In carving, the quality of the wood is of the utmost importance. It should be free from cracks, knots, etc, and as even in its texture as possible, and, above all, well seasoned.

The first thing to be done is to draw your pattern on the wood in its proper proportions; this is called boasting, and in it consists the chief art of carving, as he who is the best skilled in drawing, has the best idea of the quantity of projection that should be given to the respective parts, to accord with the given design. After making out the sketch, the carver has to shape the outline with saws or gouges, and then make out the prominences of each part when necessary or proper, by glueing on pieces of wood for that purpose. The roughly-formed pieces are fixed for carving, and, in some cases, this is done by glueing them to a board, with paper inserted between, to enable the carver to take the carving off with more ease when it is finished. When the work is properly fixed, the carver proceeds to place his gouges; and, by a judicious choice of such kinds only as will suit the turn of the parts in boasting, endeavours not to have more than he can use without confusion.

The principal lines of the whole are then formed, so as to be a sufficient guide to finishing, when it is completed with gouges and cutting tools of various kinds.

The union of carved and turned work has almost always a beautiful effect; but, in producing richness with the smallest degree of labour, the combination may be carried to a great extent.

Reeding is a kind of ornament much in use in all parts of turned work. It is far better than fluting or cabling, for it has a bolder effect in small work than in fluting. When reeding is introduced on flat surfaces, there should always be an odd number, as 3, 5, 7, etc, the centre one being a trifle bolder in table legs, bed pillars, etc.