Woodcarving

A glance at the contents of this Volume will indicate that its aim is to be of practical help to the practical man. By practical is not meant merely the student of woodcarving, but rather the woodworker who wishes to combine art-carving with constructional work. A panel or other carved form is nothing in itself. It only becomes something real when it is a part of some larger woodwork structure that is, an ornamental feature of some piece of constructional woodwork or of a useful article of furniture.

The following chapters have, for the most part, been written by an experienced woodcarver who, for many years, has had the opportunity of training others in the craft. He does not regard woodcarving as an end in itself, but as a means of artistic woodwork decoration. He assumes his reader to be the practical man who, in turning to woodcarving, has a definite object in view the object of combining an art craft with everyday woodwork. The student can produce panels of various forms which may be admired as such, but it is the carver-cabinetmaker who builds and ornaments his own furniture.

In the Volume will be found five chapters dealing specifically with the application of carving to furniture. In the subsequent chapters, however, the blending of art-handwork and construction is kept in view, and the treatment of natural forms, of grotesques and figure subjects, has all a direct bearing on the general aim.

The illustrations, of which there are a large number, have been specially drawn to elucidate the text, and with a few exceptions is the work of the author. Several suggestive designs, not specially referred to in the text, have been added. The comprehensive Index will be found useful for reference to details.

The examples which dealt of amorinos and angel brackets are followed in this chapter by the treatment of the grotesque head or mask. The application of heads and masks was so often used in past times for purposes of decoration that it is almost a necessity for woodcarvers to have some general knowledge of how to get about the carving of these. The heads and faces chosen here are governed by the same principle as the angel heads already treated. It should be noted, however, that, for the purposes of woodcarving, the broad principles of form and expression only should be used. The more subtle expressions that can be shown in modelled and smoothly-rounded form in clay, wax, or marble, are not so suitable for treatment in wood. No doubt such modelling is frequently done in a satisfactory manner, but the fact remains that the labour spent in working out such expressions in wood is not only difficult, but is really unsuitable for the material.

To carve a head or mask such as that shown in Fig. 138 it is desirable to make some partial study of the bones of the skull. Upon these bone forms only the most important muscles should be shown in the carving forms that are decided and easily read. Note the hollow of the eyes, the treatment of the cheek bones, the frontal bone of forehead, the nasal eminence, and the general lines of the jaw. Exaggeration is the chief characteristic of grotesque forms. For example, if it is required to represent amusement or laughter, the expansion of the mouth should be large practically from ear to ear and the eyes contracted and narrow. For fright, horror, or such-like expression, the eyes should be nearly circular, although they can be sunk under the brows. The expression of anger is indicated by contracted brows. But the most satisfactory of grotesque heads are those which, while suggesting their human and animal origin, go beyond it into the fantastic. They are then purely decorative and interesting. It is for this reason that the masks, etc., of the Renaissance period are so satisfactory. The hair, the beard, etc., take on a leaf-like treatment; the ears are sometimes out of all proportion and are treated like the wings of the bat; other features are also exaggerated.

During the Elizabethan period of architecture these masks were made much use of, and many fine specimens can be found carved over fire-places, doorways, etc. They mostly take the place of a console or shallow bracket; if they are well carved they are a favourite to this day, and there is a wide demand for this class of work. No amount of description can give such a satisfactory insight into the treatment of these heads as would a proper study of a real skull or a cast.

These grotesque heads are cut in all sizes. A beginner in this class of work should not cut one out of a piece of wood less than 12 in. by 6 in. by 6 in.; larger would be better for good practice. Afterwards, when skill is obtained, carve to requirements. Such heads fall under two main divisions: the long and narrow, and the wide and short. (See Figs. 138 and 139.) In practice they represent consoles of those proportions. In setting about the work, as illustrated, saw (or boldly cut) out the main divisions, as shown in section, Fig. 140 and 141; this is a block view, but do not cut away too close. Always, as we have remarked many times before, have enough wood left to give room for finishing cuts. A bench screw, as Fig. 142, should be added to the list of tools; this is inserted into the back of the piece of wood to be carved as shown in Fig. 143. A bench screw is better than an ordinary vice for some work, as it is possible to move the wood to any angle of horizontal radiation, enabling easy cutting on all sides, as well as on the front. Square cutting should be the rule, and this should be kept to as far as possible all through. Whatever rounded form is necessary should be pared off at the very last. The mouldings (if any) at the top and base can be added afterwards with independent pieces of wood if required to leave more of the original wood for the carving of the head.

In setting out and cutting, leading types should be adhered to, so that a sound method is acquired. In Fig. 139 a Negroid form is taken, as the general outline of the skull shows. By placing human faces, grotesquely treated, upon the outline of the skull formation of the animal world, suggestions can be made representing the different virtues and vices which these creatures are supposed to symbolise, and it is possible to make one's work extremely interesting when the designs are carefully thought out and applied.

Little has been said as to cutting, as by a careful reading of the preceding chapters sufficient can be gathered to carry out the tool work. Oak or walnut or any other close-grained wood can be used for the purpose of carving these grotesque heads.

In the carving of grotesques one or two forms are in common use, derived as they are from the antique. In early times they had a distinctive symbolic meaning, and although to place the head of a bird with wings upon the body of an animal, created (so to speak) a monster, yet looked at from the symbolic point of view, it was, when the attributes of the creature were understood, a reasonable enough proceeding.

Such an object was the Griffin, composed of the head and wings of a bird with the body of a lion. This creation was considered as a symbol of watch fulness, and as such has been used as a crowning member or finial upon the top of the piers that flank the gateways of public buildings. It is from such forms that the later grotesques have descended, great use being made of them in Gothic and early Renaissance times.

There has recently been a revival of these objects, especially for interior decoration. They are suitable and interesting subjects to place upon the principal newel post of the main staircase in private houses, and were thus used during the Elizabethan period. Many excellent examples are to be met with in old mansions. The celebrated staircase at Crewe Hall has several of these figures placed upon the newels as supporters of shields.

In those days the supply of wood was practically unlimited, being obtainable from the oak trees of the local parks and forests. Therefore the question of scale and material was simplified. It is not difficult to design an effective Griffin under such circumstances, but as the people of this generation are gradually using up most of the available timber at an alarming rate, it is necessary, both by reason of cost andeconomy, to so restrict the design that the least possible timber shall be wasted.

Now, as the Griffin or grotesque object which we are treating is not a representation of any living object, only parts of several creatures being taken, we are able to so treat it that it will be moulded out of fairly narrow wood, say, 6 in. or 7 in. square in section by. say, 16 in. or 18 in. long. It will readily be seen that limitations are thus imposed which governs the design to a certain degree.

The wings, for instance, must not have a spread of more than what the section will permit. A wider spread and a better effect could be obtained by placing the wings on the diagonal line. The direction of the head would then be at right angles to this, the line of direction being the other diagonal (see Fig. 151); but this method requires greater skill, as the pattern cannot be transferred direct upon the wood, as in our example. Thus such work is best left for those who have had an art training in modelling.

Attention is called to the basis of the idea, as shown in Fig. 148, a, &, and c. If a skeleton of a bird is studied and the detail thus seen reduced to general masses (6), we have a good idea of how to start on our work. The necks of birds and reptiles are long when seen in skeleton. Note, for example, how much like a dragon they are when mounted as specimens of anatomy in our museums. It would be comparatively easy to make a rough clay model of the general masses of our Griffin, and the work would be eminently instructive. If any carver who reads these chapters has seen how taxidermists wire and form the heads and bodies of birds and animals, it would give them a good lead.

In our illustration of the front view of a Griffin (Fig. 146) the arrangement of the wings is not wholly satisfactory. It would be better for appearance sake to move the upper parts away from the neck; the reason they are shown close under the head here is that, unless they are connected to the neck at that spot, the neck (being thin and undercut) is in danger of being broken. When the wings are connected to the back of the head greater support and strength is afforded. There is no reason why these arrangements suggested should be strictly adhered to; the idea, well carried out, is the main thing.

In carving, it would be best to transfer a general sketch, as shown in Fig. 145, upon both sides of the wood, and then to cut away with cross cuts by means of a saw or large chisel those parts marked solid black upon the drawing; the parts shaded are cut away afterwards. The instructions that have been given in former chapters should afford an insight into our methods, and with the help of the sketches it should not be very difficult to carve an interesting object.

In a former chapter, dealing with the cabriole leg, we gave some hints on the treatment of the feet and other parts which will be useful for reference. The general appearance of our Griffin is seen on a newel post, as shown in Fig. 144. The post can be of any suitable design, and narrower or wider than the object placed upon it, as desired. Illustrations of prehistoric monsters, the remains of which have been found in fossil form in alluvial deposits, give us many strange forms which we can make use of, and the fact of their having once existed adds interest as well as mystery to our creations in this direction.

Any hard, close-grained wood would do for this object, but it must be tough and strong, as the position of a newel post is exposed and comes in for a few knocks, no matter how great care may be taken.