telegrams,

are

as

is taken

work

is that

used

motifsare

modern

go

modern

no

AMATEURS.

FOR

quaint ships

pleasing

CRAFTS.

ART

152

contemporary

examples.
decoration

The

capital

way

thought

of

so

design, No.

of gesso.

the

The

"

can

cup

fill out
the

as

in the

"

the

'Uhrown
somewhat

leaves

so

some

might

fitted for

confused

varied

be

head

left.
on

paper,

than

The

decorated.
of

"scroll-work,"

modelled
be

design,

in

the gesso
it.

put in in gesso,

than

while

the
to

leaves

not

The
while

which

this feature

in

by giving prominence
other

parts

design, therefore, which

need

of

possible

as

just heightened with

each

objects,

displaying the qualities

give prominence

of the

parts
or

as

such

be

might

decoration

the

of effect is obtained

Breadth

away,"

the

rather

to

as

for

be

pronounced

more

it

to

space

which

fruits,again,can
be

more

to

be

can

it were,

space,

design.
to

is well

obviously

so

time, that

better

under

comes

reason

accented

berries

objects

100,

for that

and

"

thought it

indicatingthe

one's

given

is

gesso

adapt designs

to

easy

frames, that
in

have

to

in

frame

employing

ought

it is

but

of

are

looks

necessarily be

so

GESSO.

carried

when

the

all-over

No.

loi,

the

No.

the

F.

Lynn

disappear.

design
might

as

and

which
be

hciuic

high
or

think, largely

colouring.
Gerald

in

outlined

than

Messrs.

wild-rose^

wrought

are

would,

by

is merely

at base

the bracts

Executed
Moira

and';Other

adapted, and

of leaves

developed ornamentally.
has

to

be

repeated

employed, together

leaves, flowers
stems

j^iaoi.^.i,

Restaurant

to

its reduction, very

to

little more

leaves

again nature

Here

upon

fibruu"

we

and

Jenkins.

features,such
dwelt

in

Trocadero

the

upon

berries

and

this confusion

gesso,

i03.-^Panel
for

and

stems

with

accented

founded

afraid,owing

am

if the flowers

But

confused.

the way

applieswith particularforce

remark

looks, I

simplifyit by

can

we

repeating design

which

relief,and

size,as

This

it.

reproduce

full

out

53

and

berries

details could

might
be

In

work
be

flower-stalks,

carryingout

times, stencillirg

many

with

and

certain

by

band.

stencilled, while

painted

on.

The

the

ART

154

The

panels in

and

executed
The

FOR

by

is made

of

glue, gelatine, boiled

of

be

moist,

of the

some

nothing

as

be

oil, and

with

done

the

designed

decoration
in very

soaked

frame-makers

plasterof Paris, and

mortar,

for

composition.

can

Church,

ot

Hall ward.

whiting

linseed

making it,most

worker

Teddington

moulders

by

reproductions

are

93,

Reginald

Mr.
used

picture frames

in

pulpit

material

trouble

AMATEURS.

figure-panels, No.

two

three

CRAFTS

resin.

To

would

sell

it when

diluted

glue is

diluted
the

save

would-

used

while

it dries.

Fine

be

It must

of

another

sition
compo-

used.
The
and

Panels, Nos.

Jenkins,

"3ecoration

of

the

Trocadero

for the
the

and

modelling.
in gesso,

wrought

clay,which

is then

plaster of Paris mixed

tow,

that

so

the

treated

porousness

apart
the

from

-were

ness

to

it

it

were

colour
as

of the

good
work

in

ivory

colour

the

plaster gives

wanting
time

of

on

and

quality ta

plasterpanel

in relief

solid

varnigh

take

the

be
The

material

to

is choice
This

colour

is,

its

away

colour,
in

itself,

ivory surface
which

is

plaster is

receive

to

in

suchas

plaster,and
The

it.

to

would

of
be

it takes, therefore, far less

and

canvas,

This

be

not

design

the

position.

which

surface

could

substance

capital state

applied

it would

in

fix

size

models

fibrous

some

to

scale

sible
respon-

Jenkins

Lynn

plaster.

is far less than

with

it is then

kind

with

easier

afterwards

having

in fibrous

weight

therefore,much

Jenkins

Mr.

being

Mr.

the

originalis

The

large

for

executed

Moira

Gerald

on

so

cast

those

colouring and

Works

and

of

Moira

Messrs.

restaurant.

plaster,Mr.

cartoon

by

are

103,

portions

are

in fibrous

wrought

for

and

and

92

than

to

paint

lacking

in the

same

holds

one,

and

even

sculpturesque-

good

of gesso

GESSO.

this

and

makes
in

painting

as

is

quite

in

unison,
of

of

effect

No.

103.

and

practice,

mould,

has

for
Miss

E.

M.

been

in

design

would

as

the

plaster
than

has

material.

Such
on

sort

the
of

design

other
"

as

hand,

blobby

"

No.

shows

what

perhaps,

better

in

and

that

the

of

Such

than

and

gesso,

much

more

in

closer

be

can

Mr.

grain.

George

satisfactorily in

most

floated

on

very

thinly

plaster.
Mr.

eminently

quality

well,

colours

IV., might

plaster
up

putation
re-

gesso.

o;" colour.

and

work

some

won

effect

worked

is harder
colours

where

has

Chapter

help

tooled

got

and

plaster and

the

colour

is

who

49,

executed

to

artist

It

training

advantage.

panel.

Transparent

being employed

an

in

seen

once

taken,

be

in

Paris

bition
Exhi-

professional

having

relief,both

which

gesso,
of

is

is

much

employ

without

be

can

plaster

Frampton
this

come,

can

this

gesso.

relief

low

Ordinary

in

wrought

obtained

easily

Rope's

coration
de-

The

Paris

late

requiring

can

another

in

work

work

painter

painted

course,

castings

is

Bell

his

Of

repeated

the

is

it

before

work.
of

be

to

Anning

Mr.

have

their

Jenkins

and

and

task

craftsmen.

operation

an

in

sculptors usually

number

any

design

and

do

to

caster

is

Casting

Moira

quite delightful.

building

these

panel

exacting

so

sculptor

is

O.

by

out

not

Messrs.

the

as

and

it

of

"blend"

P.

carried

was

Hues

the

the

work

The

own

and

of

colouring

oils.

their

on

The

the

155

I have

Webb's,

Stephen
suited
before

to

gesso,

spoken

No.

having
about.

117,
that

CHAPTER

FRETWORK:

IX.

ITS

POSSIBILITIES

AND

DEVELOPMENTS.

HE

exceedingly jejune
of the
the

firms

Fretwork

who

there

"

pipe-rack,

and

other

certainlyappear
is not

its

put in the

hands

band-saw

The

by

of

means

considerable
most

many

the

material

frame

shapes

spaces

so

hand

to

may
be

The
be
cut

are

to
or

treadle, is made

rapidity.

intricate
of the

the

in

stretched

either with

of

fretwork

us

uses

by wearing

parts removed

is worked

ordinaryphoto-frame,

various

what

produced

portions of

some

claim
ex-

there
this
what

see

it

can

or

cutting

be

craftsman.

form

in relief.
a

of

to

schoolboys."

itself. Let

of fretwork

possibilities
; to

fret is

away,

fault

readers

in the craft,but
possibilities

small

be

necessarilythe

really are

to

will

amateurs,

fit for

only

articles

"fancy"

by

in fretwork,
possibilities

no

the lines of the

On

for

many

are

it is

and

designs offered

cater

induce

doubtless

acter
trivial char-

and

to

away,

leave

usually

other

cut

tions
por-

by

away

that

keep it perfectlytaut,
fixed

in

work

saw

cut

to

as

away,

out

up

machine, which,
and

being

very

with

ease,

it is necessary

with

down

the

narrow,

and

to
to

reach

start

by

FRETWORK.

gimbleting
The
upper

end

reach

those
be

otherwise
old

sist
con-

in

but

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pattern

the

if
The

was

tirely
en-

produced

by

portions

cut

though

away,

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seen.

ever

fretwork

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form

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geometrical

newer

hole

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that

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elaborate

signs,

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the

passed.

piano-

fronts,which
of

at.

got

be

can

saw

it were,

in, as

shut

spaces

the

readilyadjustable, so

be

passed through

be

may

which

through

therefore, must

saw,

the

hole

157

casionally
oc-

the oval
had

centre

moulding glued
to

it

bring

to

on

it

forward.
No.

Such

works

these

may

termed

pure

cannot

be

hope
of

to

may

one

of various

shaped

Flowers

slightlyconventionalised.

frets, and

though

considerablymodified

portions not
What

Diaper

"

be

show

design

104.

as

later on,
be

mucli

may

do
and
be

not

see

why

developed,
done, and

fretwork

as

great

obtained, by merely cutting away

shall

variety
those

required.
feels

about

so

many

fretwork

designs in

the

ART

1.58

CRAFTS

is their

market

Hke

the

uninterestingness. They

commonplace

like the

geometricallydull

either

AMATEURS,

FOR

photo-frames,

piano-fronts,or

the

designs I

the

invention

no

made

have

to

less
character-

geometrical designs

The

admirably adapted, technically,to

craft,but they showed

are

requirements of

the

of idea.

In

freshness

or

were

illustrate these
I

which

(and

notes

therefore,

am,

perforceobligedta
allude

have

to), I

endeavoured

get

away,

as

my

to

will

ego
from

allow,

the

designs,and

stock

though

readers

my

not

may

to

care

attempt

of

any

they

them,

may

thinking

them

set

far

so

and

impulse

them

to

efforts

in

somewhat

newer

direction.
No.

105.

"

Scroll

Diaper
to

service

craftsman.

any

track
the

to

by
good
what

copy

and

reader.

it is in this
To

call

may

be

have

another

this

is, after

the

most

there, but

one's

spiritthat

all

or

any

hand

mind

by
to

of them

get

own

useful

going

started

I offer my

all,

perform

can

receives

one

is

And

tinued
con-

space.

drawn

direction, to

new

fit any

The

is not

museum

in

designs

which

to

for
a

impulse

an

on

fresh

efforts

originalwould

to

be

i6o

ART

of.

Take

simple

the

fret

CRAFTS

FOR

diaper, No,

flower

consisting of

touching

each

togedier,

the

other, for
less

AMATEURS.

forms
the

is
liability

Here

104.

flowers

suggested by

more

there

to

"

tie

"

we

have

we

the

just

design
Small

breakage.
isolated

forms

are

easilysnapped

very

in

off",even

the

but

cutting,

we

protect

them

by

making

all

jecting
pro-

portions
each

touch
wherever
The

other

possible.
ties
varie-

endless

of flower-forms
could
fret

make

diaper

varied
be

and

would

for Chair-back

and

Arm.

shapes,

but

so,

continued

and

ad

the

is
lib.,

scroll
an

design, No.

105,

illustration of this.

"

disposed.

which
one

who

out

being

If

ofmyreaders

so

geometrical in feelingwithout

be

can

this

1 will leave

work

to
are

One

design

of various

those

Design

of leaves

idea

"

making

companion

108.

very

ingenuity.

started

No.

good exercise

in

such

tionally
conven-

could
were

be

filling

ibi

FRETWORK,

with

definite space

first to

placed agreeably,add

idea of the

The
107,

suggested by

was

had

who

them

effective

So

friend's
that

have
have

at

the

suggested

curtain

door

the

fretwork
to

must

not

interfere with

The

the

opens

the

reverse

Unless

design

bold

finickingone

is

low

opening

of the

would

essential,as
be

would

the

way,

too

over-door

an

be

inside

and

so

as

door.
In

the

occupy

tulipsuggested the design.

position

small

"

"

quite out

of

from

ground.

ing
keepNo.

such

at

worth

studying

fret

some

glued
and

coloured
The

the
in

on

to

Inventories

from

designs.

with

decoration

ground,

trical
Geome-

adapted
Keltic

connection

"

fillings

be

would

way,

109.

the

is in the

nature

fret afterwards

being

gilded.

chairback, No.
ten

the

"occidental"

Much

fretwork.
of

height

diapers,by

Eastern
well

friend

as

may

hung.

come

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edge

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of

the idea

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below

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io6

my

over-door

upon

pattern.

character)

pass

top, with

are

design.

in

The

placed old china, while

the fret

in the

saw

own

do better than

shelf

her

Oriental

was

readers.

my

were

Hnes

over-door, Nos.

they (thedesign in

were

case

planning
and

two

to

out

cut

I cannot
to

on

in

window

over-

these

then, when

details,for constructive

the

first consideration

always the

advisable

be

pattern, it would

chief scrolls,and

the

arrange

such

years

ago

108

by

Exhibition,

suggested by

was
"

The

Century

designed,
M

one

exhibited

Guild,"

at

believe, by

the
Mr.

162

ARTS

AND

CRAFTS

FOR

AMATEURS.

Y.as^m%
w:^^"^

"B
ti

msk^idA

"So

in

1)

"

"!1

.o

-p;

.Id
"u

^vl

ir^n^u.
,o

\^^m

tu

FRETWORK.

McMurdo.

It struck

for the

Builder

which

to

appearance

of

The

may

design

of my

find

at

but

such

work

fret

passing

the

be

be different in

in
cut

to

effective.

can

get

109,

are

in

are

greatly add

it would
with

Kensington
great

love

most

intricate

the

"

it would

feature.

try and

of the

It

would

be

straps

these

Keltic

two

lost,

designs is
exercise

good

ing
develop-

combinations

fresh

evolve

be
If

"

effect of

effect will be

of these

nature

straps

the

to

perfectlylegitimate way.
frets much

"

of,

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difficulty

no

and

overcome

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chisel,the

flat

involve

over

if you

taken

where

shown

I have

simple

It

good plain

South

the

not

tion
addi-

an

but
specially,

ingenuityfin evolving

would

is

arm

and

their distinctive

though

early designers evinced

as

ornament,

price.

which

of

the

together.

very

made

give

to

seen

it. The
look

wrote

capitaluse

as

are

pure

trade, you

reasonable

This

under

ingenuity

the

slightlylower,

to

under.

"

chairs

patterns.

fretwork

as

have
to

little practicecould

designs

it would

under, and

and

over

go

I think

casts

These

"

I drew

very

crosses,

strap

when

to

considerable

and

chairs

the

No.
geometrical fillings,

two

Museum.

"

mind

chairmaker

chair made

Keltic

are

might

one

be considered

almost

necessary
a

The

Each

put.

when

oneness

own,

be
out

be

article I

an

chairbacks

time, that

may

in my

lilywas

would

turning over

on

yet, with certain general traits,so

and
"detail,

the

at

fretwork

me

163

in

in
this

direction.
It is sometimes
and

again

point. It
and
much

in

is

design.
plant

will continue
in the

necessary

future

The

which
be

to
as

to

in

grape

fulfils all

employed

it has

the

use

been

plants again

same

No.

no

is

case

in

designer'srequirements,

for decorative

in

the

past.

purposes
The

as

trellis

[64

ARTS

AND

CRAFTS

FOR

AMATEURS.

t65

FRETWORK,

work

gives character

show

more

white.
a

well

as

floral

the
distinctly
At

an

he

artist's clutter.

No.

to

The

112.

these

"

Design

It

for sides

lattices would

be

portion might

grape

lattices,
say of mahogany,
front, or
no

if the

why

reason

leaves

in

design
the

green,

be

grape

the

filled with

had

upright lattices,forming
other

portion I

artist friend's house

which

recess

stems

very

be

cut

might
cut

out

for

to

suggested by

the

of

out

brown,

to

be

grapes

fret

room.

then

the

the

back

piece,then
not

Peacock.

pine, and

one

and

add

feature in

glued on

all in

and

canvasses

that

me

portion should
in

trellis

top portion of

the

attractive

be

left the

to

shelves, occupied with

to

of Portfolio

designs,and

have

saw

receptacle

occurred

the

supports

as

or

see

stained, the
in

purple.

66

ART

CRAFTS

FOR

Transparent oil-colours,such
burnt

sienna, Vandyke

madder
you

No.

below

carried

be

out

Prussian

brown,
down

get liquidstains.

can

should

brown, thinned

as

AMATEURS.

turpentine,would
design

as

"

It would

be

enough

merely

Stand

or

one

than

with

112.

colour

to

do,

rather

closing Portfolio
Design for opening and
113.
which
is seen
in No.
fretwork
the
detail
of
sides,

it.

and

this grape

size, above

fullynatural

sienna,

raw

vermilion

gamboge,

with

Such

blue,

the

bars,

leaving the design plain.

A
and

portfoliostand
such
The

design
stem,

might

be

the

wild

as

as

will

be

composed
rose.

No.

fret-cut

of two
in,

noticed, is

would

made

be
a

sides,
able.
suit-

distinct

i68

shown
here
to

ART

CRAFTS

consider

what

that

me

some

design

Hnes.

given

in No.

T13.

No.

115.

design

picturesque

together
screwed
so

as

panel

three
on

to

to

check

based

is introduced

is

for the

the

fire-screen

frets laid
what

is cut

might

be

by

fretwork
to

take

the

heat.

have

to

sunflovver.

give strength

sheet

occurs

wrought

portfoho

In

have

the

on

is also

ends

the

away.

made
A
or

by hingeing
fillet might be

sheets

of

glass,

suggested, in Fig. 114,

Here
and

it

and

be

on.

panels.

margin,

the

for the

stand

the

on

peacock,

designs might

with

produced

four

or

original design

on

ornamented

Cabinet

"

AMATEURS.

most

effective

very

these

the

is based

It

attempted.

FOR

again
character

the
to

lattice work
the

design.

T69

FRETWORK,

sketching the design this

In

floral part is

finallydecided

worked

in

effectivelywith

No.

will show

Ill

that

is influenced

the

design you

floral part

fashion.

clumsy
the

the

the

can

by

carver's

part
or

might

of
and

put

of

the

out

wood

the

back

fretwork.

is

There

why

of

stained,

be

at

some

no

reason

amount

No.

carving should
to

that in

white

of

not

fretwork.

very

in

effective and

originalwork

Japan,

and

procurable at

lines

Fretwork.

in

given by

are

be

they can

also
art

carved

dainty it
to
some

carved

the

TrinityCollege,Oxford,

and

are

of

Many

Japanese introduce

cutter

Bird

"

The
a

gouge,

omitted.

be

The

from

116.

but

done

floral

the

different

off in

cut

tool.

lattice got

the

it will be

the

done

be

again

Here

making

flowers,

which
a

flower),
sun-

the

and

details of the

the

as

if in

and

to

after
arbitrarily,

lattice in

parts of

some

reference

design (as well

lattice work,

be

may

cated
indi-

veining

leaves

lattice.

grape

the

forms

the

flower,
sun-

have

that

the

before

In

of

panel

so

the

the

simply put

indicated

be

upon,

the

by

is drawn,

should

fret-cut

are

is.

study

some

It

well

would

of

as

as

carved.

cabinets,

help

of these

of their books

booksellers

as

into their

fretwork

such

screens,

the fret

carved

frets

design, which

like Batsford's

in Holborn.

CRAFTS

ART

170

The

carved

fret could

cabinet.

It need

but

be

could

down

cut

out,

being
on

No.

dark

one.

Another

use

panel,
markings on

of

tation
shelves

are

cabinet,
got

the

most

of

the

the

seen,

cases,

The

two

is the

ornamental
a

in
and

the

sides

must

it is

by

Japanese

the
\hQ

The

water.

No.

side

ornamen-

tool.

carsnng

the

by

laid down

put

way

In

up.

the fretwork
and

shown

usual

will be

as

other

cutting out

have

of course,

design is produced.

plan

given with

are

article is fixed

pattern is formed,
whereas, in

as

of

background
iish

in the

out

together; though,
before

with

The

115.
cabinet
be

put

fret-cut

indicated

portions

cut

the
away,

portion leftthat

frequently adopt

and
design itself,

laid

fret

"

wood,

be

frets may

the

it is

carving,

pure

recommend

white

of

panel

piece of

what

even

lightor

to

on

as

be

to

I would

which

to

Fish

II-."

shown

of

say

down

masquerade

not

panel.

AMATEURS,

glued

be

frankly

upon

FOR

it would

be

the

this

good

FRETWORK,

'Lir

WflCiAN
No.

ii8.

"

^Portion

of

pierced
Kensington
a

/icerttorv
and

carved

Museum.

doorway

in South

ART

172

practiceto
grape,

and

being

left

To

make

be

and
It

obtained
should

then

such

that is
be

of the poorest

much

work

purposes

that

to

novels

what

neither

worker

it

nor

is
"

fretwork

thought for

needs

what

two

are

strength.

such

to

do

In

poor
of

one

think),ladies' fancy

stitches taken
else

force

uses

applied and

interest.

to

than

tive
effec-

some

to

is directed

work

in sketch.

his full

out

might

effect

to

be

can

male

forced

of

most

and

wants,

that

"

produce

to

much

to

conclusion

this

preparationof

shelves

photo-frames

anyone

of the

indicate

put

in

innumerable

impression

only

labour

craft
to

apply with equal

in
possibilities

that

of

of, say,

good

to

{Felix Ho/t,

as

edges

one's

itself ceases

work

the

the

engage

is described

more

or

out

that indicated

as

craftsman

work

the

rose

instead

out

got

are

very

employ

which

the

the

My

the

to

on

I endeavour

amateurs

would

frets

that

me

why

to

uses

Eliot's

during

The

put ; pipe-racks and

littleto encourage

remark

the

say

if cut

come

treatment

always try

can

George

would

glued
to

seems

by

end, and

So

design,

some

cabinet.

the

to

sides.

fretwork

they

AMATEURS,

negatives.

as

return

One

FOR

positivesof
how

see

^-inch wood,
and

CRAFTS

the craft to be

work.
handime

upon

there

are

many

of,and

dream

us

this

capable of

siderable
con-

development.
Animal

forms

silhouettes.
but

The

of this form

Japanese
prevents

space

of fret.

In

background

is formed

of the

plumage

but

bird's

in order

attitude

that

should

be

the

cut

my

of
can

fret

out

fretwork

the

as

be

displaysas

as

tively,
effec-

original examples

The

tracery.

engraved

itself shall

very

bird itself is left and

ornamental
be

if treated

flying birds

giving any
ii6

No.

chosen

in

rendered

be

can

as

I have

details

indicated,

effective,such
much

of

the

the

an

bird's

FRETWORK,

form

possible.

as

but

In

the

form

panel,

details

silhouette

is not

only

be

teristic
charac-

No.

of

the

the

fish is

the

of

mere

the

as
interesting

as

bird, and

fore,
there-

needs,

assistingwith
The

is

of birds

will

certainly require

engraving, for

not

treatment

Japanese designs

to

mental.
highly orna-

fish

the

117,

reference

their

helpful,as

very

^n

ing.
carv-

background

ornamental

an

dering
ren-

of water.
I

spoke just

carving

of

now

applied

as

fretwork, and

cannot

illustrate the

better

(No.

118)

of

ject
sub-

than

small

reproducing a

pierceddoorway

by
tion
por-

carved

to

and

of Norwegian

workmanship,
cast

is in South

of which

Kensington
The

effect

work

is

Museum.

of

this

old

intricate,but

exceedingly rich, and,

without

slavishlycopy-

No.

119."

Door

Panels, in South

Museum,
mg

It,

some

good

work

of the

of

sixteenth

French

sington
Ken-

"strap"

century.

suggestions
fantastic

be

and

Chinese

of

panels,

No.

of

cast

excellent

an

Door

added.

with

way

lines

of

frets

"

obtained

glued

be

there

is

one

adapted
a

fertility
mirror

four

of

It

carving,

but

with

suggested

much

carving
in

ornamented

well

door

museum.

fret-cutting

them,

to

"

work

look

on

could

Kensington

by

would

is

given

strap

integral

an

effective.

be

South

crosses

skill.

decorative

have

in

is

be

panels

doorway

would

119

which

could

beasts

add

entwined,

form

they

heraldic

great

example

effect

the

which

The

Keltic

the

ingeniously

most

Norwegian

these

on

of

it.

foliage

ornamental

some

of

and

evinces

example

The

In

of

study

the

ornament,

this

which

treated

frame

the

In

resource

into

creatures

dragons

fretwork.

for

of

with

wrought

from

work.

snake-like

seen

part.

the

to

AMATEURS.

derived

wrought

interest

may

FOR

be

may
creatures

great

is

CRAFTS

ART

"74

this

this

by

stout

work.
block

The

the

door,
It

this

be

is

made

was

of

one

hardly

work,

besides

adapted

for

series

necessary
those

fret

from

in

sold

to

say

given

-cutting.

of

photograph

the

museum.

that
in

of

whole

the

this

many

other

chapter,

designs
could

in

easily

ART

76

CRAFTS

needlework

I rank

everyday

life.

It

very
be

can

high

No.

120.

threads

(Chiswick

pleasing to

the

rich, soft and

to

much

be

more

School

and

senses,

varied

dyed

palette,there

other

than

than

this.

fabric

on

comes

it

can

old

an

is

most

work.

Handicrafts.)

wools
is

no

silks

and

for

excuse

pleasing harmony,
Colour

adorn

qualityobtained

woven

modelled
and

of Art

as

The

upon

that

arts

in colour, and

work.

Embroidery

of

Example

"

the

among

beautiful

so

as
hardly_help being delightful

by stitchingcoloured

AMATEURS.

FOR

before

and

yield a
work
needle-

it may

design, for

be
if

NEEDLEWORK,

design

best

the

in scheme

inharmonious

coloured

badly

"

it is of far less worth

"

and

harsh

than

poor

which

design

in

colour

plays

proper

role.

there is

is

made

ever

177

its
But

reason

no

why design should

wedded

be

not

to

fine colour.

is it that

Why

work,
needle-

old

most

the

even

schoolgirl

s a

which

piers

folk

latelytaken

have

collect,is

to

more

the

pleasing than
of

work

to-day?

Speaking off-hand,
I

should

the

older

that

say

workers

wholly

were

in

cerned
con-

skilfully

carryingout
with

sign
de-

their

ing
needle, and, havbut

limited
of

art

No.

Back

12

of Chasuble,

border

good
this example

very

could

be

17 th

Century.

adapted

from

knowledge
in

general, kept

by attempting too
needlewomen

was

much

well
:

within
to

show

enough for them,

N

bounds,
that

and

they

did
were

not

fail

clever

178

CRAFTS

ART

Our

possibly paint
and

have

more

is

knowledge

infinitely
greater

from

appliances

in the

resources

yet, equipped thus

well,

adequate

the

No.

result

122.

"

than

Linen

(Messrs. J.

much

being buried
worker's

resources

are

mental
wants

the

in

our

qualitiesthat
the

imagination

play,

give
to

be

is

we

Where

developed,

brought into

so

Bedspread, repeating design.

" Sons.)

fact

materials.
are

less

Harris

restrictedly.The

more

far

worked

who

needlewomen

many

fabrics, and

produce

often

too

we

older

Embroidered

and

command

at

better,

plant form,

about

wools, silks,and

of

way

draw

can

we

much

know

nature,

more

many

AMATEURS.

FOR

us

these
and
it

and

the

and

her

in

limited

are

fancy

is, after

and
not

see

the

in

of

danger

and

the
genuity
in-

all, these

interestingwork.

touched,

individualityof the.worker,

are

the

appearance

One
work

of

NEEDLEWORK.

having

been

This

fancy shop.

Yet

reproduce.
work

century
every

much

way

removed

from

I have

linen.

series of scrolls

wave-like
in

grow,

No.

that

123.

bear

"

childish

Border

adapted

rude

skipping over
child

good,

might
and

harmony

the
do

of needlework

by
by

our

of

from

sixteenth

any

age

always

have

may

have

is doubtless

been

the

who
answer

see

it,and
is that

art," but is simply

if

one

it makes

piece of

far

of

flowers

work.

with

well

as

the

as

old

all

are

them

This

the

animals

crewels

counterpanes

the

piece

worked

universallyadmired

pretence

needlework

At

drawn

mellowed

is

which

plant.

analyses why
no

are

from

-century German

pleasant.

of the

one

in

in crewels

for stems,

about

colours

show

unsophistication

individual

the animals
hills,
The

yet

leaves, fruits and

great-great-grandmothers, and

those

think

doing duty

to

them.

sixteenth-

sense.

representationof ground,

though

must

paintings they

and

in its

rude

way,

resemblance

no

is

bottom

quite

the

old, worked

century

design is almost

The

Exhibition,which

works,
modern

the

some

modern

Spanish pavilionwould

pictorialin

coverlet, about

at

the

magnificent

beautiful

more

the

like

the

at

in the

shown

in

late

look

to

as

the

at

glance

bought

copy

strikinglyshown

was

wrought
skilfully

so

on

printed

Tapestries,exhibited

French
are

from

wrought

179

to

this is
be

so

"school

in nice- coloured

i8o

ART

crewels.

CRAFTS

AMATEURS.

FOR

like the

archaicness, naievte,

Its very

peoples, is

charm,

great

in

and

tive
primi-

of

art

self-conscious,

analyticalage

form

any

?^"consciousness

of

is

refreshing.
of

Some

in

seen

are

No.

of

have

we

archaicness

tioned,
men-

looked

and,

being

Conventional

124."

Sprig,

sixteenth-centurywork.

yet

made

to

evolve

It will be
the

in

those

which

that

crafts,especiallyin
if

us

think

other

naivete, the
the

those

greater effort had

much

No.

121,

an

am

done

needle, for

been

qualities,character,
of

to

means

work

less traditional

pattern,

as

some

form

must

individuality^

Such

end.

possiblySicilian

We

need.

prettinesswe

stitches

the

nice-coloured

with

and

century, is astonishinglyrich in effect.

or

ample
ex-

in
prettiness

of

opponent

of the

that

all the

adaptation

Chasuble,

cunningly

threads, will give

of

this

high-classdesign.

gathered

themselves,

many

say

prefer

would
to

coherence

dare

and

panel wanting

logical

in

from

curves

feeble

very

the whole
No.

the

design,

at

weak

it is very
critically,
in

pears
ap-

piece of

old

Here

the

ample
ex-

tion
reproduc-

an

work.

the

20, which

be

to

ties
quali-

these

work

of the
It is

as

teenth
seven-

more

of this decorated

i8]

NEEDLEWORK,

is

scroll

rich and

the

hinted
curious

exhibit

would

stem,

individual
in

whereas

had

both

from

nature

note

books.

made

careful

make

mediate
im-

it

of

from

apt

to

be

been

how

much

serious

far natural

am

from

in
all
ture,
na-

125.

aware

brought

of

position
dis-

studying

time

of

nature

their

is the

work.

same

to

as

study

use

but

reference

rein,

Having

to

for

have

their

in

plant there

one's

from

removed

in

much

them

find

consideration

in

often

use

too

fancy

would

have

work.

wavy

much

are

to

the

on

feel unfettered

been

her

and

stitchingthe

who

Those

plant form

studies

have
would

the

to

used

draw

disposed

direct

more

cramping

herself

us

be

should

embroidery.

they

this

to

brings

forms

so

would

fancy

her

and

growing

being

worker

individualitywould

play,and

handicap
This

been

there

the worker's
less into

design

the

colouring

the

in nature,

forms

in

stitchingand

details

all the

for

colouring them,

skill in

her

originalis barely

worker,

fruit

and

flowers

ornamental

period,and

of that

of the

The

reproduction.

in the

at

work

colouring

varied

very

in the

with

constantlymet

at

am

all

too

my

own

far

too

the

"

Conventional

sixteenth

-century

Fruit,
work.

well

experiences

as

naturalesque in

designer,that

one's

work,

and

one

is

instead

[82

of

ART

making

the

FOR

AMATEURS.

design,drawing patterns

modifying plant
using

CRAFTS

form.

It

is the

suggestions received

is

one

ingenuity we

from

Wt/j^K/K^k

display
of

study

plant

the v/ay

and

^^i^^

only slightly

what

form

adapt

we

learned

have

we

in

from

sketching

by

that

nature

show

we

ourselves

capable

craftsmen.
Here

study

is very beneficial

old work
as

corrective,

but

not

The

reproduction

imitate.

to

old

examples

the

way

moreover,

is

great

the

is

there

in

who

made

needlework,
Simple
well-known

well-planned
ego.
woodcuts

from

He

owed
in

nature,

of
much

to

Gerarde's
because

Herbal

the

nature

good

past, for

rather

than

they suggested

get

of

construction, plus
to

trived
con-

on

flowers.

scheme

for

designs

many

appliques, based

the

spirit.William

Morris,

"

ing
be-

wanting

letter, yet

126.

of

chance

faithful

No.

not

reproduction

in the

ot

advance,

to

and,
a

ot

he

with
deal
used

sketches

certain

tion
suggesa

of
the

direct

quaint-

i84

ARl

CRAFTS

FOR

AMATEURS.

.2
D

03

s
o

I
3

[85

NEEDLEWORK.

display

cunning, or
of the

else

brush

129.

much

so

should

are

to

be

Where

covered
a

and

curtain

inappropriate to
by

not

stitches

always bear

being

seen

xor

ratio

some

applique.

use

which

to

generally seen

work
as

effect

hand-

our

what

touch

The

the surface

to

main

forms

only

suggested by stitching.

the
is

to

and

better?

Flying Birds, adapted

"

material

our

over

why employ

does

design

The

No.

command

our

on

it

whole.

the

in

design
I

work
folds

that

is

to

be

it would

would

be

put.
be

spoilt

believe, too, in producing

i86

CRAFTS

ART

the

maximum
is

do

than

No.

T30.

"

was

the

Fish

Forms,

only

the

produce

or

spent upon
covers

be

the

linen
it.

effect

yields a
Here

any

for
forms

time

need

things we

excellent

in

effect

for

repeatingdesign if the

important.
material

It must

so

to

avoided,

crewels

well-planneddesign which

is very

is

is what

coarse

to

want

and

ago,

time

not

wasting it.

for

excuse

the

Of

highly wrought

century

embroidery
very

time.

of

applique. All detail

being indicated.

possible in

Outline

ground

half

even

essential

never

purposes

time, more

our

adapted

the

dictates.
Zeitgeist
flannel

on

case

best

is

there

calls

more

are

expenditure

for certain

and

considered, though

There

the

nothing againstproducing

piece of needlework,
be

for

of effect

there

course

AMATEURS.

FOR

the

the
on

time

agreeably
of

is considerable

necessity
in area,

NEEDLEWORK,

and

those

skilful

not

might try adapting

their purpose
than

put

of

colour

be

taken

; but

on

will
a

to

invent

wall-paperor
it takes

much

one

cretonne

longer

for themselves

design to
to

do

suit

stitch

must

care

keep

design simple
than

as

enough

touch

to

[87

the

rather

This

elaborate.

leaving out

mean

in

the

take

to

deal

good

design

you

adapt.
The

sign,
repeating deNo.

1 2

2, is of the

wall-paperorder,and
the

covers

ground

pleasantly. The

very
forms

highlyornamental,

are

though
feel

they

we

based

are

plant form.

on

Applique.
I
that

have

idea

an

applique

is

sufficientlyused
needlework

country ;

in
on

not

in
this

tinent
the Con-

it plays an

important part

all-

in the

No.

131."

Butterflies

craft.

It is astonish-

and

Moths

materials
applique.
be figuredones.
The

might

in
used

l88

CRAFTS

ART

ingly effective
strength
the

and

"powdered"

cheap-looking.

of

is

union

be

lines

the

animal

dividing the

forms

in the

in Nos.

adapted

No.

necessityto

and

severe

for
as

has

The

one.

the

might

leaves

for

greens

would

forms

be

to

one

out

be

of one's

should
cut

no

the

over

figured silks

and

be

are

as

design.

limitations

of

use

applique

plants

appliques compels

one

plan," i.e.^

then

there

such

gives good results,

patterns
the

forms

upon

of Keltic

distribute

"

way

good appliques

make

Strip Border

than

more

ornamental

forced

damask
Even

do

and

large surface,and

Cutting

surface.

work

over

would

127

Interlaced

132."

powdering

for

and

One

the

well-known

Such

spaces.

the appliques

two.

work

into spaces,

surface

126

the

to

far from

about

play

between

covering wall-hangings would

materials

effect,and

should

at

other

or

of nice

out

cut

excellent

most

needlework

there

that

so

give a

The

Sprigs,animal

time.

of

and
solidity

covering large surfaces

hangings

over

will

appliqued

it for

adapts

expenditure

smallest

forms

it that

there is a

it takes, and

for the time

about

AMATEURS.

FOR

and

tried.

be
a

silk

in

the

of

damask.
In

panel

the

at

Finnish

Court,

coloured

silks,so

the
cut

Paris

Exhibition,

background
out

as

to

composed

was

give

exhibited

the

of various

effect of water,

hills.

189.

NEEDLEWORK.

and

sky.

was

appliqued

this

Upon

worked,

and

artistic.

originaland

both

worked

Exhibition,
Frau

the

flower

The

larkspur,or
no

of

be

the

worked,

not

it would

confused

The

leaves

and
applique'd,

of

coloured

the

found

of

the

design

and

over

the

larkspur,
lost

and

itself in the

dehghtful

ferent
dif-

blues

greens,

grasses

were

by having

background

into

have

only

produced

leaves

the

individual

but

were

working

pliqued
ap-

"lumps,"

followed

outline,

going

so

striking.The

was

applique

the

flowers,

could

they

jumble.

most

fashion.

All
No.

.
.

the

the Woman's-

by massing

simplifyingthem

as

at

to

and

flowers

too,

nium,
delphi-

racemes

effect

screen,

was

was

the

in

effect of the whole

the

was

one

easy

render, but

that

In

berries,

by

originality

shown.

and

ash with

Reutsch,

Helen

great

tree, the mountain

resources

of

the

Interlacing
133.
Border
of Keltic
"

Strip
design.

Work

ART

190

needleworker's
was

as

the

art

to

No.

134.

It would

styleof
all sorts

the

"

silk with
the

screen

it

that many

of devices

above
towards

into

135.

"

the

play.

keep

with

dyes

the

Painting

certain

seen

of

one

and
the

on

work.

effect,and

used
on

stitches

painting

Keltic

were

work.

rigidlyto

too

considerable

mentioned
base.

Keltic

all kinds

suggested by

to

it gave

of

imagination.

the

I have

result

cutting up

The

effect,as

workers

the

and

play,

suggested by

bringing

Border

resorted

into

touched

Interlacing Border,

of

AMATEURS.

delightful.

was

which

whole

stitch instead

dyes

called

greatlyhelped

seem

No.

FOR

were

originalas

background

mystery

CRAFTS

on

woven

the

in

ground
backfabric

CRAFTS

ART

[92

Animal
and

forms

being

too

well in

come

AMATEURS.

in

severe

in Nos.

applique,and

suggestions are

some

130

FOR

Do

given.

128, 129

be

not

afraid

of

motifs,for appliques are

designing such

IHi

No.

137.

much

Intwining Animal
Sth Century.

"

the fact that

they are
lose

to

should
The

is

be

birds

what

the

that

obtain

out

and

They

is

to

Insects
cut

out

of

be

very

birds

form

in

as

lend
may

be

No.

appliques are

shown

effort

istic
natural-

lines of silk

as

the

all

act

to

common

of

themselves

In
a

the

dark

hinted

upper

ground

at,

and

and
flight,

better

in No.

dyed

half
which

of

is

that

unmistakably.

seen

this

drawing, and

Fish
than

130.

used, especiallyif they

effectively

131.
on

in

features

those

richly-colouredfigured

suggested in

with

sightof
an

be

to

appHques

this is said

said, but

this treatment,
can

in

only
are

being naturallyquaint in
animals

where

tendency

rudimentary

are

to

is left

is all that

All

lose

to

applied,than

edge.

T29

type retained.

the

hard

want

you

and

out

bible,

Durrow

strenuouslyresisted.

in No.

adventitious

cut

is made

attempt

no

the

From

for needlework.

Adapted

effective when

more

is made

Grotesques,

are

fabrics, as
this

might

is

design the
be worked

suggestiveof spiders'webs.

NEEDLEWORK.

Embroidery.

Keltic

extraordinaryingenuity displayed in

The

peculiarlysuitable

designs

makes

them

in

of the

embroidery

some

the

Industrial

Donegal

executed

Fund

of them

designs,many
the

193

The

eighth century.
is the

hi Nos.

132

and

worked

in

long

These

133.

stitches

threads

at

ground

gives

silk,and

used

brilliant

effect, and

right angles.
fine

in

of

flax

Golden

crossed

is

Flax

intervals
on

in

colour

as

by

dull red

glossy than

more

long parallelstitches produces

varies

shown

effective

very

flax

of

Keltic

these

at

-coloured

harmony.

in

of

Bible

Durrow

look

and

of old

made

strap-work, as

patterns

of

Keltic

direction

was

feature

sort

use

old

needlework,
the

in the

found

notable

of
interlacing

patterns

under

excellent

be

to

for

the

rich

the

and

light plays

it.

over

variations

Endless
which

are

shown

Another

form

can

in Nos.

Keltic

be
134

138.

We

hardly find

time

"

or

and

country, and

tiveness,as

well

as

parallel to

they

are

the

such
so

these

is the

given in

are

Intwining Grotesques, from

any

on

lines,two

Durrow

interweaving of

Nos,

138.

Bible, 8th Century.

patterns

full of

and

137

in

any

decorative

being wonderfully ingenious in

o

of

135.

designs take

grotesques, examples ofwhich

No.

evolved

other
suggesthem-

ART

19+

selves,that
on

effective.

linked

stitches.
but

then

No.

139.

of

the

forms

the

It

in red

in

of

instead
the

while

owl

The

either
blue
red

on

yellow

Burne-Jones

thread

on

in

canvas

140,

would

be

or

other

is

braiding

fish

139^

such

be

wrought

be

for

could
worked

and

on

paper,

pattern

braiding

and

characteristic
in

thread, and

be
in

employed,
bright red.

if

could

in red

stitchingor

material, or,

in

worked

is similar in character, and

braiding

very-

border, No.

but

stitches

blue

are

appliques.

in which
fish

do

canvas

it could

border. No.

for

Border,
embroideiy.

design might

of the

wrought

be

thread
and

rest

138

Fish

or

dark

Worked

being given by braid,

designs

blue

and

braiding into

Conventionalised

braid

137

heed.

particularlyeffective

look

not

linen

On

effect.

Nos.

curves

the

turn

and

them

is that

and

scrolls

needlework

wrought

give

continuous

The

needlework

Highly

"

as

needlework

that

does

no

AMATEURS,

easilybe adapted

stitching.

example,

and

borders

could

class

with

an

such

They

Another

FOR

designers should

all

large scale

is

CRAFTS

on

and

frieze,in

flax.
made

many

designs for figure subjectsto

be

NEEDLEWORK,

with

wrought
needle,and
of

the

frieze

one

considerable
Ro-

length, "The
of the

maunt

Rose,'

Bell, is

Lothian

the finest spe

among
cimens

of

rciodern

have

needlework
The

seen.

scroll

and

ornament

by

William

The

whole

fabric it

sories
acces-

designed

were

on

Mrs.

by

worked

Morris
of

wrought

was

with

covered

was

stitches,which
the

the

frieze

gave
most

beautiful

but
quality,

the time

occupied in

executing

it

have

very

been

must
siderable.
con-

with
Still,
such

beautiful de

sign to

ever
work, what-

time

was

upon

it

ample

return.

spent

brought

an

Burne-

Jones, having drawn

so

long

for

stained

No.

Border, to be
Grotesque Owl
wrought in braidingand needlework^
140.

or

"

red and

blue

thread

on

canvub.

ART

196

FOR

peculiarlyfitted

glass, was

for it is absurd
be

must

CRAFTS

imitate

to

in

drawn

for

for

designing

needlework,

picturesin embroidery.

certain

AMATEURS.

Figures

simple sculpturesque

the

for

them

adapt

in

be

must

flat

kept

though

as

full subdued

by

suitable

be

paintings

Such

for

adapted

more

shade

would

Botticelli's

of

those

Rubens'

than

any

reproduction

to

the needle.

as

seen

light,for

strong effect of lightand

is not

and

needlework,

colouring

somewhat

to

way

work
needlebrandt's
Rem-

or

for instance.
The

panel.

limitations

the

In

such

No.

141.

Needlework

"

Designed

by

Mrs.

Traquair.

this

well

might
both

as

way,

by allowing

be

cut

silk and

out

both

of

wool,

one

various

by combining

panel

brought

this all the

as

into

might
play;

very

employed
to

in

play into

textiles, for

plain
varied

and
and

full

should

the

working.

the

other

the

as

appliques

figured materials
subtle

well

applique,
flax

and

silk,wool

while

say

advantage.

stitching, outline,

Panel

be
In

with

of the craft

resources

be

should

background might

the

appliqued

be

work

would

extremely well.
of

woman's
needle-

the

of

craft,and

much

designed

141,

Traquair, recognises

Mrs.

by

No.

effect

of

could

NEEDLE

obtained.

be

could

be

all
or

over

the

in

less

outline,

it would

be

flesh

tints

play

of

Another

all
the

working
outline.
the

hair

throw

should

for

that

before

it of
be

its suaviness

and

emphatic,
simpler

details

prevents

strenuous

It wants

few

me

but

touching
hints

worker

may

with

of

of

No.

this

141

brown,
in

features

of

much

while

arrangement

revealed

on

in

be
needle.

it

the

to

so

in

to

lines

vast

should

that

here, although

without

our

relieve

the

and

arrangement,
is

is

Continent

in it

main

me

certain

"genteel"

savage

The

subject

further

too

the

striking

the

how

canvas,

effect, and

petty,

prettiness.

not

the

worked,

materials,

the

touch

the

the

dark

say

Exhibition

too

more

imitate

worsted

or

keeping

originality

the

relief.

Paris

are

keep

figure in

colour,

be

face

result.

the

shows

paint only

applique'd, and

of

We

England.

more

these

and

command

needlework.

could

be

the

to

boldness

workmanlike

to

linen

in

and

attempt

strong

figure into

the

outline,

keep

more

applique'.

an

such

wrought

kept

any

say

skin

be

and

in

to

be

Moore's

be

features

fairlysolid, while

visit

second

with

leopard

background

would

be

need

the

produce

to

employed,

forms

The

for

so,

would

scheme

outlining

outline

is

needle

material

the

of the

obtainable

easily

the

made

almost

flat,or

colour

could

97

needle.

could

drapery

to

Albert

the

only

background

be

enough

inadequate

in

the

or

should

deal, too,

good

and

drapery

flesh

the

figure panel

of

reproduction by

for

adapted

working

In

single figure subjects

The

well

WORK.

helpfulness

space
I
to

hope
the

CHAPTER

FORMS

ANIMAL

XI.

of

their

were

exceeding

make

to
or

This

head.

without

can

when

the human

the

work
to

see

to

be

Art

artist,upon
so

into

repugnance,

as

into

much

motifs in his

best

such

use

admirable
other

illustrations

is

perfect mine

which
as

work.

he
to

the

can

human

to

of

draw,

of

on

to

to

be

our

and
and

to

from

here
have

us

decorative
while

worth

I have

work.

drawings

chapter, because

wealth

sider
con-

accessory.

Japanese

this

adaptation

taste, but

of

some

it may
in

torso

designs,for

interest

forms

examples

work
handi-

ornamental

an

forms, and

can

we

forms

animal

we

will pass

is made

form

introduce

fish,among

learn

feeling of

no

in

point

of animal

their

that

me

supreme

individual

the

argue

to

question of

varietyand

some

Eastern

nature's

contrary, it adds

how

chosen

to

introduction

there

is

weaving

seemed

pattern end

other

they

figure motifs into patterns.

always

degrading

or

I allow

staying

the

On

scroll

skilful in

and

It has

form

designs, and

arabesque

ornamental

were

human

the

introducing

into

it is

Renaissance

the

of

RAFTSMEN
fond

ART.

DECORATIVE

IN

the
which

treatment

of

this

decorative
he

of

can

such

ART

200

to

what

they

animals

they

FOR

accurately,and

see

the

CRAFTS

They

see.

from

they

they draw,

creatures

The

with

unerring

have

mastered

they
rather

than

bother

about

what

has

for it is

the

is under

record

they

this

developed

the

of

anatomy

which

with

faculty

of

of

all

making shapes
things, and

ing
employ-

little Chiaro-

but

the

osmro^

have

of

in fact ;

knowledge,
the

cision
pre-

shapes

shapes

as

about

precision

very

them

see

skill and
the

trouble

or

observations

their

observation

question whether

skin.

record

they delineate

draw

AMATEURS,

Japanese

become

ing
unerr-

draughtsmen.
Take, for instance,

flying

their

instantaneous

birds

graphy
photo-

only

has

proved
the

how

Japs

accurate

in

are

143.

"

From

Japanese Print, by

and

Janko.

observation,

trained

of anatomy

wing

feathers

would

in the
comes

teaches

leave

to

find in the best

outline
movement.

will

do

of

out

the

entirely the

them

those

all that

who

set

No.

is

non-essential,and
142

for

have

of the

of great

appearance

which
so

instance, that

everything in revealing form

Only

the

essayed

and
to

draw

sult
re-

ledge
know-

thorough knowledge,

very

Japanese work.

The

intimate

most

taught

flying.

from

simplicityonly
one

have

not

act

for

this

know

we

was

of

dering
ren-

actions,

such
No.

we

the

indicating
animals

FORMS,

ANIMAL

in

sketch

of

No.
From

nervous

life

from

movement

fish

144.

"

"With

by

the

Barn

outline, the

graphic waviness

appreciate at

its full value

great Japanese artist Hokousai.

Owl

Nature

can

201

this
The

(by flash-light).By Cherry Kearton.

and a Camera
(Cassell" Co., Ltd.).
"

verve

of

the

of the fins which

curve

indicate

of

the

that

body,

the

the

creature

ART

202

is

swimming,

Or take
brush

Every
and

the

No.

the

be

used.
of

not

good

enough

word

be

selection

and

therefore

what

an

for

hand,

it in

treat

adaptation :
leave

Those

who

sketches

you

have

you

it in crewels
spare

make

teach

may

books, prints and

despised, for
Owl

Barn

to

one

omit

this

the

be

when

you
with

in the

photograph

such

drawing

as

work
a

from

depends

to

work

in

the
you

but

enough,
observe

Not

whose

to

upon
No.

book
rmu

seize

see

there

The

fact

that

looking

the

such

light and
142,

the

much

latter
that

as

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very

of

if

that

we

the

useful

and

upon

The
what

compare

good

deal

shade, while
is

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at
to

are

material.

photographs, for
printwe

life.

ture
particularcrea-

that

photo,

would
if you

would

you

it than

what

Hokousai's,

of

to

sketch

excellent

Japanese

delineation

from

about

knowing

two

should

characteristic

in

the

mean

in these

glass.

photographs.
a

what

good

and

in wood

fish

to

poor

craftsman, affords

snapshot

time

to

is

record

to
as

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made

painting it on

by Cherry Kearton,

comes
difficulty

to

or

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you

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knowledge

way

either

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carving a

different

can

select

your

deliberatelystopped

will

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adapt

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Decorative

you

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often

pictorialcan

out, and

were

quite a

is too

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dark

truly,but

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abused

is essential,vital

you

if you

working

were

called

the

placing of

for
insufficiency,

decorative.

thought

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excuse

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to

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much

with

or

to

specimen

excellent

the

decorative

Japanese prints,what
the

this very

that

enough

is an

tion
concentra-

masterly.

as

rendered

be

the

effective this is : decorative

how

reproach

to

drawing

rightplace ;

the

sense

The

term

could

is in

only

this

plain,and

by Janko, which

and

lightspaces,

AMATEURS.

left

large spaces

143

work

touch

in

FOR

detail all stamp

of the

of

CRAFTS

in

lightand

FORMS.

ANIMAL

have

spent much

and

the

enough

that

No.

what

145.

"

one

Trout

learn

to

sketch

poor

thumb-nail
It

day.

the

moving objects.

self to

From

Swimming,

seemed

saved

be, has

train one's

must

sketching,

successful

one

it may

slight

practiceto

requiressome

yet

drawing.

pure

has

work

morning's

time, and

the

sketch, however

found

by

Zoological Gardens,

in the

time
of many

result
at

being obtained

effect

shade, the whole

203

is the

see

Study by

E.

shape

T.

F.

Bennett.

of

the

action
of

the

in which

details

whereas

the

creature,

you

get

you

shape depending, of
wish

head, feet,body, and

seize

upon

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it.

draw

nothing down,

by learning to

general shape,

to

you

take

in the

other

will,after

is essential

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so

creature

parts
a

course,

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upon

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bewildering
as

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shape,

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little practice,be able

characteristic

it,

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make

to

ARI^

204

useful

very

notes

this way.
chalk

yieldsan
The

effect

birds

he

only

reptilesor

will

fish.

feel

Each

department
it were,

become

to

what

wonderfully ornamental,

but

when

swimming
at

was

about.

aquarium,

an

get anything down

the

fish

before
a

ever

I had

of

couple

data.

stuffed

sketches

from

work

shade

is

work

intimate

from

of her

forms

artists

constantly

refresh

nature,

and

who

those

direct

memory,

from

are

the

movement,

do, you

any

in

their

minds

familiar

with

useful

always

can

action

and

forms, and

simplifyyour

it

springs

and

is thus

artists have

they

rate

yet
their

subject
Their

after

endeavour.

because

the

sketch

some

main

to

highest sense.

by heart, at

nature

sketches,

of

to

you

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excellent

so

watch

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therefore, in your

of human

reach

I could

it

away

reveal

have

you

knowledge
in the

learned

to

are

kind

the

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want,

you

record

necessary

bring it within

and

Japanese
such

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nature,

limiting what

thus

by

What

of

before

colour

or

Fish

I started

bring

to

for details

specimens.

lightand

the

that

time

record.

to

to-

eye

difficult to sketch

I suppose

anything

in.

take

to

comes

kingdom

confusing was

so

move.

it

experience

some

hours, I managed

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to

go

was

ing
sketch-

requires the

to

first

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to

animal

the

white

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when

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securing

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used

somewhat

are

paper,

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of

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it

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rather

or

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and

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on

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as

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accustomed

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to

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on

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so

brown

on

crayon
have

than

AMATEURS,

mentally snap-shot

or

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sketches

FOR

you

Charcoal

for the

rapid

CRAFTS

can

repeat

best]work

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a

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pressioni
im-

almost
some

their

direct

to

Japanese artist's

objects delineated,

are

aware

ANIMAL

No.

146.
"

Sparrow
Dr.

FORMS,

Hawk"
R.

W.

in
p. 220
Shufeldt.

20S

"

Camera

Craft," by

206

ART

that

the

CRAFTS

outHne

in

full

light,which

iSo.

by working
more

147.

so

"

From

much

trout

movement,
in its

the

of

Print

though

simplicityand

by

an

an

to

than

we,

see

as

objects

shapes.

accurately observed

EngHshman

restraint.

always

shape, while

grown

is

work

So-Shiseki.

shade

lightand
145,

by

Westerns

we

Japs

subject as

Japanese

No.

what

The

indoors, have

swimming,
and

do

to

effect.

to

shows

arrangements

as

The

shade

AMATEURS.

made

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can

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FOR

is

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2o8

ART

Struck

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this

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to

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history study

to

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in

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eccentric
is

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betraying it
histories

much

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carver

among

rator
deco-

or

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artist

for

if colour

John Dor)^ and

mental
orna-

material, while

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must,

too,

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emphasised,

even

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life gives character

laughing jackass

is

lesson, what

creature

the

sight of.

relief, the

in

are

indeed,

lost

wood

in

we
critically

them

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work

it is

as

wants

to

in

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the

repousse,

ornamental
has
to

to

work

be

large

quaint

gurnard

birds,

to

in

is ornamental

that
as

counsel

not

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place.

aspect of animal

such

all

patterning on
its

carefully

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patterns,

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ot

appearance

natural

upon

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develop

gesso,

the

sources,

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"

often

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difficulty

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of

character;

studies

history.

look

subject

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difficulty

no

and

upon

in

147

such

much

natural

the

consider

we

is dwelt

from

in

Japanese

and

142

artistic

without

source

are

to

creature

working

would

if

animal

more

the

that

wanting

be

of the

that, taking Nos.

and

pretty, but
to

ignored

should

drawings

many

them

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such

to

go

historyfor

natural

craft

reason

mention

design.

as

any

ment
judg-

decoration,
in

forms

and

taste

this branch

purpose,

it is for that

and

that

though

chapter on

natural

in

objects

present

my

is their

that

thought

art,

In'^using animal
being

chief

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might

Japanese

on

AMATEURS.

quality,and

another

by

FOR

CRAFTS

and

; that

in

rabbit

fish,
and

FORMS,

ANIMAL

monkey

of the

art, because
their

animals, are

among

adaptabilityto

use

and, by the

selects

what

praise

of

this

Eastern

art

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by

Designed

by

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Japanese
but

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on

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lines

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far
No.

is

The

149."

good

form

Essex

Owl.
An

Voysey.

be.

may

instance
be

may

"

in

of how

decoration.

C.

F.

A.

rudimentary
(Messrs.

Co.)

practise

to

drawing

in outline and

drawing by
render

I
in

plan

"

*^

said

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can

better

up

have

as

Japanese

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its

with

I had

own

or

in

environment

from

creatures,

is

it look

word

these

using,

best worth

keeping

way

what

follow

quaintness of

craftsman's

in decorative

with

met

it and

he renders

make

often

so

object,

any

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natural

209

C. L.

form
work

leave
deliberately

Allport,No.

with littleelse but

shows

how

far

148, shows

out

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the outline.
one
p

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all details.

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This

The

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doing,

ART

for it is
mass

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FOR

CRAFTS

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to

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AMATEURS.

one's
in

under

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as

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into
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cellent
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much

out

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in

each

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sketch

get

you
the

down

elements,

bed

Mr.

Voysey's

and
Pomegranates
by Walter^Crane.

Cockatoo.

signed
De-

this

(Messrs. Jeffrey

is
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corative
may

instincts,and

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149,

elemental,

and
"

in

owls

are

150.

rock.

The

design,No.

No.

as

as

can

or

or

sketches^

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to

to

three

make

design

it is

an

good
one's

business
method

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de^
it
ol

ANIMAL

making
each
be

several

sketches

by

one

leaving

practised

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is

with,

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shapes
Mr.

of

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all

Walter

elemental,
and

is

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wings,

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the

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of

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the

149,

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just

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Mr.

Voysey

the

design"

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them

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of

their

place
forms

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repetition

his

owls

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much

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the

present

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owls

"

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for

question

bear

ing,
draw-

blending
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so

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150

history

natural

scheme,

No.

as

we

result

tiresome.

between

owl

the

the

to

and

patterns

in

selection,

of

and

purview.

cockatoo
from

elemental

illustrations

The

in

even

fabric

the

and

though

exacts.

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removed

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wall-paper,

wall-paper
part

far

shape

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of

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treatment

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within

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but

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that

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to

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us

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decorative

of

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as

can,

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is

spared,

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who

This

simplifying

subject

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what

effect.
and

211

same

May,

strokes

to

what

the

what

Phil

few

of

out

Mr.

by

necessary

can

FORMS.

teach
the

adapted
is pretty

to

one

photographs
a

wide

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interval.

lesson,
from

at

any

life, say

and

rate,
No

requirements,

144,
as

in

that
and
No.

XII.

CHAPTER

STENCILLING.

Cutting

Designing.

and

is

TENCILLING
methods

that

ornament
amateur
use

stencil

and

to

cut

out

surface

thick
used
these

obtain

portions with
we

drawing
lead

foil,and

latter have

will confine
paper,

and

cleanly and
of

glass.

is the

paper

be

ourselves
with

then
at

The

one

reason

best

cut
to
a

by

paper.

metal

for

of the

all

the illustrations

or

rub

to

paper,

flat

any

to

but

cut,
of

out

your

zinc ;

pattern
cut

knife, working

glass

have

professional cutter,
Draw

the

over

ordinary work, good

cut

are

cuttingon

few

subject,

colour, upon

sharp-pointed knife

stroke

and

cut

to

with

only

material

stencils

many
to

of

and

For

an

clear.

have

we

stencil.

lay the

may

the method

stifl"brush

as

of the

branches

perforated sheet

learn

in connection

taken

impression

an

both

on

make

plate is

quickly

to

stencil, I will brieflygive

which,

employed

both

soon

useful

most

surface, and

flat

can

hints

will,I trust,

be

can

of the

one

but
we

so

the

on

through
upon

is that

the

this

sheet
knife

215

STENCILLING.

slides

if you

whereas

cut

purchase

coming

to

which

is

small

blade

have

for in

in

thing

excellent
of

by

the

in

N0T51."

condition,

easilyand

knife to work

You

you

^^owhT

complicated patterns

and

cutting curves

the

provided

at

to

handle,

with, but

keep it

to

you

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blade

wooden
cut

will

penknife

shop

to

is apt

of cutting.
difficulty
fig-

tool

good

stroke,

one

knife

the

cardboard

the

to

with

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to

you

or

point, fixed

an

want

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at

oilstone

an

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on

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catch, which
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'

to

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Tx

cut

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the
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can

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varnish

of

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at

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varnishing

No.

the
When
the

cut

the

other

the

152.

"

side.

Simple

brush

first coat

is

the
every

the

is

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knotting
of

part
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in

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letter.

you

absorbed

stencil

over

with

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to

on

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it.

distribute

give it a second,

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by

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is

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sun,

butterfly and

surplus

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siich^^^

the

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dry

quite dry

pretty well

give

to

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portions

first will be

that

it up

hang

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seeing

shop.

rub

and

paper

hog-hair brush,

oil

be

painters, and

house

by

good

any

you

to

"knotting."

of

coats

two

paper

pattern

your

""

need

paper.

as

The

CRAFTS

ART

214

knotting
it

makes

the

also

waterproof, but

paper

tough.

far for

So

makes

only

not

AMATEURS.

FOR

cuttinga

stencil.

Now

No.

In

them.

designing

to

as

have

we

152

if we

simple design, and

examine

No.

153.

Second

"

and

background
butterfly used
designs.
for

pattern

in the

the

pattern

the

result

on

we

is

much

as

the

left uncut

as

cut

uncut

tions
por-

it is
These

ones.

parts

that

see

of

of the

Plate,

Stencil

it

are

called

ing
follow-

two

"

"

ties

and

are

tegral
in-

an

part of all stencil

patterns, for it is obvious

letters,such
not

leave

"

as

ties

B,
"

to

that

and

O,

keep

the

if

we

could

the

cut

be

not

portions

alphabet,

produced

surrounded

some

did

by

we

the

^1'^

No.

loops
1

5 1,

154.

of the

we

see

stencil,and

"

Border, produced by embroidering

letters from
how

it

"ties"

fallingout.
must

be

Nos.

In the

and

diagram B,

left if B is to be made

follows, therefore, that

in

B.

No.

into

designing stencils

ART

2I5

No.

It will be

154.

varietyto

No.

157."

CRAFTS

the

noticed

but
butterflies,

Feather

so

to

that

be
to

stencilled
effect this

operations:

first

AMATEURS,

that

pattern is also

it is obvious

that

cut

to

give

this would

Border,
and

requiring plates 158

159 to produce it.

have

FOR

No.

afterthe
design,No.

the

butterflies have
154,

it would

butterflies,second

158.

been

stencilled,

necessitate
the

three

background,

STENCILLING,

third the
colours

obtain

sprigsand pattern
could

be

used

considerable

in

on

each

varietyof

2ir

butterflies.

operation
colour

different

Of course,
that

so

by having

could

we

stencil

two

the

plates to produce

complete

effect.

continuous

In

need

we

stencils
follow

that

so

equal
this

To

small

justa

cut

portion of
the

the

repeat^
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flower

of the

some

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sprig

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to

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of

the

left

impression.

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impression just

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stencilled

plate

every

time

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it has

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be

of

case

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corner

wing

would

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to

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In

the

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say

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guide

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pat-

flies
butter-

the

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act

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a

as

placing the

This

equally where

applies
two

or

2i8

ART

plates

more

cut

in each

in

placing

flowers

CRAFTS

required to produce

are

plate some

and

two

stencils;

the

AMATEURS,

FOR

the

or

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thus

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eye

forms

more

No.

fish act

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pattern.

act

to

the

t6o

must

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guides in placing the

as

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variations

Other

156, for

only is

not

pattern is on

By

of the stencil

white

the

sprig omitted,

little dodging several

in the

and

ground

in Nos.

shown

are

variations

in

but

other
of

dark

pattern

the

case

one

on

and

155

one.

be

may

obtained.
feather

The

border, No.

of the

With

plates 158

skill and

itself

somewhat
form

human

are

as

on

easily be

instances

plates

In No.

very

could

which

165

from

Japanese
in

Nos.

translation

are

be

are

liquiddyes

or

it is not

to
stencil-cutting

and

necessary,
161

and

162.

drawings,
163 and
of forms

160
are

by

these

are

Birds

can

of

such

two

the

we

minent
pro-

164, which

for stencil

wall-hanging is shown.

effective

oil-colour

insects

treat

insects

No.

In

fish and

easilyadapted

stencilled

very

figure

are

of

method

designs scattered through these

many

simple, a quaint ship

Stencillingis

human

question whether

in Nos.

scale

of the

stencilling. There
pages

it is

duced
pro-

introduced.

be

may

stencil,the

as

in which

adaptations being given

good

colours

appropriatelytreated.

smaller

bination
com-

be

can

But birds,fish,and
stencil-plate.

Two

adapted

patterns

strain upon

repeating border,
features.

shown

cut

severe

effective if

very

have

be

can

of the

result

159.

many

excepted, though

not

putting a
the

form

any

and

quite elaborate

care

and
by stencilling,
Almost

is the

157,

on

and
any

thinned

lines
woven

with

cutting.
The

suggesting
fabric, and

design
water.

either

spiritsof turpentine

STENCILLING.

used.

can

be

say

canvas,

In
and

the

if the

case

of

219

dyes

transparent

the

fabric

be

must

oil colours, such

light,

as

'm

Prus-

''A

-\.

!i'S
)i
J((i"i'

4
ir

sian

blue,

employed,

raw

made

sienna,
very

burnt

thin with

sienna

and

gamboge,

turpentine,they

must

be

also be

ART

220

used

on

then

the

CRAFTS

lightfabric.

colours

stencilled

makes

in front of

If

be

must

AMATEURS,

FOR

dark

or

opaque

excellent

textile be stencilled

coloured

nearly

coverings for

Stencillingcan

be

ing
hangdust.

from

Stencils.

mixed

either in colours

done

for

and

walls

clothes-pegsto protect garments

Using

thus

Canvas

so.

with

oil. In

or

is

that

former

the

it is

case

water

distemper

employed, /.^.y
with

mixed

whiting

tinted

and

hot

size

with

powder colours,

such

at

oil

be

can

as

shop

good

any
or

tor's.
decoracolours

Some
had

be

can

tained
ob-

ground

in water.
For

the

decoration

is
stencilling

of walls

admirable,
No.

163.

"

Flying Bird, adapted

Japanese dra\^ang.

from

is

"

tooth

to

it,and

consequently
than
be

when

paper

and

then.

in oil.

In

that

wet, and

dry them
frieze

sinks

colour

in

sharper impression can

in mind

borne

appear

the

it is

quickly by

running

round

very

good
a

the

in distemper

it

lighterthan

much

plan

wall

colours

to

see

try them

how

under

they
the

quickly;

obtained

be

fire to

dries

and

mixing distemper

they dry

easilyused,
being

there
"

temper
dis-

as

must

they
on

look

cornice

STENCILLING.

is

good

stencilled

in addition

wall

the

on

small

decorating it,and

of

way

221

patterns

powdered

"

the

over

be

can

wall,

it is termed.

as

in
stencilling

In
them
be

to

The

sharp.
the
be

used

The

in

observed

the

the

brush

the

palette
it

over

avoid

you

of

danger

the

spreading and

produ

so

cing

No.

blurred
Be

very

get

too

colour

little colour

on

colour

if the

fill

not

distribute

the

neath
under-

made

knocking

to

case

work

full,but by

too

brush

especiallythe

to

the purpose.

Do

and

impressions

get the

to

point

short

are

expresslyfor

taking

is

main

The

cream.

thinly.

too

hair and

them

colours, thinning

your

slighttendency

this is

platesand

up

thick

stencils

has

colour

brushes

in the

using

mix

must

consistency of

the

to

oil you

impression.
careful
much

not

164.
"

Flying Bird, adapted

Japanese drawing.

from

to

water

turpentinein

or

the

brushes, or

disaster

will follow.
It is

possible to

gettingeach
way
on

to

the

slightlyvary

impression mechanically

effect this is to

palette and

little of the

the

colour

have

lot of
in the

the

tints
the

used

The

same.

tinting colours

white

brush,

also ; you
and

instead

can

justdip

of

best

in batches
then

take

it also in the

CRAFTS

ART

knock

white, then
mix

them

before

the

brush

rubbing

AMATEURS.

FOR

over

few
the

times

the

on

palette to
this way

stencil-plate.In
^'

you

"

break

colour

the
the

on

stencil and

the

is much

better

than

if you

used

the

always
same

throughout.

colour

ling
stencil-

It relieves

the

of

chanical
me-

to

little

will

use

in this way.

colour
A

fect
ef-

practice
make

soon

in

expert

anyone

varying

the

tints

iiifinitiim.

ad

the stencil

Hold

with

the

and

with

left hand
the

right

keep knocking
brush

on

working
colour

the
out

the

plate,
the

in this way

rather

than

rubbing

it over

stencil.

This

by
the
ticularly
par-

appliesto
a

No.

165."

Arras

Wall

Hangings

in stencil.

freshly charged

brush,

for

when

CHAPTER

POKER

WORK

XIII.

ON

WOOD

the

Paris

shown

addition

colour

was

excellent

and

effect

obtained

by

Poker

work

Itself

better

Salon

just

The

alluded

of

class

background
relief;

such

of

renderings
these

pages

those

from

Forms

in

by

well

be

in

be

poker

animal

adapted

Japanese

given
for

Decoration,"

outline,

and

the

as

for

the

in

the

here

we

what

legitimate
oak

the

is

preferred.

forms

the

Vine

7,

the

or

the

in

No.

scattered

flat-

page

quaint
through

particularly

chapter

detail

in

is where

work

purpose,

have

lends

colour

be

to

work,

forms

the

combination.

where
is

and

was

example

leaving

instance,

other

and

could

well-defined

"

on

effects
there

Animal

obtained
is is of

an

character.

ornamental
Poker

for

and

work,

very

and

wood

the

employed,

poker

to

away,

wrought

fish

the

suited

bnrnt

be

light

poker

the

pine,

on

best

pattern,

done

was

design
can

could

16,

to

which

Perhaps

though

treatment,

combination

in

used

be

to

this

to

in

the

wood.

was

year

original

is

alone

ornament

last

drawers
in

to

way

of
was

most

effective

this

Salon
chest

LEATHER.

ornamentation
in

and

AND

work

is,

am

aware,

often

used

for

producing

WORK,

POKER

"^^ ^^"^^
^"A^^^^^^^^^^^
H. C. Brewer.
Mr.
This
taken

from

seventeenth

^^

225

^^^^ Prince's

ship and

the

century vessels.
Q

one

Restaurant, designed by
in

next

illustration are

226

ART

the

effect

this

was

of

"

"

poker

then

of

decorative

what

for

such

could

be

Mr.

efforts

to

marked

any

kind

most

of the work,

Nos.

i66 and

spaces
and
be

aKid

is

nothing

in

the

oak
I

examples

did

all

burnt

seen

By

apparatus

poker

admirable.

realise

what

the

cases

his sister in

by

quite

away

in which

sometimes

are

from

I2S.

one

to

and

taste

Until
could

designs

the white

therefore

primitivean

Heating

arrangement

an

for any

with

simple,

were

one

with

case,

flat

the

attempted,

what

was

done

properly-contrived

heated

iron

on

satisfying.
a

Pyrometers,

as

effect

done

great difficultieswere

no

point is kept

the

the

poker

seeing these

be

lilyin

naturallymeans

known
i8s.

at,

chairs,

low

table, some

judgment

quitecraftsmanlike,and

was

hinted

adequately

not

but
complicated pieces of foreshortening,

no

much

outline does-

only

are

all decorated

renderingsof plant form,

background

as
shapes telling
light

that could

with

not

In

pyrometer.

the

for

sees

ship arrangements,

Shadows

I have

done

was

likely

often

feelingis

the

is

work

work.

cabinet

being

have

we

I cannot

one

in which

I conceive

house

work, and
dark

though

and

good

success.

admirable

ground.

poker

hanging

be, and

My

effective

very

good example

very

towards

way

success,

Here

167.

friend's

should

in the two

as

dark

rendered
In

yield a

to

panel is a

design, one

of

on

there

made

this direction.

in

made
robust

more

i66, though

imitatingline engravings in poker

that

lead

to

No.

as

reproduction,and, skilfully

design

appropriatedesign is a long
think

such

drawing

Brewer's

result ; but

AMATEURS.

FOR

pen

drawn

not

handled,

CRAFTS

and
rod

by spirit.They
be

purchased

in the

fire is too-

can

results
satisfactory

to

be

obtained.
Unless

one

is very

certain

of one's

touch, and

can

trust

POKER

No.

167." Sketch

of Panel

Mr.

WORK,

in Prince's

H.

C.

Brewer

Restaurant, designed

227

bv^

228

ART

oneself

design to
that

be

wrought

outside
and
of

on

the

not

of the

scope

minute

part of the

relief where

all

them

on

other

and

leaving plain spaces.

of

lumps

of black, that

for

they

of

shape

are

in

work
because
than

have

oils,I

they

anything

panels
in

museums,

is

full

of

such

leave
some

to

designs
the

out

finer

of the details

around

confuse

adding

some

the
to

design, which
it.

are

burnt

same

do

way

portions which
help
the

objects as

fine old

this

executed

this

designs in

myself.

chapter
work

is

for

Materials

engravings and

or

capital

suggestiveof poker

more

in

also

167, it

models

scroll-like

foliage

desirable

be

indicatingshading, and

ships.
should

is

The

be

white

omitted,

quite

full

and

carrying

anyone

would

such

with

frequentlymet

Were

the

teenth-century
seven-

make

Brewer

Mr.

of his

bring out

to

heraldry would

treatment.

of the forms

two

or

afraid

do

the

one

be

pen-work
of

and

not

two

i66

as

markings

other

the

opportunities,the

poker

characteristic

In

heraldry

decorative

itself

lending
out

while

obtain

not

afraid

in old

found

be

can

cover

be

could

do

to

not

be

to

seem

plenty

be

indicated,but do

though

put

is

be

and

subjects for panels,and

nature

treated.
similarly

are

midrib

The

Such

vessels

get

great mistake

and
effective,

design.

the

let there

for their

is,those

very

to

be well defined

veining or

breadth.

of

of this

work

surface

puttingmuch

in mind

attempt

work, for you

with

important traits may

away,

It is

instance, go

for

to

the forms

Let

plain.

lose

so

that

minute

parts of the

avoid

shapes,but

and

pen,

the

make

to

doing this bear

in

complicated,and

wood

doing leaves,

Ill

craft.

or

left almost

spaces

every

not

hatching or

cross

too

is advisable

and

paper,

is

the pyrometer

the effect of

AMATEURS.

spontaneously,it

work

to

FOR

CRAFTS

to

also

line,too, left
as

it tends

enough

to

without

POKER

valuable

Many

think,

could,

x\lbert

Durer's

WORK.

229

suggestions for
be

obtained

engravings;

elaborate

from
such

an

study
one,

for

poker
of

some

work

of

instance, as

CRAFTS

ART

230

heraldic

the

device

reproductionsof
On

Hght

seen

the

none

flowers
more

as

be

which

be

can

used

poker

work,

made

by rubbing

and

the

accidental

pigment

as

of

white

on

Colour

wood

water-

certainlybe

can

combination

in

effect

introduced

was

with
be

interestingexperiments might

some

into

colour

which

of

some

with

surplus off

effects

colour

; for

stain.

elaborate

very

Cupids carrying festoons

considerable

with

take

were

I have

and

attempted,

leadingmotifs^and
as

obtained.

be

now

can

can

effective.

less

stain than

introduced

then

work

Photographic

crowing.

cock

of his work

finer

the

were

colours

the

AMATEURS.

poker-work panels

some

and

with

most

wood

FOR

this way

before

far

lines,and

burnt

in

rag,

often

are

the

getting
that

any

are

designedlydone.
Such

design

is
tail-piece,

work,

gives

background
figuresand
Thick

and

of

main

wiping
leather
most
a

copy

carried

just as

off the

surplus.
a

gave

harmonious
of
as

the

it

were.

rich

out

black
the

the

to

the

result.

No

attempt

have

seen

oil

colour, and
was

shadow

original

the

and

colour
of

the

produced

made

translation

other

examples

only

positions.
com-

tracing

yellow-brown

tone

on

of

of

executed

of

mass

colour

warm

pictures,but

Teniers'

made

you

rubbing

The

of

with

couple

pictureswere

where

then

me

two

though

suggested by

was

showed

lines of the

in, and

burnt

was

pictures

the

decorated
effectively

be

can

had

pyrometer,

it

came

poker

sculpturesque quality to

picturesin outline, and

the

and

decided,

and

artist friend

an

he

The
the

certain

leather

undyed

panels in which

with

few

are

for

quite the right way

details.

work,

poker

in

originallyas

drawn

i68, though

conceived

outlines

the

as

No.

as

to
or

of

obtain
phrase
paraleather

ART

23*

decorated
those
be

of

surface

seen

leather

on

leather.

decorating

in

punched

some

the

Various

leave

for

169,
itself

lend

and

would

colour

Purely

the

dual
the

geometrical

effectively
gilding

reproduced
could

be

on

help

added.

the
and

such

brown

patterns

beaten

as

these

himself.

must

Design
would

scale,

being

figures

accessories

and

patterns
with

the

to

larger

the

treatment,

greatly

or

was

light

but
for

out

wrought

foliage

colour

work,

carry
if

repoussed

was

themselves,

poker
to

instance,

to

slightly,

little

reader

the

to

No.

and

lined
out-

was

effect.

suggest

leather

of

employed

and

give

to

considerable

combinations

repousse

or

used

design

leather

cow-hide,

work

poker
method

design

the
The

of

were

with

cases

then

be

to

were

by

the

itself

lends

favourite

cases

front.

nature

be

to

some

and

the

Stains

colour.

in

and

from

of

invariably

appeared
In

poker,

the

by

in

it

fact,

leather,

on

Exhibition

produced

effects

wood

on

cowhide

Paris

the

In

work

effects

essay

undyed

and

patterns,

poker

to

of

colour

admirable

in

tried

only

scheme.

most

some

ornamental

more

suggestion

and

decorative

with

have
the

AMATEURS,

FOR

way

who

glad

the

as

up

this

in
readers

will

to

CRAFTS

burnt

beaten

on.

could

be

design.
arabesques

p3n-ometer,

and

then

colour

CHAPTER

XIV.

PAINTING

FOR

DECORATIVE

ROOMS

AND

FURNITURE.

concluding

subject

our

of

surfaces

in

By

decorative

does

exist

not

is the

and

but

piece

of

environment
artist

the

might
could

called

be

in

as

pictures

the

bring

work

made

designed

and

scheme.

No

various

forms

as

his
to

but

restraint
much

exhibited

attention

out

painted

due
in

is

not

and

to

art,
it

carrying
paid

to

of

be

and

has

is
out

drawn

paid
the

put
to

consist
of

the

of
work

general
the

is not
round

sarily
neces-

all

so

which

the
due

fitness, and

design,

decoration

upon

between

painting
line

bear

but

in

an

cabinet,

not

place

its

Thus

to

by

put.

will

itself

for

surroundings

painted,

can

the

its

panels

it

its

keep

attention

exists

it is

be

picture

knowledge

to

which

conditioned

the

yet

line

because

because

paint

spaces

stencilling.

by

and

is

and

pictures,

hard-and-fast
of

to

tion,
decora-

painting

to

which

to

skill

much

fit the

idea,

an

ment
treat-

considered

decorated.

decoration

upon

and

means

reference

purpose

carried

decorative

forms,

of

without

painted

and

relief

one

the

to

have

we

surface

the

expression

therefore

it

take

from

apart

individual

alone,

and

painting

"

outside

by painted

elsewhere

decoration

it

it

work

quite

devote

to

flat

for

this

to

considered

be

not

may

chapter

that

too

would

ART

234

destroy the
"scheme.

humbler

find

AMATEURS,

the

in

place

passable cabinet

good exhibition,is

decorative

such

art give place

handling requiredin pictorial

painted retable,

colour

and

the
the

it

and

shade

is

in

necessary

all its delicate

too, is seen,

which

distance.

here, but
were

the
two

so

the artist
of

of

No.

171,

has

and

character

which

is

effect

decides.
of

play

of

There

designed

shade

overcome

and

Or

take

an

panels
the

room

around

be

where
the

of

decoration

the

the

at

tions
condiparticular

attempt
in

thought

there would

suggested.

of

no

play

viewed

into another

pleasingor
is

as

under

given

figure singing

light and

ones

artist has

spaces

taste

be

portion
the

Here

is

difficulties to be

melts

to

light

the subtle

effective when

subtle

plane

one

and

of lines

delicate

work

such

of

amount

sculpturesque quality,

realizinga figureseen

pianofortefront.

the

or

many

atmosphere

panels,

the

plenty of

are

where
light,

sense

asserted

makes

There

not

certain

painted

the thorns

gradations,that

Then

picture.

not

be

would

than

certain

The

suggested.

cabinet

but
give relief,

picture.

is
severer

paintinga

to

Davis's

the

treated, and
arbitrarily

employed

less

reproduction,though
scheme

quite ornamental.

are

halftone, with

of

is

background

upon

artist

the

for

the

is broader, flatter and

at

were

case

colour

of

charm

in the

of

much

of

The

originalis barelyindicated
effect aimed

Louis

170.

masterly

Take, for instance, Mr.

No.

general arrangement

to

in

work,

definition and

subtle
delicacyof perception,

exacting treatment.

whole

the

paintingthe panels

as

in

succeed

of

whereas, by working

simplerstyle,such
could

harmony

paint

to

possessed by amateurs,
and

the

upset

would

as

cabinet,many
here

and

skill necessary

The

often

FOR

balance

picturesuch
not

CRAFTS

ment
arrange-

strongly

reverse

here

with

it, but

as

vidual
indireaUse

to

all
a

the

figure

PAINTING.

DECORATIVE

No.

170."

Painting on

Retable.

By
is

a certain
arranged to^fit

and

shade

the

Louis

All

Hallows

Church, Southwark.

Davis.

space,

subjectis viewed

235

and
in

an

instead

of subtle

arbitrary
way,

so

light
that

236

ART

such

difficulties are

flat

and

manner

carrying out

in the face

and

obtain

to

such

relief.

vermilion

colour,

and

to

the

on

little

dry

with

stipplethe

put

Here, you
to

see,

skill

more

decorative
rather

panel :
fail in

than

the

have

design

is

mapped

putting colours
out

be

to

stencil could

small

work

our

in the

cut

out,

on

and

put

be

plan

give it a

In

as

always

paint

humbler

certain

good plan

quaint

to

In

as

make

kept a

shadows
darker

pattern
is

this way
is

eff"ort

be

put in

colour

on

the

dry, and

the whole

unlike

not

deliberately
map

instead

making

thus

by

be

fact, we

shape

positionit occupies,such

It is

much

to

colouring

the

this.

do

to

for
difficulties,

The
the

it.

do

to

and

it

when

on

map.

and
realise it pictorially,

subjectwe

folds,should

the

and

paper,

hair could

The

one.

colour, say apple green.

same

would

in

this is

drapery put in flatly.The

the

and

sleeves, to render

tint of the
dress

difficult

When

succeed

to

attempt

we

tint.

is necessary

than

knowledge

by adding

flesh demands

of

appearance

colour

made

lessen

to

nice

got the

"rigger"

ot

shadow

give

with carbon

lightred, using

as

tone

the

would

be

transferred

be

chin

reddish

have

flesh

the

to

adopt methods

we

and

golden brown,
on

could

get the

to

attempt

black

and

with

in

could

shadow

tint,

of, say, white,

warm,

you

In

flat

the

flatlyand

on

when

kept

up

indeed, it

whole

The

lightred

put

badger

panel.

be

mixed

give a

to

be

put under

be

might

this could

the features

then

tint

shadow

much

so

yellow ochre,

and

stippledon
texture

only

might

flesh

the

panels

an

with.

easilygrappled

more

considerablylessened

handling are

much

consequently are

with
definitely

in all the forms

drawing

in

work

by treatingthe

and

avoided,

outline the difficulties of

and

AMATEURS,

FOR

CRAFTS

of
a

character

attemptingto
of

pattern
which

our

keeps

it

pianofortefront.

careful

drawing

of the

PAINTING.

DECORATIVE

design
make

carried

be

to

tracingof it,so

the

actual

work

the

better.

171

The

"

two

H.

by

is

wish

to

size

squares,

size,then
reduce

and

concerned.

simile

on

bring

if you

task

corresponding part
getting a fac

then

to

drawing

easy

divide

You

paper

your

for the

then

the

as

work

hesitancy

or

direct

more

you

panels of the decoi aied part of a pianoforte,

Theaker, Royal College of Art.

Thus,

bungling

no

easiest way

enlarge a design,the

necessary

dimensions.

To

G.

by "squaring."

half-inch
the

end

If you

be

it

transfer

can

you

paintingis begun,

when

No.

should

There

progresses.

that

work, and

commencing

before

out

23/

your

want

paper

to

work

in the
fill in

up

reverse

the

to

into

mark
the

originalso

each

as

required
the

squares.

It is

in this
way
far

squares

double

inch

way.

squares

design,and

of the

you

this

into, say,

up

enlarge it to

divided

be

of the

drawing

pattern

your

must

to

the

do

to

paratively
com-

with
you

its

insure

proportion is

238

ART

CRAFTS

FOR

symmetricalpatterns

In

in

paper

and

two

then

by rubbing

half

you

obtain

draw

the

have
half

one

plainhalf

faint

you

AMATEURS.

fold

only to
of the

in

design

of the paper

impression of it,and

pencil;

the drawn

to

on

piece of

get both

so

sides alike.

transferringa pattern

For
**

pouncing

"

is the

easiest

to

be

repeated

method

adopt.

to

times

many

prick

You

i"

tl. ft

rxft^^

No.

over

the

172.

"

Decorative

design with

it is better

to

do

this

close

together,like

Some

crushed

leave

and
an

needle

The

rubbed

over

piece of flannel,and
side ;

reverse

needle

holes

perforation on

the

charcoal

C. Brewer.

H.

Mr.

upon

the

on

tracingpaper.

design on

muslin

Panel, by

powdered

or

the

impression behind

postage

chalk

can

make

should

put up

pricked pattern
it which

so

be

or

your

fairly

be

stamps.
in fine

pounce

outlined

will

with

ART

240

deal

good

this kind

have

to

of

CRAFTS

amateurs

gildingis

usually put
size must
This

should

before

taken

of

to

handling

it.

*'

gold

is the

be

colour

showing

up

press

well

looks

through the
William
St.

gold ground

colour

Morris,

in

fine

the

to

on

"

the
"

paper

paper

gold
the

over

that

gold-leaf
"

transfer

it is put

upon

which

gold size, the gold

This

transfer

gilded ground,

gold
has

and

to

some

by using transparent
gold,

the

of

some

the

tip."

produces

effect.

the

ordinary leaf,which
a

and

is

the paper.

James's Palace,
with

of the

on

the

varnish

gold-leaf require

the

to

sheet

obtainable

are

with

mixed

There

this

on

until you
first,

make

tip."

board
cardSome

greased,so

to

said, with

I have

effects

designed for
a

"

manipulate than

Decoration
beautiful

the

peel away

you

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take

and
gold-leaf,

is easier to

to

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out

has

just passed

grease

slightlyadheres

you

adhering when

enough

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at

of

sheets

well

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wasted

their hair

u[)

the

for the purpose,

used

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blowing away

gilderskeep

which

sold

be

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gilded with

gilders turn

pad,

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adhere

tip,"and

tip,"which

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"

tip

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leather

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be

to

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gold is applied,as

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*'

little

decorator's.

the

decorative

muster.

pass

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the

with

up

hair; and

at

will doubtless

gold

cutting a specialknife is
is taken

to

gold-leaffrom

the

keep

to

to

by

up

gold-leafon

of

sides

get used

nearly dry
be

sheets

amount

before

in

surface

had

day

the

with

of

sadly.

so

platinum

enough

be

can

on

be

and

by covering the

gold size, which

bungle

helpful,and

this well

done

It is for the want

them.

amateurs

gold

very

do

can

of

AMATEURS.

of

that

knowledge

is often

scheme

the

known

introduction

The

FOR

used
The

for

the

oil

metal

wonderfully rich

the

decorations

transparent colours
grape

was

the

he
on

motif

PAINTING.

DECORATIVE

the leaves

and

Indian

put

were

as

red,

fruit were

outlined

then, when

dry,

and

and

varnish.

thinlywith

on

the

241

in

solid

greens

Copal

colour, like

and

purples

is the best

to

use,

it dries very hard.

A

word

No.

may

174.

"

here

be

said

as

By

Hans

St. Cecilia.

for decorative

purposes.

Where

is

buy pound

tubes

cheaper

these

are

to

thinned

with

the

to

Thoma,

much

mixing

in decorated

colour

of decorators'

little

of oil colours

is

frame.

requiredit

colours.

turpentine and

If

small

ART

242

CRAFTS

FOR

quantity of copal they

Linseed

and

the

as

colours
almost

dead,

There
such

has

been

capitalway

should

will

allowance

in oil

done

the

varnish
the

as

evenly,

is

business
it.

This

it should

as

do

lumping

done

by

in

the

Use

parts,

colour

gives

it

as

bad.

look

tricky

succeed

amateurs

decoration

the

overdo

for
professional,
few

dries dead,

on

the

be

use

don't

colour

them

in

French-polishing,and

than

polishing.

the

by

due

should

better

that the

stood
under-

painted,as

vehicle, but

be

decoration

cannot

you

be

to

The

made.

polishing over

might

expressly for decorating,

it is intended

restored

be

it is

as

labour, amateurs

French-polishedroughnesses
polishingmust

The

made

avoid

and

afterwards.

in this direction.

advantage

an

If

turpentine only they dry

one's

using

varnish

brilliancyis

colours
when

it is

dr}ing.

of

colours, and

as

in

avoided,

painted furniture,and

be

turpentineand

be

revival in

that

then

rule

longer

partiallypolished,and

the maker

by

fairlyquickly.

varnished

be

their attention

be

only

and

general

little
can

furniture,if it be

The

hard

much

work

as

so

with

the

but

profitablyturn

little

then

are

thinned

are

dry

oil should

other

colours

will

AMATEURS,

at

fine

qualit}'.
furniture

Painted
a

white

ground

transparent
case

the

Morris.

running

be

can

decoration

the

decoration

over

quiet greens

and

with

of

polished,and

covering

sienna.
looked

in delicate

be

forms
The

very

were

having

choice.

William

flowering tree
The

surface.

whole

work

tones, and

designed by

was

conventionalised
the

On

seeinga grand-piano

pinkish flowers,

the
semi-transparently,
in burnt

which

of

It consisted

can

I remember

used.

colours

decorated.
effectively

most

was

put

thinlyand

lined
previouslyout-

been
then

Light

on

colours,

varnished

decoration

and
on

DECORATIVE

dark

ground

comes

well.

corner

cupboard

in

saw

studio
dull

painteda

was

sage green,

quite

dark, and

some

simple

patterns

light yellows

in

and

g olden

browns

were

painted

the

on

panels, and
whole

.the

was

nished,
var-

and

ed
look-

particularly
rich and

ious.
harmon-

ing
In varnish-

painted work
require

you

broad

brush,

that

you

so

can

quicklycover

the

surface.

the

varnish
well

Use

but
freely,

it

brush

on

so

that

are

leftunvarnished.
Do

holes

no

not touch

the varnish
it has

set, and

when

begun
keep

to

it

PAINTING.

243

ART

244

away

from

varnish

by

the

lightwork,

and

Picture

No.-

"

pint :

Detail

good

of Roof

originaldecorated

and

174,

are

The

worth

works

buy

your

drying varnish,white

hard

work, should

in north

aisle,Catholic
Mrs.

be

for

used.

frames

by

Hans

studying,for they

festoons

of flowers

ApostolicChurch,

Traquair.

his
opportunityof displaying

an

very

treatment.

large

frames, if properly designed,give the

Edinburgh.

decorator

For

drying.

for dark

darker

mirror

and

76.

while

dust

AMATEURS,

FOR

CRAFTS

are

in No.

talent.

The

Thoma,

Nos.

very
173

are

two

173

daring
modelled

in

PAINTING.

DECORATIVE

upon
very

work, and

florid Renaissance
suitable for

using

on

it is

245

class

polished furniture.

of

The

design
flowers

Vi

'm^m-.

5Tef^

No.

177.

"

Painted

Pilasters

by

Mr.

in the Prince's
H.

C.

Brewer.

Restaurant.

Designed

246
themselves

artist has

ribbons.

used

been

to

these

In

for

gone

examples

paintinga pictureof
surface.

Were

flowers in
their
the

light

and

whereas,
wood

of

if

from

different

local

not

what

have

easier of
We

is the

do

to

how

long panel.

No.

water,

as

well

themselves

by

group

of

the

and

atmosphere,
play

of

distinctions;

polished or plain

approach

work

our

form

and

objectsthemselves

the

think

varying light,to

of

graspable and, therefore,

the

nearer

the

get much

176.

to

when

shape,

further

hitherto
the

Brewer, which

Prince's

atmospheric

fairlyaccurate

vessels,having regard

examples

C.

is a

renderings of
of the

some

and

shape
vessels

seventeenth-

most

beautiful

built.

were

from

removed

considered

The

The

effect.

the

portion

Restaurant.

ships,is ornamentalised, line

of before

are

can

H.

subjectin

the

approaches

in

ships,a period

roof. No.

by only having

more

Mr.

scheme

as

being thought

much

on

decorate

subtle

the

nice

once

of

colour

is much

75,

decorative

the

at

we

decorator

of the

We

flowers

same

the

suggest

other

between

accomplishment.

see

century

to

endless

and

they change with

as

we

have

point of view, and

that

colour,

had

gesso

realize them

to

attempt

to

place

or

plane into another,

giltground,

or

garden

and

room

paint the

we

in

go

using flowers

and

should

one

shade,

panel

and

in

surroundingswe

melting

the

by

the difference

see

can

we

flowers

to

we

vase

174,

relief.

procure

two

and

though

as

groups

frame, No.

treatment,

severer

various

In the other

reproduction it looks

of the

appearance

AMATEURS.

painted fairlynaturally,the

are

being held togetherby

the

FOR

CRAFTS

ART

in this

purely ornamental,

as

naturalism

chapter indicate

in the scheme

Paintingsimple ornamental

than

for

;
a

patterns is very

good practicein learningto manipulate colour, and

the

tyro

248

ART

would

do

CRAFTS

well

patterns in No.

177,

176,

Illuminatingbooks
decoration, and

from

the

of

know

copying

it,and

the

at

old

work

note

in

illumination,and

design

and

fancy

Inventing letteringis
be worth

buy

if the
in

the

book

of

"

itselfis
lettering

more

PKINTED

the

beautiful

BY

H.

VIRTUE

not
rest

AND

for

should

worth
be

any

example

her ego into

the

best

should, I think, be

the

delightfulopportunities
letters

and

borders.

undertaking,and
taking

and

page

LIMITED,

on

Vellum

than

CITY

is

spoilt

executed, and

decoration.
work

it would

to
illuminating

up

illuminated

designed

of the
to

the

quite the spiritof

are

well

Ages, and

subject isn't

178, has put

An

COMPANY,

Museum,

Middle

there

of
be

No.

those

painted

attention

Traquair,in

difficult

material

this

be

to

design can

British

initial

Alphabets."

of

Mrs.

there

expenditureto

proportion to

much

and

flatter

Brewer.

the

of the

colour

in

Mr.

form

secure

why

there is

Brilliant

has

roundness

the

reason

pages.

time

well.

as

in

of old work.

same

of

of colour

touching
no

the

well

may

Renais^

The

difficult than

beautiful

very

appropriateart

of her illuminated

one

for

the

work.

designed by

missals

old

Still there is

knowing.
slavish

sense

in the way

didn't

they

that

one

illuminatingwas
what

the

is

Much

amateur.

learnt

more

are

as

such

at

this class of ornament,

given to

the

AMATEURS.

try his hand

to

No.
pilasters,

sance

FOR

ROAD,

paper.

LONDON.

is