Many architects are now trusting their carvers with more liberal freedom in the execution of their instructions, a movement which must have a good effect on all the workmen in the shop, where, as a rule, the manual dexterity of the carvers is in every way equal to that of their ancient predecessors, but where they seldom find much encouragement for their inventive faculties.
The Wood-carver's Tools.—The tools most commonly in use consist for the most part of chisels and gouges. They vary in size and shape. The gouges may run from in. to over an inch in width and have a variety of "sweeps" or curve of cutting edge: the chisels likewise are of different widths, and they are in three or four different forms, "straight," "bent" and "corner" (see fig. 1). The number of tools which may be used by a carver varies of course in accordance with the work he is doing; sometimes he will use half-a-dozen, sometimes more, these being a selection from his whole set which, in itself, may amount to several hun dred. When the tools are in use, they are laid beside the carver with their cutting edges towards him in order that he may quickly pick up the one he wants.
These tools have to be kept very sharp and this requires great skill and care on the part of the carver. Blunt or misshapen tools cannot be used with effect. The stones he uses for this purpose are of various kinds. Some use "Turkey," some "Washita," but there are many more, including artificial stones such as Car borundum. For the inside of gouges "slips" of these stones are used shaped to the curves required, and for fine or very small tools a slip of "Arcansas" is used, a thin slip of very close tex ture. As a rule, soft wood like pine, requires a sharper tool than the hard woods like oak. Therefore tools used for this kind of wood are sharpened with a more acute edge. Both sides of a carver's tools are rubbed to a bevel, that which rests on the wood being the longest bevel. The inside only receives enough rubbing to produce a clean cutting edge. Some other tools are shown in fig. 2. The mallet is used for the heavier kind of work, where forcible blows are wanted, but mostly, for the lighter use of his tools, the carver uses the palm of his hand as a mallet when such is required. The bench screw is passed through the top of the bench and screwed into the lower side of the wood, which can thus be turned about on the bench; the use of the cramp is obvious, but there is a larger one known as a "bench holdfast" for thick wood which cannot be cramped to the bench. A carver's
bench must be of very firm construction to remain steady under blows and sideway pressure. It is generally about 3 ft. 2 in. high and of a length and width suitable to the space he has at com mand: it should have the light in front of it, never over it. The benches in a carver's shop are often of considerable length as much room is required for long pieces of wood.
Woods Used in Carving.—The woods in common use are oak, yellow pine, and limewood, but many others are used in a less degree such as mahogany, walnut, chestnut, and for small articles box, pearwood and cherrywood. Teak is sometimes carved but it does not compare well with oak. The choicest kind of oak for the carver is English oak, as its texture is hard and close and its colour is beautiful. Next to this comes the Austrian oak which cuts freely but is not so close in its grain. The American variety is not so good for the carver's purpose; it is caney in texture and unpleasant in colour. Chestnut is not much used for carving but it might have a wider acceptance because it is very like oak and cuts well under the tool. This, of course, is the "Spanish" or "sweet" chestnut, variety. Mahogany likewise is not much used, except for very inferior work, where it is always French-polished. Mahogany, though, may be very useful wood if properly treated; if it is left unpolished, or simply waxed, it in time takes on a very beautiful colour but passes through stages of unpleasantness be fore that arrives. It is a good wood for figure carving which is intended for painting and decorating. For furniture or other work which comes close to the eye there is no better wood than Italian walnut ; the most delicate carving may be done upon it. The "American" walnut and "French" walnut are much used for smaller work, but are not very amenable to the more delicate touches of the carver. Limewood is mostly used for figure work which is intended for decoration, although sometimes left in its natural state, as in the work of Grinling Gibbons.