Studio: international art (3.1894)

Leather Embossing

the outlines (with tool No. 7). 4. The sinking
•of the background (with tool No. 2). 5. Hollow-
ing, where necessary, behind the outlines. 6. A
modification of the surface of the design by means
of the hammer, " rings "tand " punches." 7. Filling
up the hollows at the back, where the relief is pro-
duced by working from the baok (with tool No. 3).











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1





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2

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4 :

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7.

'&. Finishing the design in parts by means of the
" modelling " iron (tool No. 8). 9. Punching (and
■making rough) the background by means of the
"pearl" or "star" punches (with tools No. 4
and 5). to. Staining or tanning the leather. 11.
Retouching by means of the knife and model-iron.
12. Mounting up.

Colour is sometimes applied, but Mr. Jacobsen
uses this in his work but sparingly, and mainly
when the objects are intended for broad decorative
effects, as in wall decorations, for instance.

One of the greatest attractions of this craft is
the scope it gives to original design, owing to the
multiplicity of uses to which leather may be put.
The early Spanish wall-hangings and chair-work
of embossed leather are world-renowned. The
mediaeval German " Frauensitz" (a small apart-
ment built out of the principal hall of mediaeval
houses, generally raised by a shallow flight of
steps, from the level of the main room, and
devoted to the use of the women of the house-
hold), was also hung with leather. In it stood a
roomy comfortable chair for the lady of the house,
the seat and back of which were of embossed
leather, generally with a design symbolic of its
special use; there also were to be found substan-
tial oak chests and clothes-presses, with embossed
leather panels inserted into carved oak frames.

For bookbindings of embossed leather we do
not nowadays need to plead, their supremacy is
established; but the number of small articles

which are at present produced in papier-mache
and tinsel, might be made more beautiful, lasting
and solid by the substitution of worked leather.

Mr. Jacobsen has a wide knowledge of every
class of design, but his personal leaning is
towards the heraldic, of which he has made a very
thorough study, and has gained a large experience
of its application to his own particular craft. He
believes that heraldic design gives a dignity of its
own to any article to which it is applied. What-
ever the general opinion may be regarding the use
of personal symbols, coats-of-arms, and crests,
very few people will dispute Mr. Jacobsen's theory
when the arms in question are those of a nation or
township, or even those of a society or guild.

Since he has been in England, Mr. Jacobsen has
already produced work which shows that the pre-
dominant feeling for simplicity of line and absence
of detail is stirring him. Small though these
pieces are, they conjure wonderful visions of

Gothic leather-hung rooms and embossed furni-
ture coverings, to say nothing of pocket-books and
card-cases which will last and wear. One of
Mr. Jacobsen's productions deserves mentioning
for the charm of its idea. This is the Haus-
Chronik, a strong, serviceable book, bound in

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