International studio (31.1907)

Recent Books on IVood- Carving
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been often conceived and worked without any
relation to the constructive woodwork of which it
must form a part.
“Three of the diamond-shaped panels were ex-
hibited at our last Arts and Crafts Exhibition, and
are admirable examples of Miss Moller’s work.”
A manual is provided by Eleanor Rowe in her
volume “Practical Wood-Carving” (John Lane
Company, New York). The author, who has been
for twenty years manager of the School of Art Wood-
Carving, South Kensington, and has already pub-
lished the useful volumes, “Hints on Wood-Carv-
ing,” “Hints on Chip-Carving,” “French Wood-
Carvings from the National Museums,” etc., de-
scribes her latest work as “ a book for the student,
carver, teacher, designer and architect.” The illus-
trations from photographs number 114. In addi-
tion fifty-five line drawings are reproduced of old
and modern examples, including an original sketch
by the late Randolph Caldecott.
In the preliminary chapters full discussion is
given of such points as the wood-carver’s outfit,
including bench, methods of fixing, tools, grind-
stone, etc.; the various woods used by the carver
with the manner of mounting the wood; con-
struction, including the use of mortise and tenon
joints, mitre joint, preparation of panels, frames,
stiles, rails, muntins, chests, stools, fireplaces,
cradles, towel rollers, hymn boards, boxes, bellows,
etc. The cuts produced by the various tools are
explained in a chapter on “The Outcome of the
Tool,” consideration being given to the varieties
known as the champfer, the V groove, the hollow,
etc., with remarks on gouge cut patterns, French
moulding and Italian styles. The author then
describes the methods of flat carving and strap-
work in low relief, explaining how the pattern is set
out and the various ways of removing the ground,
with special applications to panels, chest fronts,
mouldings, overdoors, coffers, chairs, pilasters,
pedals and boxes. In high relief an example of the
five-lobed leaf is carried through progressive stages
as is the trefoil, and undercutting and free ornament
are explained.
With this introduction the author proceeds to a
full exposition of tracery, symbolism and mouldings
of the Gothic style, Renaissance and Jacobean
mouldings, Renaissance carving in general, letter-
ing, and pierced carving, adding a final chapter on
“Treatment and Design.” The book is provided
with a glossary and indexes to illustrations and
text. In her preface the author writes:
“ The success of my two small handbooks,
‘Hints on Wood-Carving’ and ‘Hints on Chip-

TREFOIL BY ELEANOR
ILLUSTRATION FROM ROWE
“PRACTICAL WOOD-carving”

Carving,’ has encouraged me to offer to the public
a more comprehensive book on the subject, showing
the evolution of wood-carving from the simple
gouge-pattern to the elaborate Renaissance panel.
My long connection with the School of Art Wood-
Carving has given me exceptional opportunities of
seeing a great variety of carving executed, and of
observing the difficulties which beset the numerous
students, for whose training I was in a measure
responsible.
“The student who is compelled to learn wood-
carving without the assistance of a master will find
in this book, it is hoped, all the information re-
quisite for beginning his studies. A series of
illustrations is given showing the carver at work, as
well as examples of carving in progressive stages.
In addition to the practical work there are a
number of illustrations of old carved work. The
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