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ART

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THE

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in

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67

FIFTH

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COMBA, YORK.

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CONTENTS.

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PAGE

CHAP,

I.

II.

III.

A

Method

Wood

Study

of

i

Carving

Beaten

15

Metal

Work

Repousse

or

44 .

IV.

Clay

Modelling

Relief

in

'

71 .

.

V.

Work

Metal

and

.

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Enamelled

and

82

Jewellery .

VI.

Bookbinding

Leather

and

96

Work .

.

VII.

Inlaying

and

Gesso,

VIII,

Stained

Wood

Painting

or

in

Decoration.

Relief .

IX.

X..

Fret

117

135

.

.

156

Work

Needlework:

Planning

and

Designing

175

.

XI.

Animal

Forms

in

Decoration

.198 .

XII.

XIII.

.

Stencilling

212

Work

Poker

on

Wood

and

Leather .

XIV.

Decorative Furniture

Painting

for

Rooms

224

and

2^^

OF

LIST DESIGNS

WHOSE

REPRODUCED

ARE

Nuiribers

The

given

ARTISTS

are

those

under

each

BOOK.

THIS

IN

Illustration.

PAGE

Allport,

148

Miss C.

ASHBEE,

R.

Bassett,

Miss

Bennett,

E.

-45

4 F.

T. .

MiSS

BiRKENRUTH,

Brateau,

.

.

.

.

.68

J

Jules H.

Brewer,

42,

166,

C

Carpenter,

Hon.

Chiswick

167, 172,

School

of

Arts

Crafts

and

...

38, 65,

58

Miss

Miss

Grimavood,

W.

G.

C,

F.

.

.

H

24

R.B.A

52,

53,

Sons,

HoKousAi

93

J

".

....'...

.122

.142

George

69

Janko Jenkins,

54 66

Reginald

"

2

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a.

Hallward,

Hulbe,

64 168

.

Harris

to

C

Gimingham,

Hallin,

120

170

Alex

FoxLEY,

177

150

....

Louis

Fisher,

46

79

Walter

Crane,

Haite,

175,

Mrs

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Davis,

.145

.

143 F.

Lynn .

.

.

.

.

.

92,

103

ARTISTS.

OF

LIST

Xll

PAGE

Cherry

Kearton, Kerby

67

Class

Lonsdale

Leighton

Class

Buzzard

4

56

Frank

LuTiGER,

80

Freres

Majorelle

Gilbert

Marks,

.41

.

Martin,

B

Miss

Miller,

F., 7 40,

43,

123

to

Moira,

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Moore,

Miss

Moss,

144

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to

16,

44,

48, 70

135,

to

137

21,

20,

19, to

26,27,30,31,331037,39,

78, 81

to

91, 94

151

to

164, 169.

140,

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J Joseph "

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104

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118,

92,

103

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Dr.

SCHUFELDT,

R.

School

Southwold

W

I46 Industrial

of

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So-Shiseki

G

H.

.

Hans

Thoma,

.171 173,

Mrs

Traquair,

141,

.

c.

voysey,

f.

a

174

176, 178

Herr

Ubbelohde,

136 149

Mrs.

Waterhouse,

Yattender

5

.

.147

Theaker,

Webb,

55

"

6

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M

RosKAM,

to

-51

...

"

Potter

loi,

Esther .

Phillips,

to

3

Stephen

Class

102

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AMATEURS.

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4

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ART

14

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design

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i8

ART

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WOOD

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of St. Mildred's, which Pulpit from the Church 9. stood in the Poultry, showing the general design. "

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20

to

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the

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AR2'

22

No.

II.

Nature

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noticed nature

Notes

apples

should

be

to

nature"

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the

the

apple. plant you

ornamentalise nature,

be

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ART

24

further

no

design,

of

The

No.

13.

two

"

Clock

AMATEURS,

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The

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introduction

worked

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the

in

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the

no-

in the bracket

portion is a decorative conceit," though it is often possible to find time, while in such an apple tree flowering and fruitingat the same the usual and the it is as course : it is left plants blackberry orange well as his point of view. to the designer to select his example, as *'

longer-existingChurch conceit flowers an

is

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to

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WOOD

be

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Design

14,"

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"

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in

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wood, Wood

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without the other.

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turn

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might

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as

flowers

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be

to

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well

as

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naturalistic

too

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the tree.

supportedby in

Oak

is intended

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side, while

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"

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out

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he

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of

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he refers

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wax

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26

ART

CRAFTS

design, which wood

by

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31

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37

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38

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ART

40

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and

as

a

fewer we

come

to

6, in

it

for

with

2, could

be

to

such

a

a

as

natural

themselves

with

for

no

and

carving

successful

cal mechani-

the

to

is

wood

one

rigid

there

working be

can

no

precisionof execution,

quality of carving depends. Chapter

I.,

No.

or

preliminary

some

of

the

by

the

mirror

frame.

to

carve

on

the

beginner,

geometrical pattern like No.

has

work

work a

are

24

practice

Much

flowing design

design

panels, instead

suggested

easilywrought or

effect

appliance for holding

requires some

more

of

an

the

feeling.

purely symmetrical difficulties than

the

every

plainer than

two

equip

it is

thai

after

carve

curves

coffer. No.

of

No.

as

unless

what some-

less with

breadth

being paid

sharpness

no

much

so

Such

scrolls

attention

been

architectural.

should

being worked,

so

the

the

on

decorate

spaces

so

and

borders

to

have

are

criticise

to

competed

and

treated

are

have

mistake

might

gouges,

without one's

have

fillingof

carving

it is

ventured

Relief

niches

properly secured

be

can

the

up

good chisels

some

the

severe,

growth, seeing that

one

by leaving some 2

so

the spaces

to

as

equally.

No.

being quite

so

surfaces

the

then

the

details.

Chapter I.,

that

5 should

obviously a

work

others, while of

character,

5, in

No.

that

No.

the

arrange

see

urge

in

panels

obtained

be

only

can

the

for it is

panels,

might

one

in

severer

If

ornament.

to

we

and geometrically,

up

features,it is, comparatively

seat

designs

these

analyse

we

the

or

2,

main

business

easy

No.

41

all these

settled

speaking, an Take

CARVING,

24.

No.

presents When 25,

we

ART

42

are

CRAFTS

FOR

AMATEURS.

and gettinginto difficulties,

ambitiouSjTail,and small

by valued

so

be

done

Much

gettingused

to

be

can

their

wise

not

discouraged :

successes.

when

it is

far better

is

that

foolishly age gain cour-

to interesting

accomplished by

tools, and

be

to

acquiring

after

command

some

with

and

varietyand

in

not

amateurs

be

to

at

what

knowing

amples ex-

through

pages,

ought

the

of

wealth

scattered these

and

amateurs

them,

over

do

loss

a

shall

they

do.

No.

In a

of

treatment

with

front

intended

to

relief, so

as

No.

25.

Venetian

"

Sixteenth in

high

being

should

not

the

craftsman

considerable

be

would

greatly enhance

depends in

the

upon

light and

treated

would

away

with

shade. a

Tn

the

of

of The

mental orna-

would

in

be

the

same

of

the

plane

as

the

nose

in

give the

masses

allow

to

wings

has

practice

cut

half

tempted at-

simpler work.

being

in

be

highest part

Frame.

This

Century. rehef until

had

Mirror

is

carving

undercutting.

some

the

article

the

The

carved.

ing, blow-

suggests

of

purpose

bellows

a

head

a

this

as

give

I

20,

a

wood

around

depth

of

No.

shadow 21

quaint rendering

"

you

is another of

an

while

owl,

the

the

head which

shadow

Carving

effect. of

head,

in

high

have

to

bellows to

be

relief think front

carved

CARVING.

WOOD

in

reUef.

high

study

to

obvious

and

head,

a

more

difficult

is

it

in

modelling As

It

regards

is

by

Gibbons

which

is

probably and

pine,

free

tools.

gilding, wood.

would

clay wood,

his

for

light

and

have

Such

should

is

has

one

a

found

design be

is

and

work:

and

and

of

one

acquired

some

wrought

23, in

more

in

work

in

these

pine

to

it

No.

as

design,

be

be

can

which

Cedar

gilded,

good

carved

with

of

is

other

22,

would

woods.

command

or

used

were

frame

a

and

suitable.

very

sycamore

frames

as

No.

the

popular,

most

fanciful

even

excellent,

as

the

such

for

is

carving,

round,

fire-places

Lime

in

it

helpful.

course,

carved

knots,

when

preliminary

some

carve.

well,

cut

from

Here

graceful,

been

in

get

we

for

goes,

the

of

light

preparatory

skill

flat

the

brackets

to

good

a

approaches

be

oak,

as

mahogany

rapidity

carve.

wood

good

a

to

articles

such

from

work

our

be

manipulative

as

further

the

would

work

a

far

so

that

the

for

Such

43

adapted free

one's

for

cutting

CHAPTER

BEATEN

III.

METALWORK

OR

is

HERE

no

amateur

in

take

metal.

distinction

be.

line

printed from, line

produced

produced

by

a

"

the

itself

work

surface

is

design

of

couplet

appropriate

An

qualities

craftsman

of

beaten

prominence,

for

of

a

Lend

the

lend

is

design

should

reproduction.

method

the

design partly by beating

by

work

from

the

front.

brought

are

the

in

one

always Now,

and

makes

it

be

in,

that

words

in

"

which into be

the

One

can,

for

the

to

well that

the

tasteful

poet

nuity inge-

metal.

the

peculiar

well-considered conditioned

repousse

from

there

fairly

beaten

of

out

silver,

as

of

a

is the

paraphrase

skill and

the

to

preciousness

"

design metal

the

to

"

has

looks

might

We

metal

indifferent

anything

because

"

work

we

being

repousse.

designer

whether

which

pattern

a

delightful

So

r

it which

so

of

c

when

has,

value,

interest.

steel

out, in

unique

an

bitten

a

a

poor

about

hammering

hammering,

thy voice,"

of

of the

it

or

Longfellow's

music

gives

absorbing

the

beats

wrought

and

as

lacks,

means

up

by

of

he

when

the

of

brass, pewter

danger

a

which

produced

copper,

other

any

beating

"

preciousness

the

by

give

to

copper

quality

a

in

however

Just

on

the

work

seems

design,

a

itself it may

engraved

than

up

Metal to

craft

fascinating

more

can

beaten

REPOUSSE.

back

we

and

instance,

by

produce partly start

by

BEATEN

WORK

METAL

OR

outliningthe design by punching

the

of

The

it is

and

the

the

design can flow

metal swell

of

the

when and

out

We

must

up

exercise

the

upon

inch

an

relief, while

from

it up

(one might and

metal

selection

lose

flat

Lniuiu

be

merely

this

to

siderable con-

the

flowers

danger

of

into

the

might

leaves

less

or

amount

copper

the

retire

the

more

punched

beat

portions

some

up

up

having

Plaque, suggested by

always

you

front,and

background

sea), find itself

judiciously beating accent.

is

45

obtain

to

to

The

up.

basket-work

there

possible, but

through

beaten

be

beat

hammer

"

to

as

the

depends

26. Original Design for Tray or The Speciosum. foliage in low intended

and

so

half-an-inch

from

"

is

back,

possible to

relief

from

pitch,and

of reHef

amount

beating,for

No.

the

from

design

relief.

in

the metal

this,bed

done

REPOUSSE.

are

lined, out-

on.

of

breaking The

extent.

liken it

to

and itself,

the ebb

by

thus

give it variety and

we

in

settlingwhat

part

46 of

ART

scheme

our

completed some

and

CRAFTS

one

work

No.

27." while

very

in

by beating

up

where

be

outlined, or

The

petals of

while relief,

one

at

leaf

the flowers

the

stamens

are

be

should

behind

kept

nearest

still

can

the

be

higher

only punched

able consider-

relief.

In

in very low relief, in higher relief. be

only just

than

the centre

others,

out

give

we

a

leave

we

way

it need

another

lower

effect of

bring

we

foliage to

insects

comes

all events

into

The

26, for instance, the leaves and

the

upon

design

our

Original Design for Tray. and the frog, chameleon

up,

for high relief,

while relief,

low

features

two

or

in

up

AMATEURS.

largely depends

prominence

No.

beat

we

portions in to

FOR

those

might in

on

be the

beaten

only

in front. in fuller

front.

48

ART

CRAFTS

produced by hammering, a

"

Original Design plain metal or or the

relief,while

marks a

should

piece of nicely wrought

]s4^o_^o. min

"

produce

a

AMATEURS.

FOR

for

be

metal

Hanging and

stars

should

series of facets which

preciousness,"and

that

Candle-holder The

bat

If

find

we

in centre.

sunflower

valued.

in silver such

the

with

examine hammer

either

a

and be

alone a

we

rays in very low in higher relief.

gives the

surface

is far

metal more

METALWORK

BEATEN

beautiful frosted

No.

than in

31." metal

is to

highly polished plate. which

appearance,

Original Design

flowers

in centre. and

owl

The in

The

stars

be

and

metal

to

beat

Yet

this surface,

by beating silver,

with

leaves

49

in low

mirror

or

relief,while

plain the

relief.

valued, so used have

highly polishedplate of best

obtain

we

for Candle-holder

higher

only just beginning to the

REPOUSSE,

OR

we

become

commerce.

is copper, E

as

it is very

tough

and

CRAFTS

ART

so

elastic. is

is harder, and

Brass

pleasanter than

belt

and

given

"

Frame

up

effective. There

elsewhere.

brittle than

more

worked

Pewter

chatelaine

a

frequently

was

eighteenthcentury craftsmen,

pewter

for effectively

very

electro-

The design is beaten Repousse Copper. majoiity of examples given. (Fivemiletown,

No.

is

than

copper,

and

beat

up

well, and

reasonably they

wrought

some

Fisher

Silver

in

of the

plates

pewter

picked

in, but

work

brittle.

more

Tyrone.) It is softer

Hers.

therefore

Mr.

and

used

has

Ashbee

Mirror 32. in, the reverse Co.

Old

to

seventeenth

the

by Mr.

No.

is

in it which

used

brass

Steel is used, and

copper.

AMATEURS.

FOR

a

by

method

a

should

Gilbert

Mr.

46 is

very

Marks

eating away

as

a

they I

which

of beaten

easily.

beaten

tried.

be

good example

of

be

can

to

are

be

have

seen

were

very

pewter.

portion of

the

copper

METALWORK

BEATEN

with

nitric acid

beating The

them

punched

round,

this alone transfer

Brunswick this is

with

the

sides

black

and

flat

acid.

nitric

acid

quickly

portions not the acid

operation

of

doors,

it. If it were

upon

When

away.

tray, then

a

perform out No.

33.

objectionable.

You

"

Heraldic

Beast.

the

as

are

very well

covered

acid

the

will

its way

eat

this the

acid

be

the

acid

attackingany part

off

into

the

left,and

bottle,wash in

the

action

of the

for the

length of

acid

places is

time

will

you

well with

also

must

through

do with

not

wish

black.

In

quickened by warming the

acid

must

remain

If you

find it

acided, pour

water,

warm

that

pinhole that

any

enlarge.

soon

see

Brunswick

the

with

copper

your

may

"dry touch

eaten

you

the

as

be

to

with

paint over

then

works

better

black,

and

might

You

pattern.

Pure

and

have

metal

the

to

the

and

keep

had

fumes

to

back,

the

at

pet para-

to

in the

relief

through

you a

of wax,

it

be

face, sur-

then

make

mark

should

acid

the

by

relief.

further

them

acid.

the a

left in relief

acided, or

not

parts

give

to

as

the

51

to

the

If it be

you

further

design

only

in

must

to

as

quite hard, pour

cover

pour

so

black

have

you

design

gives

your

leaving

slightlyso

up

of the

edges

either

and

REPOUSSE,

OR

cold the on,

and

when

weather

the

metal.

As

nothing

very

ART

52

definite

can

be

if it had

than

FOR

CRAFTS

said.

When

been

used

AMATEURS.

the acid before.

is

it works

new

From

quicker half-

a-quarter

to

an-hour

would

produce

a

decided The

very-

result.

surface

acid

the

by

given

broken

is

a

but

one,

unpleasant.

not

26

and

might

be

Nos. 27

largely wrought by adding

away

backgrounds.

the

second

the

In

the whole

design of

ground back-

the

could

be

to

a

removed certain

depth by

the

acid,

then

the

and

surface with

covered

nish stopping-outvar-

such

"

sold No.

34.

Heraldic

"

Dragon,

suggested

Sixteenth-century Renaissance, in human the blending of animal or

by

ornameDt

is often

met

this The

ground

with

a

form

and

and

the

spider-

with.

sharp instrument

frog,chameleon,

for etchers

Rhind

which

web on

Mr.

by

the

"

with

is

as

and

insects could

marked

further

then

out

acided.

be beaten

up

METALWORK

BEATEN

and

wrought

as

could

would

should

do

edges, leaving

the

relief obtained but

the

by

the

be

must

the

thought

No.

In

in, and

eaten

design

the

beaten

particularlythe

"

flowers

the

at

the whole

corners

and

away

be

then

stopping-,

varnish, the

work

scratched

this and

eaten

the work

with

covered

"

of the background

could

out

the

background

be

then

either

26

basket-work could

by

out

for himself.

worker

up

and

these

considerations

other

or

in

foHage just

acid;

to

outline

an

round

it

say

merely

hammer

the

fohage,

the I

though

in repousse,

basketaw

ay

on

bitten in.

-^"^- 35Original Design for place Panel fur Side of Firea "

other

or

treated

with

a

purpose, decorative

of sea-weed, sea-horses, fish and shell.

rendering The

wavy can

in, bitten omitted.

lines be in with

in

ground back-

punched acid, or

OR

REPOUSSE.

53

ART

54

acid

The

has

the

design,so

the

edges be

cover

your

used

it is

of the

might

well

as

developed

by

Original

36. "

If

Sunflower.

modified

be

can

flower

punched fine bradawl

in the

lines

other

or

so

away be

the coarse

ground

for the

come

the

of

tool, and

the

should

enough

within

dish,

that

to

with

away

by the the circle,

outside

The

circumference.

the

a

suggested

come

the

could

similar

Dish

metal

on

You

amateur.

Repousse leaves, which

of

edges

littlebeyond

Etching

ground

wax

the

centre

holes

having

front.

scratched

portions from

some

a

by scratching this

hollow the

in from

soft

to

as

so

the

forms

ingenious

then

Design desired,

black

for this.

allow

a

into

its way

eat

paint your

an

with

metal

to

to

to

pattern

by etchers, and

No.

to

tendency

a

AMATEURS.

FOR

CRAFTS

to

away.

tell at

can

Afterwards

beat

The

back. not

applying acid, you

be a

too

tool

you you

fine, as

distance.

use

your

can

to

eat

up

scratch

lines

want

5^

ART

it is obvious

that

flat metal

it

treat

the

the

FOR

further

removed

the

skill and

greater

38.

"

or

candle-holders

Rose-Water

tyro'sattention

the

craft.

candle-holders centres

our

work

is from

the

required to

knowledge

Dish

could

I

give for

when in

in

and

Nos.

has

on

mastered 31

walls.

the

flat metal

engage

School

Crafts.

and

30

to

Chiswick

Repousse Copper.

he

hanging

either be

capital articles

are

cf Arts

the

AMATEURS.

successfully.

Sconces

No.

CRAFTS

or

the

rudiments

suggestions for In

mirrors.

both

cases

The

stars

of two

the and

METALWORK

BEATEN

in No.

rays be

beaten

are

30 up

39. the can

the

Sticks could

such

"

in the

Design

worker.

for

Poppy. wrought with edges. be

must

be

be

beaten or

No.

brazed

3

1

the

sockets

with

a

to

could

by

those

skilful

get them

presents

no

the

hold

to

cast

be

the

enough for you

in

candle-

airangement

pierced,but avoid

might

bat could

if desired

cutting

out

of it of

themselves

candle-holders

The

on.

The

decorative

edge is shown plain edge so as

a

57

sunflower

The

out

you

treated

relief.

low

the

centre

Dish,

Opium

work,

in very

be

little further,while

a

fuller relief,and

No.

to

REPOUSSE.

OR

to

undertake

by

specialdifficulty.The

a

brass leaves

58

ART

should should the

in

be be

no

distinctive

with The

No.

than

more

be

in

just the edge mirror

two

32,

practice,though and

character

class.

No.

the

I,

is well

be

of

design

the

reader

accompanying

these

notes

certainlyseems animal

of be

can

to

of

number

forms,

I

on

to

of these

them, while

others

very

strikingfeature

No.

34

look

to

my

reHef, such the

fitness

as

space,

which

I have

of

the

cover

in beaten

house

a

the

in the

plain room

was

and

33

34,

with

decorated inches

of

animal

forms

with

a

put

square,

part of the

chimney

quaint animals

wrought

lower had

Nos.

ment treat-

metal.

was

six

about

squares were

in

barbaric

heraldic

The

instanced

as

or

savage

in

for the

penchant

hammered

metal, and

this hammered

ornament

being

a

copper.

Renaissance, suggested by sixteenth-century

was

is

designs

the

from a

suit repousse.

effective

very

gather

touch

panels,

copper

Some

blending

will that

in

saw

together like tiles breast.

to

me

in

work

village

and

out,

decorative

a

rendered effectively

most

fireplace

A

than

of

little

a

get the finish

pleasantly occupies

A

grotesque.

to

i, and

chap,

successful

very

animals

of

repousse', and

and

of

naturalness.

mere

Quaint renderings

quaint

this

possesses

preferredto

a

rims, as

after to

expect

instead

in

which

and

balanced,

far to

of

work

i,

undertaken

be

cannot

effective

less

edges

appearance

Ireland, No.

might

amateur

the

thin

it

flat metal.

from

is beaten

32

is far

thinking No.

of

outside

and

at

make

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CRAFTS

a

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59

obtain

reader

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METAL

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35,

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Bowl, with a Repousse snail Tulip. The frog and have base to variety to the design. The treated. ornamentally 40. the

space me

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! 6o

ART

known of

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41."

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past, and,

Victorian." to

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more

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the

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36,

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is considered

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6

USSE.

.

35, it will be

No.

REPO

OR

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ME

all art,

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TEN

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62

ART

Other

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the

CRAFIS

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37,

FOR

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the

No.

38

42.

and

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Silver, exhibited

in beaten

P^xhibition

the

the

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for

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excellent

an

craftsmen.

Plate

"

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by leaving out

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No.

dish

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AMATEURS.

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Paris

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on

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ART

64

CRAFTS

FOR

AMATEURS.

The

tulip(theragged variety)is

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only

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to

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43.

strength

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suggested, and as

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"

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being helped by be made

a

into

is made

Mr.

the more

the introduction

be

Gilbert

65

themselves.

objected to

Marks

in

design ;

Neptune seated background.

still I have

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as

would

Infant

of animal

feature of in themselves F

lose

snail may

Original Design for Dish, with figureof of waves treatment fish,with ornamental

feelingthat

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REPOUSSE.

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design, leaving

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The

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66

CRAFTS

ART

the

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the

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1900.

simple designs, Nos.

in

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man

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the

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44,

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fond

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example

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bowls

"

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AMATEURS.

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coarser

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design

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designs by

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in the

give examples

several

a

67

charmed

of

surface

white

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Salt

"

REPOUSSE.

OR

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silver will

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45.

beaten

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ness

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WORK

METAL

BEATEN

in Silver

at Essex

Ashbee.

wrought

silver in

designs might

Nos.

have

41

been

in silver.

Essex

wrought

House

silver and

produces the

two

some

characteristic

examples

in No.

45

examples are

of

certainly

68

ART

individual the

No.

two

46. "

in

CRAFTS

Poppy

simple, the

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47.

"

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flowers

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only 46,

forms

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OR

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is

REPOUSSE.

69

naturalistic

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the

bowl

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Iron.

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the relief,

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in the Paris

Exhibition,

ART

70

and

be

can

bullion

be

heightened by enamelling

branch A

few

and

is

in

get

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a

anvil

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There

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villagehandicrafts agencies will,one of in

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iron 47,

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ested inter-

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the

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FOR

CRAFTS

ART

72

it over,

in sketch

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then

48,

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MODELLING.

CLAY

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73

;

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PM

ART

74

CRAFTS

simplicityrather being its

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AMATEURS.

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75

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MODELLING.

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Fig. 48,

dozens

of

76

ART

Animal

by

those

life, as

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CRAFTS

make

FOR

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No. in

be

49

clay,

coloured the pottery

Delia

Birkenhead.

Dressler's

relief,covered as

can

pottery, like Mr.

Haite.

way

is

Robbia, This

in

Volatile." C.

This

particularly

panel

known

52.

the

makes

course,

modelled

was

at

in

too.

The

Berth

plastic

sharp point,

colour

used

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the

draw

to

incised

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of

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way

effective,

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"

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in

the

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^ffaiPPW^^^yiliiSi^H

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with

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MODELLING,

CLAY

of

Lucca

blue,

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century,

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to

but

work,

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glazed and

modelled

the

number

name

of

dull

a

colours,

pink,

to

a

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is

coloured, glazed pottery for, unless

amateurs,

fired at

work

attempt

of

example

of

with

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reach

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get their works for

and

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palette is limited.

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brown,

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Robbia.

della

77

No.

nature.

and

pottery,

can

pottery, it is impossible

a

this

of

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50

an

Paris

the

Exhibition. Modelled

terra

^^-

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53-

damage for

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a

the

wax,

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up

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"

Door.

on

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panel

be

fired

cost, and

with

can

Volatile."

usuallydone

in

way,

The

in sand

modellers

cast

as

is

model

make

in wax,

and

getting an for

that

plaster,and

their sketch

amount

plaster admits by

Miss

as

too, is

mould,

plaster of Paris, which

steel scrapers, other

The

small

easily.

works

this

hand,

kiln.

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in the

that

wax.

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comparatively

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quickly made

finish.

a

metal

material

melting out

the

on

Butterfly Hinge

"

at difficulty

littlerisk of

not

cotta,

Esther

they finish

of of

in

a

high

Moore,

78

ART

No. method

of

is

51,

of

the

work

of

caster

to

sketch

has

do

Leather

only

Miss

see.

we

this is then

this who

Lane

lation manipu-

Moore

makes

in

cast

plaster.

special calling,largelyin

a

of

lines

the

careful

very

artist's

the

being

subtle,and

it is advisable

work

any

that

result

t'o be

is

here

clay, and

Italians,and

around

men

the

that

way,

rehef

in

come

AMATEURS.

this

delicate

so

produce

finished

hands

in

The

design are

Casting

FOR

produced

could

her

CRAFTS

to

get

round

go

professional

a

There

nature.

several

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the

to

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IS^

""%'. .

^W%

No.

54.

"

Details

of

Cupboard "The

With a

foundry.

work,

the

regard to

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Of cost

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of

silver

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used

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made

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in

aluminium. Such

designs

yacht designed by scope

of amateurs,

the

as

Mr. as

suggestingmotifs. The

hinges Haite,

Nature

animal

and

No. is of forms

ornament

52, so

are

on

more

are

much

door

within assistance

of the in

manifestlyinspired

8o

ART

would

not

metal

is

be

CRAFTS

ruinous

a

trifling ; and

entirely oneself experienced to is made and

clay

or

The

No.

to

see

that

a

in

portion of

56.

Calendar,

"

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of

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frieze shown

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Louis

wrought

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gives

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it

quality

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possessed in its

flat

portion

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suggestion of

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knowledge.

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It

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surface

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where

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not

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Frank

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to

hand, and

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Lutiger.

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panel

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work

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rightly

happily given, and

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work,

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water

checking with

in

55

in low

decorated

surface

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in No.

Design

XV.

concentrated,

certain

bronze

of

cost

state.

example

the

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mere

or

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pleasure

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never

you

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silver

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realised.

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AMATEURS.

outlay, while

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FOR

much

tyro, the

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to

as

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gathered possible

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for

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''

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objection

"

style to

ego I

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styles

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designing

objection

chief

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all

in

shown

1

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rest

appeal

strong

no

arbitrary

from

to

pages,

skill

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by

8

makes

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in

work

acknowledge

an

is

chapter,

represented

Renaissance

quite

such

56,

to

be

so-called

I

No.

calendar,

The

MODELLING.

Y

expression, elsewhere,

on

such

it

CHAPTER

ENAMEIvUNG

AND

V.

ENAMEIvIvBD

HERE

has

been

of

enamelling

is

one

this

the

of

crafts

it is here

him

to

that

given

I

delightful small

work

when

it

there

effects

is

play

great

of The

which and enamel

by

usually pieces

some

the

be

information

applied

then

Of

course,

which culties diffi-

upon the

by

overcome

beaten

in

design enters

one

no

very

to

it.

figure

a

by

comparatively

a

to

is

skill

that

or

kiln

practice.

either are

colour

out

colour,

only

can

equipment

heated

of

the

some

be

and

teachers,

and

can

in

given

amateurs, with

nical tech-

Fisher,

It

and

carrying

to

of

it

London

craft.

enamels

give variety

to

which

comes

the

as

the

are

the

much

obtained

be

can

comes

a

of

of

art

and the

beautiful

most

reach

the

equipment,

metal

this

concerning

beyond

means

for

indebted

am

work

one

the

Alexander

Mr.

is

in

by

whose

chapter,

in

years,

taught

established

of

examples

few

last

Council.

County

revival

great

a

classes

this

JEWEIvIvBRY.

work

for

gas

sold of

you

is

enamelling or

in

charcoal,

lumps

copper, have

a

the

fire-clay

repoussed.

themselves,

enamels

coloured

resembling unless,

muffle

as

I

have

glass, said,

you

pounded then

difficult

a

as

colours

one

them of

the

little sugar the

did with

china

them

metal, be

must

when

also

in

to

the

to

but

very if

ing sticky-lookwill

dry, they

bubble

be

to

used, for

remain

enamels

and

might

adhere

to

and

sugar

easily,and

more

surface

They

water,

enable

to

worked

they

somewhat

of

soup^on

cause

then

even

with

mixed

added

glass

manipulate.

to

be

must

and of

slab

a

gritty and

be

just

on

83

JEWELLERY.

be

to

mortar

a

muller, but

a

will

be

in

up

ground

with

have

enamels

The

ENAMELLED

AND

ENAMELLING

kiln

the

crack

and

be

spoilt. of

One

is

enamels metal

of

take

to

about

a

size of

the

and

button,

simplest

the

float

colour, using

on

must

plenty

will

brush colour

than

"enamel

must

of

a

of

coat

camelYou

a

hold

short

large

a

enamel

therefore

metal, and

disc

long,

a

for the purpose.

the

of

a

hair brush

get

uses

on

haired longmore

The

one.

drop, as

it were,

No. on

57.

"

Spoon

Enamel. to

the

can

be

metal,

and

while

manipulated, but

wet

it

until the

B.

Martin,

in

Silver

Designed

by

and Miss

84

JRT

tyro has

felt his way,

covering the the

metal

become on

be

the

58.

"

against various a

given),if

that

is

metal

enamel

flat,as

the

to

on

''

miniature

front.

also

muffles

to

see

heat

more

are

of

to

how than

"

back

might like

only a

thin

enamels

helps

Champleve

an

on

to

pull

Enamel.

rings

archery target

practise in manipulating they fire, for

of

kiln it will

of the

float

just

sides

in the

pull

the

enamels, something scale, both

little

You

Both

the back

on

with

content

colour.

ground

owing

the

on

coloured

requirea

remain

(though

the

the

to

in Wrought Steel and ^Jewel Casket Fisher. Alex. Designed by

colours, and.

The

the

enamelled

metal, and

AMATEURS.

it is better

convex slightly

No.

on

be

FOR

with

metal

must

need

coat

CRAFTS

some

the

enamels

others.

various

sizes, but

it would

be

ENAMELLING

advisable

only

for

you

sufficient

to

be

place

your

melt

the

with

work, and

of

amount

is

heat

Practice

heat.

the

reached, but

long pincers,and it

melted, and The

should

work

it too

much

and

this

be

must

be

looked

the

cause

at

in the

is apt to

just when

fired

and

cool

to

enamel

will

heat

firingcan

left

be

quickly the

Too

enamel

here

to

the

right

if it has

flake

even

easily remedied,

opposite

the

but

off.

spoil,

and

carefullyguarded against :

most

pair

a

by cooling

as

cinder

to

right

if necessary.

again

crack, and

enamels

the

see

muffle,

of

one

with

withdrawn

be

can

obtained

soon

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ing open-

an

door, through

but

metal,

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put back

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soon

is

is

heat

as first,

at

one

There

itself; to

work

the

small

fire-brick

a

the

on

first difficulties presents

the

quite a

attempted.

enamel

85

JEWELLERY.

have

to

is closed

front, which

which

of

beginner

a

articles should

small

in

ENAMELLED

AND

under-

is

fault

fatal.

colour, produces form

other

effect.

Inmy

the

effects

of small

of quatrefoils

perhaps blob

a

look

The

of

2"(i,composed

diameter, with to

which

are

a

beaten

page

rich

very

a

name

attached

if each

disc

of

in

Craftsman^

a

simple

some

beginner's

the

the size of

a

yellow

enamelled,

were

one

Mr.

silver

lightenamel

small

ot

pearl being replaced by

jewel by

a

discs

80, for instance, composed

silver

in

engage

about .silver,

colour, the

different

of enamel.

on

of

Jewellery

well

might

necklace

buttercup, would

and

or

decorative

very

Training

Enamelling

on

which

The

The

book,

nice

necklace

a

of small

composed together,is

linked

former

shown

attention.

pleasant effect,and

ornament,

and

chapters are

very

chain

enamelled

silver

in

of

a

if it be

design,applied to metal,

much

Colour, without

Frampton

\\

about on

a

on

inches

dark

plain discs,about

a

page in

ground, f-inch in

86

CRAFTS

ART

The

enamel

different metal

effect

showing

schemes, such

No*

very the

59-

might

be

pieces of

Those colours

who

do

not

in

enamels

of

assume

a

small

gold

added have

to

are

and

to

the

their proper

the

under

copper,

certain

Enamels.

Fisher.

gem-like

a

pearl in

silver.

painted china

of

a

elaborate on

The

effect.

the

disc of silver if the

if of

metal

Steel

the

to

in

placed

are

produce

referred

replaced by or

gold foil

Repousse Designed by Alex.

above

copper,

these

Girdle

"

transparent necklace

are

silver and

pieces of

small

have

colour

and

Fisher's,which

of Mr.

those

as

gold, will the

to

enamels,

the

and

simplicityitself.

was

metal, owing

through

unique

an

and silver,

copper,

on

each

on

colours, made

and

personal ornament,

same

AMATEURS.

in various

diameter, enamelled beautiful

FOR

In

original

quatrefoils

enamel

binds

parent. or

pottery know

that

tint until fired,and

some

this

88'

any

ART

No.

FOR

collection, such

fine

British

CRAFTS

Museum,

60.

" "

we

Olivia."

ground enamels

covers

the

play into

the Waddesdon

as

find

that

Enamelled

Designed

by

a

The

dark,

Plaque Alex.

while

copper,

this.

AMATEURS.

bequest

at

the

serai-opaque blue

in Translucent

Enamel.

Fisher.

translucent

sixteenth

and

century

opaque craftsmen

AND

ENAMELLING

were

skilful in

very

modelling

given by

was

white.

the

using

When

plaques, ewers,

the

other

and

ground

consider

we

to

through

go

of their

admiration

61.

No.

carried has works their made a

the

may

size

the

of

risks

the

by fire, it the

not

be

quite

enamellers

attempt

used to

to

that

our

in

taste.

these

thoroughly gauged

increases

it

to

secure

produce

miniature, but worked

to

the

the

best

effect of

display the

an

our

designs they

and

Anyone

sixteenth the

these

work

wherever

run

productions, though

the

dishes,

fired by successfully

ordeal

enamelling knows

craft,and no

that

Enamels Eldorado, set with jewels, in Translucent Steel Settings. Designed by Alex. Fisher,

"

out

tried

the

so

showing through

colour the

articles

Limoges craftsmen, knowing has

enamel

opaque

an

89

JEWELLERY,

ENAMELLED

who

century

of capabilities results.

oil

They

painting or

peculiar resources

ART

90

and

CRAFTS

individualities

should

do

these the

and

old

we

attention

that

enamelling

of qualities well

colour the

as

The

the

is

colour

and

art,

overlaid

we

themselves,

forms

bird, or peacock's feather, and

carry

might

naturally,and varied

admiral

bring

be

the

and

use

portions enamel,

If

in

we

handle

for here

on.

casket, No.

58,

would

metal

spaces

cut

filled in with

57, would

The also

in

out

a

even

the

colours

ornamental be

the

powdered

filed down

afterwards

in enamels

is the

gives

work

are

kingfisheror

No.

about

them

the

natural

design is given by

the

as

play.

spoon.

think

to

these

a

craft into

7iot

them

upon of

one

a

scheme

ornamentally, Look

of

putting

colour

rendering them

of

roughen the surface of or

the upon

it,and

repousse

colour, the work

looked

gems),

simple

design.

thick

In

plate

enamel, with

to

the

of

which metal

polished.

it,chase

affect

them

after

our

only thing

these spaces

fired,and

then

and

of

essay,

enamels

metal, and is then

to

in

And

of the

again

here

champleve

with

beetle, butterfly,

brilliant than

more

resources

the

of the

as

be

? butterfly

all the

metal, and to

could

simple work

a

certain

that

the

out

their colour.

palettes,shaped

enamelling

The

before

prerogatives of

a

as

Treat

objects.

chieflyfor

forms, for what

we

take

these

suggested by

red

direct

I

keeping

the

are

such

a

that

metals

we

imitating

way

end

of

a

just]what

this craft alone.

tyro

rich and

that

importance

(as though

colours

this craft,and

It is to

is

in any

do without

can

to

AMATEURS.

craft, which

enamels.

reader's

one

as

of their

what

Limoges

FOR

we

have

enamels, and as

handmaids

the

then

done

on

enamels to

metal

metal, indent it with

cover

the metal used

in

work.

a

pattern

translucent

will

materially

this way

may

be

AND

ENAMELLING

of

Much

the

touched

up

jewellery

fine

of which

unique specimens are

ENAMELLED

with

JEWELLERY. of

the

in

the

are

enamels,

that

sixteenth

91

century,

Waddesdon

is,they

are

room,

employed

to

\Lm^mMmmmim

No.

62.

"

Triptych, in

heighten the taking up of

fine

old

effect

such

a

work,

Enamel

and

by adding

craft not

as

with

Bronze.

colour

Designed

to

this,should an

idea

Alex.

The

form.

make

of

by

a

careful

Fisher.

tyro, in

study

doing anything

like

ART

92

it, but The

Py

FOR

catch

the

spiritof

girdle, No.

59,

could

to

permission

No.

melled

CRAFTS

of

63.

in

ornamental

"

some

the

Hon.

Mrs.

Percy

AMATEURS.

the

have

work

the

of

circular

of

simple design,while

portions could

masters.

spaces

ena-

iryndhain.

in Translucent Lady Elcho Designed by Alex. Fisher.

Portrait

the

also

be

the

Enamels.

pierced and

enamelled.

beaten

makes

skilled worker

A

varied

very

learning what

tyro had

the

it is

employed

used

is rich and

outline

an

as

must

applied in

fired.

when

harder

with

finished

be

last

the

requiringless heat,

Collection,

jewels are

well

rendered

the

flesh

of

which

old

china

form

the

of

fired

ten

first and

on

enamels

opaque

in

a

Limoges portrait

is made

No.

to

in

24,

the

get the effect of

scheme

is

colour,

strivingafter

no

flesh.

the

a

painting,

sometimes

Lorraine,

there

so

The

drapery

The

with

the

white

of the

pink,

which

should

worker

painting,but

for

go

a

enamel

done

be

can

not

used

seek

simpler

to

and

get

more

treatment.

Battersea covered

metal

being

Upon

this the and

work

colours, and

quite simple

enamels.

colours, but

characteristic

were

in

ing requiresburnish-

in the

to, but

a

slightlytinted

effect of

china,

his time

richlycoloured, jewellerybeing particularly by

is

china

The

china

modelling, characterises

and

with

to

china

The

attempt

no

it

being

afterwards.

in

flat treatment,

a

elaborate

for

himself

ground, and

in

as firing,

ordinary

portraitin oils,but

with

a

make,

Limoges

in in

used

enamels

enamels, like that of Catherine Waddesdon

old

effect is fired

is often resorted

portraitthis

is put

gold

to

elaborate

An

times, the

eleven

a

waste

dark

the

on

Gold

effective.

and

be

in

"

yellow powder, similar

of

confine

than

enamelling

dull

can

better

rather

them

in

is often used

Gold

those

colours, but

own

experiments.

chemical

or

his

of

93

enamels, chieflyof French

with

do

to

JEWELLERY.

some

of

assortment

purchased, so

be

can

ENAMELLED

AND

ENAMELLING

the

painted

used

same

in

worked

were

thicklywith

design was

with

sometimes

enamels

a

as

colours.

addition, but

milky

on

opaque

it would

have

Translucent these

the

copper,

Battersea

enamel. been

on

enamels snuff-

CRAFTS

ART

94

boxes

bijouteriehave

and

work

:

they are

too

like

much

figure work

In

No.

The

64.

attempting

to

60, the

Voices

to

be

be

flesh

and

very

a

few

Night," in Translucent by Alex. Fisher.

too

realistic.

was

kept

gold

painters

many

of the

very

being slightlyoutlined.

contour

was

splendour of Limoges

painted china

mistake

the

Designed

mass,

of the

none

ful success-

enamels.

as

No.

AMATEURS.

FOR

threads

brilliant, looking like

In

the

Enamels.

head

of

Olivia,

simple, the

features

hair

treated

The were

black

was

introduced. velvet

and

is

make

The

silver.

and as

dress

a

CHAPTER

BOOKBINDING

VI.

AND

LEATHER

would

HO

have

that

ago

yet

thought

in

of

the

67,

4,

work

be

may

original Thrd

76,

always in

shown

object

this

we

all

the

Gold

2.

Inlaying.

3.

Incising

and

to

of

and

and

of

the

such

an

but

to

an

the

the

original

note

of

besides that

not

as

would in

is after

hear.

leather work

embossing.

may done

be

divided

with

small

this

manner

itself

book

both

cover

Not

doubt

whose is

contrived,

emphatic I

Women

of

the

on

in

see

that

book.

purists

reference

covers,

waiting

Tooling

1.

in

done

tooling

ingeniously

contents

direct

a

ornamentation

The

the

example,

of

are

The

we

of

work

out

the ation, Associ-

example

an

turn

Arts

that

as

Art,

65,

is very

be

often

or

ornamentation what

of

such

to

No.

Glass

symbolical

being

of

craftsmanlike.

Looki?ig

guilds

such

School in

seen

and

the

while

Chiswick

and

Binders

can

and

cuted, exe-

under

which

of

is

work

Home

be

amateurs,

villages,

examples Nos.

by

excellent

even

years

could

followed

most

auspices

few

a

bookbinding

successfully and

WORK.

into

stamps.

the all

AND

BOOKBINDING

Of

course

as

a

the three

rule

the

only

leather is touched

in

upon

of the

development

it is

first

two

doubtful

a

However, touch

are

though

cover,

Poker

work

on

XIII.

leather rather

be

cannot

addition

an

to

said to

be

it,and

book

a

to

cover.

shall

leathers in this

further

united.

Chapter

craft,but

one

painted

upon

ter, chap-

will

we

in

expedient adding paint

we

as

WORK,

combined

colouringor paintingof

The a

be

may

LEATHER

leave

consideration

until then. No.

is

65

of pure

tooHng,

ing the lines form-

where

the

design into

pressed

with

leather tools

ample ex-

an

are

the

heated

afterwards

and

gilded (though they left

be

may

"blind"

or

this

carried

tooling

very

grotesque very

to

No.

remain.

with

"

School

of Arts

Chis-

Tooling, by and

suggestion of grotesque managed. skilfully

far, for

The

Crafts. heads

is very

render

heads, and expert,

as

The

accomplish this

to

there

mistakes, for retrieving to

of

Example

65. wick

is

example

it is made

be

it is

as

termed). The in

plain

a

binder's

is line

H

craftsman

no

altering wrong

once

pressed into

skill is best

comparatively simple means

the

the

shown most

in

must

lines leather

or

has

tooling,for

beautiful

effects

ART

cj8 be

can

obtained,

itself a beautiful

Ko.

To

66."

help

out

FOR

CRAFTS

as

a

line

or

AMATEURS.

curve

tooled

on

leather

is in

thing.

Inlaid

the

Book

Cover, designed by F. A.

tooling,small stamps

cut

Hallin.

in the

shape

of

AND

BOOKBINDING

leaves, stars, flowers, and

effects As

of

example

an

instance,

admirable

Exhibition.

example

have

the

inlaying No.

and

shows

what

shown

was

in

is

the

most

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done

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a

Paris

recent

y^"^

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and

tree

\^

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in

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morocco, rest

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the

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cover

varietyof

dd be

can

^

the

used.

are

In

this

deer

forms

considerable

ways

elaborate

It

craftsman.

skilled

99

wrought.

be

can

simple

other

in various

these

combining

By

WORK.

LEATHER

The

colour.

tooled,

leaves

are

not

stamped.

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example

tour

de

is

a

force^ for

difficulties in

the

the

rendering and

swans

its reflections

with are

they with

executed

of

many An

No.

first tooled

Class, under

Harris.

Messrs.

are

much

skill.

restrained

Whether I

will

binding not

should

decide.

go

The

work, is certainlymore

so;

less

satisfying

us.

exam.ple of 67.

Leather, by the Kirby

Repousse

"

pictorialdirection

a

ambitious, more to

67. Lonsdale

as

in

No.

able, consider-

veiy

far

water

The on

repousse

design the

front

work

is beaten to

give

on

out

the

is

leather

from outline

the

in

seen

back, being

which

is

to

be

" followed

in the

obtained

in this way,

I

shall

68. An

"

a

her

bindings,and in a

excellent effects not

of

present the difficulties

tooling in

No.

67 is blind.

developments of

and

be

to

are

it subsequently.

embossing

tooling and

in

Bookbinding, designed and executed by Miss J. Birkenrutli. example of toolingstamping with figme panelin repousse.

68, by Miss

on

the

as

combination

No.

shown

it does

and

this work

with

deal

have

We

No.

embossing. Very

gold toolingdoes,

that

AMATEURS.

FOR

CRAFTS

ART

100

this

punched

Birkenruth, who the

example. or

resources

The

powdered

is of

always originalin her

craft

are

well

fish, by being left plain

ground,

have

almost

the

BOOKBINDING

of

effect it

AND

inlaid.

being

veil the

leather

designs

are

employed

No.

leather

painted

wall

coverings,and

when

treatingof

into

toolingby using

lines

but

in

described will

We that

might

touch

first the

upon

in

embossed

in their

taken

been

consider

to

introduced

the

subject

technique

new

a

produce

to

only straight

not

usually produced by examples,

some

deal

now

of

in

seen

of work.

Training of

The

has

ever

be

may

treatment

better

forms

with

method,

The

it

as

wheel

a

and

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the

have

MacColl

embossing

to

it will be

this class

Miss

and

Mr.

t^*.\V

helpful.

carried far

as

as

of various

Punches

bloom.

of colour

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the a

leather

'

very

Spanish

The

69.

of

loi

"',' produce these J)^^g,roundS;" |"lld^^'

to

are

combination

The

it

WORK,

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rightlyused

when

This

colour

another

were,

LEATHER

will

certain

a

matter

of

fully

making

of work

class

attention

amateur's

an

found

Craftsman.

a

detail with

occupy

be

stamps.

designs

and for

then

leather

work.

attention

Much

within

the

last few

admirable, and than very

has

been

and

years,

the work

by

H.

Mr.

the

I

Jacobsen,

an

the scope

its

embossing

obtainable

effects

within

which

leather

to

first consider

brieflyits technique,

contributed

as

is more

will

"tooling," we

given

are

of amateurs

and possibilities,

take

from

eminent

an

article

worker

in

this way.

design

The and

a

then

laid

a

tracing

sponge.

over,

thus

over

be

to

wrought

taken the

With

on

stout

leather, well a

leaving

hard an

point

impress

must

made

be

full which

tracing

paper,

damped

beforehand

the

design

upon

the

is

size,

now

leather.

is with gone

For

ART

I02

cutting hard

No.

the

CRAFTS

FOR

outlines, the

wood-

-or

better,

69. Painted, embossed, George Hulbe, of Frankfort. "

plate-glass. penholder,

A

the

small

AMATEURS.

is

leather

slab

stone

a

and

lacquered Exhibited

sharp

sharp ^^g^

in

put

knife

on

sheet

or

Leather

at

is

the

Screen

Paris

used,

front, and

a

board of

of

thick

by

Mr,

Exhibition.

held

like

it is advisable

a

ART

I04

depends

CRAFTS

the

upon

FOR

modelling

wax.

hands,

the

as

which

force

hollowings, they

these

AMATEURS.

be

must

This

be

must

of

presence

is used.

But

filled

at

up

pressed

the

will

back

dry the

prevent of the

the

wax

leather.

fill the

The

only just

must

wax

with

with

adhesion to

preserve

home

moisture

any

to

hollows, for

if it

project beyond

the

plane

of

the

leather, it will make it

when

uneven

is laid down

leather

millboard

the

upon or

other

to

cover.

of

the

the

give

70."

sixteenth-centuryMork and

embossed.

The

punched

;

to

dotted

be

to

be

ornament.

"Star"

giving

and

each

permanently

a

"

the

punches

incised

spaces

used

are

by keeping sharp

of

various

present re-

according

dimensions

blow

leather

the

with

a

hammer,

to

of the

moist it is

indented.

By working the

punch

ring

"

sizes,

and

give

on

surfaces.

wrought,

also to

the work

leather

prominence

and

modelled

Design,

Panelled

face sur-

different

a

texture, and

No.

it is

surface

Punching

will

the

the

leather

from

the back

and

punching

surface, quite sufficient relief will be obtained

for

down chair-

AND

BOOKBINDING

backs, It is

seats, where

or

only

in book

that

higher

should

be

and

is

70,

ment. treat-

process

reads

in

one

articles,

it a

technique acquired, so

soon

the

is

amateur

enabled

produce

to

creditable

work

time.

short

a

is

Leather

pleasant work,

indeed

material

touch,

to

the

to

that

so

work

a

have

not

in hand

a

it is very

as

responsive

does

and

which

sufficient

in

suchlike

wax.

71

this

simple enough,

very

and

use

able suit-

all

are

The

that

covers,

to

of

use

Nos.

for

is

box

covers,

inadvisable

indispensable.

72

is

be

105

relief

the

Designs and

it would

WORK.

attempted,

then

wax

LEATHER

to

be

long enough

for all interest in it to

vanish.

On

the

trary, con-

effect

an

is

/

quickly .1

^""i though,

No.

Design

for

Chair-back, suggested by sixteenth-centurywork" strap-work 71."

^

obtained r

of

;

to be ornament, The background

^

course,

as

indicated.

incised can

be

and

embossed.

punched

over,

io6

ART

CRAFTS

leather

embossing

artisiic

finish.

given

that

yieldsthe the

best

worker The

though

as

the

more

of

as

the

the

brief skin

pig

of

description calf,

stout

or

of the

skin, too,

dyed

stain

this

If

high degree

a

the

depth

very

than

process

liquid dyes.

to

material

gives

scope.

workers

some

enhanced,

leather, such

colour

the

to

brought from

much

so

AMATEURS.

is obvious

result,as

natural

suitable

be

can

It

thick

FOR

be

done

of

like the

more

morocco,

with

design

the artistically,

surface

natural

leather

portions

be

to

seems

of the leather

is

effect

is in

no

way

impaired.

Miss

Eassett, in the

ings bind-

wrought

under

direction

her

Leighton

Buzzard,

stains

uses

at

the

upon

leather, keeping tint very

pale,

the

wards after-

varnishing the No.

72.-Chair

I

Seat.

To

No.

71.

inclined

am

to

o.btainedwithout

be

with

go

think the

quite

that

Bassett

blind

tooling [i.e. tooling without

is

undoubtedly

these

mistake

portions would

Those

have

a

no

readers

soon

who

proper

medium.

to

the

relief.

raise

rub

have

and

the

these

bindings of

use

For

gold),

book

design

covers

with it

shabby.

become

; but

with

highly,as

too

got their 'prenticehand

notes

can

the back.

at

wax

calf

in trying experiments difficulty

suggested possibly by

the

relief

sufficient

effective

some

parts of the design in low

some

with

necessityof using

Miss

produces

^^ather

Design

in

to

in

will

new

directions,

the

beginner, it

.

certainlybe advisable

would

so

much

the

use

few

a

107

under

lessons

a

quicker acquired by of tools With

be

alone

can

basis

a

of

it is easy

knowledge

methods

fresh

existing

one's

to

get

practicaldemonstration.

imparted by

add

to

by hearing,while

seeing than

to

is

Method

practicalbinder.

WORK,

LEATHER

AND

BOOKBINDING

craftsmanship. speaking of

In

designs

have

I

schemed

out

to

point

they

notes

diagrams,

or

in

and

looked

suggestive

as

upon

no

be

the

look

of

leather.

degree, work

in

No.

73.

"

back

Of

course,

for Chair

Design and

72 for the

See

seat.

with

leather

Figs. 71

and

details.

kept steadilybefore

myself the cases

to

by how

in

Only

of actual

faint

a

the

render, in

can

even

I

by

used.

photographs work

effects

obtained

processes

as

way

indicatingthe to

that

out

be

must

company ac-

hints,

these I may

the

your

of

method draw

the

means

effects

securing

the

such

production, and effects

as

employed. are

obtained,

results, that

could It is and one

in all

endeavoured be

adequately

dered ren-

only by remembering the can

tools

design

employed for

the

io8

ART

craft.

CRAFTS

designs

The

experiments

as

modified

reallygrow

wholly

realised

for

wallet

a

place

for

certain

forms

design

if the

forms

might

be

The

dark

dyes. be

like full

would

present

leather.

and

is

effect

parts around

diflicultyto

no

It should

have

flexible,and

if the

it would

not

require any

that

be

can

The

left to

front

the

though

it could

highly

ornamentalised

feature

being

made

supports, which

is

incised

could

be

in

could

be

piece of calf, a

to

suit

matter

of

foliage, a the

tooling, It

embossed.

and

twistingof

the

itself

working

this is

designed

treatment

of

might

discretion.

74,

be

with

//^/'^ millboard

stout

a

a

flower

wallet

papers

backing, though

worker's

also

for

of

such

wallet

to

good

of

made

were

design, No.

cover

of

and

tinted

the

used

divisions

the

in

a

up

These

of the

one

backing

a

of

making

The

stars.

beating

by being edge

with

tooled

be

the

too

design

a

papers,

obtained.

the

be

is

is essential

accentuated

be

never

77

could but

be

to

design

a

can

No.

be

to

craftsman

contain

to

tulip flower

hang against the wall,

to

wall

embossed,

the

it

the

decoration

further

with

punched

should

a

The

incised

or

elsewhere,

fingers, and

nor

on

calendar.

embossed

said

upon

need

would

by his diagram.

hang

to

the

paper,

bound

have

looked

be

may

carrying out

I

under

on

tied and

As

AMATEURS.

drawn

in the

altered.

or

have

I

which

should

much

FOR

a

distinct the

around

stems

is

by tooling or

adequately rendered

incising. No.

is

suggested by

Renaissance

name

Mr.

70

is

a

class

of

to

which

book

cover

design A

loosely given.

Jacobsen's suggested the present design.

enclosed

by

punched

with

the

''strap work"

stars

or

dots.

"

strap

work

of

portions

is intended

border This

The

the

be

to "

is

a

ingeniouslytwisted

most

and

them

and

71

the middle

of the

obviously

fitted

sixteenth

72,

modelled

I have

work

panels, French

strap-work carved

some

upon

is

planned.

regards the designs,Nos.

As

109

century, and

sixteenth

of the

in the work

distinct feature

WORK,

LEATHER

AND

BOOKBINDING

century.

This

ot

is

strap work

so

for

being reproduced by sing, embos-

incising and

so

itself

is in

and

that

fective, ef-

and

ingenious

could

I

give,it seems

not

suitable

more

me,

to

tion decora-

of

schemes

for leather.

seats

and

backs

Chair

obviously

are

cles arti-

admirable

such

to

attention

amateur's

that

have

I

some

devoted to

space

designs

of

a

ing mak-

for these

I

purposes. sketch

the

engage

give

a

No.

74.

"

able chair suitaround

for leather work. Those wish out

when as

readers to a

toolingor incisingand

embossing.

who

get chairs

made

chair-maker it will

gested SugDesign for Book-cover, the of tendril a twisting by to be stem a produced by ;

be

to

found

they anticipate.

Of

to

the

particular design should

a

trade

that course,

the

and

get

charge

large and

is

find

an

estimate,

not

so

elaborate

heavy chairs,

CRAFTS

ART

no

the

"uch

as

some

five

pounds

of

furniture.

pieces and

seat

effective The

No.

to *

crafts.

'

the

to

always

are

then

position No.

is of

shown

in

background

prominence

to

heraldic

excellent

instead

here of

with

cost

imposing

are

for

leather

73), and

quite a

be

was

back

leather

stout

decidedly

67.

should

be

different

wrought

genre

by incising

Quaint

in character.

motifs in designs for would

In

into

come

incisinguse

No.

the animal.

they

the

saw

would

73.

frame. 75,

embossing

The

effect

foliated

in

seat

examples, being

great effect ; but the

in

No.

Design supported by Heraldrj',to and embossing.

the Other

beasts

I

one

design, No.

other

75."

In

is the

fastened

so

in

least, but

at

"laced" so

AMATEURS,

sketched

one

was

thongs (and

FOR

the

blind

with

toolingto get

heraldic

kept pretty flat,so

Heraldry

play

the

beast as

to

is full of decorative

the

give sug-

CRAFTS

ART

112

treated of

animal

as

"

as

more

decoration

in

Figures

are

"

than

children

for

leather

which

cupids

or

should

amateur

difficulties

have

joining of

the

as

not

and

is due

to

the

care

The

flat as

of

effect

rich and

this

while

backing

the

should

be

being

beaten

out

down

from

of

stout

brown

of the

back well out

home,

leather

relief be

those

the

also

glued,

portions in

back

before

them

of

paper into

the

on

cover

old

in

the

might to

hollows

be

those ;

Spanish

The on

to

The

large extent,

have

described

by

parts in low

in

glue then

paper

merely

portions I

and

the

pressed

well

until the

enough

sheets

again pressed

be

front

relief

three

or

soaked

though

which

relief.

a

if two

the

to

idea that the skin

relief should

from

large

ghied

backing dries, as

the

it

Or

obtained.

that

and

a

to

those

well

were

paper

to

embossing.

an

I

way

front, and

being pressed down

thicknesses

working

the

I have

back, and

the

leather

the

from

in

leather

up

effected,

plastic.

was

at

be

to

manipulated

pressed good

have

The

pieces of

paper

portions hammered

would

reason

in bookbinding,

are

the

the

it,and

manipulation

no

colouring, in

had, I believe, a backing of thick the

see

paperhanger gives

a

leather

kept

I

to

purposes,

they

as

together, so

important part,

gildingplays an

the

painted

of this kind.

decorate

to

things, the

two

of

many

other

works

great

as

these

expensive wall-papers.

persons.

and

put, and

essay

only

requires

surface, only

leathers

escape

embossed

of

are

certainlynot

are

for you "

leathers

Spanish

thought

adults.

revival

a

we

be

extent,

great

a

representationsof

as

wall-coverings,screens,

old the

why

been

has

to

being simplifiedand

"

"difficultiesinseparablefrom There

AMATEURS.

should,

forms

shapes

choosing

By

FOR

in

should

the

as

required glue

to

relief, well say

"

for

BOOKBINDING

I have

yet put it

not

the effect could the

over

in

described

there

as

much

be freer and

As

regards

colouring,two be

can

dye

be

in

front.

Of

designs bolder

have

already

the

in

Spanish the

course

than

stance sub-

incised,and

remember,

I

all

paper more

be

I

as

way

what

much

so

might

leather

the

had

book

a

work cover.

the

plans

adopted

to

:

stain

or

from

the

then

same

blind-tooled

are

if you

further

The

experiment"that

actual

of

would

the

though,

;

leathers

carried

WORK.

LEATHER

the test

to

manipulate.

to

should

be

back,

treated

AND

the

paint it

leather, or

in ordinaryoil solidly colour.

plan

The

is

better

former

certainlythe

adapted

to

material,as

it

pity

loose

a

of the

surface which

to

seems

the

leather, if you

do

you

the

7. with "

paint it, though the

was

in the

could

is added

a

gamboge, yellow, and

blue, cobalt

and

raw

burnt

golden

If solid

with

varnish

after

they

and

have

little hard

very

ochre

be

colours

floated

begun

to

with

green,

madder

they

freely,and

on

Your

set. I

amber

as

verte,

viridian, Indian

brown, of

some

among used

terre

used

turpentine,to

dry varnish,such

sienna, are

colours

transparent thinned

employed,

be

copal. Prussian

useful.

The

Spanish leathers.

by artists

or

Decorated Design for Wallet. incisingand embossing.

plan adopted

old

which

this

should not

scheme

the be

be of

most

mixed touched

colour,

ART

114

CRAFTS

therefore,must be

must

almost

Prussian

leaves

blue,

Indian

yellow,

madder

brown.

The

animals

might down

those

used much

so

book

of

The

decorated

with

planned does,

to

or

the

as

old

In

in

the

made

greens,

work

the

ground back-

a

a

small

as

as

decorated

be

will

planned

tree

as

indefinitely.A look

very

as

way

a

having

wall-paper suitable^

be

sketch

to

rich

design

A

screen.

did, would

of

ribs

design,as

the

would

leathers

leaves

The

to

of

same

in

and

be

not

of

room

or

stems

the

on.

continued

be

the

Spanish

the

stems

surface

; so, too, would

much

pigment

of

and

the

leather,

as

the

leather

I

saw

'at a

each

friend's

the

showing through produced

cowhide

plenty

coloured

partiallywiped off, and

was

harmonious is

There

of

examples

the

yellow rich

parently. trans-

separately.

some

house

the

by being punched

up

should

they

smoking

it materiallylessens

section

broken

as

the

tooled

be

treatment

could

leathers

repeat

in

used

cream

while

foliagepart

ornamental

libraryor

a

; and cover,

series of scrolls,and

dado

as

an

could

its surface

greater.

noticed, is

be

frog could

high relief,and

edges,

leaf

punches a

or

in rich varied

be

in

the

at

have

on

white

could

design, or

a

varying proportions,and

^should be

disc

with

over

of

colour

sienna, golden ochre, gamboge,

of each

centre

could

a

flowers

could

raw

in

incised

be

get tacky, it is

colours

78, the bird, animals, snake, and

give.No.

The

be

the

manipulation

your

Semi-solid

them.

in spots, say

and

varnish

slightlyheightened "with

of

AMATEURS.

upon,

these

impossibleto'use

I

be

is

decided

be

rapid/as when

introduced one

FOR

warm

a

very

effect. of

Screen

evidences, for

for

room

No.

here

we

69 have

experiments shown a

work

at

the

in

colouring

Paris

in which

bition Exhi-

tooling,.

AND

BOOKBINDING

No.

78, "

dotted forms work.

embossed

Suggested design for lines show

where

to be in relief.

the

This

WORK.

LEATHER

leather Wall

joins might

design could

be

Hangings.

made.

also be

115

The

treated

The

animal in

poker

ii6

ART

embossing boats

itself is and

and

the

on

be

finished other

applying

*"

colour

the

of

so

long

as

either

great

keep

lost ?

I

given

consideration

made Coloured

when

its part

plays

be

may

made

of

vellum, which, being

colouring being

as

that

seen

one

to

is

made

surface

finished.

work

in

to

one

yield a

advocate

the

should

and

leather

be

does

other

certain

class

was

always

be

not

finished

this of

employment

tinting leather, shall

the in

It

us.

no

working

of

trace

give

the

of

use

will

leather

have

medium.

another

as

it will

very

make

highly prized

leather

in

a

should

and

finished, all

else

and

piece of work,

same

is the

and

combination,

I

means

be

what

colours

of the

the

of work

me

yield its quota leather

in

rightlyused

nothing

in

or

command,

your

uses

"

incising

"

his reach.

in should

transparent the

singly at

kind

work

if

materials, because

but

parent semi-trans-

be

tooling,"

"

within

it,else

to

our

imagine

such

of

within

works

one

if,when

here

of

the

all three

imitatingone

leather

even

coloured

be

to

work

you

resources

are

you

value

dyes with

of

employed

using

utmost

effects

outline

tooled

colouring can which

on

allows

in

material

of

the

leather

under-surface

of effects

hesitation

The

that

say

processes

has

no

at

blind

a

the

material

yet the

colouring mention

the

to

three

class

attempt

have

of

effect

vellum.

craftsman

varied

The

effect.

embossing,"

the

to

surface

semi-transparent,

With

clouds

then

methods

the

blended.

are

ornamentally.

necessary

the

that

so

through

the

as

light,as

AMATEURS.

and highly pictorial,

is treated

hardly

should

Of

is

water

water

It is

FOR

colouring

considered,

the

in the

CRAFTS

so

that

obliterate.!,

result. be

well

varnished

CHAPTER

Inlaying

VII.

Coloured

in

Woods

Stained-Wood

and

Decoration.

T

the

exhibitions

of the

work

executed

of the

Home

Arts

seen

some

carried

stepped

had

breaking

brief

cutter,

and

by

and, possibilities,

important

An

is

work ''

Trial

to

kind

this

charge

of

I

"

; and to

the

be

may

hope,

the

start

judge's

an

the

some

and

open on

a

can

first

is

novel

and

one

take

a

of

some

him

fresh

of

branch

any

Gilbert's

In

from

'*

with

thing

thus

track.

new

mind.

open

by

to to

up

the

marquetry

attention

studying

refrain

for

disposal

my

his mind in

inlays,

and

inlayer

reader's

be

to

are

responsible

at

the

stimulus

wood

groove,

space

Hall

original designs

obtained

designer

heart, for

those

followed,

it with

the

Association

the

consideration

approach

by Jury,"

every

craft

directing

that

methods

the

the

of

survey

the

the

coloured

had

in

I shall

striking effects.

under

in

of

tradition

from

away

Albert

and

that

out

in the

clever out

showing treatment

held

bias

free

advantage has

to

of

take do

in

ii8

ART

making while,

the

that

has

familiar

it were,

disinfect,as of

FOR

is

original effort

an

all

chance

CRAFTS

it

been

not

with

done

forget, or

to

devices

one's

acting

AMATEURS.

and

mind,

and

then

in

ways

is

there

same

way

course,

some

is

under

the

one's

for,

;

all know

we

there

nothing

new

be

To

sun.

self,to

act

taneously spon-

from

one's

and initiative,

own

to

"

doing something

quite the of

the

for

well-worn

freshness, and

before

banish

from

free

self-consciousness, that

so

gives

one

fact

one's

"

is

"

take

is

what

to

within

pression ex-

in

ego^

to

be

original,I

it,

and

therefore

the styleis individuality,

expression of

critics have

Some

for

me

sured cen-

advocating with

doctrine

a

such

insistence,because No.

^Wood Inlay, by the 79. the Hon. lico Class, under "

will

Pim-

self.

one's

be

"

no

there "

in

style

Mrs.

work

Carpenter.

done

under

such

a

controlling idea, they say.

doesn't

I fail to

note

work of

is live

these

in his

give himself

personal one's

what

see

critics

work, what

everything,the and

tradition

"

interest the

being

one

other

for if

mean,

does

he

give ?

quality which people.

trammelled

at

a

The makes

The the

man

start

lowing fol-

by

ART

120

what

has

been

being

but

a

always

It is not all

that

is not

enunciate has

the

into

than

one's

at,

truism

that

thus self is

The

many. but

will

we

towards

ornamental

are

have

we

originalitywe putting

as

flowers

he

but

it.

If

is

nature

design

;

other

suggestions ( n

to

make

some

saw

which

the

of

planning

on

modelled

are

of

not, it is bound

or

in repeating Border plant being taken,

seed-pods and

the

we

being, becoming part

our

seeing everything as

one

no

a

before, for w^hat

thing

same

Ornamental

hinted

in

and

worker,

such

gone

effort

any

glasses,and

1."

the

stronger

one

fibre,and, whether

but

8

to

passes

expression in

No.

some

of what

find

worker's

of

studied

mental

our

AMATEURS,

paralyses

"

necessary

and

FOR

behind.

result

the

seen

done

shadow

be

to

CRAFTS

the

we

only from

bine, Colum-

is the

tirst

consideration.

are

going

thing, by has

into

been the

the

the

way,

done,

we

being original)we

as

must

matter;

a

leave

Whether but

Academicians

fallinginto

original effort (not quite

an

unknown.

is another what

make

to

certain

that of

many call

the

must

well-worn will us

definite

groove,

what

and

strike

to

I take so

that

to we

goal

our

willing to

are

style(which

us

same

forget path

bring

the

forego

mean

can

the be

INLAYING.

pigeon-holed

121

bureau) for

critics' mental

in the

of

sake

the

individuality. of

craft

the

In

unfortunately, forget which

has

one

its

with

; and

by tradition this is fatal

82.

to

in

that

to

Number

of The

modern

movement

In on

some

is

a

choice

far

abroad,

as

Art on

No.

and

the 81

subject as

in which

instance,

I wish

to

possible;

settle in tlie of

did

not

I

the go

Paris

Extra

of

the

seen.

purposely

give but

men crafts-

examples be

may

interesting

who the

ment. orna-

pure

example

an

to

is

simplest

French

and

readers

refer

Continent for

of

80, is

as

most

quit Paris

that

see

the

Only is treated

group

those

Journal,

lines,because of

to

Oak. stem

to

consequence

of the

some

itself should

designs.No.

traditional

wide

so

the

in that

found

be

the

on

while

Wardrobe,

Exhibition

the

founded

bound hide-

more

are

beginning

are

art,

preventing all

us,

virility.The

and

patterns

traditional

who

French, are,

Exhibition

gone

The

spiritthat

new

to

have

provinces.

we

taken,

plant are

departures are who

than

Border,

Paris

the

the

even

progress

Simple

"

facts of the

This

shackles

well-recognisedformulae,

cannot,

one

well-known

of

dozens

let into furniture.

seen

free movement

No.

the

instance,

for

inlayer,

the

the

where

work

student I do

as

so,

I

though

admit

I must

motifs

the

certain

import

to

try

are

Renaissance

in

having what

to

earn

their

living,they

paid

for

are

them

asked

being

83.

forms.

The

insects

might

craftsman

the

best

data In

I

I have

stimulus

or

leaf stems

use

and

into

rein

not

as

of

reproduction.

number

of

pieces

which

that

speaking far

prefer

freshness

The

plant

of

amateur

and

insect

feature.

The

ivory. in

work

a

do

and

of my

some

do

to

particular just as

conditions, will

designs

to, is

to

use

it

strivings, act

as

a

for

something original;

essay

them

as

dogmas.

designing inlays,the

method

or

fancy

artificial

no

am

ornamental

an

his

to

but

would

imposed.

obligation to

put my

can

they

mother-of-pearl

readers

my

notes,

that

I

conventionalised

only hope

can

they

of

no

imposed

when

I think

; but

"

made

are

choice

no

do

to

period, because,

original design,

of

formed

give

can

dictates ; and where

Border

be

have

say "

an

a

only condition

the

is under but

groove,

I

make

Continuous

"

doing

when

to

being

treatment

such-and-such

of

compelled

often

too

are

style

of

most

No.

designers

the

they

for

French

this so-called

in

as

this where

work.

Professional work

known

scheme

the do

difficult to

it very

I find

into

touches

personal

well

so

AMATEURS.

FOR

CRAFTS

ART

122

thing

first The

have

to

is the

remember

design is composed to

be

cut

out

of

very

of

a

thin

INLAYING.

wood

let into

(veneers)and

certain

We

silhouette certain

in

combine

us

of

fact, and

not

showing "

skill in

our

Nature and

stimulus,

ingenuityfree play, and

fruit

"

and

limitations

the

utmost

tendril

or

leaf-stem

feature,take

what

want

of the

and

accordingly

balance, extent

The natural

with

plant

amateur

form

we

faithful 1

be

the

by

taken,

fancy

our

as

and

restrained

be

must

way

given

be exhibited must

a

A

the

and

true

as

nature.

chance

no

allow

we

by

the the

twist

We

take

can

into

stem

a

it becomes and

selected we

craft.

our

a

zigzag,

geometrical device, develop

want,

form

do

purely

leave

out

what

the

basis

of

as

this

method

a

with

of

a

ornamental we

our

do

not

design ;

fitness, ingenuity,

reproduction,

to

that

successful.

be

remember

that

reproducing

it in

must

and

by

us

until

suitabilityto

shall

all

nature,

we

as

on

other

scroll, or a

''

can

as

must

we

shape,

a

made the stems are Border, in which being only distantly suggested in

imposed

Hcence

continuous

a

our

leaves."

"

the

but

above

84." Simple continuous leading feature, nature "

such

is

there

taken, indeed

be

can

as

displayed in

be

A

characterise

transcriptof

a

giving

form,

of the natural

guide

No.

as

decorated.

be

to

everything

of

forms, seeing that

our

painter. our

surface

ingenuity,therefore, should

we

coppie

think

must

the

severity,should

simplicity,even

design.

123

designing is not a

certain

taking a

conventional

ART

124

is

but

way,

carrying bear

them

resemblance

Rubinstein's

wine

but to

nature

Our

distant

very

of

does

to

the

taking

amateurs

85.

"

formed

Border

and

lessons

for

firms

in

though

large

relationship is

which brief

times some-

description tion considera-

technical

It

is

effects

coloured

wood,

repeating

some

possible

to

obtain

by inlaying,as

pearl,ivory,and

metals.

we

and

beautiful

ones

I have

as

details

can

be

top

with

engraved

simple beautiful

material,

to

mother-of-

quaint

pewter,

effects

while

some

produced by using

been class on

inlaying;

any

some

seen

the

to

most

use

can

have

engraved ivory, especiallyfor 91,

the

varietyot colours,

produced by inlaying light oak refined

get

the

at

understand

makers

-

to

nothing else,

for

kept

are

cabinet

well

forms;

used

cabinet-maker men

in its infinite

fish-like

do

of "waves."

borders

are

a

craft would

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86.

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126

ART

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FOR

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87.

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No.

82.

French-polished,

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128

CRAFTS

ART

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81

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the

of

82

leaves

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stylesof design. the

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.

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ART

I30

No.

CRAFTS

is of

83

material,such into

FOR

simple character; shell

pearl

as

the butterflies,

the

lightwood

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possibly to markings

used

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would

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composed

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86, the animal

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of all

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82.

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85, would

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the

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with

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No.

The

several

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of

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I NLA

YING,

131

ARl

132

the be

yellow flag. in the

natural

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woods

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woods

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AMATEURS.

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need

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palette. No.

88

table.

A

A

would

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distinct feature in reds

harmony

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animals Such

into

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!han in

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decoration,

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of

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would

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angles.

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89,

all over,

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stained-wood

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guide.

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details, and

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90,

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browns

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YING.

INLA

interest

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tures,

^11

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to

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No.

91.

been

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interest of

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an

In

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tyro unless

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Panel

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insects.

design.

a

be

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boy ridmg on a dragon-fly reproduced in stained decoration.

and

employed,

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figures are

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ivory have

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the

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the

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the

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91, be

wood

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79

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paper

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No.

one.

white

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pared com-

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seen

Plants

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Exhibition

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AMATEURS.

far

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with

FOR

CRAFTS

ART

-134

were

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the

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CRAFTS

ART

136

design

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No.

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relief;

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ART

138 and

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on

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AMATEURS.

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Writing Cabinet, the front design is a free treatment reference direct flowering shrub, though no will be noticed, the stems As plant is made. Decorated 94. The let down. "

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139

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ART

140

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CRAFTS

effect.

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gesso.

makes

painting in relief,and what

the

gives

relief

there

course,

course,

brush

which

operation where

done

material, tells

this

and

work

drying

entirely.

almost

decoration

the

this

long-haired

the

the

Paris

of

of

gesso

panels

admirable

be

can

Of

in

deal

plaster

and

this

applying

uses

it makes

makes

gesso

be

might

be of small

of whose

that

warm,

first,and

good

to

when

paintwould

three

93,

me

boilingwater.

dry a

No.

reproduced.

it

well

of much

require a

this alone

and relief,

where

agent

would

practice in

decoration

a

then, however

Reginald Hallward,

Mr.

the

not he in

little

obtain

to

simple

the flat surface

up

this after very

material

new

break

gesso,

agreeably,and

our

picture or

a

could, by puttingsome

We

it in

running-patternupon

this clear, take

make

To

of oak.

say

AMATEURS.

FOR

sort

decorator be of

purchased the

he

frankly carving. in

trouble

tins of

GESSO.

141

o

c

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4J

aO

d

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o

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fcC

Pox ^2

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r-

rt

ART

142

Gesso

CRAFTS

be

can

down

scraped of contour

tooled

and

cotton-wool stuck

on

when

this foundation

hollow

to

94,

as

suits gesso, be

can

made

has

work

not

lot

of

and

a

of

part the

used.

a

well

leaves

lettingit come

a

here

to

the

leaf turned

is

by

meant

brush the

of

gesso

"

the

of

of it

he

outline.

gesso

that

effect

pencil,

it holds

as

the

cabinet, No.

is

point only could

94,

be

end, and

where

the

could

be

loaded

those

describe who

me.

in

wTitingwhat

familiar

are

A

suggest

Jap

artists call

the

darks

efiect of

give the

to

on

takes

by dexterously pressing on to

so

up

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the

is able

the

broad

at

follow

in

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in

brush

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obtained

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can

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leaf is neared,

the

and

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the

Scrolls, curves,

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point

What

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hair

to

No.

as

the

brush

on

will

upright

general work,

deal

brush-work,"

colour, and

an

for

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such

freely,so

curves,

It is difficult to

over.

leaf widens,

drawing

a

decoration

Japanese

the gesso

round, long camel-hair

good

produced by pressing on

come

of

up

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end

The

on

brush

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appearance.

little practice. A

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as

as

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danger

no

design,

it pretty

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made

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that

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"

brush-work

spontaneous

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and

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gesso

can

gesso The

freely.

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soaked

required.

"

a

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sharpness

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as

to

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be

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is known

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amount

the

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has

surface

sharp instruments,

the knife

surface,and

if a better

on

then

fibre

or

the

with

up

considerable

any

AMATEURS.

other^^'ise

is desired

Where

FOR

the

form

accidental

with a

full

hair

as

without

qualities

ART

144

CRAFTS

technical

and

utterance, small

skill that

so

of

dodges

that

workers

have

you

effects

not

kind, from

apart

often

material

it will

or

where

effort

be

which

cannot

master

of

and

you,

results of

than

therefore

all be

your free

a

purely painstaking

is revealed

work

and

lecognised by

by accident

master

method

your

blundering

your

must

certainty ot and stippling^

to

it is well

You

bttter

to

in

resort

hide

to

come

soon

will lead

treatment

to

that

by deliberation.

obtained

itself

exhibit

should

that

And

bungling.

AMATEURS.

FOR

instead

of

concealed.

said

I have

it is

course,

one's

and

here

is

put

the

to

with

done

be is

gesso

result.

plays who

Those

that the

one

beginner

inental

work,

he

then

and

must

avoid

should

have

getting

gesso,

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his efforts

vv-ith a

cientlyexpert

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to

should

the

in

oil

to

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the

the

wish

outset

it for

use

first of

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amateur

gold

of

painterswould

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take.

much

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should

medium

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role

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can

colouring

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remove

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can

direction

gesso,

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You

panel.

gesso

crispness of

the

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than

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task

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will

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varnish

exacting

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delightin colouring

the

with

"

a

wipe

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work,

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much

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in relief

work

to

the

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me

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in those

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"

Hallward

colour

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rag

It

state.

again

Reginald

colouring gesso,

about

raw

Mr.

by passing a

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aid.

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off

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leaf with

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a

to

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GESSO.

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touchingiLpand accentingparts of

afterwards

gold

with

be coloured

is

gildinga flat surface, which A accomplishsuccessfully. hints in

few found

in

gesso

can

can

a

very

different business to

requiresmuch

practiceto

will be gilding

Chapter XIV.

for the

As

This

design.

transparentcolours,so that the

through. This

shows

the

to

uses

be put

as

agent, so many

which rative deco-

a

objects

///^-"^-o-^g^r^r \

No.

98. Design for a Stool or a Coal-box, decorated with ornament suggestedby Venetian work of the sixteenth century. The top and sides (showinghow the front should be made to let down) are shown. Gildingcould be introduced with considerable effect. "

suggest themselves this

subject,and

it will also afford

sayingsomething about accompany

better devote

that I had

these notes.

an

littlespace

Let

me

to

of opportunity

illustrations I have

the

L

i

me

a

drawn

repeat here,what

to

I have

1^6

ART

had

CRAFTS

occasion

to

diagrams,

for

This

only

can

94

is

made

to

let

inside

could

No.

be

to

free

a

made.

the

This

design might

oak

or

the

whole

colours flat and could

should

play

thickness

in the

No.

up

into

the

decoration

of

and

design

of

a

and

gesso

;

The

tinted

in

be

left

others, again, in

gesso, used

be

not

pine and

on

might

leaves

relief.

if it were

design

the

with

flowers.

and

wrought

of the

a

A

through

the

form

one

stem

somewhat

and

panels in

certain

to

No. that

and

the

fact, same

that

they

the

end

ornamentally

are

lid

of

seen

I have

in the

linen

give

chests

sketch

a

which

of

of the

reader

largely

gesso

and I

three

96

uniformity

panels, as

work, and

coffers

decorated.

so

largerscale, so

details.

century, used

furniture,and

Coffer, the

shown

on

be

an

they

as

wood

plain

then

higher

articles

the

among

95

the

can

into

considered, leaves

plant

one

any

everywhere.

in gesso,

run

white,

over

decorated

the

it

or

The

highly

developed

the

by

be the

etc.

papers,

to

first

on

Italians,in the sixteenth

The

were

be

only just touched

brought

for

are

transparently. Some

others

be

wood,

coloured

used

stems

worked

while

foliage somewhat

is clothed

be

choice

other

of

should

which

skeleton

divisions

main and

were

might

writing slope,

a

particularreference

The

important feature, are

with

of which

front

as

treatment

no

effect of gesso.

the

work.

serve

fitted

practical

or

figure panels, which

the

Cabinet, the

down

is

in

trations illus-

these

that

notes pictorial

represent

sense

actual

small

a

ornamentalised,

being

no

chapters,

as

upon

seen

from

be

decoration

in

AMATEURS.

former

looked

they

photographed

in

say

be

must

FOR

should

by side, and

arranged

apple

and

are

clearly

see

arrangement side

be

can

panels

may

in

the

pear

so

main

panels.

GESSO.

The. birds but

I have

looking,

it would

as

be

too

of

out

transcriptsof nature,

not

"

keeping

made

"

with

quaint

the

"

general

introduce

to

birds

are

slightly ornamentalised

are

scheme

introduced

M?

treated

quite

naturally amid

such

conventionalised

surroundings. middle

yet

The

panel is of

a

ornamental

more

character,

so

foil

to

as

those

act

as

on

either side. I had

a

of

sort

some

to

lilyin

my

mind

drew

this,and

the

when

I even

ornamental

base

suggested by

was

lily bulb, object was

but

in

with, in

contrast

the

design

to

something

mony har-

and

yet the

to,

foliage panels, varietyor

for

is

contrast

essential in any

planned

a

wellNo.

scheme

99.

"

Panel

of

founded with

the upon bird. quaint

flower, Sun-

decoration. In made

designing

the

subservient

instance,might

be

to

the

twisted

and

pear

panels

decorator's

wishes.

apple

into

any

shape,

is

nature

A and

stem, one

only^ for does

148

ART

tell

not

the

untruth

an

of the

growth

adhered

CRAFTS

of

The

much

very

the

colour

could

backgrounds

getting it lightertowards such

No.

as

100.

oak

from

of the

ought

to

and

effect,and

give

a

or

The

colouring must

unless

bottom,

tintingin

but

plan

to

a

good

an

not

the

even

be

that result.

good

in transparent

on

then

colouringthe

In

a

blues, wood

good

could

oak

Scroll Design, suitable for decoration frame, suggested by Italian cinque-cento work.

nature,

therefore

much

thought of

agreeable

harmonious

as

of

be

a

painting

reliefs,and

manner

scheme

for

:

strictly

been

Continuous

"

frieze

Stained.

the

used,

be

has

nature

floated

be

done

I have

as

simplified.

for

gesso

off the

wiping

fruit

and

leaves

panels rely upon dodge

by twistingthem

though

to,

AMATEURS,

FOR

of

is

colour

essential.

most

.

A

Diaper

like

that

effective in gesso. but

the

sort

of

gesso

outline

suggested in

The

could

might

moths

be be

used

put

need to

No.

97

could

be

raised

not

emphasise

around

the

them.

be

made

all over, Thus

insects, and

a

the

GESSO,

ornamentation gesso,

No.

of

also

as

the

"

all

wings

ornament

on

cculd the

be

suggested

background.

I

over

rose

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should why stencilling

design.

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would

stencil

be

not

in

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resorted

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to

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in

no

sec

on Repeating Diaper Design, founded Certain such as features, (Rosa rugosa). Japanese flower and leaf-stalks base of and bracts at tally calyx, are ornamendeveloped.

loi.

An

the

149

the the

such

which

a

CRAFTS

ART

ISO

would

yield some

FOR

accidental

happy

The

moths

four

wings separately; see ornamentation

The

suggested by

was

of

made

to

make

a

the

dulci.

and

yellow, helped

its art

here

the

in

be

furniture

be

was

to

with

utile

of

tones

gilding.

mth

could

idea

"

could

out

making

value

The

98,

sixteenth

the actual

coal-box

decorated

century

of

The

decoration.

colouring

The

furniture

Museum.

stool

No.

Coal-box,

or

costly, as

the

upon

combination

sixteenth

of

be

not

depend

and

brown

Venetian

by cuttingthe

XII.

Stool

Kensington

article need

the

the

coloured.

when

stencils

as

Chapter

on

some

century in South

effects

treated

easilybe

could

AMATEURS.

A

would

study

here

be

helpful. The the

of

Panel

spiritas

same

arranged

to

(or drawing of

the

suit the

conditions

the

sunflower, No.

treat

is

and

to

same

succeed

flat. than

actuallyin relief,and gesso

instead

could

be gold,

as

blues

with

and

varnish.

leaves

in

within

one's

of

It

over-ambitious

by

or

the

to

bird

in with

give

capacity,and

a

be

can

pale quiet greens

to

still more

to

; but not

to

attempt Gesso

The

peacock

tones

too

little

can

can

by

be be the

background

blue, mixed

of blue, and

it is better

attempt

eye

to

colours, such

transparent

in

too

effected

be

can

deep

way as

the

painting.

elaborate

"

flat

difficult than

nearer

modelling

"

decoration,

fail.

and

forms

these

floated

greens, The

as

This

more

is,therefore, better

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littleforeshortening

perspective,and

form, is much

be

helpful here,

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in

draw

foliageis is about

that

necessarilygood

not

foreshortened

the

and

shape decorated,

in much

The

96.

perspective)is attempted.

in

think, but

paint a

No.

observed, except that very

treatingnature

some

in

panels

is conceived

99,

to

much.

keep

the well

Where

tion

whicli

to

with

meet

such

the

than

ironclad

when

man

tubes,

goes

galley to

from

be

about

in

is

old of

rendering

strike

us

of

make

such

but

at

present

pulpit that

was

in

motifs, do but

9,

age

through

Chapter II., now

if you modern

some

to

or

ship. Always

a

from

back

turn

an

and inspiration,

work

not

in

City church

a

portraitof of

The

prefera galleon

we

in No.

fountain-head

more

is shot

or

we

reason

objects.

one

The

the

motif

flyingmachines,

so

much

so

as

good decorative

a

ram.

them,

I think

decoration.

they

and

pretend,"

can

contemporary

a

the

to

use

or

carved

a

first-hand to

may

monitor

a

destroyed,and

elect

in

present

telegrams,

are

as

is taken

work

is that

used

motifsare

modern

go

modern

no

AMATEURS.

FOR

quaint ships

pleasing

a

CRAFTS.

ART

152

contemporary

examples. decoration

The

capital

way

thought

I

of

so

I

design, No.

of gesso.

the

The

"

can

cup

fill out the

as

in the

"

the

'Uhrown somewhat

leaves

so

some

might

fitted for

confused

varied

be

head

left. on

A

paper,

than

The

decorated. of

"scroll-work,"

modelled be

design,

in

the gesso it.

put in in gesso,

than

while

the to

leaves

not

The while

which

this feature

in

by giving prominence other

parts

design, therefore, which need

of

possible

as

just heightened with

each

objects,

displaying the qualities

give prominence

of the

parts or

as

such

a

be

might

decoration

the

of effect is obtained

Breadth

away,"

the

rather

to

as

for

be

pronounced

more

it

to

space

which

fruits,again,can be

more

to

be

can

it were,

space,

design. to

is well

obviously

so

time, that

better

under

comes

reason

accented

berries

objects

100,

for that

and

"

thought it

indicatingthe

one's

given

is

gesso

adapt designs

to

easy

frames, that in

have

to

in

frame

a

employing

ought

it is

but

of

are

looks

necessarily be

so

GESSO.

carried

when

the

all-over

No.

loi,

the

No.

the

F.

Lynn

disappear.

design might

as

and

which be

hciuic

I

high or

think, largely

colouring. Gerald

in

outlined

than

Messrs.

wild-rose^

wrought

are

would,

by

is merely

at base

the bracts

Executed Moira

and';Other

adapted, and

of leaves

developed ornamentally. has

to

be

repeated

employed, together

leaves, flowers stems

j^iaoi.^.i,

Restaurant

to

its reduction, very

to

little more

leaves

again nature

Here

upon

fibruu"

we

and

Jenkins.

features,such dwelt

in

Trocadero

the

upon

berries

and

this confusion

gesso,

i03.-^Panel for

and

stems

with

accented

founded

afraid,owing

am

if the flowers

But

confused.

the way

applieswith particularforce

remark

looks, I

simplifyit by

can

we

repeating design

which

relief,and

size,as

This

it.

reproduce

full

out

53

and

berries

details could

might be

In

work be

flower-stalks,

carryingout

a

times, stencillirg

many

with

and

certain

by

band.

stencilled, while

painted

on.

The

the

ART

154

The

panels in

and

executed The

FOR

by

is made

of

glue, gelatine, boiled of

be

moist,

of the

some

nothing

as

be

oil, and

with

done

the

designed

decoration in very

soaked

frame-makers

plasterof Paris, and

mortar,

for

composition.

can

Church,

ot

Hall ward.

whiting

linseed

making it,most

worker

Teddington

moulders

by

reproductions

are

93,

Reginald

Mr. used

picture frames

in

pulpit

a

material

trouble

AMATEURS.

figure-panels, No.

two

three

CRAFTS

resin.

To

would

sell

it when

diluted

glue is

diluted the

save

would-

a

used

while

it dries.

Fine

be

It must

of

another

sition compo-

used. The and

Panels, Nos.

Jenkins,

"3ecoration

of

the

Trocadero

for the the

and

modelling. in gesso,

wrought

clay,which

is then

plaster of Paris mixed tow,

that

so

the

treated

porousness

;

apart the

from

-were

ness

to

it

it

were

colour as

of the

a

good work

in

ivory

colour

the

plaster gives

wanting time

of

a

on

and

quality ta

plasterpanel

in relief

solid

varnigh

take

the

be The

material

to

is choice This

colour

is,

its

away

colour, in

itself,

ivory surface which

is

plaster is

receive

to

in

suchas

plaster,and The

it.

to

would

of be

it takes, therefore, far less

and

canvas,

This

be

not

design

the

position.

which

surface

could

substance

capital state

a

applied

it would

in

fix

size

models

fibrous

some

to

scale

sible respon-

Jenkins

Lynn

plaster.

is far less than

with

it is then

kind

a

with

easier

afterwards

having

in fibrous

weight

therefore,much

Jenkins

Mr.

being

Mr.

the

originalis

The

large

a

for

executed

Moira

Gerald

on

so

cast

those

colouring and

Works

and

of

Moira

Messrs.

restaurant.

plaster,Mr.

cartoon

by

are

103,

portions

are

in fibrous

wrought

for

and

and

92

than

to

paint

lacking

in the

same

holds

one,

and

even

sculpturesque-

good

of gesso

GESSO.

this

and

makes in

painting

as

is

quite

in

unison, of

of

effect

No.

103.

and

practice,

mould,

has

for Miss

E.

M.

been

in

design

would

as

the

plaster than

has

material.

Such on

sort

the of

a

design

other "

as

hand,

blobby

"

No.

shows

what

perhaps,

better

in

and

that

the

of

Such

than

and

gesso,

much

more

in

closer

be

can

Mr.

grain.

George

satisfactorily in

most

floated

on

very

thinly

plaster. Mr.

eminently

quality

well,

colours

IV., might

plaster up

putation re-

gesso.

o;" colour.

and

work

some

a

a

won

effect

worked

is harder colours

a

where

has

Chapter

help

tooled

got

and

plaster and

the

colour

is

who

49,

executed

to

artist

It

training

advantage.

panel.

Transparent

being employed

an

in

seen

once

taken,

be

in

Paris

bition Exhi-

professional

a

having

relief,both

which

gesso, of

is

is

much

employ

without

be

can

plaster

Frampton this

come,

can

this

gesso.

relief

low

a

Ordinary

in

wrought

obtained

easily

Rope's

coration de-

The

Paris

late

requiring

can

another

in

work

work

painter

painted

course,

castings

is

Bell

his

Of

repeated

the

is

it

before

work. of

be

to

Anning

Mr.

have

their

Jenkins

and

and

task

a

craftsmen.

operation

an

in

sculptors usually

number

any

design

and

do

to

caster

is

Casting

Moira

quite delightful.

building

these

panel

a

exacting

so

sculptor

is

O.

by

out

not

Messrs.

the

as

and

it

of

"blend"

P.

carried

was

Hues

the

the

work

The

own

and

of

colouring

oils.

their

on

The

the

155

I have

Webb's,

Stephen suited before

to

gesso,

spoken

No.

having about.

117, that

CHAPTER

FRETWORK:

IX.

ITS

POSSIBILITIES

AND

DEVELOPMENTS.

HE

exceedingly jejune of the the

firms

Fretwork

who

there

"

pipe-rack,

and

other

certainlyappear is not

its

put in the

hands

band-saw

The

by

of

means

a

considerable most

many

the

material

a

frame

shapes

spaces

so

hand

to

may be

The be cut

are

to or

treadle, is made

rapidity.

intricate of the

the

in

stretched

either with

of

fretwork

us

uses

by wearing

parts removed

is worked

ordinaryphoto-frame,

various

what

produced

portions of

some

claim ex-

there this what

see

it

can

or

cutting

be

craftsman.

a

form

a

in relief. a

of

to

schoolboys."

itself. Let

of fretwork

possibilities ; to

fret is

away,

fault

readers

in the craft,but possibilities

small

be

necessarilythe

really are

A

to

will

amateurs,

fit for

only

articles

"fancy"

by

in fretwork, possibilities

no

the lines of the

On

for

many

are

it is

and

designs offered

cater

induce

doubtless

acter trivial char-

and

to

away,

leave

usually

other

cut

tions por-

by

away

that

keep it perfectlytaut, fixed

in

work

saw

cut

to

as

away,

out

a

up

machine, which, and

being

very

with

ease,

it is necessary

with

down

the

narrow,

and

to to

reach

start

by

FRETWORK.

gimbleting The upper

end

reach

those be

otherwise old

sist con-

in

but

they

pattern

the

if The

was

tirely en-

produced

by

portions

cut

though

away,

are

are

seen.

ever

fretwork

the

seldom,

now

of

form

famiUar

cannot

better

and

pianos

which

and

it to

enable

to

de-

geometrical

newer

hole

the

that

mj^\T

elaborate

signs,

very

the

passed.

piano-

fronts,which of

A

at.

got

be

can

saw

it were,

in, as

shut

spaces

the

readilyadjustable, so

be

passed through

be

may

which

through

therefore, must

saw,

the

hole

a

157

casionally oc-

the oval had

centre

a

moulding glued to

it

bring

to

on

it

forward. No.

Such

works

these

may

termed

pure

cannot

be

hope of

to

may

one

of various

shaped

Flowers

slightlyconventionalised.

frets, and

I

though

considerablymodified

portions not What

Diaper

"

be

show

design

104.

as

later on, be

mucli

may

do and be

not

see

why

developed, done, and

fretwork

as

great

obtained, by merely cutting away

I

shall

variety those

required. feels

about

so

many

fretwork

designs in

the

ART

1.58

CRAFTS

is their

market

Hke

the

uninterestingness. They

commonplace

like the

geometricallydull

either

AMATEURS,

FOR

photo-frames,

piano-fronts,or

the

designs I

the

invention

no

made

have

to

less character-

geometrical designs

The

admirably adapted, technically,to craft,but they showed

are

requirements of

the

of idea.

In

freshness

or

were

illustrate these I

which

(and

notes

therefore,

am,

perforceobligedta allude

have

to), I

endeavoured

get

away,

as

my

to

will

ego from

allow,

the

designs,and

stock

though

readers

my

not

may

to

care

attempt

of

any

they

them,

may

thinking

them

set

far

so

and

impulse

them

to

efforts

in

somewhat

newer

direction. No.

105.

"

Scroll

Diaper to

service

craftsman.

any

a

track the

to

by good what

copy

and

reader.

it is in this To

call

may

be

have

another

this

is, after

the

most

there, but

one's

spiritthat

all

or

any

hand

mind

by to

of them

get

own

useful

going

started

I offer my

all,

perform

can

receives

one

is

And

tinued con-

space.

drawn

direction, to

new

;

fit any

The

is not

museum

in

designs

which

a

to

for a

impulse

an

on

a

fresh

efforts

originalwould

to

be

i6o

ART

of.

Take

simple

the

fret

CRAFTS

FOR

diaper, No,

flower

consisting of

touching

each

togedier,

the

other, for less

AMATEURS.

forms the

is liability

Here

104.

flowers

suggested by

more

there

to

"

tie

"

we

have

we

the

just

design Small

breakage. isolated

a

forms

are

easilysnapped

very

in

off",even

the

but

cutting,

we

protect

them

by

making

all

jecting pro-

portions each

touch wherever The

other

possible. ties varie-

endless

of flower-forms could fret

make

diaper

-

varied be

and

would

for Chair-back

and

Arm.

shapes,

but

so,

continued

and

ad

the

is lib.,

scroll an

design, No.

105,

illustration of this.

"

disposed.

which one

who

out

being

If

t

ofmyreaders

so

geometrical in feelingwithout

be

can

this

1 will leave

work

to are

One

design

of various

those

Design

a

of leaves

idea

"

I

making

companion

108.

very

ingenuity.

started

No.

a

good exercise

a

in

such

tionally conven-

could were

be

filling

ibi

FRETWORK,

a

with

definite space

first to

placed agreeably,add

idea of the

The 107,

suggested by

was

had

who

them

effective

So

friend's that

have have

at

the

suggested

curtain

a

door

the

fretwork to

must

not

interfere with

The

the

opens

the

reverse

Unless

design

bold

finickingone

is

low

opening

of the

would

essential,as be

would

the

way,

too

over-door

an

be

inside

and

so

as

door. In

the

occupy

a

tulipsuggested the design.

position

small

"

a

"

quite out

of

from

ground.

\

ing keepNo.

such

at

worth

studying

a

fret

some

glued and

coloured The

the in

on

to

Inventories

from

designs.

with

decoration

ground,

trical Geome-

adapted Keltic

connection

a

"

fillings

be

would

way,

109.

the

is in the

nature

fret afterwards

being

gilded.

chairback, No. ten

the

"occidental"

Much

fretwork. of

height

diapers,by

Eastern well

a

friend

I

as

may

hung.

come

a

can

edge

which

be

may

of

the idea

an

below

house

and

io6

my

over-door

upon

pattern.

character)

pass

top, with

are

design.

in

The

placed old china, while the fret

in the

saw

own

do better than

shelf

a

her

Oriental

was

readers.

my

I

a

were

Hnes

over-door, Nos.

they (thedesign in

were

case

planning and

two

to

out

cut

I cannot to

on

in

window

over-

these

then, when

details,for constructive

the

first consideration

always the

advisable

be

pattern, it would

a

chief scrolls,and

the

arrange

such

years

ago

108

by

Exhibition,

suggested by

was "

The

Century

designed, M

I

one

exhibited

Guild,"

at

believe, by

the Mr.

162

ARTS

AND

CRAFTS

FOR

AMATEURS.

Y.as^m% w:^^"^

g

^

"B ti

msk^idA

"So

o

a

in

1)

"

O

"!1

.o

-p;

o

M

.Id "u

^vl

ir^n^u. ,o

\^^m

tu

FRETWORK.

McMurdo.

It struck

for the

Builder

which

to

appearance

of

The

may

design

of my

find

at

but

a

such

a

work

fret

passing

the

be

be different in

in cut

to

effective.

can

get

109,

are

in

are

greatly add

it would with

Kensington great

love

most

intricate

the

"

it would

feature.

try and

of the

It

would

be

straps

these

Keltic

two

lost,

designs is exercise

good

a

a

ing develop-

combinations

fresh

evolve

be If

"

effect of

effect will be

of these

nature

straps

the

to

perfectlylegitimate way. frets much

"

of,

which difficulty

no

and

overcome

from

chisel,the

flat

a

involve

over

if you

taken

where

shown

I have

simple

It

good plain

a

South

the

not

tion addi-

an

but specially,

ingenuityfin evolving

would

is

arm

a

and

their distinctive

though

early designers evinced

a

as

ornament,

price.

which

of

the

together.

very

made

give

to

seen

it. The look

wrote

capitaluse

a

as

are

pure

trade, you

reasonable

This

under

ingenuity

the

slightlylower,

to

under.

"

chairs

patterns.

fretwork

as

have to

little practicecould

designs

it would

under, and

and

over

go

I think

casts

These

"

I drew

very

crosses,

strap

when

to

considerable

and

chairs

the

No. geometrical fillings,

two

Museum.

"

mind

chairmaker

chair made

Keltic

are

might

one

be considered

almost

necessary a

The

Each

put.

when

oneness

own,

be out

be

article I

an

chairbacks

time, that

may

in my

lilywas

would

turning over

on

yet, with certain general traits,so

and "detail,

a

the

at

fretwork

me

163

in

in this

direction. It is sometimes and

again

point. It and much

in

is

a

design. plant

will continue in the

necessary

future

The

which be

to as

to

in

grape

fulfils all

employed

it has

the

use

been

a

plants again

same

No.

no

is

a

case

in

designer'srequirements,

for decorative

in

the

past.

purposes The

as

trellis

[64

ARTS

AND

CRAFTS

FOR

AMATEURS.

t65

FRETWORK,

work

gives character

show

more

white. a

well

as

floral

the distinctly At

an

he

artist's clutter.

No.

to

The

112.

these

"

Design

It

for sides

lattices would

be

portion might

grape

lattices, say of mahogany, front, or no

if the

why

reason

leaves

in

design the

green,

be

grape

the

I

filled with

had

upright lattices,forming other

portion I

artist friend's house

which

recess

stems

a

very

be

cut

might cut

out

for

to

suggested by

the

of

out

brown,

to

a

be

grapes

fret

room.

then

the

the

back

piece,then not

a

Peacock.

pine, and

one

and

add

feature in

glued on

all in

and

canvasses

that

me

portion should in

trellis

top portion of

the

attractive

be

left the

to

shelves, occupied with

to

of Portfolio

designs,and

have

saw

receptacle

occurred

a

the

supports

as

I

or

see

stained, the in

purple.

1

66

ART

CRAFTS

FOR

Transparent oil-colours,such burnt

sienna, Vandyke

madder you

No.

below

carried

be

out

Prussian

brown, down

get liquidstains.

can

should

I

brown, thinned

as

AMATEURS.

a

turpentine,would design

as

"

It would

be

enough

merely

Stand

or

one

than

with

112.

colour

to

do,

rather

closing Portfolio Design for opening and 113. which is seen in No. fretwork the detail of sides,

it.

and

this grape

size, above

fullynatural

sienna,

raw

vermilion

gamboge,

with

Such

blue,

the

bars,

leaving the design plain. A and

portfoliostand such The

a

design stem,

might

be

the

wild

as

as

will

be

composed rose.

No.

fret-cut

of two in,

noticed, is

would

made

be a

sides, able. suit-

distinct

i68

shown here to

ART

CRAFTS

I

consider

what

that

me

some

design

Hnes.

A

given

in No.

T13.

No.

115.

design

A

picturesque

together screwed so

as

panel

three on

to

to

check

based

is introduced

is

for the

the

fire-screen

frets laid what

is cut

might

be

by

fretwork to

take

the

heat.

I

have

to

sunflovver.

give strength

sheet

a

occurs

wrought

portfoho

In

have

the

on

is also

ends

the

away.

made A or

by hingeing fillet might be

sheets

of

glass,

suggested, in Fig. 114,

Here and

I

it

and

be

on.

panels.

margin,

the

for the

stand

the

on

peacock,

designs might

with

produced

four

or

original design

on

ornamented

Cabinet

"

AMATEURS.

most

effective

very

these

the

is based

It

attempted.

FOR

again character

the to

a

lattice work the

design.

T69

FRETWORK,

sketching the design this

In

floral part is

finallydecided

worked

in

effectivelywith

No.

will show

Ill

that

is influenced

the

design you

floral part

fashion.

clumsy the

the

the

can

by

carver's

part or

might

of and

put

of

the

out

wood

the

back

fretwork.

is

There

why

of

stained,

be

at

some

no

reason

amount

No.

carving should to

that in

white

of

not

fretwork.

very

in

effective and

originalwork

Japan,

and

procurable at

lines

Fretwork.

in

given by

are

be

they can

also art

carved

dainty it to some

carved

the

TrinityCollege,Oxford,

and

are

of

Many

Japanese introduce

cutter

Bird

"

The a

gouge,

omitted.

be

The

from

116.

but

done

a

floral

the

different

a

off in

cut

tool.

lattice got

the

it will be

the

done

be

again

Here

making

flowers,

which a

flower), sun-

the

and

details of the

the

as

if in

and

to

after arbitrarily,

lattice in

parts of

some

reference

A

design (as well

lattice work,

be

may

cated indi-

veining

leaves

lattice.

grape

the

forms

the

flower, sun-

have

I

that

the

before

In

of

panel

so

the

the

simply put

indicated

be

upon,

the

by

is drawn,

should

fret-cut

are

is.

study

some

It

well

would

of

as

as

carved.

cabinets,

help

of these

of their books

booksellers

as

into their

fretwork

such

screens,

the fret

carved

frets

design, which

like Batsford's

in Holborn.

CRAFTS

ART

170

The

carved

fret could

cabinet.

It need

but

be

could

down

cut

out,

being on

No.

dark

one.

Another

use

a

panel, markings on

of

tation shelves

a

are

cabinet, got

the

most

of

the

the

seen,

cases,

The

two

is the

ornamental a

in and

the

sides

must

it is

by

Japanese

the \hQ

The

water.

No.

side

ornamen-

tool.

carsnng

the

by

laid down

put

way

In

up.

the fretwork and

shown

usual

will be

as

other

cutting out

have

of course,

design is produced.

plan

given with

are

I

article is fixed

pattern is formed, whereas, in

as

of

background iish

in the

out

together; though, before

with

The

115. cabinet be

put

fret-cut

indicated

portions

cut

the away,

portion leftthat

frequently adopt

and design itself,

laid

fret

a

"

wood,

be

frets may

the

it is

a

carving,

pure

recommend

white

of

panel

a

piece of

what

even

lightor

to

on

a

as

be

to

I would

which

to

Fish

II-."

shown

of

say

down

masquerade

not

panel.

a

AMATEURS,

glued

be

frankly

upon

FOR

it would

be

the

this

good

FRETWORK,

'Lir

WflCiAN No.

ii8.

"

^Portion

of

pierced Kensington a

/icerttorv and

carved

Museum.

doorway

in South

ART

172

practiceto grape,

and

being

left

To

make

be

and It

obtained should

then

such

that is be

of the poorest

much

work

purposes

that

to

novels

what

neither

worker

it

nor

is "

fretwork

thought for

needs

what

two

are

strength.

such

to

do

In

poor of

one

think),ladies' fancy

I

stitches taken else

force

uses

applied and

interest.

to

than

tive effec-

some

to

is directed

work

in sketch.

his full

out

might

effect

to

be

can

male

forced

of

most

and

wants,

that

"

produce

to

much

to

conclusion

this

preparationof

shelves

photo-frames

anyone

a

of the

indicate

put

in

innumerable

impression

only

labour

craft to

apply with equal

in possibilities

that

of

of, say,

good

to

{Felix Ho/t,

as

edges

one's

itself ceases

work

the

the

engage

is described

more

or

out

that indicated

as

craftsman

work

the

rose

instead

out

got

are

very

a

employ

which

the

the

My

the

to

on

I endeavour

amateurs

would

frets

that

me

why

to

uses

Eliot's

during

The

put ; pipe-racks and

littleto encourage

remark

the

say

if cut

come

treatment

a

always try

can

George

would

glued to

seems

by

end, and

So

design,

some

cabinet.

the

to

sides.

fretwork

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the

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teristic charac-

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the

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is

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not

treatment

Japanese designs

to

mental. highly orna-

fish

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117,

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of water. I

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carving

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cannot

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better

(No.

118)

of

ject sub-

than

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carved

a

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is in South

of which

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work

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No.

119."

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of

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French

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century.

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119

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ART

76

CRAFTS

needlework

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177

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178

CRAFTS

ART

Our

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much

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179

to

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I

i8o

ART

crewels.

CRAFTS

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;

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NEEDLEWORK,

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[82

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i86

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the

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189.

NEEDLEWORK.

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Interlacing 133. Border of Keltic "

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ART

190

needleworker's was

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130

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in No.

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130.

used, especiallyif they effectively

131. on

in

features

those

richly-colouredfigured

suggested in

with

sightof an

be

to

appHques

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said, but

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only are

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lose

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type retained.

the

hard

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bible,

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the

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for needlework.

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effective when

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is made

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are

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design the be worked

suggestiveof spiders'webs.

NEEDLEWORK.

Embroidery.

Keltic

extraordinaryingenuity displayed in

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peculiarlysuitable

designs

makes

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in

of the

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Donegal

executed

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of them

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193

The

eighth century. is the

hi Nos.

132

and

worked

in

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133.

stitches

threads

at

ground

gives

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in

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-coloured

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needlework, the

in the

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patterns

under

excellent

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138.

We

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"

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tiveness,as

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137

in

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of

135.

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No.

evolved

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ART

19+

selves,that on

effective.

linked

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139.

of

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138

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designed

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ART

196

FOR

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outline

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needle

material

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easily

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made

almost

flat,or

colour

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97

needle.

could

drapery

to

Albert

the

only

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WORK.

helpfulness

space I to

hope the

CHAPTER

FORMS

ANIMAL

XI.

of

their

were

exceeding

make

to or

This

head.

without

can

when

the human

the

work to

see

to

be

Art

artist,upon so

into

repugnance,

as

into

much

motifs in his

best

such

use

admirable other

illustrations

is

perfect mine

a

which as

work.

he to

the

can

human

to

of

draw,

of

on

to

to

be

our

and and

to

from

here have

us

decorative while

worth

I have

work.

drawings

chapter, because

wealth

sider con-

accessory.

Japanese

this

adaptation

taste, but

of

some

it may in

torso

designs,for

interest

forms

examples

work handi-

ornamental

an

forms, and

can

we

forms

animal

we

a

will pass

is made

form

introduce

fish,among

learn

feeling of

no

in

point

of animal

their

that

me

supreme

individual

the

argue

to

question of

varietyand

some

Eastern

a

nature's

contrary, it adds

how

chosen

to

introduction

there

is

weaving

seemed

pattern end

other

they

figure motifs into patterns.

always

degrading

or

I allow

staying

the

On

scroll

a

skilful in

and

It has

form

designs, and

arabesque

ornamental

were

human

the

introducing

into

it is

Renaissance

the

of

RAFTSMEN fond

ART.

DECORATIVE

IN

the which

treatment

of

this

decorative he

of

can

such

ART

200

to

what

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they

animals

they

FOR

accurately,and

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the

CRAFTS

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skill and the

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their

:

observation

question whether

skin.

record

they delineate

draw

AMATEURS,

Japanese

become

ing unerr-

draughtsmen. Take, for instance,

flying

their

instantaneous

birds

graphy photo-

only

has

proved the

how

Japs

accurate

in

are

143.

"

From

Japanese Print, by

a

and

Janko.

observation,

trained

of anatomy

wing

feathers

would

in the comes

teaches

leave

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out

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entirely the

them

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all that

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set

No.

is

non-essential,and 142

for

have

of the

of great

appearance

which so

instance, that

everything in revealing form

Only

the

essayed

and to

draw

sult re-

ledge know-

thorough knowledge,

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Japanese work.

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know

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was

of

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actions,

such No.

:

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the

indicating animals

FORMS,

ANIMAL

in

sketch

of

No. From

nervous

life

from

movement

fish

a

144.

"

A

"With

by

the

Barn

outline, the

graphic waviness

appreciate at

its full value

great Japanese artist Hokousai.

Owl

Nature

can

201

this The

(by flash-light).By Cherry Kearton. and a Camera (Cassell" Co., Ltd.). "

verve

of

the

of the fins which

curve

indicate

of

the

that

body,

the

the

creature

ART

202

is

swimming,

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the

No.

the

be

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not

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for

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fact

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the

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Japanese

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snapshot

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that

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tion concentra-

masterly.

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the

sense

The

term

could

is in

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plain,and

by Janko, which

and

lightspaces,

AMATEURS.

left

large spaces

143

work

touch

in

FOR

detail all stamp

of the

of

CRAFTS

in

lightand

FORMS.

ANIMAL

have

spent much

and

the

enough

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No.

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145.

"

one

Trout

learn

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sketch

a

poor

thumb-nail It

day.

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moving objects.

self to

From

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morning's

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sketch, however

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Zoological Gardens,

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being obtained

effect

shade, the whole

203

is the

see

Study by

E.

shape

T.

F.

Bennett.

of

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in which

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creature,

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to

ARI^

204

useful

very

notes

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yieldsan The

effect

birds

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feel

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fish

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artists

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AMATEURS,

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sketches

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you

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for the

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CRAFTS

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best]work

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pressioni im-

almost some

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direct

to

Japanese artist's

objects delineated,

are

aware

ANIMAL

No.

146. "

A

Sparrow Dr.

FORMS,

Hawk" R.

W.

in p. 220 Shufeldt.

20S

"

Camera

Craft," by

206

ART

that

the

CRAFTS

outHne

in

a

full

light,which

iSo.

by working more

147.

so

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much

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the

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Print

though

simplicityand

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to

than

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shade

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No.

what

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arrangements

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AMATEURS.

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2o8

ART

Struck

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John Dor)^ and

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lost

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character;

studies

history.

look

subject

in using difficulty

no

and

upon

in

147

such

much

natural

a

the

consider

we

is dwelt

from

in

Japanese

and

142

artistic

without

source

are

to

creature

working

would

if

animal

more

the

that

wanting

be

of the

that, taking Nos.

and

a

pretty, but to

ignored

should

drawings

many

them

Turning

such

to

go

I

historyfor

natural

a

I

craft

reason

mention

design.

as

any

ment judg-

a

decoration, in

forms

and

taste

this branch

purpose,

it is for that

and

that

though

chapter on

natural

a

in

objects

present

my

is their

that

thought

art,

In'^using animal being

chief

be

might

Japanese

on

AMATEURS.

quality,and

another

by

FOR

CRAFTS

and

; that

in

rabbit

fish, and

FORMS,

ANIMAL

monkey

of the

art, because their

animals, are

among

adaptabilityto

use

and, by the

selects

what

praise

of

this

Eastern

art

of

^

by

Designed

by

a

warning.

Do

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to

imitate

attempt

learnall

it ; can

you

Japanese but

sources,

work

on

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lines

so

far No.

a

is

a

The

149."

good

form

Essex

Owl. An

Voysey.

be.

may

instance be

may

"

in

of how

decoration.

C.

F.

A.

rudimentary (Messrs.

Co.)

practise

to

drawing

in outline and

drawing by render

W

I in

plan

\

"

*^

;

said

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Japanese

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its

with

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environment

from

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creatures,

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word

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quaintness of

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a

in decorative

with

met

it and

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make

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object,

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209

C. L.

form work

leave deliberately

Allport,No.

with littleelse but shows

how

far

148, shows

out

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the outline. one p

knows

all details.

what

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This

The

kind one

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doing,

ART

for it is mass

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not

FOR

CRAFTS

difficult

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AMATEURS.

one's in

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abstract

as

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cellent ex-

very

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down

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Mr.

Voysey's

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Cockatoo.

signed De-

this

(Messrs. Jeffrey

is of

corative may

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to

is far from a

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the

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elemental,

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owls

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rock.

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design,No.

No.

as

as

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to

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make

m

design

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it is

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test

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making each be

several

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one

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practised

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infinite

number

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shapes Mr.

of

added

all

Walter

elemental, and

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wings,

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of

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observed,

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149,

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quite

that

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just

naturalistic, Mr.

Voysey

the

design"

the

birds

them

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makes the

and

the

of

their

place forms

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repetition

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owls

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much

as

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more

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owls

"

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so

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150

history

natural

a

scheme,

No.

as

a

we

result

tiresome.

between

owl

the

the

to

and

patterns

in

selection,

of

and

purview.

cockatoo from

elemental

illustrations

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in

even

fabric

the

and

though

exacts.

his

removed

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wall-paper,

wall-paper part

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shape

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of

use

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within

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to

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as

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This

simplifying

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what

effect. and

211

same

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strokes

to

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a

of

out

Mr.

by

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FORMS.

teach the

adapted is pretty

to

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photographs a

wide

decorator's

interval.

lesson, from

at

any

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rate, No

requirements,

144, as

in

that and No.

XII.

CHAPTER

STENCILLING.

Cutting

Designing.

and

is

TENCILLING methods

that

ornament amateur use

stencil

and

to

cut

out

surface

thick used these

obtain

portions with we

drawing lead

foil,and

latter have

will confine paper,

and

cleanly and of

glass.

is the

paper

be

ourselves with

then at

The

one

reason

best

cut to a

by

a

paper.

metal

for

of the

all

the illustrations

or

rub

to

paper,

flat

any

to

but

cut, of

out

your

zinc ;

pattern cut

knife, working

glass

have

I

professional cutter, Draw

the

over

ordinary work, good

cut

are

cuttingon

few

a

subject,

colour, upon

sharp-pointed knife

stroke

and

cut

to

with

only

material

stencils

many to

of

and

For

an

clear.

have

we

stencil.

lay the

may

the method

stifl"brush

a

as

of the

branches

perforated sheet

a

learn

in connection

taken

impression

an

both

on

make

plate is

quickly

to

stencil, I will brieflygive

a

which,

A

employed

both

soon

useful

most

surface, and

flat

can

hints

will,I trust,

be

can

a

of the

one

but we

so

the

on

through upon

is that

a

the

this

sheet knife

215

STENCILLING.

slides

if you

whereas

cut

purchase

coming

to

which

is

small

blade

have

for in

in

thing

excellent of

by

the

in

N0T51."

condition,

easilyand

knife to work

You

you

^^owhT

complicated patterns

and

cutting curves

the

provided

at

to

I

handle,

with, but

keep it

to

you

do

blade

a

wooden cut

will

penknife

a

shop

a

to

is apt

of cutting. difficulty fig-

tool

good

a

stroke,

one

knife

the

cardboard

the

to

with

cut

to

you

or

point, fixed

a

an

want

you

at

oilstone

an

wood

on

greatlyadds

catch, which can

enables

glass and

the

over

.

how'ties'

once.

have

'

to

.

"

Tx

cut

Havmg the kind can

be

used

varnish

of

had

piece of

at

brown

varnishing

No.

the When the

cut

the

other

the

152.

"

side.

Simple

brush

first coat

is

the every

the

is

This

knotting of

part the

in

If

the

knotting

letter.

you

absorbed

stencil

over

with

on

the

to

on

a

a

flat

stencil

runs

through

sprig.

it.

distribute

give it a second,

can

by

the

is

afterwards

sun,

butterfly and

surplus

left in

siich^^^

a

the

Lay

dry

quite dry

pretty well

give

to

Border,

Stencil

portions

first will be

that

it up

hang

Then

covered.

seeing

shop.

rub

and

paper

hog-hair brush,

oil

be

painters, and

house

by

good

any

you

to

"knotting."

of

coats

two

paper

pattern

your

""

need

paper.

as

The

CRAFTS

ART

214

knotting it

makes

the

also

waterproof, but

paper

tough.

far for

So

makes

only

not

AMATEURS.

FOR

cuttinga

stencil.

Now

No.

In

them.

designing

to

as

have

we

152

if we

simple design, and examine

No.

153.

Second

"

and

background butterfly used designs. for

pattern

in the

the

pattern

the

result

on

we

is

much

as

the

left uncut

as

cut

uncut

tions por-

it is These

ones.

parts

that

see

of

of the

Plate,

Stencil

it

a

are

called

ing follow-

two

"

"

ties

and

are

tegral in-

an

part of all stencil

patterns, for it is obvious letters,such not

leave

"

as

ties

B, "

to

P

that

and

O,

keep

the

if

we

could

the

cut

be

not

portions

alphabet,

produced

surrounded

some

did

by

we

the

^1'^

No.

loops 1

5 1,

154.

of the

we

see

stencil,and

"

Border, produced by embroidering

letters from how

it

"ties"

fallingout. must

be

Nos.

In the

A

and

diagram B,

left if B is to be made

follows, therefore, that

in

B.

No.

into

a

designing stencils

ART

2I5

No.

It will be

154.

varietyto

No.

157."

CRAFTS

the

noticed

but butterflies,

Feather

so

to

that

be to

stencilled effect this

operations:

first

AMATEURS,

that

a

pattern is also

it is obvious

that

cut

to

give

this would

Border, and

requiring plates 158 159 to produce it.

have

FOR

No.

afterthe design,No.

the

butterflies have 154,

it would

butterflies,second

158.

been

stencilled,

necessitate the

three

background,

STENCILLING,

third the colours

obtain

sprigsand pattern could

be

used

considerable

in

on

each

varietyof

2ir

butterflies.

operation colour

different

Of course, that

so

by having

could

we

stencil

two

the

plates to produce

complete

effect.

continuous

In

need

we

stencils follow

that

so

equal this

To

small

justa

cut

portion of the

the

repeat^ and

flower

of the

some

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of

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to

leaves

of

the

left

impression.

By placing this

over

impression just

the

stencilled

plate

every

time

exactly it has

shifted.

be

of

case

either corner

wing

would

guide

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plate.

to

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In

the

a

fit

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or

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they

at

on

distances.

say

as

us

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end

thing some-

guide

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terns pat-

flies butter-

the

body

of act

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as

placing the

This

equally where

applies two

or

2i8

ART

plates

more

cut

in each

in

placing

flowers

CRAFTS

required to produce

are

plate some

and

two

stencils;

the

AMATEURS,

FOR

the

or

in

thus

of the

eye

forms

more

No.

fish act

You

pattern.

a

act

to

the

t6o

must

guides

as

of the

centre

guides in placing the

as

stencil-plates. variations

Other

156, for

only is

not

pattern is on

By

of the stencil

white

a

the

sprig omitted,

little dodging several

a

in the

and

ground

in Nos.

shown

are

variations

in

but

other of

dark

a

pattern

a

the

case

one

on

and

155

one.

be

may

obtained. feather

The

border, No.

of the

With

plates 158

skill and

itself

somewhat form

human

are

a

as

on

a

easily be

instances

plates

In No.

k

very

could

which

165

a

a

from

Japanese in

Nos.

translation

are

be

are

liquiddyes

or

it is not

to stencil-cutting

and

necessary, 161

and

162.

drawings, 163 and of forms

160 are

by

these

are

Birds

can

of

such

two

the

we

minent pro-

164, which

for stencil

wall-hanging is shown.

effective

oil-colour

insects

treat

insects

No.

In

fish and

easilyadapted

stencilled

very

figure

are

of

method

designs scattered through these

many

simple, a quaint ship

Stencillingis

human

question whether

in Nos.

scale

of the

stencilling. There pages

it is

duced pro-

introduced.

be

may

stencil,the

a

as

in which

adaptations being given good

colours

appropriatelytreated.

smaller

bination com-

be

can

But birds,fish,and stencil-plate.

a

Two

adapted

patterns

strain upon

repeating border, features.

shown

cut

severe

effective if

very

have

be

can

of the

result

159.

many

excepted, though

not

putting a the

form

any

and

quite elaborate

care

and by stencilling, Almost

is the

157,

on

and any

thinned

lines woven

with

cutting. The

suggesting fabric, and

design water.

either

spiritsof turpentine

STENCILLING.

used.

can

be

say

canvas,

In and

the

if the

case

of

219

dyes

transparent

the

fabric

be

must

oil colours, such

light,

as

'm

Prus-

''A

-\.

!i'S )i J((i"i'

4 ir

m

sian

blue,

employed,

raw

made

sienna, very

burnt

thin with

sienna

and

gamboge,

turpentine,they

must

be

also be

ART

220

used

on

then

the

CRAFTS

lightfabric.

a

colours

stencilled

makes

in front of

If

a

be

must

AMATEURS,

FOR

dark

or

opaque

excellent

textile be stencilled

coloured

nearly

coverings for

Stencillingcan

be

ing hangdust.

from

Stencils.

mixed

either in colours

done

for

and

walls

clothes-pegsto protect garments Using

thus

Canvas

so.

with

oil. In

or

is

that

former

the

it is

case

water

distemper

employed, /.^.y with

mixed

whiting

tinted

and

hot

size

with

powder colours,

such

at

oil

be

can

as

shop

good

any or

tor's. decoracolours

Some had

be

can

tained ob-

ground

in water. For

the

decoration

is stencilling

of walls

admirable, No.

163.

"

Flying Bird, adapted Japanese dra\^ang.

from

is

"

tooth

to

it,and

consequently than be

when

paper

and

then.

A

in oil.

In

that

wet, and

dry them frieze

sinks

colour

in

sharper impression can

in mind

borne

appear

a

the

it is

a

quickly by

running

round

very

good a

the

in distemper

it

lighterthan

much

plan

wall

colours

to

see

try them

how

under

they the

a

quickly;

obtained

be

fire to

dries

and

mixing distemper

they dry

easilyused, being

there "

temper dis-

as

must

they on

look

cornice

STENCILLING.

is

good

a

stencilled

in addition

wall

the

on

small

decorating it,and

of

way

221

patterns

powdered

"

the

over

be

can

wall,

it is termed.

as

in stencilling

In them be

to

The

sharp. the be

used

The

in

observed

the

the

brush

the

palette it

over

avoid

you

of

danger

the

spreading and

produ

so

cing

a

No.

blurred Be

very

get

too

colour

little colour

a

on

colour

if the

fill

not

distribute

the

neath under-

made

knocking

to

case

work

full,but by

too

brush

especiallythe

to

the purpose.

Do

and

impressions

get the

to

point

short

are

expresslyfor

taking

is

main

The

cream.

thinly.

too

hair and

them

colours, thinning

your

slighttendency

a

this is

platesand

up

thick

stencils

has

colour

brushes

in the

using

mix

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consistency of

the

to

oil you

impression. careful much

not

164. "

Flying Bird, adapted Japanese drawing.

from

to

water

turpentinein

or

the

brushes, or

disaster

will follow. It is

possible to

gettingeach way on

a

to

the

slightlyvary

impression mechanically

effect this is to

palette and

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the

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a

have

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the

tints the

used

The

same.

tinting colours

white

brush,

also ; you and

instead

can

justdip

of

best

in batches then

take

it also in the

CRAFTS

ART

knock

white, then mix

them

before

the

brush

rubbing

AMATEURS.

FOR

over

a

few the

times

the

on

palette to this way

stencil-plate.In ^'

you

"

break

colour

the the

on

stencil and

the

is much

better

than

if you

used

the

always same

throughout.

colour

ling stencil-

It relieves

the

of

chanical me-

to

little

will

use

in this way.

colour A

fect ef-

practice make

soon

in

expert

anyone

varying

the

tints

iiifinitiim.

ad

the stencil

Hold

with

the

and

with

left hand the

right

keep knocking brush

on

working colour

the out

the

plate, the

in this way

rather

than

rubbing

it over

stencil.

This

by the ticularly par-

appliesto a

No.

165."

Arras

Wall

Hangings

in stencil.

freshly charged

brush,

for

when

CHAPTER

POKER

WORK

XIII.

ON

N

WOOD

the

Paris

shown

addition

colour

was

excellent

and

effect

obtained

by

Poker

work

Itself

better

Salon

just

The

alluded

of

class

background relief;

such

of

renderings these

pages

those

from

Forms

in

by

a

well

be

in

be

poker

animal

adapted

Japanese

given for

Decoration,"

outline,

and

the

as

for

the

in

the

here

we

what

legitimate oak

the

is

preferred.

forms

the

Vine

7,

the

or

the

in

No.

scattered

flat-

page

quaint through

particularly

chapter

detail

in

is where

work

purpose,

have

lends

colour

be

to

work,

forms

the

combination.

where is

and

was

example

leaving

instance,

other

and

could

well-defined

"

on

effects there

Animal

obtained is is of

an

character.

ornamental Poker

for

and

work,

very

and

wood

the

employed,

a

poker

to

away,

wrought

fish

the

suited

bnrnt

be

light

poker

the

pine,

on

a

best

pattern,

a

done

was

design can

could

16,

to

which

Perhaps

though

treatment,

combination

in

used

be

to

this

to

in

the

wood.

was

year

original

is

alone

ornament

last

drawers in

to

way

of was

most

effective

this

Salon chest

a

LEATHER.

ornamentation in

and

AND

work

is,

I

am

aware,

often

used

for

producing

WORK,

POKER

"^^ ^^"^^ ^"A^^^^^^^^^^^ H. C. Brewer. Mr. This taken

from

seventeenth

^^

225

^^^^ Prince's

ship and

the

century vessels. Q

one

Restaurant, designed by in

next

illustration are

226

ART

the

effect

this

was

of

a

"

"

poker

a

then

of

decorative

what

a

for

such

could

be

Mr.

efforts

to

marked

any

kind

most

of the work,

Nos.

i66 and

spaces and be

aKid

is

nothing

in

the

oak I

examples

did

all

burnt

seen

By

a

apparatus

poker

admirable.

realise

:

what

the

cases

his sister in

by

quite

away

in which

sometimes

are

from

I2S.

one

to

and

taste

Until could

designs

the white

therefore

primitivean

Heating

arrangement

an

for any

with

simple,

were

one

with

case,

a

flat

the

attempted,

what

was

done

properly-contrived

heated

iron

on

satisfying. a

Pyrometers,

as

effect

done

great difficultieswere

no

point is kept

the

the

poker

seeing these

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167.

friend's

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on

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FOR

pen

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and rod

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can

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POKER

No.

167." Sketch

of Panel

Mr.

WORK,

in Prince's

H.

C.

Brewer

Restaurant, designed

227

bv^

228

ART

oneself

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spontaneously,it

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FOR

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I

x\lbert

Durer's

WORK.

229

suggestions for be

obtained

engravings;

elaborate

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CRAFTS

ART

230

heraldic

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the

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ART

23*

decorated those be

of

surface

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in

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169, itself

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of

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AMATEURS,

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CRAFTS

burnt

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p3n-ometer,

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CHAPTER

XIV.

PAINTING

FOR

DECORATIVE

ROOMS

AND

FURNITURE.

S

concluding

a

subject

our

of

surfaces

in

By

decorative

does

exist

not

is the

and

but

piece

a

of

environment artist

the

might could

called

be

in

as

pictures

the

bring

work

made

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and

scheme.

No

various

forms

as

his to

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out

painted

due in

is

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and

to

art, it

carrying paid

to

of

be

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is out

drawn

paid the

put to

consist of

the

of work

general the

is not round

sarily neces-

all

so

which

the due

fitness, and

design,

decoration

upon

between

painting line

bear

but

in

an

cabinet,

a

not

place

its

Thus

to

;

by

put.

will

itself

for

surroundings

painted,

can

the

its

panels

it

its

keep

attention

exists

it is

be

picture

A

knowledge

to

which

conditioned

the

yet

line

because

because

paint

spaces

stencilling.

by

and

is

and

pictures,

hard-and-fast of

to

tion, decora-

painting

to

which

to

skill

much

fit the

idea,

an

ment treat-

considered

decorated.

decoration

upon

and

means

reference

purpose

carried

decorative

forms,

of

without

painted

and

relief

one

the

to

have

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surface

the

expression

therefore

it

take

I

from

apart

individual

alone,

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"

outside

by painted

elsewhere

decoration

it

it

work

quite

devote

to

flat

for

this

to

considered

be

not

may

chapter

that

too

would

ART

234

destroy the "scheme.

humbler

find

AMATEURS,

the

in

place

a

passable cabinet

a

good exhibition,is

a

decorative

such

art give place handling requiredin pictorial

painted retable,

colour

and

the the

it

and

shade

is

in

necessary

all its delicate

too, is seen,

which

distance.

here, but were

the two

so

the artist of

of

No.

171,

has

and

character

which

is

effect

decides. of

play

a

of

There

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a

overcome

and

Or

take

an

panels the

room

around

be

where the

of

decoration

the

the

at

tions condiparticular

attempt in

thought

there would

suggested.

of

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viewed

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as

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The

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to

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quite ornamental.

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of

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for

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charm

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of

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The

originalis barelyindicated effect aimed

a

Louis

170.

a

masterly

Take, for instance, Mr. No.

general arrangement

to

in

work,

definition and

subtle delicacyof perception,

exacting treatment.

whole

the

paintingthe panels

as

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of

whereas, by working

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to

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often

FOR

balance

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CRAFTS

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ment arrange-

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PAINTING.

DECORATIVE

No.

170."

Painting on

Retable.

By is

a certain arranged to^fit

and

shade

the

Louis

All

Hallows

Church, Southwark.

Davis.

space,

subjectis viewed

235

and in

an

instead

of subtle

arbitrary way,

so

light that

236

ART

such

difficulties are

flat

and

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carrying out

in the face

and

obtain

to

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on

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colour, say apple green.

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would

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When

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with.

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and

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AMATEURS,

FOR

CRAFTS

of a

character

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pattern which

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keeps

it

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PAINTING.

DECORATIVE

design make

a

carried

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tracingof it,so

the

actual

work

the

better.

171

The

"

two

H.

by

is

wish

to

size

squares,

size,then reduce

and

concerned.

simile

on

bring

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corresponding part getting a fac

then

to

drawing

easy

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paper

your

for the

then

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direct

more

you

panels of the decoi aied part of a pianoforte, Theaker, Royal College of Art.

Thus,

a

bungling

no

easiest way

enlarge a design,the

necessary

dimensions.

To

G.

by "squaring."

half-inch the

end

.

If you

be

it

transfer

can

you

paintingis begun,

when

No.

should

There

progresses.

that

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out

23/

your

want

paper

to

work

in the fill in

up

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to

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mark the

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double

inch

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squares

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into, say,

up

enlarge it to

divided

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of the

drawing

pattern

your

must

to

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paratively com-

with you

its

insure

proportion is

238

ART

CRAFTS

FOR

symmetricalpatterns

In

in

paper

and

two

then

by rubbing

half

you

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draw

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AMATEURS.

fold

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in

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to

on

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pouncing

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4

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No.

over

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172.

"

Decorative

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it is better

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needle

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rubbed

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charcoal

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upon

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on

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outlined

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a

ART

240

a

deal

good

this kind

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FOR

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PAINTING.

DECORATIVE

the leaves

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241

in

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word

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174.

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for decorative

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tubes

cheaper

these

are

to

thinned

with

a

the

to

Thoma,

much

mixing

in decorated

colour

of decorators'

little

of oil colours

is

frame.

requiredit

colours.

turpentine and

a

If

small

ART

242

CRAFTS

FOR

quantity of copal they Linseed

and

the

as

colours almost

dead,

There such

a

has

been

capitalway

should

will

allowance

in oil

done

the

varnish the

as

evenly,

is

business it.

This

it should

as

do

lumping

done

by

in

the

Use

parts,

colour

a

gives

it

as

bad.

look

tricky

succeed

amateurs

decoration

the

overdo

for professional, few

a

dries dead,

on

the

be

use

don't

colour

them

in

a

French-polishing,and

than

polishing.

the

by

due

should

better

that the

stood under-

painted,as

vehicle, but

a

be

decoration

cannot

you

be

to

The

made.

polishing over

might

expressly for decorating,

it is intended

restored

be

it is

as

labour, amateurs

French-polishedroughnesses polishingmust

The

made

avoid

and

afterwards.

in this direction.

advantage

an

If

turpentine only they dry

one's

using

varnish

brilliancyis

colours when

it is

dr}ing.

of

colours, and

as

in

avoided,

painted furniture,and

be

turpentineand

be

revival in

that

then

rule

longer

partiallypolished,and

the maker

by

fairlyquickly.

varnished

be

their attention

be

only

and

general

a

little can

furniture,if it be

The

hard

much

a

work

a

as

so

with

the

but

profitablyturn

little

then

are

thinned

are

dry

oil should

other

colours

will

AMATEURS,

at

fine

a

qualit}'. furniture

Painted a

white

ground

transparent case

the

Morris.

running

be

can

decoration

the

decoration

over

quiet greens

and

with

of

polished,and

a

covering

sienna. looked

in delicate

be

forms The

very

were

having

choice.

William

flowering tree The

surface.

whole

work

tones, and

designed by

was

conventionalised the

On

seeinga grand-piano

pinkish flowers,

the semi-transparently, in burnt

which

of

It consisted

can

I remember

used.

colours

decorated. effectively

most

was

put

thinlyand

lined previouslyout-

been then

Light

on

colours,

varnished

decoration

and on

a

DECORATIVE

dark

ground

comes

well.

corner

cupboard

I

in

saw

a

A

studio dull

painteda

was

sage green,

quite

dark, and

some

simple

patterns

light yellows

in

and

g olden

browns

were

painted

the

on

panels, and whole

.the

was

nished, var-

and

ed look-

particularly rich and

ious. harmon-

ing In varnish-

painted work require

you

broad

brush,

that

you

a

so

can

quicklycover

the

surface.

the

varnish well

Use

but freely,

it

brush

on

so

that

are

leftunvarnished. Do

holes

no

not touch

the varnish it has

set, and

when

begun keep

to

it

PAINTING.

243

ART

244

away

from

varnish

by

the

lightwork,

and

Picture

No.-

"

pint :

a

Detail

good

of Roof

originaldecorated

and

174,

are

The

worth

works

buy

your

drying varnish,white

hard

work, should

in north

aisle,Catholic Mrs.

be

for

used.

frames

by

Hans

studying,for they

festoons

of flowers

ApostolicChurch,

Traquair.

his opportunityof displaying

an

very

treatment.

large

frames, if properly designed,give the

Edinburgh.

decorator

For

drying.

for dark

darker

mirror

and

76.

:

while

dust

AMATEURS,

FOR

CRAFTS

are

in No.

talent.

The

Thoma,

Nos.

very 173

are

two

173

daring modelled

in

PAINTING.

DECORATIVE

upon very

work, and

florid Renaissance suitable for

\

using

on

it is

245

a

class

polished furniture.

of

The

design flowers

Vi

'm^m-.

5Tef^

No.

177.

"

Painted

Pilasters

by

Mr.

in the Prince's H.

C.

Brewer.

Restaurant.

Designed

246 themselves

artist has

ribbons.

used

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to

these

In

for

gone

examples

paintinga pictureof surface.

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flowers in their the

a

light

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if

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a

local

not

what

have

easier of We

is the

do

to

how

long panel.

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water,

as

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themselves

by

group

of

a

the

and

atmosphere, play

of

distinctions;

polished or plain

a

approach

work

our

form

and

objectsthemselves

the

think

varying light,to

of

graspable and, therefore,

the

nearer

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get much

176.

to

when

shape,

further

hitherto the

Brewer, which

Prince's

atmospheric

fairlyaccurate

vessels,having regard

examples

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is a

renderings of of the

some

and

shape vessels

seventeenth-

most

beautiful

built.

were

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removed

considered

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The

effect.

the

portion

Restaurant.

ships,is ornamentalised, line

of before

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roof. No.

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by only having

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Mr.

scheme

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75,

1

decorative

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at

we

decorator

a

of the

We

flowers

same

the

suggest

other

between

accomplishment.

see

century

to

endless

and

they change with

as

we

have

point of view, and

that

colour,

had

gesso

realize them

to

attempt

to

place

or

plane into another,

giltground,

or

garden

a

and

room

paint the

we

in

go

using flowers

and

should

one

shade,

panel

and

in

surroundingswe

melting

the

by

the difference

see

can

we

flowers

to

we

vase

174,

relief.

procure

two

and

though

as

groups

frame, No.

treatment,

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a

various

In the other

reproduction it looks

of the

appearance

AMATEURS.

painted fairlynaturally,the

are

being held togetherby the

FOR

CRAFTS

ART

in this

purely ornamental,

as

naturalism

chapter indicate

in the scheme

Paintingsimple ornamental

than

for

; a

patterns is very

good practicein learningto manipulate colour, and

the

tyro

248

ART

would

do

CRAFTS

well

patterns in No.

177,

176,

Illuminatingbooks decoration, and

from

the

of

know

copying

it,and

the

at

old

work

note

in

illumination,and

design

and

fancy

Inventing letteringis be worth

buy

a

if the in

the

book

of

"

itselfis lettering

more

PKINTED

the

beautiful

BY

H.

VIRTUE

not rest

AND

for

should

worth be

any

example

her ego into the

best

should, I think, be

the

delightfulopportunities letters

and

borders.

undertaking,and taking

and

page

LIMITED,

on

Vellum

than

CITY

is

spoilt

executed, and

decoration. work

it would

to illuminating

up

illuminated

designed

of the to

the

quite the spiritof

are

well

Ages, and

subject isn't

178, has put

An

COMPANY,

Museum,

Middle

there

of be

No.

those

painted

attention

Traquair,in

difficult

material

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to

design can

British

initial

Alphabets."

of

Mrs.

there

expenditureto

proportion to

much

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and

flatter

Brewer.

the

of the

colour

in

Mr.

form

secure

why

there is

Brilliant

has

roundness

the

reason

pages.

time

well.

as

in

of old work.

same

of

of colour

touching no

the

well

may

Renais^

The

difficult than

beautiful

very

appropriateart

of her illuminated

one

for

the

work.

designed by

missals

old

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knowing. slavish

sense

in the way

didn't

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a

that

one

illuminatingwas what

the

is

Much

amateur.

learnt

more

are

as

such

at

this class of ornament,

given to

the

AMATEURS.

try his hand

to

No. pilasters,

sance

FOR

ROAD,

paper.

LONDON.

is

a