This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
The bracket (shown full size in the Supplement) is intended to hold a vase or other decorative object. Half-inch stock should be used. Any wood would be suitable, even a soft wood that may be ebonised or treated with white enamel. Trace the design on by placing blue paper between it and the surface, and following the outline carefully with a blunt point. Then with a large veining tool cut the line parallel to the outline which forms a margin outside the ornament. Be careful to have this margin very even. Take the same tool and cut the eves of each leaf. Then with a veining tool block out the three main points of each leaf, ignoring at first the minor points or toothed effect. Afterwards remove the background between the leaves, but be very careful not to remove the boss at the centre of each scrolled leaf. Have the background about an eighth of an inch deep; then with a fluter cut the midrib, beginning not quite at the apex of the leaf, but a little within, not passing exactly in the middle of the leaf, but on that side towards which the leaf bends. Then take a flat gouge, and. with the concave side down, round the midrib towards both sides. Take the fluter again and cut ribs each side of the midrib from the point in the outline where the main points of the leaf meet down to the junction with the scrolled leaves. Soften these ribs into the surface just modelled, by using the flat gouge. Cut the bosses very carefully with gouges and fluter that tit the outline; then model their surfaces with a flat gouge, and checker them with a veining tool. Take a small gou e or chisel and remove the sharp corners; then take a blunt nail for indenting the corners deeply. Be sure to make each leaf roll smoothly into the one it joins, so that no abrupt surfaces occur. A flat gouge is the tool most needed in carving this design. After the background has been cut out, take curved tools that fit the curves of the leaves, and get sharp and clear toothed effects, taking care to have them slant from either side towards the midrib. Cut straight clown in making this toothed effect, and leave the background as it was first cut, except tor cutting away the ragged pieces. From each eve of a leaf a tube is seen, somewhat raised at the eve and then fading away towards the base of the leaf. To finish a leaf, carry a large veining tool down the midrib and down each side of it. Then make sharp dashes with the same tool on the veins previously cut each side of the midrib.
The shelf is narrowest where it joins the back. If hard wood be used for this bracket, a soft, agreeable finish can be given to it by using beeswax and turpentine applied warm with a soft brush or a woollen cloth, or a finish of simple linseed oil can he used. Numerous examples of carving in this style may be seen in our English cathedrals. It is very showy, and its effectiveness is produced with very little labour. Karl von Rydingsvard.
Object Drawing for Craftsmen: A Common Chair.
By Edward Renard, A.R.C.A. (London). (See page 15.)
(Continued from Vol. 1., page 278.)