IN addition to the general outline and proportion of furniture, its appearance is dependent upon ornamentation. This should not, however, become so important as to destroy the constructive elements or the utility. A properly designed article may be quite as pleasing when entirely devoid of ornament as when its surfaces are covered by enrichments of some sort.

In many instances what is termed ornament is but a roughening or coloring of the surface, in hopes to divert the attention from bad forms or poor construction. It is understood that woodwork free from surface ornament must be well made, the wood carefully selected, and care taken to use together pieces of the same color and figure of grain. The joints, unless properly made, become conspicuous, exposing the poor workmanship. The finish - that is, the varnishing and rubbing, must be well done, that the wood may not appear to be covered by a candied surface full of lumps and streaks. Work well made and finished feels to the hand almost as soft and smooth as silk velvet, while to the eye the grain of the wood shows clear and sparkling beneath the thin, well rubbed film of varnish which fills the pores yet scarcely more than covers the surface. In such work the beauty is dependent upon pleasing outlines, good proportions and workmanship. The smallest details, like softening the angle, rounding a corner, etc., require attention, because of their influence on the appearance of the whole.

There are times when it is desirable to do more than fill the demands of service, and additional expense may be incurred by enriching the simple form with decoration.

There are several methods of doing this. Perhaps the most difficult to do well, and yet the most common, is carving. It can be used as a surface ornament, treated as a panel, either cut below the surface of the wood, or in relief. The constructive parts, as posts, rails, mouldings, etc., may be also in ornamental forms. In the first instance - panel work - the problem is one of designing an ornament to properly fill the space, keeping in mind the effect of light and shade. The pattern is in relief of varying planes, and the different parts must be of a size that will be in keeping with the space filled as well as the entire article.

The ornament may closely fill the whole space or be loosely scattered over the surface, but in either instance it should seem to belong where it is, and not as if it might be placed elsewhere or was floating about in a space much too large for it.

In some kinds of furniture may be seen small ornaments in high relief cut from a block glued in the middle of a plain surface many times the length and width of the ornament. Such carving appears as if stuck on, even if it is well executed; for it is wrongly placed and inadequate to the space it occupies. It is not because it is glued on that makes it uninteresting, as might be supposed, but because it is badly designed. Had the surface of the solid wood been cut away to leave carving of the same design in relief, a similar feeling of its having been applied would exist. Nevertheless, the practice of gluing on carving should be discouraged.

When the constructive parts are carved, care should be taken to design the ornament so the contour of the part is not destroyed. Instead of detracting from the form, it ought to enforce it. This may be accomplished by keeping the principal masses of the ornament well within the boundary lines of the part decorated and by making the ornamental growths follow the direction of the structural lines.

If the carving is on the surface of a chair back where it may be leaned against, it should not be of such a high relief as to be disagreeable or so sharp as to be dangerous to the clothing.

Plain surfaces have quite as much value as those that are ornamented, and by bringing them in conjunction, so as to secure a contrast, the best results are obtained.

It has been mentioned in a previous chapter (page 10) that the wood used for the construction has an influence on the design. This is especially true of carved ornament. Although it may be possible to do delicate carving in the coarse grained woods, it is certainly not good taste to do so. In the close grained woods, like satinwood, mahogany and maple, we expect to see delicate and fine work, while in oak, ash and walnut we at once look for a different sort of thing.

Carved surfaces, with the background cut entirely through-that is, perforated - are serviceable forms of ornamentation for chairs, tables; and occasionally for case work.

What has been said relative to surface carving is applicable to this style of work. The design ought to be of a kind in which the spaces and the solids balance each other properly, and no portion should be cut around so as to leave it joined to the rest of the work at one point only. Aside from the poor appearance of such a form, it is weak in construction and likely to split off.

Plate XVII. illustrates perforated carving in use on chair backs, and shows how the parts are joined. It will be noticed that the perforated ornament is confined to the slat in the middle of the back, one-half of which is drawn as it appears when finished, while the other half is only blocked out ready for ornament.

This is quite clear in the shield-back design, where the middle slat is simple in form. The other chair has a more elaborate slat, and its character as such is almost hidden by the form of the ornament. It should be noticed in designing a back of this sort that the general outlines are first determined, keeping in mind the constructive principles. In the chair illustrated the outline of the back is drawn first; next the ellipses composing the slat, and finally the carving. This latter follows carefully the lines of the composition, so as not to destroy the original forms. The acanthus on the sides of the center ellipse lap close about it, and as the opening in the middle of this ellipse was too large for practical purposes or appearance the group of husk ornaments was placed in the middle.