It is necessary, in order to carry on wood carving, to procure a strong table of deal or other wood, the stronger and heavier it is the better, as nails must be driven into it, and holes bored. It must stand firm and solid and in a good light. The first attempt must necessarily be a simple one, and perhaps an ivy-leaf is the easiest representation that can be attempted. Choose a piece of pine wood about three-quarters of an inch thick, free from knots, and perfectly dry and well seasoned; old pieces such as may be found stored away in many houses would answer well for beginners.

A sketch of the leaf to be carved must first be drawn upon paper, the back of which is then rubbed with red chalk or other coloring matter at hand. This paper is then pinned upon the wood, and the outlines of the leaf pressed over with some blunt instrument, such as a crochet-needle or pin-head, and upon removing the paper the outline will be found upon the wood. Deficiencies in the outline must be corrected in pencil, or, if hard wood is used, in pen and ink. Then follows the first process, known as stabbing out, which is done by holding the chisel upright and pressing directly downward along the outline of the leaf. After the design is thus distinctly outlined into the wood, it is a good plan to deepen the depression made by the chisel, by running the curved gouge round the edge until a groove about the sixteenth of an inch deep is made. The next work is to cut away the wood, and this requires caution.

Until the operator thoroughly understands how to cut with or against the grain of the wood, he should remove as little wood as possible. In clearing the wood between the outlines, it is best to work across the grain, and to begin cutting out the wood about a quarter of an inch from the outline, shaving very gradually toward it, relieving the wood at each cut, and setting the leaf free. This work should be done very carefully until the wood is entirely removed between the pattern edges, leaving the pattern in relief, care being taken always to cut thoroughly and never to tear or dig the wood. An experienced carver remarks: "Leave no rags, jags, or fragments; clear out completely every angle and corner; get your work as smooth as possible with whatever tool you may be using, and let every stroke of your chisel or gouge be regulated by design. By following these rules, by cutting slowly and carefully, a little at a time, by holding the tools firmly and leaving the pattern sloping outward to be finished, the amateur will be surprised at the re" suits obtained after a little practice."

The midribs of the various lobes of the leaf next demand attention. These must first be stabbed out, as in the outline and then the surface of the lobe must be slanted down to them from side to side. The second stage is but a repetition of the first process, the ground being uniformly lowered, and then the appearance of the leaf claims consideration. "Certain portions of the surface must be lowered to present an appearance of reality," some portions remaining at their original elevation, others being cut or shaved away to present an undulating surface. Here a knowledge of art is useful in suggesting the proper distribution of light and shade, which must be conveyed by the ingenious use of the gouges of different degrees of curvature. No artificial means should be used for smoothing or leveling the unequal appearance of the carved surface, but it should remain as the tools leave it.

The study of natural leaves is very important in carving, for by this means a knowledge of the different fibers in various leaves is acquired, and wood carving, from being a merely mechanical amusement, becomes in reality an art.