Pretty Arts For The Employment of Leisure Hours - A Book For Ladies

PRETTY ARTS
FOR THE
EMPLOYMENT OF LEISURE HOURS.
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2014
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PBETTY AETS
FOR THE
EMPLOYMENT OF LEISURE HOURS
00k
fat
gabies.
BY
ELLIS
A.
AUTHOR OF "THE HAPPY NURSERY,"

JOINER,"
"THE
USES
DAVIDSON,
" THE
OF PLANTS,"
AMATEUR HOUSE CARPENTER/' "THE
" THE
ANIMAL KINGDOM,"
ETC.,
BO\
ETC.
WITH ILLUSTRATIONS.
LONDON
CHAPMAN AND HALL,
193,
PICCADILLY.
1879.
[
The
RigM
of Translation
is
reserved.
LONDON
BRADBURY, AGNEW,
&
CO.,
PRINTERS, WIIITEFRIARS.
INTKODUCTION.
In presenting this work to the notice of the Ladies
of England,
be
will
the author feels assured that his purpose
appreciated
by them, that purpose being
suggest a variety of Arts
in
which
to
their leisure time
may
be employed, and in the practice of which they
may
give pleasure to others.
The
taste
and refinement which Ladies bring
in the various branches of fancy work, leave
aided
that,
by a few
exercise their powers in

skill
and the experience
that Ladies are not

for
hints,
arts
by any means
pleasure.
that
they
enter
may
on
no doubt
able
to
requiring more practical
of the author has
such manual work as
further,
they will be
to bear
shown him,
deficient in ability
be suited to them, and,

it
with
interest
and
Introduction.
vi
The
and mallet have been wielded
sculptor's chisel
by the hands of Ladies, and many of the publications
by
of our day are illustrated

therefore,
in clay,
their gravers
not only,
have the subjects of wood-carving, modelling
and wood-engraving, been treated of
in these
pages, but the readers have been asked to use the tenon-
saw, the hammer, and the
chisel, in
and thus they
of drawing-models,
the construction
will be
enabled to
apply their powers in making such other small fancy

articles as
they
may
Although Art, in
desire.
higher sense,
its
not the subject
is
of the present work, the principles of Perspective
some
hints
on
such information
Design
is
out of the subject,

the
are
necessary to
the
study of fine Art,
opportunities
for
in
parts
where
proper working
the
readers being urged to pursue
with the aid of some of the
numerous works extant, and

the
given,
and
to
receiving
avail
Art
themselves
instruction
of
now
open to them.
E. A. D.
CONTENTS.
CHAPTER
I.
PAGB
WOOD CARVING
CHAPTER
II.
29
FRET SAWING
CHAPTER
III.
MODELLING IN CLAY AND CASTING IN PLASTER
CHAPTER
MODELLING IN WAX
40
IV.
Gl
CHAPTER
V.
LEATHER WORK
66
CHAPTER
DRAWING ON WOOD
....
VI.
72
Contents.
Vlll
CHAPTER
VII.
1-A(3E
THE ELEMENTS OF WOOD ENGRAVING
CHAPTER
81
VIII.
LITHOGRAPHIC DRAWING
89
CHAPTER
IX.
ETCHING ON COPPER
93
CHAPTER
X.
DRAWING FROM OBJECTS
102
CHAPTER
XI.
DRAWING-MODELS, AND HOW TO MAKE THEM
CHAPTER
TOYS,
COTTAGES, ETC., MODELLED
IN
.117
135
XIII.
AND HOW TO MAKE THEM
CHAPTER
XII.
METHODS OF TRANSFERRING DESIGNS
CHAPTER
149
XIV.
CARDBOARD
163
LIST OF ILLUSTRATIONS.
PAGE
END OF BOOK CRADLE

chisel
afiyk-*--
GOUGES
CARVED IVY LEAF
CLAMP
18
PAPER KNIFE
25
FRONT OF READING STAND
30
TURNING SAW
34
SIDE VIEW OF READING STAND
38
LAUREL LEAF
44
WIRE TOOL
46
WIRE TOOLS
47
SPRIG OF VINE
67
GROUP OF BLOCKS
73
GRAVERS
83
VASE
85
VIEW OF A LITHO-STONE
91
ETCHING MATERIxlLS
94
List of Illustrations.
PAGE
PERSPECTIVE
104
DOUBLE ROW OF COLUMNS
106
CUBE
109
VANISHING POINTS
Ill
ROW OF BOOKS
112
PLAN OF A CIRCLE IN PERSPECTIVE
112
CUBE AND PYRAMID
114
CHURCH
115
HOLLOW CUBE
120
EQUILATERAL TRIANGLE
123
PYRAMID, BASE, AND SIDE
126
MODEL OF A FIELD OR ROAD GATE
128
MORTISE AND TENON
129
MODEL OF A GARDEN GATE
133
GREEK HONEYSUCKLE BORDER
137
SLIDE FOR MODEL
152
ANIMAL FOR SLIDE
153
COTTAGE, ROOF, GABLE,
AND CHIMNEY
165
PRETTY ARTS FOR LEISURE HOURS.
CHAPTER
I.
WOOD CARVING.
This delightful art
forth,
as
does,
it
demanding the
exertion
which
on
will, in
this point
exercise
of
of
touch
refined
and
taste
delicacy
and
of
of
the
place, describe the tools used,
and
as
are,
the
we
the
well adapted for ladies, calling
lightness
work done by the
We
is
a rule,
characteristic
fair sex.
first
advise our readers not to purchase those
called in trade " Carving tools," which, adapted, as they

are, for the large
artisan, will
work of the progressive wood carver or
be found
much
too heavy to be satisfactorily
wielded by the hands of ladies

the small subjects and refined
and
too ponderous for
work they
are likely to
undertake.
B
Fig.
1. End of Book Cradle.
Wood
Carving.
Sets of ladies' carving tools

is
surprising
how very few
may
be purchased
it
tools are required in this art,
and how much may be done with the simplest

ments when guided by intelligence and
it is
but
taste
instru-
and thus
desirable that amateurs should not, at starting, be
with a multiplicity of implements, but that
troubled
they should supply themselves only with such as are

absolutely needed for their work.
Ladies, then, should purchase
cutters'
tools,"
what are
which are miniature copies of the im-
plements used by the working carver

obtained
price
any respectable
at
called " print-
tool shop,
may
be
and range
in
these
from 3d. to 6d. each.
Neat
and the
little
rosewood
handles
may
also
be
bought,
tools being fixed in these, present really such a
dainty appearance, that they cause their possessor to feel

quite anxious to be able to use
The
first tools
be of three
them
properly.
required are the chisels.
sizes,
These should
namely, one eighth, one quarter, and
half an inch in width.
Now,
cutting tools,
when
sold, are
they require grinding, and this
is
not ready for use
generally undertaken
E 2
Pretty Arts for Leisure Hours.
For wood carving
at the tool shop.
some of the
chisels should be
it is
advisable that
ground rather slantingly at
the end, so that the cutting edge
may be
at an angle with
the sides instead of being square with them, as in the case
Fig.
of joiners' chisels.
and
2. Chisel.
more acute point
is
this is of great service in carving the
thus obtained,
extreme angles
in the design.
When
finishing
first
the chisels have been ground, they
on the
instance, be
setting her
own
oil-stone,
and though
done at the
this
tool shop,
tools should,
as soon
still
require
may, in the
the power of
as possible, be
acquired by the lady carver.
The
setting
is
purchased with the
done
on an
tools.
Turkey, Arkansas, &c.
which
is
There are various kinds
The stone should be
a block in such a manner that

a lid
oil-stone,
it
may
fixed in
be covered with
the block affording a stand in which the stone
Wood
firmly held.
is
and the
stone,
fro
Carving.
few drops of
tool,
are poured
oil
held slantingly,
moved
is
on the
and
to
should be grasped with the right hand, the fore
it
and middle
supporting
fingers
tool
on
and
it,
thumb
the
The movement should be
underneath.
it
and the
regular,
pressing
must be kept
same
at the
slant
throughout the operation.
The stone should be well wiped each time

used, so that
may
it
rubbed from the
it
has been
not become incrusted with the steel
tool,
by which
grinding quality
its
becomes of course diminished.

In
reference
may
another hint
work the
joiners
it
is
desirable
sides,
so
towards
When
to
that
the
setting
be given, namely,
be made with
the
that whilst
for
wood carving
to
grind
the
sharp edge
may
be,
is
it,
thus
the
thickness
ground,
and the depth
oil-stone,
for
on the one side only,
tool is sharpened
middle of
the tool
on
chisels
on both
it
as
it
the
of
were,
chisel.
a smoother cut can

to
which
it
is
worked
can be more easily regulated.
In
order to test
if
should be loosely held
the
in
chisel
is
the right
truly
hand,
sharp,
it
and the
thumb
of the
nail
sharp edge
a chisel which
which
will slip, whilst one
two
oil
wiped
just
in
is
touched with the
not properly sharpened
is
When
will catch in the nail.
and the
hand
left
fit
condition for
the chisel has been
By
sharpness.
remains of the
wood
before
means, the burr, or
this
ground
steel
set,
the point should be firmly struck
off,
or three times with a piece of waste
testing the
work
off,
is
removed, and the
edge rendered smooth.
The next group

are
simply
in
chisels,
direction
of
tools consists
the
parallel
surfaces
of
of gouges, which
which
is
bent
that
on
formed instead of a
flat
with the length,
using them, a curved groove
are
so
cut.
Gouges may be obtained

curvature
section.
some nearly
The two forms
numerous degrees of
in
flat,
others
semi-circular
in
best adapted for the present
purpose are shown in Figure
3,
a and
b,
and each of
Wood
Carving.
In
these should be purchased in smaller sizes as well.
sharpening gouges on the oil-stone, the tool must be

kept turning,
curved
the
that
so
may
edge
The
ground more at one part than another.
must be whetted with

edges
these
however,
edge,
of
inside
pieces of stone rounded at their

"
called
are
not be
the
Turkey
gouge
The inner
slips."
only very
should be
slightly ground.
Two
or three bent tools are also required for cutting
surfaces,
which are below
These are made in
others.
The most advisable
various forms.
plan, however,
try as far as possible to accomplish the

chisel
and gouge, and purchase extra
tools
is
to
work with the
when circum-
stances render their use indispensable.
The
on which the work
table
four-legged one, and should,
a wall in front of a
window
is
done should be a
if possible,
be placed against
or certainly in the position
in which the best light can be obtained.
And now we
wood-carving,
The wood
in
will proceed
the
which
subject
with our
being
first
attempts at
a simple
ivy
leaf.
this is to be carved should be pine
smooth a
or lime, of as
may
possible
larger
in the
it
grain,
and
be of the size of our example, or

case, the thickness
first
three quarters of an inch, which
fore, if
may
should be about
must be increased
The wood should be
proportion to the size adopted.

fectly dry, or, as
as free from knots as
in
per-
termed, " well seasoned," and there-
it is
any old boards can be found
in the house, they
be economised with great advantage to the carver.
The sketch must,

the back of which
red chalk.
It is
edges of which
in the first case, be

is
made on
paper,
subsequently to be rubbed with
then to be placed on the wood, to the
it is
to be temporarily attached
by means
of tacks or drawing pins.
The
outline
is
crochet-needle,
next to be passed over with a bodkin,
knitting-needle,
or
some other blunt
point, a small degree of pressure being used.
On removing
the sketch, the outline in red will be
found on the wood.

blacklead pencil, or
used, or
when
This
when
the design
is
to be corrected with a
oak, or the harder
is
of a
more complex
woods are
character,
the outline should be repeated with a (quill) pen and
writing ink.
Wood
The
This
is
first
stage of the
Carving.
work
Fig.
4.
is
Using one of the
not ground angularly,
Carved Ivy Leaf.
"stab" the outline of the
wards.
called "stabbing out."
done in the following manner.
small chisels, the end of which
tool in
is
leaf; in doing this, hold the
an upright position, and press directly down-
As each
cut
is
made, move the
tool
until
io
the whole
of the
outline
has thus been stabbed
to
about the depth of the sixteenth of an inch.

This
may
also
be accomplished by means
instrument called a " parting
shaped gouge
this is
"
tool
which
is
At a
thus made.
a V-
later stage,
the amateur will do well to adopt this tool

first
is
worked in a continuous manner,
and an angular groove
the
an
of
but for
few subjects, the above described plan will
be found the most convenient.
Next, beginning at about a quarter of an inch from

the outline, cut slanting towards
the
will
wood
at
at
this
dyke around
of care
is
it,
some of
relieving
each cut and setting the leaf free

stage resemble
of land
with a
In this operation a certain amount
it.
required
wood must be
a piece
it
the direction of the fibre of the

so
studied,
the
that
cuts
may
not
extend further than desired by causing chips of wood

to split
off.
Very
practice will give the required
little
experience.
It
must once
for all
be impressed on the amateur, that
the position in which the tool

the
utmost importance
for
is
if
held in stabbing
it
is
of
be allowed to slant
Wood
Carving.
inwardly, namely, towards the
undermined
the pattern will be
and although the design may render under-
cutting necessary
by the
regulated
leaf,
certain
in
will of the
the result of accident.
artist,
Want
should be
these
parts,
but should not be

in this respect
of care
frequently leads to the very disagreeable occurrence of a

part of the pattern breaking off at an advanced stage of
the
work
the whole being thus spoiled, time wasted
and great annoyance caused.
We
but
we may add
from
to
have said that the tool should be held upright,

that an outward
tendency, namely,
may
the work, rather than the opposite,
it,
by
since
this
be given
means the danger hinted
at
is
averted.
The
outline having been stabbed out
next process
is
the whole of the

is
and
clearing the ground, that
wood not covered by
is
is,
removing
the design.
in the first instance to be done with
one w^hich
relieved, the
a,
This
gouge, using
not of a very deep curvature, and working
across the wood, that
is,
not in the direction of the
fibres.
In doing
this,
the beginner
is
advised not to display
12
too
much
anxiety to get over the ground
it is,
we
are
aware, the rough part of the work, such as might be

intrusted to the apprentice
assume the learner
to be
but for the time, we must
an apprentice, and we assure
her, that in this apparently undignified portion of the
undertaking, she
is
acquiring that manipulative power,
that mastery over her tools, which
good stead in future
work with confidence
stages,
in the
and
more
will stand her in

will
enable her to
artistic parts of the
design.
Care
required
is
so
may
that the gouge
not work
too deeply into the wood, for then the required depth of
the surface
may
be exceeded, and, secondly, so that no
portion of the design
may
be chipped
power of regulating the work of the

of attainment
the
intelligent
off.
The necessary
tool is not difficult
lady will only require
should be called to the necessary
that her attention
conditions of success in this minor point, the accomplish-
ment
will
then be within her
The mid-ribs
demand
own
grasp.
of the separate lobes of the leaf next
attention
these
are, in
the
first
stabbed, and then the surface of the lobe
is
case, to
be
to be slanted
Wood
down
to
them from each
present design a
will, as
Of
Carving.
side, so that as there are in the
central
rib
made up
a whole, be
13
and four
others, the leaf
of ten slanting surfaces.
course, these will not be absolutely plane surfaces
they will bend and undulate in graceful curves, but this

effect will
be given them at a future stage.
of the stalk
now
are
to be rounded,
The edges
and the whole
piece of carving will then have passed through
its first
stage.
In the second stage, the whole of the

to
first
be repeated, and the ground lowered.
itself
Now
must then be considered.
that an ivy leaf
would
process
The
is
leaf
it
will be clear
not, unless glued
down, present
the general level seen in the piece in hand, in which,
although the mid-ribs have been sunk, the edges are

of one height
certain
down
portions
It
becomes necessary,
of
the
surface,
all
therefore, to lower
bringing some parts
to the present level of the ground; whilst others
remain at their original elevation.
The manual work must now

with
artistic taste,
act in perfect
harmony
and the design must be carried out
Pretty Arts for Leisure
14
Hows.
with due attention to the proper distribution of light
and shade.
few rough sketches from nature, made
from time to time, will be the best mode of acquiring a
knowledge of the
effect
which
it is
required to imitate
and now the under-cutting may be referred
The perpendicular edges

inwards, so that
may
it
to.
of the leaf are to be slanted
eventually be as
much
In doing
from the ground as possible.
this,
separated
wood
the
from underneath the leaf must be removed with care
and
patience.
It is a
so that
good plan
there
to free the points of the leaves
may
first,
be no risk of breaking them
off
accidentally whilst working at the sides.
In
the
third
stage,
the
whole
of
the
previous
operations are to be repeated, the ground being taken
down
to the full depth required,
different points finally settled.

is
now
required,
the
surfaces
and the
levels
The work
that
were
of the
of the artist
flat
are to
be rendered undulating, the gouges of different degrees

of curvature being used.
Every touch should add
to the beauty
and natural
Wood
Carving.
15
appearance of the work, and each time the tool
is
used,
the effect should be improved.
Now
on
Our readers who
are accustomed to
see
how
it
no doubt, have
will,
a few remarks are
point
this
pictures, either in
felt
painful
or water-colours,
oils
necessary.
works of
is
art
to look at
which seem to
have been painted with a piece of wool, or to have

been smoothed down with the finger; they will have
the refreshing, cheering effect of some wholesome,
felt
done as
honest
brush-work,
earnest,
and meant every touch
This, in
work
one
is
is
to
carving, constitutes
of the cabinet maker,
the
if
to
painter
were in
tell.
the difference between
and that of the
artist
the
to be " French polished " or varnished, the other
remain as
it
is
left
by the
tool,
and
it
must be
therefore understood, that smoothening with glass-paper
or sand-paper
tools
is
totally inadmissible.
of sharp
and a firm confident touch, a good clean cut may
be given, and the marks then

to
By means
the beauty
of
the
left
add
infinitely
more
work than the most velvety
smoothness could do.
Let
our
readers
look
at
the
work
of
Grinling
Pretty Arts for Leisure Honrs.
Gibbons and other celebrated wood carvers,
examine the beautiful " poppy heads

stall ends,
"
and groups on the
some of the
latter
had just been hacked out with a small
We
them
&c, of the cathedrals and churches, and they
will see that, although
perfect
let
and the
must
effect
seem
as if they
axe, the forms are
charming.
be misunderstood, and our
not, however,
When we
instructions exaggerated.
denounce the over-
laboured and excessively smooth appearance in a painting, giving the idea of the
whole subject having been
specially sand-papered before its portrait
do not advocate the "sloppy" and
which some beginners think the
The true
by a
artist
was taken, we
careless
style in
artistic quality consists.
works roughly and boldly because he can
single touch carry out his purpose; but for amateurs
to affect this
proper
is
medium
absurd, and
we
therefore point out the
in the branch of art
under considera-
tion.
Very
little
tool is to be
but the
practice will
worked
show the way
in
which the
so as best to accomplish its purpose,
artistic feeling
must be imparted by following
the direction which the fibres would take in the leaf
Wood
represented,
and
this
Carving.
requires
17
amount of
certain
thought and knowledge.
In
carving the study of nature
floral
is
most desirable;
thus in the ivy, the vine, and other reticulated leaves,

the fibres tend towards the larger veins and
in the tulip
and similar leaves they run
The ground which

but which
is still
is
tolerably
artistic sphere,
of great importance in the effect, may,

it
has been rendered as level as
possible) be scraped with the

is
parallel.
removed from the
in the first place, (after
it
whilst
ribs,
smooth
end of the
may
it
chisel until
then be
roughened by a diaper or other pattern.
purposely
This
may
be
done by means of a common bradawl, held upright and

struck with a mallet, the tool being constantly turned
about, so that nothing like accuracy of position
attempted
still,
certain
amount
of care
may
be
must be
exercised even in this minor department, for the
little
made must be equally
they
indentations
distributed
must not be crowded at one part and sparse

and the general depth of
all
at others,
must be the same, or the
deeper ones will look darker than the others.
The bradawl must be held
so that the indentations

c
Pretty Arts for Leisure Hotirs.
made may be
across
not
the
parallel with the fibre of
wood.
The patterns
following
grounds
for
manner
may
be varied
by means of a three-sided
deep groove around the bradawl, break
beyond
this, file
the angle of the
the end until

file,
it
is flat,
off
in
file
the
cut a
the piece
and on
it,
with
cut two deep indentations at right
tm
A
Fig.
angles to each other
on being struck
flower.
Clamp.
a punch will thus be made, which
will give the impression of a four-leaved
Numerous
by which
5.
other patterns
may
thus be formed,
beautiful effects can be produced, but
it
must
be borne in mind that such patterns require geometrical
Wood
distribution arid, as the
Carving:
19
ground should be kept as un-
obtrusive as possible, the simpler the design used the

better.
In clearing the ground, and in other parts of the

work,
necessary that the piece of carving should be
it is
some way held down
in
small pieces of work should
may
be screwed to a larger piece of board, which
be
placed so as to press against the wall or against screws
deeply driven into the bench or table, but a most convenient appliance
at tool shops,
the clamp, which
is
made
wood
either of
may
or iron.
be obtained
The clamps
mor-
consist simply of three sides of a frame, strongly

tised together at the angles
a screw, worked
by a small
shown
lever, passes
may
this the piece of carving
the table, as
through the lower member
by means of
be firmly held
down
to
annexed sketch, in which a
in the
is
the table, B the carving, and c the clamp.
The present subject

any
far
special purpose
more
up," and
design
is
it
not intended to be applied to

is
a study only
satisfactory that the
we
for
but
it
work should be
"
is
made
therefore suggest that our reader will
herself a pattern
by
now
consisting of a sprig of
c 2
20
ivy
either
leaves, or
some similar form
of rendering
plant
other graceful
or
is
a rosebud with
and as a certain freedom
allowable in such cases, there
opportunity for the exercise of taste and
Such a design might be adapted

or handkerchief-box, or other
The
lid should,
when
is
skill.
for the lid of a glove
useful
the box
or fancy article.
made
up, be finished
with a plain edge or projecting border.

to
It is advisable
employ a proper cabinet maker, who
lid for carving
will supply the
and subsequently complete the
The carving should
every
is
object.
receive its finishing touches
after
the box leaves the hands of the cabinet maker, so that

the refinement of the
process of
We
shall not
in the
up.
be much increasing the
when we propose
carver
cradle
making
work may not be injured
as the next
difficulties of
the
subject a book-
a design for the end of which
is
submitted at
The work
is
carried on in
the beginning of this paper.

precisely the
same manner as
in the subjects already
described.
The wood should be oak,

thickness.
The
of about half
pieces should not be
an inch in
sawed into their
Wood
Carving.
intended shape until the carving
nearly finished, as
is
the superfluous part serves conveniently for places for
the screws,
by which the work
is
attached to a larger
board during execution.
When
natural condition
the
in
finished, a piece of
This
oiled.
is
or nail brush.
the
done with sweet
The
oil
oil,
desired,
may
or
it
be
left
may
be
using an old tooth
should be allowed to soak well

coat should then be given,
work being well rubbed with the
quantity of umber
of the wood,
wood and another
into the
oak carving
may
brush.
be mixed with the
to darken the oak.
book- cradle, as there
is
oil,
small
if it
be
It is not desirable to oil
a certain risk
of a small
quantity of grease remaining, and soiling the books.

It will
holes
are
be seen that in our design the usual finger

omitted.
The author has found that
ing the book-cradle by these
causes
lift-
the sides to be
bent outward, to become loosened, and eventually to
be altogether detached, since the whole weight of the
books rests on the screws by which the hinges are

attached.
If the
by means of
cradle be just raised from the table
little
feet,
the
hands
may
be
placed
22
underneath
it
the
form will thus be preserved and
the strength remain unimpaired.
The
intelligent
ascent
and
steps of progress are very gradual
mind each one reached
to
qualifies for further
thus, if a lady has satisfactorily carved the lid
of a glove-box, there
no reason
is
then carve an envelope-case.
why
she should not
This will be merely a
question of increase of work, as there will be the
and two
front,
an
lid,
sides to be ornamented, whilst the design
will necessarily be of a smaller character.

It is desirable that the
made
rarily
whole case should be tempo-
up, so that the designs
may
be precisely
adapted to the positions they are to occupy
must
first
together.
the parts
be separated, then carved and put permanently

It is of course possible to
have the case or
any other box made up before carving, but such an

object
is
by
far
more
difficult
to fix or
to
work on
than the separate parts, and therefore that course
recommended
We
will,
is
not
to the amateur.
have already spoken of an envelope-case, and
this
no doubt, have suggested the idea of a writing-case,
or portfolio.
Wood
This
23
composed of two pieces of very well seasoned
is
oak, the thickness of
an inch, and the

half inches wide.
need
side
Carving.
which may be about a quarter of

nine inches long, and five and a
size
The piece which
is
to
smoothened
only be well
rounded by the cabinet maker.
form the lower
and
The upper
edges
its
side is to be
the subject of the efforts of the carver.
The
may
design
whatever the
style, the
Under- cutting
relieved parts
be
is,
floral
or
but
conventional;
carving should be in low
relief.
in this case, out of place; since the
would be
The pattern may be
likely to be broken off in use.
in the first case
composed of a
frame, the corners being filled in with the ornamental

design.
may
frame
the
The general
centre
the
be covered with a diaper pattern, and in
may
monogram may be
The
contained within
surface
portfolio
be
on which a
shield
crest
or
carved.
and envelope- case, however,
still
leave
the set incomplete, for neither can be put to practical
use
without
an
inkstand.
We
must leave general
form to the lady who desires to carve the
may
consist
of a mere
tray,
for
object.
It
a single ink-glass,
Pretty Arts for Leisure Hozirs.
24
and with a channel

simple wreath
and
in
this
pens,
for
in
such
case
must
under-cutting
also
be
may
avoided, so that the edges of petals or of leaves
not be chipped
carved on a slanting edge,
should be
situation
&c.
off.
The stand may, however, be
made
to
contain
drawer, and should then be constructed like a
flat
box
the ink-glasses to stand in shallow recesses cut on
the upper surface, and the drawer entering on one of the
long
In such an object there
sides.
for design
and execution.
the whole of the upper surface
forms the front of the drawer
is
plenty of scope
border should surround

;
the sides
should
one
of which
be carved accord-
ing to the taste of the artist and her powers of execution.
As
in the instance of the envelope-case,
mend
up, so
that the inkstand

that
the
to
add a
should be temporarily
exact size of the designs
appropriateness of form
we recom-
may
be judged
of.
made
and their
We
beg
hint, which, although not exactly within the
range of wood-carving,
may
still
be found useful
it is
that the glasses should be purchased before the design
o.
Paper Knife.
26
inkstand
for the
monious whole
attainable
quite decided on, so that a har-
is
may
when
be the
the stand
glasses to correspond with
result.
This
made
is
is
not always
as the exact
first,
in form, character,
it
and
size
cannot always be obtained.
One small
object
still
can be deemed
set
remains to be carved before our
complete
paper-knife.
should be carved on satin-wood, as oak
This
of too coarse
is
a grain, and does not retain the smooth edge necessary

for cutting or folding paper.
The
wood
first
process consists in sawing or cutting the
into the required shape, the
work being subse-
quently advanced by means of the chisel

is
and here
it
necessary to point out that decoration, however beau-
becomes an absurdity
tiful,
usefulness of the object.
Thus,
if
The
if
it
interferes
test of all
cannot grasp
it,
much undercut
the object
is
is fitness.
becomes an object to look
The work,
then,
must be
that the
is
hand
rendered useless by the
very carving which was intended for

it
beauty
with the
the carving on the handle of a paper-knife
in such high relief, or so
at,
its
ornamentation
but not to use.
in low relief; there
must
Wood
no
be
delicate
Carving.
outside
tendrils
27
the
must not
general form, with which the design
way
outline
of
the
in
any
interfere.
The construction must be decorated.
The decoration
must not be purposely constructed.
The
and the
smallest of the tools should be used,
The
utmost refinement should be given to the work.

knife
should be gradually tapered in thickness from
the handle to the point
the chisel, and then with a
with a piece of
glass,
and
finishing with sand-paper
The covers
for
carving in oak.
style,
is
it
may
file
it
be shaped
may
first
with
then be scraped
work
in this portion of the
allowable.
a Bible form a beautiful subject for
They should be designed
the ornamentation
being
to
in the frame
certain
extent
in character.
Many
symbolic.
The framework should be Gothic

beautiful specimens
may
be seen in the panel work in
the churches and cathedrals of our country
and
as a
knowledge of the characteristic features of the various

periods
artist,
of the
Gothic style will materially aid
we recommend
for her use
our
little
the
manual of
Pretty Arts for Leisure Hours,
28
" Gothic Stonework," from which she may gain manyhints of importance.
Several lady pupils of the author
have executed beautiful works of
this kind.
The Bible
should then be finished with a couple of brass clasps.
charity
box
for a
church forms another appropriate
object for the exercise of this beautiful art.
It should
be made of oak, at least two inches thick, joined in the
method
called the
"mitre dovetail,"
i.
e.,
that in which
the ends of the dovetails are not visible on the surface.
The designs must be
carefully
made on
paper, as they
require accurate adaptation to their position.
Many
are
the beautiful
works of amateur carvers
which decorate our homes of England, and
these, not
only from their artistic merit, but from other associations,
become exceedingly valuable
to their possessors.
CHAPTER
II.
FEET SAWING.
Although
artistic
wood
as
made by
be
fret
sawing
cannot
means
and when the work of the
its
are
highly satisfactory.
of these
may
quantity of
is,
chisel,
In designing
fret sawing, certain conditions
there
beautiful articles may-
supplemented by that of the
well-balanced
as
many
is
first
considered
carving,
saw
the
be
the results
a pattern for
must be borne
that there
in
mind
must be an equal and
distribution of form
and
space, so that
not in the finished work be too great a
wood
at one part, or too large openings at
others.
In order to
test the design it is advisable,
outline has been completed, to
are to be
fill
when
in all the parts
removed with Indian ink or some dark
leaving the pattern itself quite white.
the
which
colour,
30
The general
effect will
then at once be seen, as the
eye will detect the points at which the work would look
Fig.
7.
Fkont of Reading Stand.
heavy, or the reverse.
No
in this respect, the eye alone

all
absolute rule can be given
must be the guide
for, as
the spaces will be different in shape, measurement
Fret Sawing.
not
will
be
experience,
any
sufficient
3i
aid.
and the exercise of good
difficulty
which may
small
amount of
taste, will
remove
at first appear.
Another point to be attended
the arrangement
to, is
or adaptation of the design, so that the pattern, whilst
standing apparently free from the border,

certain points be connected with
it
this
may
still
at
refers also
to
the different parts which must be to a certain degree
dependent on each other, so that the

flowers, or tendrils
The necessity
when
it
is
may
leaves,
scrolls,
not be liable to be broken
for this
off.
arrangement will be obvious,
remembered that the
fibres of the
wood do
not follow the direction of the curves in the design, but
run parallel with each other
and thus, where they cross
any stem or branch, that portion would of necessity be

weakened, and
liable to
be broken off
therefore be so arranged that
support each other

to the sketch,
the design must
some parts touch, and thus
this will be understood
on reference
which represents the front of a reading
stand.
And now
let
us consider the construction and method
of using the turning- saw, with
which the work
is
to be
32
This instrument consists in the
done.
frame, which
a crossbar,
by two
is
made up
of the
The blade
B.
iron pins,
handles at c
saw
or
side pieces,
is
kept in
A,
and
place
its
which pass through the ends of the
c.
two
of the
first place,
cord
is
wound round
the upper ends
of the side pieces, and a slip of wood, d, being inserted
the
in
middle of the bank thus formed, and being

twisted,
and
The lower end of the
slip
turned round several times, the cord

in consequence tightened.
of
wood
by
this
This
then passed over the crossbar at
is
means
is,
it is
of a gimlet,
is
the
it
is
method
to be brought into action,
of proceeding.
By means
bore a hole in the part which
to be
is
This must be done with the utmost
out.
order
and
however, a description of the saw when not
the following
in
E,
prevented from returning.
being used, but when
sawn
is
avoid
to
the pattern
splitting
which, by the way,
and corrected,
as already
wood, or
the
showm
is
to
care,
injuring
be transferred
in relation to
wood-
carving.
The
hole
may
be enlarged by means of a gouge,
in order to allow of the free passage of the saw.
The
Fret Sawing.
frame of the saw

untwisting
distant
saw
cord
the
now
is
to be loosened
from the hand
which
pin
the
33
by
is
slightly-
then to be removed
is
will thus be separated
from the handle
most
the
the
it
may
next be passed through the aperture, after which the end

is
again to be secured to the handle and the frame
tightened up as before.
In commencing the work great care must be taken

that the saw
is
quite straight
and not
degree twisted, as in such case
This
snap.
may
in the smallest
would be
it
to
liable
be regulated by the handles to which
the ends of the blade are attached.
Whilst sawing, the blade must be kept at right angles

to the surface of the
pattern
may
not slant
wood
;
so that the
edges of the
the pattern should, in fact, be
equally perfect on back and front of the piece.
Only very
which
of
may
the
cutting
be made to follow the most intricate portions
is,
The blade
design.
edge than
technical term,
that
force is necessary in using the saw,
little
the cut
it
at
is
rather
the back,
and
thicker at
thus,
the
to use
" clears itself" whilst being worked:
made by
the teeth
is
wider than the
34
back of the blade, which
The blades
any
direction.
and
thicknesses.
The
may
are
therefore be turned in
made
in different
widths
sizes generally required for
work
such as the present are quarter inch, eighth of an inch,
Fig.
and a
for
size smaller
very
flat
pattern the
8. Turning Saw.
the
the external form or
first is for
curves, but the smaller the curves in the
narrower must be the saw.
The
curves,
however, should never be too small or very sudden, for
then the
difficulties
would be increased and success
less
likely to be attained.
Another
difficulty here presents
the frame would prevent

certain distance.
itself,
the saw
This obstacle
is,
namely, that
acting beyond
however, overcome by
Fret Sawing.
turning the saw, which
by means of the
it is
attached
made
is
35
to rotate in the frame
handles, to the iron ends
of which
both handles must be grasped at once
they should be turned simultaneously, the frame being

at the
same time prevented from moving.
The external
form should not be given until the whole of the pattern

is
completed, so that as
much
strength as possible
may
be retained during the process of sawing, the whole piece

being held to the edge of a table by means of a clamp,
or secured in a vice.
It has already
been said that as
as to be ready to
force as possible
The handles should be
should be used in sawing.

firmly held, the
little
thumbs pressing against the frame

push
pressed towards the
it
towards the right, whilst
left
by the
forefingers
of
so
it is
both
hands.
If force be used, there is a chance
to
certainty that the
proper curve
and,
if
saw
will
by
ladies
force," so nearly allied
be driven out of the
that should occur, every touch
would increase the divergence.

well understood
amounting almost
The power used
when we say
to persuasion
it
will be
" gentle
is
be
this will
D
all
36
the more necessary in
cases
of
difficulty,
which
will
occasionally occur, such as the
saw catching
sudden curve, owing
having become slightly
twisted or
In
its
to
its
in a rather
having been worked slantingly.
work must
this case the
and
at once be stopped,
the whole effort must be directed to the extrication of
the saw
care being taken in the first place that
any
twist in the blade
is
corrected;
straight,
and that
it
is
out, the
motion being towards the back of the blade,
next, that
it
held
is
"coaxed" rather than pulled
not forward, so that no damage
may
be done to the
work.
Another hint may here be given, and

saws of every kind
and there
is
this refers to
no reason why
ladies
should not learn to use a small hand, or a tenon saw,

so that they
may
be enabled to cut a piece of wood
to the required size, or to
We
make up any
simple
article.
have seen several such works completed by ladies
in the most satisfactory manner.
The hint then which we would give

only cuts as
it
is
pressed forward
stroke has been given, the saw
is
and
to be
is,
that the saw
thus,
when
the
drawn back by
Fret Sawing.
37
a lifting motion, pressure being carefully avoided

will be readily
The
done
after a
instructions given
worked
to be
wood
is
this
little practice.
which are
subjects
to
refer
by the saw
entirely
surface of the
very
that
to say, the
is
not to be interfered with, and
the angles are to be kept as sharp as possible.
It
is,
however, allowable to smoothen the edges, and to clear
not perfected by the saw, by using the
parts
The
surface
may
be rubbed with sand-paper, a sheet
of which should be laid on the table, and the
then to be rubbed on
so
every part
that
smoothened.
of
it,
the
If the piece
and
is
to
is
surface
may
be equally
be a large one, a strip of
or cork so as to form as
this
work
the pressure being uniform,
sand-paper should be wrapped round a
wood
chisel.
it
little
block of
were a kind of brush
be rubbed over the surface, and the
rounding of the edges will thus be prevented.
The
front
of the
pleted, the object
and here the
reading-stand having been
may
services
be
made up
of the
in various
com-
ways
cabinet-maker must be
called into requisition.
In one form of reading-stand a frame
is
made
of
38
precisely
same
the
smaller frame
is
as
size
attached
the
by hinges
front,
and another
to the back of the
carved part, the lower edge moving in grooves in the
Fig.
stand,
and by
9. Side View of Heading Stand.
means the
this
slant
of the
front
is
regulated.
simpler
however,
form,
This consists in
so
simple
amateur will not find any

In this sketch A
is
is
sometimes
a construction
difficulty in
adopted.
that
making
the
it.
the edge of the front, and B the
Fret Saiving.
shelf
on which a book
is
to rest
either
by the edging shown
brass
catches
such
as
are
39
this
may
be finished
in the sketch, or
by two
used on the music desk
of a piano.
The
front
stay, c,
wood,
Care
D,
which
supported in an oblique position by the

is
attached by a hinge to a piece of
screwed to the back of the carved surface.
must
interfere
is
be
taken,
however,
that
this
does
not
with the pattern, and that the screws do not
pass through to the front.

that this plan
is
It will of course
be seen
only fitted for small slight reading-
stands, the previously described form being adapted for

large ones.
CHAPTEE
III.
MODELLING IN CLAY AND CASTING IN PLASTEE.

Modelling
in clay
must be considered
stage of sculpture, since the original
case
made
this,
the work
in clay
is
model
in every
subsequently executed in stone.
make
a plaster cast
from the original model

shrinks as
is
and, from a plaster cast taken from
The question might perhaps suggest

the trouble to
as the first
it dries,
itself,
why
The reason
why
take
not work direct

is
that the clay
and the measurements taken from
would not therefore be accurate,
for
it
they would vary
from day to day until the clay had become perfectly

dry
and
further, the clay is liable to
crack,
and in
consequence parts of the model occasionally chip

especially
when
additions have been
made during
oft',
the
Still,
when
the piece has been
allowed to dry gradually, and
when
all
progress of the work.
the parts of the
Modelling in Clay and Casting in Plaster.
design are well
The
preserved.
in plaster,
supported,
the model
safer plan, however, is to
this
is
all,
the clay model

artist is
often
make
be
a cast
which has not only the advantage of greater
permanence, but admits of better
Nor
may
41
finish.
for in the plaster
several
casts
may
mould taken from

be made, and the
thus enabled to distribute copies,
equal to the original, amongst her friends.

especial pleasure
when
of a friend or relative
the work
;
is
all
precisely
This affords
a portrait medallion
and we have known many such
portraits of local celebrities or benefactors sold in goodly
numbers
at bazaars organised in aid of charitable
and
other objects.
The material used
for
modelling
is
pipeclay.
It
may
be obtained at any pipe-makers, at the shops of most

vendors of plaster figures, or at any plasterers.
The lump
should, in the first place, be cut into several
pieces, in order to see if there are
any chips of plaster of
Paris or other extraneous matters
precaution
is
necessary, as the
same clay
peatedly by plasterers, and thus

contain
small
pieces
imbedded
it
is
of plaster broken
in
is
it.
This
used re-
very likely to
off
from the
42
These must be removed by means of one of
mould, &c.
the tools,
and further search must be made,
when
appearance of such matters
the
work
The
causes great annoyance and trouble.
is
the
as
advancing
clay obtained
from pipe-makers does not as a rule contain any of

these objectionable particles.
We
first
have said that the lump of clay should in the
place be cut into pieces
and
this operation is ren-
dered quite easy by using a piece of

fastened at each end to a handle
of wood.
clay
The wire
all
of a simple piece
then to be drawn through the
is
by pulling both handles
When
made
copper wire,
at the
same time.
objectionable matters have been extracted,
the pieces are to be thrown heavily on each other, and

are to be
on the
kneaded by being thrown down several times
table, or
may
which the texture

for
will
be beaten with a heavy
become
closer,
stick,
and thoroughly
by
fit
work.
Wherever
possible, it is advisable that a
room should
be set apart entirely for modelling purposes; the floor

should either be laid with oilcloth or should be
without any covering at
all
left
carpets should not be used.
If
43
however only part of a room can be spared, that part
may
be covered with
mat may be
placed.
strong table
necessary,
is
may
on
fall
from the
it
The modelling board

clamped.
It
is
and
be placed
this should
window, or in such a position that
either in front of the
the light
the edge of which a
oilcloth, at
is
left side.
simply a board strongly
highly important
that
made
of well-seasoned wood, so that
from
the
moisture
it
necessarily
it
it
should be
may
not suffer
absorbs
from
the
clay.
roofing slate
may
board, where great size
We
now
will
be used instead of the modelling

is
not required.
proceed
to
give
instructions
for
modelling a very simple study, Figure 10, consisting of

a single laurel
In the
to
first
leaf.
place, spread
some clay over the
slate,
form a ground about six inches long, and four inches
wide.
This
is
best spread
thumb and knuckles,
by pressing the clay with the
the great object being to compress
the whole into one compact mass, so that there
be any chance of pieces breaking
off.
When
may
not
the surface
Fig. 10.
Laurel Leaf.
is
45
tolerably level, the roughness is in the first place to
be worked away by means of the modelling

11,
which
merely a
is
and having teeth

smooth edge
to be
is
blade,
or notches at one
at the other
or,
it
made
end and a perfectly
may have
coarse teeth
other.
cross each other
may
mucn more
in this
rapid
used
be
in
way
a level surface
manner than
The end of the
smooth.
This
worked with a scraping movement, and in
various directions, so that the indentations
in a
Figure
of boxwood,
end and smaller ones at the
at the one
tool
flat
tool,
if
but
is
is
obtained
the blade were
tool not provided
finishing,
made may
not
with teeth
absolutely
necessary.
The next
in Figure
tool is that the
12,
This
tools,
the end, which
end
is
made
is
sketched
not generally sold in the sets of
but any brazier or tinman will make

is
easily inserted into a handle.
of brass wire, as iron
The
would rust when
exposed to the action of the moist clay.

is
is
which unites the toothed blade with a
kind of rake.
modelling
end of which
The portion k
formed by beating out the wire whilst in a heated
condition
the edge
is
to be reduced to its proper degree
Fig.
11. Wire Tool.
of fineness,
and the teeth
of a small triangular
are to be indented
47
by means
file.
made
sizes;
the
smallest measuring half an inch across A, the others
may
This tool
should
be
various
in
Fig.
12. Wire Tool.
Fig.
13. Wire Tool.
be three quarter inch and one inch, and of course larger
ones
may be
may
require.
The
and the length of the
tools,
obtained as occasion
thickness of the wire used,
must be increased
in proportion to their size.
The advantage of
this
open tool
is
that in drawing
over the surface of the work, the clay which

instead of gathering under the tool
its
is
it
dislodged,
and thus obstructing
progress, passes out through the space
between the
48
wire sides
and
thus be freely worked

lighter than if
it
were
solid.
Another form of wire
which
is
a blade
sizes,
and
may
is
made
shown
tool is that
in Figure 13,
of flattened brass wire, fixed in
made
This too should be
a light handle.
It
may
same time much
at the
is
made
the instrument
one of the most useful of
be combined with the
last,
in different
all
the tools.
by placing both
in
the same handle.
The
rest of the tools are
and may be purchased

dozen
made
of
boxwood and bone,
from four to six
at
they are of numerous shapes and
shillings per
sizes
and the
necessity for the different shapes will be suggested
The amateur
circumstances.
encumber
is,
herself with a great
by
however, advised not to
number
of tools, as she
can easily alter any of those made of boxwood, by means
and
of a penknife
others out of
at
most
and
file,
"boxwood
will
chips,"
soon learn to
which
may
make
be obtained
turners.
Modelling
in
clay
depends really more upon the
worker than on the tools
wood may be shaped
for the merest pieces of fire-
so as
to serve
most purposes,
may
whilst very useful instruments
made
moment be
made by bending
&c, into the form which may
hair-pins or shawl-pins,
at the
be
49
required
may
handles for these
any other
of quills, penholders, or
be
light pieces of
wood.
We
often find ladies purchasing large sets of imple-
ments and instruments on commencing to learn various

" pretty arts
is
to
"
but experience has shown that
a mistake, as
find
much time
out the uses
spent in endeavouring
is
of the
this
various articles and in
applying them to such use, whereas, had the numerous

things not been obtained, the
work would have been
accomplished equally well, or perhaps better.
little
amount
manual
and the
skill
exercise of a certain
of ingenuity will enable the amateur to
most of her own
tools
in fact, a lady
ability in a sufficient degree
to
who
model and
make
possesses
cast,
will
not usually be found deficient in this respect.
Eeturning
now
to our work, the slab of clay
to be raked over with the square
is
end of the wire
next
tool,
which must be worked in every direction so that the

indentations
may
cross each other.
Only a very small
50
degree
may
pressure
of
is
be used,
to
so
the
that
tool
not sink into the clay and an undulating surface
be thereby produced.
In order to obtain a perfectly level surface, a straight

edge, something like a
wise over the clay
some of the
of
sufficient
flat
may
rule,
be drawn edge-
in small pieces, the smooth blade
tools
will
effect
Absolute
accuracy.
the
purpose with
smoothness
not re-
is
quired in the model, as the cast can be " finished up

to
any extent that may be
When, however,
to nail
the
two
height
desired.
the subject
strips
is
large
of wood, of a
of the
ground,
from each other on the
at
the
it is
a good plan
thickness
equal to
required
modelling board
distance
the
clay
having been spread between them, a piece of wood

slightly sharpened at one edge should be
it,
and
as this,
when
the roughnesses of the mass have
been removed, will rest upon the guide
uniform thickness of the ground
The
leaf is
now
be executed in low
with a pointed
drawn over
will
to be formed.
relief,
tool,
pieces,
the
be ensured.
If the
work
the outline must be
is
to
marked
and the ground must then be
worked away with the square end of the wire

in
smoothened
until
the
piece
is
hut the finishing of
leaf
is
to be modelled in high
be
not
it
tool
previously
may
be postponed
If,
however, the
near completion.
relief,
the leaf must
The amateur must not by
be separately shaped.
however, understand that

flat
need
ground
the
case
this
it
this,
just to be cut out of a
is
piece of clay and affixed
the
to
When
ground.
marked on the ground, some
the general shape has been
very deep cuts and indentations are to be made within
These should not be quite
the space to be covered.
perpendicular, but should slant in different directions
the whole of the space

cuts
each
crossing
pressed on the
is
then to be roughened by deep
other
some clay
used,
so
now
ground thus prepared, and
extend slightly beyond the outline.

be
is
that
the
separate
Some
pieces
this
be
may
force should
may
be
which
incorporated with the ground, a result
to
well
will be
promoted by parts of the clay being pressed into the

perforations
and cuts previously made.
The exact form

cutting the outline
is
next to be given to the
down
to the
ground
leaf,
by
the extraneous
E 2
52
clay being
removed by pressing the
by the square end

It must,
which
will
must
leaf
They must
The
of the
the
be
explained presently, the
outward
in fact slant
work
at the bottom.
of modelling
main undulations,
is
edges of the
decree
not in the slightest
be undercut.
CD
O
thumb and
work
01
however, be borne in mind that, for a reason
actual
its
outward
of one of the wire tools.
done with the hand alone

leaf
tool
&c.
the general form of the
being given by pressure

may be
This
fingers.
in the first instance
is
carried on until
somewhat advanced.
The mid-rib and other

out with the
tool,
ribs are
and the clay
then to be worked
to be
removed
(Fig. 13)
from the middle towards the edge, by a scraping movement, not by using the tool as a knife.
The proper depth

reached at
first, if
the
of
mid-rib should
not
the two lobes of the leaf are
inclined to each other.
be
much
In the present example this
is
not the case, the whole surface being in some specimens

nearly
flat.
The required
therefore, be obtained in
it
must be repeated,
as
result
may,
one operation
it
is
in this instance,
;
in other cases
not desirable to attempt
remove too much clay
to
The modelling
at once.
should be held almost horizontally

four fingers
thumb supporting
touch the
and
tool,
it
which
the points of the
on the one
on the other
it
or,
may emerge
tool
and the
side,
three fingers
over the
may
little finger,
this will act as a rest.
The purpose
great
as
on
resting
53
of holding the tool horizontally
length
as
of
possible
the
is
that,
may
edge
be
brought into action, the point being only used in very
narrow
spaces.
At some
parts of the
model
may
it
be necessary to use the cylindrical and smooth tools,
but as a rule the toothed ones are employed, and the
marks
add much
left
It will
beauty of the work.
be clear that, during the progress, the clay
must be kept moist

ing
to the
this
is
accomplished by cover-
with a piece of rag soaked in water and well
it
wrung
out.
If
the
work
is
not resumed
the
next
day, this should be again moistened as before, or

sprinkling water over the cloth without
but care must be taken
wet
be
not to
in such case ail accuracy
lost.
make
removing
the
clay
by
it
too
and refinement would
54
If the
work
is
when
of a delicate character, or
upright at different parts of the ground
may
modelling,
the
is
wood may be placed
nearly finished, a few pieces of
clay higher than
it
or balls of
as
be,
were,
it
strewn about, which will then bear the weight of the
wet cloth and prevent
touching the work, which
its
by the moist
will be kept in proper condition
air
thus
confined.
In the
final stage of the
uncovered.
The
work,
it
the
model
be
left entirely
then become so firm, that
clay will
the most refined finishing touches
which
may
should
may
be given
allowed
be
to
dry
after
very
gradually.
now
"We
the
first
ground
proceed to give instructions as to casting,
process of which
having
been
flattened out into
is
to
make
squared,
strip
and
The
the mould.
some
this
clay
is
to
is
be
to
be placed
around the ground, so as to form a border or
wall.
Supposing the thickness of the ground to be one inch,
and the
leaf to stand a quarter of
an inch above
then the wall should be about two inches high.

wall
must be pressed
closely against
the
it,
This
ground, so
as to avoid
55
chance of the liquid plaster running
all
through.
The model
now
is
to be oiled
The
brush being used.
linseed oil
and a
should be allowed to soak
oil
well into the clay, after which the operation
oil are left
on the
and that none
surface,
in the deeper parts of the model, as this

fere
In doing
to be mixed.
this,
it
common
ever, the
motion
the
plaster
the
basin, so
will
deposited
would
inter-
the
is
that
to be
to be
thrown
not to be merely a stirring one
it
may,
otherwise,
in the properly
by the
is
is
mixed
tool,
side
of
ground up
some of the dry
particles
which, becoming imbedded
plaster,
may, in the process of
surface.
this
against the
as it were, be
ball,
come near the

finishing
In this operation, how-
be " rubbed"
to
is
water
table-spoon.
be gathered into a
casting,
plaster of Paris
the whole must be at once stirred with a strong
stick or
in
is
some water
poured into a basin, and the plaster

into
to be
with the clearness of the casting.
The model being thus prepared, the

is
is
Care must be taken that no drops or streaks
repeated.
of
soft
On
being cut into
would cause a cavity
in
56
where
part
much
occasion
might
it
be
of
serious
and
injury,
The mixture should
trouble to repair.
be perfectly smooth, and of about the consistence of

cream.
The basin used should
called a lip, so that the mixture
poured
out
of
the
rapidity, so that
over the whole
This
it.
may
edge
its
be conveniently
must be done with some
plaster
surface
bend in
have a
may
at once
be spread
the lip or edge of the basin
must, however, be held near the edge of the wall, so

that the
liquid
plaster
may
not be
The moment the whole of the

the
in,
slate
tapped with a
or
stick, so
into
any of the
first
have flowed.
"When
all
the
basin should be
or stick
immersed
will harden,
board should
plaster
and there
be
sharply jerked
into
which
has
been
may
it
be shaken
may
poured
or
not at
out,
the
up with water, and the spoon
filled
it
about.
plaster has been poured
that the plaster
recesses
in
splashed
otherwise the remaining plaster
will be great difficulty in cleaning
the utensils.
In about ten minutes
the
plaster
will
be
found
sufficiently
The
removed.
admit of the
to
surface
of
the
plaster
has been done, the whole
the next day,
when
wall being
clay
then to be
is
with the largest of the brass
levelled
this
"set"
When
tools.
be
should
57
left
until
the plaster will be found perfectly
hard.
The model
raised
and
mould, thus adhering,
to
be
and the double edge having been well trimmed,
so that the line of junction
may
round, a broad and thin blade
between them,
This
are
must
becomes
first
at one side
done
be
evident
is
the
and
two
all
then to be inserted
and then
carefully,
that
be perfectly clear
at the other.
the
are
moment
it
the
separating,
whole should be placed horizontally, the model being
below
the
mould
The mould
model, but
all
is
then to be carefully
will of course be
lifted
off.
an exact copy of the
parts which are raised in the latter will
now
requires
any roughness being removed.
Should
be sunk in the
former.
The
mould
cleaning
up,
clay be
found adhering at any part,
it
would show
that the model has not delivered freely, but that
portion of the clay had been torn
some
away by the mould
58
which
formed of a harder substance, but
is
had been of
been
effected
mould
perhaps
therefore, at
the
plaster,
without
separation
injury to
The
could not have
the
model
mould,
which the clay adheres must be
cleared,
mould
thoroughly
both.
parts
now
must
dry;
order
in
be
of
to
allowed
promote
be placed over night in an oven
burned out or nearly

left slightly
When
clay
after
but in large ones
up with
instance,
this,
when
the
mould
is
it.
become
may
it
has
fire
which a wall
to receive
is
it
should be
of
two
to be built
This may, in small subjects, be
fully united at the

rilled
to
in
the door of the oven being
so,
perfectly cold, the
it.
made
open.
coats of linseed oil
around
the
or
the
to
so as to ensure free egress to the cast to be
The
both
if
made
wood
of
care-
angles, all the crevices being well
The wall
clay.
should, in the present
be about three-quarters or one inch higher
than the mould.
The
before;
plaster is
when
now
set,
to be mixed,
the
wall
is
to
and poured in
be removed.
as
No
attempt to separate the cast from the mould should
be made,
the
until
become
has
plaster
59
thoroughly
hardened.
The
the
cast
first
"
called
any
is
next to be taken
place to
Dutch
plasterer's
many
banks of our streams
when
it
other
may
should
be
obtained
be
used
in
answer the purpose equally
will
in water
to
wash
and
sponge
" burr "
away the
split,
which from
closely resembles.
it
at
growing on the
rushes
will be like a piece of sand-paper,
natural roughness
its
which
The rush should be soaked
well.
is
be cleaned by means of what are
rushes,"
;
hand, and
in
thus
caused.
The work
for
its
is
not, however, to be really
appearance would be thereby
the rush should
The
only be used for
real finishing is to
may
Like the modelling
some having
or
bent
tools,
much
steel tools,
artists'
which
colour shops.
they are of various forms,
form of pointed
teeth, others being in the
chisels.
injured
cleaning purposes.
be done with
be obtained at any tool or
smoothened
These must be carefully cleared of
plaster after use, so that rusting
With these the work
is
may
be prevented.
to be scraped
where required,
6o
much
additional refinement being thus
must be understood that the

better,
less
done
but
it
to the cast the
otherwise the integrity of the original will be
gradually
lost.
The
leaf in the present
in certain places be slightly undercut.

this effect
ing,
given
example
may
In large designs
would be produced by means of piece mould-
but that process would as a rule be beyond the
requirements of the amateur, so that a description of
would thus be beyond our present
scope.
it
CHAPTER
IV.
MODELLING IN WAX.
This beautiful art
from modelling
differs principally
in clay in the nature of the material employed,
and in
being adapted for smaller subjects.
its
The wax, which
is
the pure white,
by the admixture of a
little
is
slightly softened
and turpentine, and
oil
is
by a very small quantity of vermilion.
generally tinted
It is easily obtainable at artists' colour, or similar shops.
As
it
not likely that our readers will themselves
is
engage in
its
manipulation,
it
necessary to enter further into
The instruments used

tools and,
out, the
when
work
is
the
is
its
not
here
deemed
composition.
are the smaller ivory modelling
general
form has been roughed
done rather by pressing the wax in
than by removing small portions of
it.
The blunt-
pointed tools are thus most often called into requisition.
62
Unless the subject
background, low
than high
wax
relief
is
stand wholly free
to
better adapted for this style
relief is
it
will, of course,
be evident that the
Some
necessarily delicate.
is
from a
admixture of resinous substances with the wax.

adding
has the
effect of
certain
amount of
chip
to
off
at
stiffness to
edges
adapted for
small
of which can be
figures
undercut
if
not therefore advisable as a
it
which makes
brittleness
the
but
it,
rule.
and
this
The
the
advise
artists
This
gives a
it
liable
plan
style is
is
well
the features
groups,
modelled with the utmost delicacy
and refinement.
Portrait medallions of rather small size are also well
adapted as subjects for modelling in wax.
It
must be
understood, however, that these should not be laid on,
but should be of the same piece as the ground.

the
execution
of these, however, great
care
must be
taken to preserve an accurate,
or,
termed, a "clean"
that the features
outline, so
as
it
is
In
technically
may
be well separated from the ground.
In
this
indentation
operation,
is
made
care
at
must
be
the junction
no
taken
that
of the
features
Modelling in Wax.
with the ground, a fault which
63
very
is
to occur
liable
unless the greatest care be exercised.
The ivory
tools
the adherence
them
of wax.
in water,
against
must be kept
This
or touching
damp
cloth,
is
perfectly
effected
free
by dipping
them from time
kept for the
from
to time
purpose at the
side of the worker.

It
is
unquestionably desirable that, before attempt-
ing to model in wax, the amateur should have had
much
practice in modelling small subjects in clay, in
order to attain that refinement which
necessary, as
is
well as to obtain the mastery over the tools
power of managing a
It
plastic material.
has been said that this style
low than high
relief,
and
this
possible.
outlines
is
better adapted for
must be a gentle reminder
to our readers as to the study of

place, the
and the
drawing
must be rendered
as, in
as
the
first
correctly as
This applies not only to the near but to
the distant parts, although such
may
be only backward
at a distance equal to the thickness of a sheet of paper,
This requires a great amount of

and, in order to point out the
artistic skill
method
in
and
feeling
which
it
is
64
to be carried out, the attention of the reader
work shown on good
to the
work
coins, in which,
called
though the
raised above the surface in an almost infini-
is
tesimal degree, perspective rendering
In the
may
is
frieze
is
perfect.
from the Parthenon, portions of which
be seen in the British Museum, and casts from
which are placed in the South Kensington Museum,

the great sculptor Phidias has set an example for the
imitation of
all
The
future generations.
aud
consists of a procession of horses
which
frieze,
riders,
was placed
high up against the wall of the cloister which surrounded

the building.
ward
tor
It
therefore, to step back-
was impossible,
to see the sculpture
was compelled
from a distance
view
to
it
ever,
would have been seen
worked in low
manner that no portion

appearance
The
is
Had
lost,
the
their underneath
the whole
is,
how-
an exquisite
in such
whilst the perspective
is perfect.
illustration
modelled in wax.
the
and
relief,
the specta-
from below.
figures been rendered in high relief,
surface only
is
a copy
of a medallion
In this case the portrait
ground of purple
glass.
In
such
is
portrait,
in wax,
case,
it
is
Modelling in
necessary to
make
Wax.
65
several deep cuts or scratches with
a diamond in cross directions and the wax, being pressed

into these,
is
secured against dropping
off.
CHAPTER
V.
LEATHER WORK
The
art
of decoration in leather
beautiful effects
it
may
one by which
is
We
be produced.
do not
with modelling, because the work partakes, in some
degree,
of
mechanical
character
different parts of the design being first
and then grouped or put
together.
not be ranked as " high art
much
but
"
the
is
worthy of a
and
separately,
The work may thus

it
is
one affording
and to those who may
pleasure to the worker
well
leaves
made
be the recipients of the results produced

it
class
place
therefore,
amongst elegant
arts
for ladies.
The
at
any
leather used
is
a thin
leather-sellers.
calf,
The skin chosen should be
smooth as possible and not too

In leather work the
and may be purchased
leaf,
as
thick.
or petal, having been first
Fig.
14. Sprig
of Vine.
68
outlined,
cut with the scissors or penknife.
is
warm
then placed for a few minutes in
is
when
water,
The
the leather becomes quite softened.
It
leaf is then
taken out of the water and rolled over with a small
of the water as possible has been pressed out of
midrib,
the
smaller
undulating direction
the
ribs,
then made with small

is
ivory
reticulations,
modelling
producing
the
etc.,
dry,
required
The various
when they become

them.
given
pinching
or
may seem
effect,
and
and
wet,
whilst
in
narrow
they
to the
flowers,
are
to
be
stalks,
may
strips
of
the
frame, a box,
thus
by
and
etc.
the
leather
is
rolled
are
ready,
and small pins
such
They
by
the different
tendrils
glue
made
leather
When
surface they are to adorn
bracket, a
be
retaining the form

are
wire.
buds,
attached
will
it
stalks
cases
round thin brass or copper

leaves,
stiff,
and
some
adapted
parts are then allowed to
quite
Tendrils
twisting
are
The
tools.
understood that an infinite variety of form
be obtained.
The
it.
given to the various lobes by
the fingers, or such of the tools as

for
much
pressed with one of the tools, until as
roller, or
as a
should,
wooden
however,
Leather Work,
be
parchment
form.
size,
over with
painted
previously
first
solution
of
apply two coats of very thin
It is advisable to
the
thin
being taken not to injure their
care
size,
69
being allowed to become perfectly dry
The
before the application of the second.
size
is
be applied with a small hog's-hair brush, such as
used in painting in
to
is
Great care must be taken
oil.
that the size enters into the most minute indentations
and
veins,
and that the cut edges are well covered.
The ground on which the decoration

should be varnished before the work
then presents a clear surface.

either the
The
latter
wood
is
itself or
by
far
may
the
is
is
to
be placed
applied, as it
This surface
may
be
be covered with leather.
better
and more uniform
plan.
In affixing the wreath or branches,

in
mind
that the
work
is
classed
but,
in fact, as
as
art,
must be borne
not done in wood.
mistake to attempt to imitate
work
it
wood carving
It is
in leather
already intimated, the one must be
the
other
as
pretty
ornamentation
even as such, deserving of a proper place and
of proper
execution.
In designs of every kind the
7o
material in which
be considered
flexible
they are to be carried out
and
it
be
will
obvious
that,
must
in
material like leather, different effects could be
attempted from those obtainable in wood, in which a

certain
solidity
Various
kinds
must of course be always preserved.
may
varnish
of
opinions differ as to which
is
be
obtained,
to be preferred.
and
Those
most generally used are the Oak varnish, the Copal,
As
and the Mastic.
in the sizing,
two thin coats than one heavy
it
better to apply
is
coat,
as little varnish
used each time, so that none of
as possible being
may run down and
it
collect in the veins or gather in
drops on the edges.

It is
not intended that " Pretty Arts " should be a
lesson book
but
it
still
comes within our province
remind the reader that what

worth doing
well,
is
worth doing at
to
all is
and that care should be taken that
the different leaves and petals are correct representations
of nature.
according
never be
to
The form of arrangement may be
fancy,
outraged.
that careful
sketches
but
the
Thus
be
we
natural
growth
urgently
made from
must
recommend
nature, and also
Leather Work.
that
some elementary work
that the amateur
may
in
botany be read,
so
be enabled to produce a work
not only creditable for the manual
which may show
7i
skill displayed,
intellectual observation
and a
appreciation of the beautiful works of Nature,
but
refined
CHAPTER
VI.
DBAWING- ON WOOD.
The
pleasure
of looking
the sketches of a friend
very natural regret
is
that
are
the
sketches,
sketches
of
through the
very great
is
felt,
left
portfolio
but a certain
on closing the
behind.
portfolio,
The
could not be hoped
course,
of
original
for,
but
it
might always be desired to have copies of them.
We
them
highly appreciate photographs, but cannot value

as
we
the
friend
should
if
she possess
amongst
For
this
the
experience
therefore
is
greatly
our
which the
enhanced
power of spreading that pleasure
others.
reason
" Pretty Arts "
taken
may
handiwork of
absolute
The pleasure
artist.
amateur herself
the
we purpose
by which
giving some
copies of drawings
but in every case,
of
the
may
be
our instructions will be
Drawing on Wood.
73
restricted to such departments of the different arts as
can be accomplished by the amateur
herself,
of the workshop
giving general notions
merely
processes
or
Group of Blocks.
Fig. 15.
mechanical portions which
it
would not be advisable
for her to attempt.
Drawing on wood
connection with
no more
difficult
our
is
one of the simplest arts in
subject.
In
plain
terms,
than drawing on paper,
it
is
excepting
Pretty Arts for Leisure Hoars.
74
that the india-rubber
is
not available;
amount
until a very fair
of
and, therefore,
power has been
attained,
drawing on wood should not be attempted.
The wood used

and
finest
We
box
receive
is
it
made up
in the
which has,
it
wood yet
is
said,
the
discovered.
principally from Turkey, as the English
The box
so that
box,
grain of any
too small.
thick stem
are
closest
is
when
is,
in fact, not a tree of
large blocks are required they
of several pieces,
the joints being
made
most exquisitely refined manner.
The blocks used
for
engraving are absolutely "
slices
"
cut crosswise, so that, before they are further advanced,
each
slice
is
nearly round in shape, and they are cut
to precisely the
engravings
may
The blocks
are
same height
as type, in order that the
be printed together with letter-press.

beautifully
squared,
and the surface
smoothened and polished to an almost inconceivable

degree.
These blocks
may
be obtained at engravers'
block-makers at about three half-pence to three pence

the
square inch,
according to
the size of the block,
and the number of pieces of which
We
it
is
made.
must consider our subject from two points of
Drawing on Wood.
view
75
but these practically merge into one, the difference
The one system
being only in the process of starting.
we would
allude to
been made and
drawing
made
to be
is
to be copied
the other, where the
Unless
once on the wood.
at
power of drawing has been attained, the
great
by
is
where a sketch or drawing has
is,
far the safer plan,
only are in the
even though the general features
drawn on
place
first
first is
paper.
The wood, on being received from the block-maker,

presents
too smooth to
draw upon
be sufficiently visible
A wash
condition.
over
it.
rapidly
the
if
surface,
nor would the pencil-work
the
wood were
of Chinese white
brush,
care
becoming streaky.
first
the touch in
being
is
pencils
taken
This
is
left
in
the
this
therefore passed
to
done
and then
in one direction
to be
is
avoid
flat
the
by passing
in another,
second motion being so light that
not any marks of the brush are
as
yellow
and evenly spread over the block with a
brush
The
pale
This must be very thin indeed, and
camels-hair
colour
smooth
beautifully
used
we have assumed
left.
range from
hhhh.
a certain power in
to
b.
but,
drawing,
it
76
will be unnecessary here to describe the uses of these.

It
only required to say that, although a clear and
is
and good sharp touches are indispensable,
firm
line
care
must be taken that the touches and
not indent the wood,
then exactly the opposite
for
the engraving.
effect to that desired will result in
We
will
now assume
on wood.
tracing
that a drawing
is
may
lines
is
to be copied
in the first place to be
made
no doubt most of our readers will know,
This, as
of
it.
is
done by placing a piece of prepared tracing-paper
over the drawing, and tracing over the
lines
with a
pencil.
Now
rub a
little
powdered red chalk over a piece
of thin writing-paper, removing
all
superfluous particles
with a piece of rag or wool, until the surface of the

paper
is
the red
the
wood
uniform pale red
of a
side
;
block,
be
Place
downward, on the whitened
and,
of the drawing
may
colour.
on
the
surface
tracing,
of
the face
being downward, so that the whole
reversed.
by means
place
this,
this,
Secure
both
the
papers
of drawing-pins placed
boundary of the drawing
to
the
outside
the
then, with a blunt tracing-
Drawing on Wood.
point, such as the
end of a crochet needle or similar

over
pass
instrument,
77
the
the
of
lines
drawing,
pressing lightly on the needle, which should

as
nearly upright
as
When
possible.
all
be held
the
lines
have been thus passed over, remove the two papers,
and the whole
found traced in red on the
be
will
block.
that this
fect
It
but
is
is
to
to
simply
be
indicative
The whole
is
of
the
the most minute
and
portions are
made
refined
to
be done
;
or
over with a very
being corrected in the most
manner,
be added
in
and
fact,
all
the
the work
minute
is
now
a finished outline.
The shading
degrees
then to be gone
the outline
pencil,
accurate
may
every
need not be given.
details
to be
amateur
be strictly correct in
exact position of the leading lines
light
the
not intended to be a complete and per-
is
outline.
particular,
on
however, be impressed
must,
It
it
is
next to be proceeded with.
entirely
with the pencils
may, in the darker
done with a brush and Indian
ink,
parts,
of
This
different
be partially
which must be
after-
Pretty Arts for Leistire Hours.
78
wards worked over with the
pencil.
It
understood that the work of the engraver

in
entirely
lines,
and
must be indicated
the
executed
is
of
direction
of course,
is,
these
lines
drawing as a guide to the
in the
engraver.
This
is,
indeed,
considered that by
a very important point,
and by
lines,
when
their
curvature
and
their
direction,
represent the different forms, their
and shade, and, above
light
the substances
the
By mere
disposition
the
texture
and
of
and
rise
fall
the very texture
by
all
the
of
Madonna,
lines alone, their
The engraver must represent
quality.
the
all,
he has to
delicate features of the
the stern face of the warrior
is
lines alone, the engraver
has to produce the entire effect required.

lines,
it
various
substances
the
polished
marble or the rough granite, the bright wrought-steel,

the
unpolished
cast-iron,
drapery of
the vestments of linen
or
all
has
foliage
of
the
aspen and weeping willow, the sturdy leaves
of
the
cloth,
the
to be
shown by
oak,
and
indicated
the
;
the
lines
silk,
the
satin,
or velvet
pendent
upward-pointing
poplar,
must
all
be
very difference between the soft fur
Drawing on Wood.
the
of
shown
lake
the
or
stiff
hair
and
sky
calm
the
shown by
ing,
and the
cat
single lines
dog must
of the
the
sea
be
the
cloud,
fleecy
waves of
rising
79
still
must be
all
the term " colour/' in engrav-
being only understood to mean the lightness or
darkness of the work.

the
Although, therefore,
artist
is
not
expected
execute the whole of the drawing in lines,

course
may
with such intelligence that the engraver
aware of what
It
is
be a drawing-book
that
merely the
is
not intended to
but we cannot help impressing on
the
result
by a sound
attainable
be fully
required of him.
has already been said that this
the reader
of
work should be rendered
the
necessary that
is
it
to
so-called
indicated
above
knowledge of drawing
"
drawing "
which
only
is
not
consists
in
copying another's design, but in drawing as a means

of expression,
the
mind
an
art
of the artist
in
which every
and speaks
line
to those
expresses
who
look
at the work.
It is
art,
drawing as a mental
exercise, as well as
manual
which we would have our readers cultivate
and
So
the present
been deemed a
lias
remarks* since
these
opportunity for
fitting
the desire of the
author
not
is
merely to give amusement, but to impart instruction,

to his fair readers.
In the second system referred
made
at once
amount
the
drawing
is
on the wood without previously tracing
The power
it.
to,
of skill
of doing
this
would imply a great
and unless our readers
of the possession of this, they are
the method of starting the
feel
confident
advised to adopt
work which has already
been described.
If,
which
however, the subject be a geometrical one, in

all
the
tances set off
leading
lines
by means
are
ruled,
of compasses,
and the
it
will
dis-
be un-
necessary to trace, but will be found most convenient

to
work on the wood
at once.
CHAPTER
VII.
THE ELEMENTS OF WOOD ENGEAYING.

In speaking of engraving as a medium for transferring
impressions of a drawing,
it
blocks,
and that done on metal
This difference
soon
is
made on
has been
part of the
wood
constitute
the
is
the
passed
drawing
over
The
blackened.
applied,
Now
the
surrounding
the
all
drawing
cut away, leaving the lines which
from such a block, a

is
block,
plates.
When
told.
to
work executed on
describe the difference between the
wood
necessary
is
it,
standing
roller
by
is
printing
charged with printing ink
which
paper
In
up.
the
then
work
put
becomes
on,
pressure
and an impression thus taken.

in
the
system
cut
into
and
copper-plate,
is
the
precisely
surface
the
of
steel-plate
reverse.
the metal,
engraving,
The
lines
which
is
are
kept
82
In
smooth and bright.
perfectly
rubbed into the incised

surface.
The
with a
cloth.
paper
and wiped clean
lines,
then
is
The
plate
forming part of the
press,
taken.
the lines,
into
out
is
between two
taken
from the
ink
as
is,
surface.
;
it
off the
covered
by the
rollers,
and thus the

pressed
is
were,
brought
the wood-block
is
In wood the drawing
is
impression from
raised above the surface
We
given,
is
is
on a board,
passes
In this way the paper
and the
whilst the
and
on,
laid
next
upper one of which pressure

impression
printing, the ink
in metal
sunk.
it is
purpose here to give only general instructions
as to wood-engraving
to start
but
sufficient to enable the
we do not
think
amateur
likely that she will,
it
from reading only, be able to attain proficiency beyond

a certain point, and
we
shall
be satisfied
if
we
have,
in the elementary instruction, interested her sufficiently

to
induce the
seeking a course of
To a
from a professional wood-engraver.

however,
we would encourage
this beautiful art.
We
practical
ladies
lessons
certain stage,
to
proceed
in
have seen several good speci-
mens produced by amateurs, and
so
would encourage
The Elements of Wood Engraving.
make a beginning and
our readers to
make
they can
should
obtain
cutting
what
instruction
Then they
the method of
in
termed "hatching/' that
is
by means of
to proceed until
a fair wood-cut in outline.

practical
lines
crossing
each
83
shading
is,
other in
different
directions.
The
tools
used
Fig.
kinds:
1,
amount of
Scoopers.
handle.
tempered
Gravers
outline
Fig.
The
steel,
as
are,
classed
into
three
Gravers.
16.
proper,
work
a rule,
is
with
done
which
;
2,
the
greater
Tint tools
3,
16 shows one of the tools fixed in a
tools
are
merely small
rods
of
well-
the difference consisting in the square,
diamond-like or knife-like form; whilst the scoopers

G 2
84
are
more
handle
solid
and are nearly
neatly turned
is
one part being flattened

grasped,
the
grasping the
thumb.
It is this
in
rosewood
on
this,
when
rests,
the
finger
little
tool,
and
allied to
hand
the
position which
The
chisels.
mahogany,
or
the handle
other
is
fingers
upon the
resting
must be seen
to be
well understood, and one practical lesson at this stage

is
strongly advised.
We
would,
observation
is
in
fact,
on
urge
the best school
our
but
important to obtain previously a
fair
ledge of the subject, and then
all
mechanically will bear rich
now assume
Let us
we have
standing,
by
all
means
amount
of
know-
it
is
that
is
and
all
cut a line
all
17
the ground
is
is
the lozenge
round the
seen done
fruits.
outline,
As
to be engraved.
already explained, the lines are
one of the gravers,
side,
Fig.
that
readers,
to
to be cut away.
or
be
left
"With
diamond shaped,
on the inner and outer
leaving the pencil line quite clear.
We
do not,
however, advise the beginner to cut quite up to the

line in the first instance,
for finishing
and
but just to leave a clearance
correction.
Of
course, as she improves,
she will learn to
85
work with the utmost exactitude and
refinement.
When
this
double outline has been engraved, the
Fig.
block
will, if printed,
17. Vase.
give an impression, but not
finished one.
The next stage
consists in cutting
away the ground
around the outline, so as to leave the single black line

standing
clear.
The whole
of the ground
is
then to
be cleared away by means of the scooper and other

chisel-like tools.
When
this has
been done, then the
86
block, if printed from, will give

in Fig. 1
an impression as shown
7.
Flat tints, such as would be employed in represent-
ing a calm sky, are cut on the

tint
it
They
course be understood
will of
left
like
are of different degrees of fineness;
the tool the finer the

lines
of the
which are very thin gravers, almost
tools,
penknives.
and
wood by means
line it will
standing will be
closer
that the thinner
and thus the
cut,
together
hence, in
cutting the lighter shades, the broader tools are used.
The darkness
of the tint will, however,
on the thickness of the
The end
lines
of the graver
is
which are
depend mainly
left
standing.
called its face,
ground obliquely in relation to the length.

should
be
ground
at
the
shop
at
and
this is
The
tools
which they are
purchased; they will then only require occasional setting
on the
oil-stone.
In the gravers, the two under sides
are bright, and
the
The two bright
sides will require occasional whetting
on the
oil
oil-stone.
two upper
sides
are
unpolished.
In this operation, a few drops of
having been placed on the stone, the graver
is
to
be laid on one of the bright sides and slightly pressed

with the forefinger whilst gently moving
Of
the point
flat
not,
like
should
fro.
sharpening towards
whole of
a knife, over the
on the stone, and not to twist

it
and
to
it
its
Great care must be taken to keep the graver
length.
as
tool only requires
course the
87
is
it
during motion
most important that the two bright
be
perfectly
straight
meet in a clean sharp edge.
sides
and that they should
The
end
or
face
will
have been ground on the grindstone before purchase.

In sharpening the tool during use,
it is
to be held at
such an angle that the surface of the face
ground perfectly
flat.
little
may
be
practice will give the
necessary power of sharpening the
tools,
which
it
is
very important that the amateur should acquire.
When
the tool has been ground, the point should be
firmly struck into
some piece of waste board.
This
has the effect of removing the burr, or powdered steel
which has been ground

tool clean
When
in
off,
rendering the cut of the
and sharp.
this has
the right
been done, the tool should be held
hand,
and
its
point
touched on the thumb-nail of the
is
left
to
be gently
hand.
If
it
88
has been perfectly sharpened
once
will catch the nail
it
at
if not, it will slip.
In using the graver,
important that
is
it
it
should
be held as horizontal as possible, so that the point
may,
if
it
wood
for
the point enters deeply, the amateur will find the
tool
it
in the first instance, barely touch the
unmanageable, and mischief will soon occur which
will be difficult to remedy.

is
widen
easy to
repeat the
cut,
It will
be obvious that
and thus deepen and
it.
During work, the block
rests
on a hard cushion, made
of leather filled with sand, called a sandbag, on which

it
can be easily turned about.
placed on a box or book

to
a convenient
avoided.
height,
so
This
that
may
it
of course be
may
be raised
by which stooping may be
CHAPTER
VIII.
LITHOGRAPHIC DRAWING.
that
Lithographic drawing
graphic stones
for ladies,
an
-is
is,
drawing on
art in every respect well
and may be
litho-
adapted
by those who
easily acquired
have already attained the power of drawing in chalks.
The
principle of lithography consists in the chemical
The chalk with
property of the stone to absorb grease.
which
the
substances,
stiffness,
the
drawing
bound
made
together
by
drawing made with these
The
composed of greasy
is
others
to
stone
printer
is
the
and becomes
is
absorbed
them
supplied, prepared
preparation
and the other in
chalks.
into
the
fixed.
is
for
drawing,
c<
called
There are two kinds of drawing on stone

ink,
give
and mixed of course with a black pigment
surface of the stone
the
is
The
first
by
graining."
the one in
is
adapted
90
work
specially for linear
work and other
tectural
such as maps, plans, archi-
subjects in
which geometrical
accuracy and lettering are required.
one scarcely likely to be practised by

however, briefly refer to
The
We
ladies.
is
shall,
presently.
having been previously ground face to face
stone,
with another with

is
it
This branch
fine
sand and water between them,
subsequently grained by the workman, by a similar
but more refined process, so as to leave on
it
a fine
" toothed " surface like that of very fine drawing paper.
The
general outline
of the subject
will
of course
be traced on the stone by means of the red chalked

paper, as already described in relation to other branches
The drawing
of art.
is
then to be proceeded with
in the usual way, observing that the
in the
most gradual manner
spirited
touches
shading, and
Of
possible.
must be done
all soft tints,
work must be done
at
once
be
passed
through
gradually worked up.
but
all
fine
must be worked up gradually,
from the palest tone to that required.

part should be finished at
course, bold,
first
certain
No
the whole
stages,
the
individual
work should
effect
being
The shading should be executed
L ithog raphie
Drawing.
in touches, the spaces between

as
the work proceeds;
but
which should be
the
9i
filled
up
touches or patching
should never be entirely worked away, as in such case

a smooth and unpleasant effect
Fig. 18.
is
produced as
the
View of a Litho-Stone.
drawing had been executed with a piece of wood.

chalks should
if
The
be held as nearly upright as possible
whilst drawing with them, in order to avoid breaking
the points, which, from the nature of the chalks, are,

necessarily, liable to so
break
off.
92
Instead of metal port- crayons,

quills
as holders, being
holder
may
spirally
lighter
good
in fact, a
be made by rolling a strip of drawing paper
around the
stick of chalk.
The drawing, when

the printer
of
much
advisable to use
it is
by him
the hands
finished, passes into

it
is,
in
the
subjected to the action of nitric acid very
place,
first
much
diluted
with water and with the addition of a small quantity of
gum
By
arabic.
the action of this mixture, those parts
of the stone not covered

in
by the chalk
an infinitesimal degree, and thus the work
more
than
clear
it
would
otherwise
processes of printing are quite
away
are burnt
be.
beyond those
is left
As
the
likely to
be undertaken by the amateur, we shall of course not
any further
refer to
them.
For drawing
in
ink,
but
is
highly polished by being
roughened,
first
the
stone
is
not grained or
ground
"
with pumice-stone, and then with " Water of Ayr
stone.
The work
ink, fine pens
is
to be executed with lithographic
and brushes being employed.
CHAPTEK
IX.
ETCHING ON COPPER.
We
are quite aware
that
in
proposing etching on
copper as an elegant art for amateurs,
we
shall be,
by
some, charged with suggesting an art in which, from

the difficulties
to succeed.
place
to
attending
We
shall,
simplify our
it,
they will not be likely
however, endeavour in the
instructions as far as possible
and by reducing the magnitude of the

showing
first
obstacles,
how they may be overcome, we hope
and
to
encourage our readers to attempt this beautiful branch

of
art.
Only a certain amount of knowledge can,
however, be imparted in written instructions
having been obtained, the amateur
with the information here given,

produce the desired
effect.
and
this
advised to seek a
is
few lessons from a practical hand
will,
which,
together
without doubt,
94
Fig.
for use.
The
size
19.
which
found most convenient,

This
is
On
of the
Etching Materials.
for
is
an amateur
that called
same dimensions
taking the plate in hand,
will perhaps be
"common
size."
as a lady's card.
it is
in the first place to
Etching on Copper.
95
be well rubbed with a rag dipped in fine chalk, so that
any
may
particle of grease adhering to it
and the surface be

Holding the
or spirit-lamp.
left perfectly clean.
plate, then,
or pair of pliers,
be removed
it is
by means of a small hand- vice
to be well heated over a gas-light
Then, whilst resting on a board,
it is
to
be touched on several parts of the surface with " etching

ground," a composition which
is
sold in balls, which
should be wrapped in pieces of thin
silk.
The
plate
is
then again to be held over the lamp, so that the " etching
ground
"
may
be kept thoroughly melted, and then
to be spread equally
dabber.
This
is
it is
over the plate by means of a
made
a small ball-like pad or cushion
The
of fine silk stuffed with wool.
"
ground "
is
to be
spread by repeated dabs, until a thin but equal film

covers the plate at every part.
If
any
fissures or cracks
of the smallest size should be visible in the " ground "
when
little
cold,
the whole process must be repeated.
practice will give the
ground," and this
may
power of laying the " etching
be repeated without proceeding
further with the work.
The
plate held
by the
pliers
is
then to be
moved
96
about, face downwards, over the flame of a candle,
by
the smoke of which the surface will become blackened.
In doing
this,
must be taken not
care
burn the
to
" ground."
It
must, however, be pointed out that, although
it
is
highly necessary that the amateur should as soon as

possible
become competent
work she attempts,

to
still,
to carry out the
in the first place,
meet with an engraver who
whole of the
it is
possible
will provide the plate
ready covered with the "ground," and seeing the opera-
Yet we
tion performed will be a great advantage.
bound to say that there
feel
no reason why the amateur
is
should not be able to lay the " ground " from the instructions here given.
Our
further suggestion
is
made with
the view of easing the early stage of the study.
The
plate should
blackened surface.
now
On
present a perfectly smooth,
this is to
be
laid a piece of thin
paper, over which a small quantity of red chalk has
been rubbed, and on this the tracing of the drawing

to be etched
is
to be laid.
These
may
be fastened to
each other, and to the corners of the plate, by means of

small pieces of wax,
Etching on Copper.
The
lines of the tracing are
a blunt tracing point,

to transfer the
only
97
then to be gone over with
sufficient pressure
being used
drawing to the blackened surface of the
where the whole will then appear in pale red
copper,
lines.
And now
the
work
itself is
to be
These
tools used are simply needles of various sizes.

tools
may
be bought, or the amateur can easily
The needles are
them.
their length,
made
The
commenced.
to be broken off at about
and are then
of pieces of
wood
make
half
to be fixed in small handles
of about the thickness of pencils.
They should be driven firmly
into
the handles, until
they project only about a quarter of an inch, or a

little
more, according to their thickness
for it is
most
important that they do not bend in the slightest degree

during work.
original
Some
of
round form, some
may
stone to a rather flattened shape

direction
With
to
may
may
them
be
left
in
their
be ground on the
;
or,
oil-
a slightly slanting
be given to the points of some of them.
these needles the whole of the drawing
is
now
be executed, the ground being removed by each
stroke,
and the copper thus exposed
but care must be

H
98
taken that in this process no indentation
on the copper
wood
strip of
it
will be convenient to adopt the plan
in lithographic drawing,
and on these a
this will serve as a
to fix a little
viz.,
on each
slightly thicker than the copper
side of the plate,
placed
made
itself.
During work
recommended
really
is
little
board should be
kind of bridge for the hand
to rest on without touching the plate.

It
will
coarser
needles
required,
and
of course be understood that the finer

will
be
used
and the quality of the
by the manner
according to the lines

lines
may
also
be varied
of holding the needle, whether upright
or slantingly; the particles of the ground
removed by
the needles are to be from time to time swept off by a
camels-hair brush.
The amateur
is
of copper in the
advised to prepare another small piece
same manner, and
to
make a
small
drawing, consisting perhaps of a few lines only on

this to
it
be used as a test plate.
The drawing being thus completed, a border

say about half-an-inch in height,
be placed around the
plate,
made
great
care
or wall,
of wax,
is
to
being taken
Etching on Copper.
that
it
perfectly secure
is
99
and water-tight at
every
part.
The
plate
nitric acid,
is
now
to be subjected to the action of
which must be previously much diluted with
The strength may be
water.
which a drop
may
tried
be applied
on the
test plate, to
should not at once
it
begin to blister and turn green, but the process should

set in
very gradually
lines
burnt will be coarse, the ground will be likely
to give
way and
plan
to
is
the
for if the acid
work
will be spoiled.
acid weak, for
use the
increased according to the time
The bubbles which
arise
be too strong, the
it
its
The
action can be
is left
on the
camel's-hair brush, so that the progress of the
may
be observed.
The darkness
impression
is
of the lines
however, depend
width, but on their depth
plate.
should be gently brushed away
by a
impression will not,
safer
work
in
the
only on their
for it will be clear that as the
formed by the ink which has been
dis-
charged from the plate, a deep incision will contain
more than a shallow one
it
the lines must vary in depth

effects are to
follows,
in
therefore,
that
works where strong
be produced.
H
ioo
The whole
plate
is,
therefore, subjected to one general
action of the acid in the
first
instance, the time being
limited to that required for the " biting in " of the palest
The acid
parts.
and allowed
are
then poured
is
to drain
assumed to be
with
covered
When
varnish."
on the
desired effect
When
is
sufficiently etched
are
then to be
" stopping
called
poured
the
obtained.
the " biting in "
is
completed, the plate
is
to be
The
off.
washed with turpen-
plate should subsequently be well
a brush being used, so that no particles of the
ground
may
When
and,
out
this operation is repeated until
heated and the " ground" melted and wiped
tine,
which
parts,
this is dry, the acid is again
and
plate,
The
and become dry.
composition
off ; the plate is rinsed
if
coarse,
be
left in
any of the
lines.
the plate has been cleaned
any
should appear too
examined
heavy or
must be smoothened down by means of a
it
burnisher
single line
to be
it is
this
pressed in the
is
direction
erased
softened
or
gently at
first,
a smooth tool which acts
not
of the
it
may,
as
across
so that the line
which
line
it
it
by being
is
to
be
must be used
were, be closed
Etching on Copper.
up,
101
and the surface subsequently pressed smooth by
gentle rubbing.
When
it is
deemed
desirable to lighten or tone off
whole portion of the work,
down with
two of
placed on the plate.
oil
having been previously
are specially desired to be
the rest of the work should be
condition,
boldness which
of etching.
it
This operation must, however, be
limited to the parts which
original
done by rubbing
a piece of engravers' charcoal (sold at the tool
shops), a drop or
softened
this is
any
is
the
natural
roughness
left
in its
giving
considered one of the greatest beauties
CHAPTER
DRAWING FEOM
We
OBJECTS.
have already stated that this
be
to
X.
put
the arts
forth
as
described,
drawing, but as
is
not intended
We
a drawing-book.
have,
in
assumed a certain knowledge of
many
of our readers
may have
been
taught under the system of drawing only from copies,
much
so
vogue until
in
very recent period,
think that some instruction in

the model
We
may
of
be received by them with satisfaction.
lessons,
few hints we
clear a
We
arts
drawing direct from
do not purpose, however, giving a hard and dry
course
and
we
readers
manner
desire,
shall
shall
but will endeavour to make
give on perspective in as simple

as possible.
however,
be absolutely
will
follow
the
that
our
practical,
lessons
and
feel
in
pretty
sure
our
with some interest the hints on
Drawing from
the
method
103
Objects,
of drawing from objects, bearing in
mind
that the ability of merely copying a picture, however
does not give the power of
creditably,
the
simplest
effects,
from
nature,
the
since
without the mental faculty of inquiry as
why and
to the
direct
confined to the careful imitation of the forms
effort is
and
objects
representing
To
exercised.
because of either being of necessity
one
who can draw from
deficiency of copies can never arise
nature
for every object,
however commonplace, can be represented in so many

different ways, that the simplest
of interest,
to
and we
show how out
complex
ones
may
box becomes a subject
shall hope, in the following pages,
of
such
be
elementary
developed.
forms
more
we
shall
But
advance even a step further, and presuming that the
who have
followed
our instructions,
had the courage
to grasp
the carving chisel and the
ladies
and have
fret-cutting saw, will not object to wielding the tenon
saw and miniature hammer in the construction of a

few useful drawing models.
It
is,
of course, necessary in the
on the position
of
the
spectator
first
in
place to decide
relation
to
the
104
object
to
which
is
be
delineated.
The point
in
the
picture,
supposed to be immediately opposite to the
eye, is called the Point of Sight.
Fig.
All
lines,
which in the object are
the picture, that
to
20. Perspective.
is,
at
right angles
which run directly from the
spectator into the distance, converge
in
the
drawing
to the point of sight.

It
the
is
of course
object
tion to
needless to
depends actually on
the eye of the

above,
and
below, the upper will
the
its
spectator,
placed
if
say that the view of

position
and that
underneath surface will
in
if
relait
be
be seen,
be presented to view.
Drawing from
This
Objects.
exemplified in Fig. 20, in which
is
P S
the
is
point of sight.
The same
principle will necessarily apply in relation
to
the position of
or
right
the
of
side
objects
when placed on
the
left
Thus, the point of
spectator.
sight
being situated at S, in Fig. 21, on the right-
hand
side
becomes
the
of
visible,
relation to the
It
the
columns
the
whilst
columns
a,
retain
their
only in
size
the lines
is
is
left
the
side
case
in
as the front of each of
with the
geometrical
as they recede
bounding
their
d, e,f.
parallel
original
c,
opposite
must be pointed out that

columns
b,
their
picture,
shape,
they will
diminishing
into the distance, whilst

sides
at
top and bottom,
being at right angles to the plane of the picture, will
converge to the point of sight.
In
the
present
i]
lustration
the
columns
are
all
supposed to be of equal height, and to stand in two

parallel
rows.
The
edges, therefore, of the tops
and
bottoms form continuous lines at right angles to the

plane of the picture, and therefore converge to the point
of sight.
io6
This would of course not always be the case, the

height of the columns might each be different from the
other,
and they might vary in
Fig. 21.
right or
left,
angles
sight.
thereto
distance to the
Double Row of Columns.
but so
parallel to the plane
their
long
as
one of
of the picture,
would
converge
to
all
their
lines
is
lines at right
the
point
of
Drawing from
Objects,
107
In a drawing worked as a perspective study, the

height and position of the
and distances of the
would be
objects,
ing to given measurements, and
dimensions
the
spectator,
set out accord-
the lines would be
all
ruled.
It is
our desire in the present elementary paper to
lead the amateur,
more
feel
by gradual
steps, to the
study of the
branch of the subject, to induce her to
scientific
the want
of
really
scientific
data,
and
for
the
acquirement of a knowledge of accurate principles, such

as can be obtained
subject
which
interest
from works specially devoted to the
will then be followed
would otherwise be the
than
perience of
many
years has
amount
of
actual
practice
with a
few
beneficially as
shown
in
up with greater
The ex-
case.
us, that
a certain
drawing from
elementary but
sound
an introduction
to perspective.
objects,
instructions, acts
The eye
thus learns to feel and to appreciate the want of power

in obtaining certain
in true art,
accurate results, so very necessary
and the mind
is
thus prepared to go through
the discipline of a scientific study, with pleasure and

interest.
io8
The cube
one of the most important elements in
is
object-drawing, but
study must not be restricted
the
to the simple cube or solid square
extended to cubical figures of
the idea must be
different
proportions
the boundaries of which comprise the containing lines

of a vast
number
of the objects
we
In commencing this practice

sider
the
made
of wires
cubical
;
as
figure
in this
visible,
but
which
on
the
advisable to con-
is
transparent,
or
as
if
the student will learn to
may
account for lines which
it
if
way
see around us.
moment be
not at the
position
of
others
may
depend.
In drawing a cubical figure of any given proportion,
any
side
which
may
be supposed to be parallel to the
plane of the picture, should be drawn

this
position
not
but will retain
be
its
in
first.
It will in
any way altered in shape,
geometrical proportion
the edges,
however, of the sides which are at right angles to the

already shown, converge to
plane of the picture,
will, as
the point of sight.
These lines need not of course be
fully drawn, but their convergence should in sketching
be indicated
by a few
touches.
The
vertical
and
Drawing from
horizontal
109
Objects.
edges of the distant side
are
then to be
Their position must at this stage be the result
added.
Fig.
22. Cube.
of observation and judgment, guided
proportion to
the
sides
which are
by
their apparent
parallel
with the
picture.
The method of determining such

the earliest lessons in perspective.
lines
which in the
shown
solid
sizes
The
forms one of
positions of the
cube would be hidden are
in the sketch.
This study gives the basis of the method of drawing

a box, a table, a stool, a birdcage, a group of books, and
no
a host of other subjects, which are rectangular in their

general form.
"We have hitherto spoken only of objects which are in

themselves rectangular, and which are so placed that
some of
right
their
angles to
the
of
by any means
must be prepared
it
parallel, whilst
the plane
conditions are not
whether
are
sides
to
constant, and the artist
draw the object
most important
the positions should be varied

it is
give
as she sees it;
be square or triangular, and whether
It is in fact
may
But the
picture.
placed parallel with, or at any angle
nature,
others are at
to,
it
be
the picture.
in grouping models, that
and, in sketching from
most desirable to choose a position which
as
much
variety
possible
as
to
the view
obtained.
It
has
surfaces
been
which
stated
are
at
that
the
horizontal
angles
right
converge to the point of sight.
This
in relation to the lines of surfaces,

to the picture plane
on the horizontal
and
left side,
is
the
in
picture
not the case
which are oblique
these converge to vanishing points,
line,
which
to
lines
but at distances on the right
will be
dependent on the angle
Drawing from
at
which the plane
recedes.
Objects.
This
is
1 1
in
perspective
determined by accurate principles; the present Fig. 23
must be taken
It
as
a mere indication of the principle.
must, however, be impressed on the student that
Fig. 23.
lines,
is
Vanishing Points.
which in the object are
converge in the
shown
drawing
in Fig. 24.
all
to
parallel to each
other,
the same point.
This
Here the group of books should,
in the first instance, be sketched simply as one solid

block.
The thickness
of each
volume
marked on the perpendicular nearest

from these points
lines are to
is
next to be
to the front,
and
be drawn to the vanish-
ing points, to which the boundary lines of the respective

sides
have already converged, for to these the divisions
ii2
between the books are

objects
thus placed
parallel.
may
it
Fig. 24.
Row
As a guide
in drawing
be mentioned that
the
of Books.
vanishing points should not be placed too close together,

or to the object
which in such case has the
B
Fig.
25.Plan of a Circle in Perspective.
of being tilted up, as

is
appearance
very unpleasant.
if
resting on one angle, which
Circles are represented
by curved
Drawing from
forms, varying
in
Objects.
width according
to the
position of
the circle in relation to the eye of the spectator.
In commencing such a figure, a view of the square
which would contain the

in the desired position,
is
and. in this
drawn
are also
which would enclose them.
in rectangular figures,
have already intimated that the
student of object
be sketched
the curved form
The various polygons
to be drawn.
We
circle is first to
of the
effort
drawing must not be confined to
drawing the simple geometrical forms, of which, as a

rule,
" sets of
models "
to represent principles,
and group them
and the student should combine
that
so
These must be taken
consist.
their
range
may
be
much
extended.
Thus
Fig.
26
is
cube and pyramid, but

the form
of a
lodge,
group,
it
or
is
consisting
simply of a
easy to see that
other
simple
it
gives
quadrangular
building with a pyramidical roof.
Again
in
it
will
be seen that the leading principles
drawing a cottage or house are contained in the
two models, the square and triangular prisms shown

in
Fig.
27.
Another oblong block, surmounted
b}^
H4
a
pyramid,
added
general
idea
of a
in
way
the
this
Fig.
buildings
may
to
former
the
small
Early
at
English
Church,
and
other
26. Cube and Pyramid.
be composed
this
the whole being sketched
which the minor parts and
details are subsequently to be
must
the
most complex churches and
in geometrical masses, in
We
gives
group,
drawn.
point close our
paper on
object
drawing, which, as already stated, must be considered
Fig.
27. Church.
ti6
simply as introductory, and
what we have
said
we
venture to hope that
may have
sufficiently
interested
our readers to induce them to enter more fully into

the
subject
of perspective
find abounding with interest
study which they will
and
intellectual pleasure.
CHAPTER
XI.
DRAWING MODELS, AND HOW TO MAKE THEM.
We
do not purpose asking ladies to become amateur
house
carpenters,
have
derived
but
much
many who
we have known
pleasure
from
their
ability
many
using simple tools and making, by their aid,
and pretty
useful
articles.
The power of construction

but
out.
the
various
mental
making
In
objects
and the
of
but, at the
study
same
not merely manual,
is
faculties
drawing
opportunity for
direction,
in
models,
exercising
ladies
their
results will not only

for
and
themselves
time, they
may
brought
thereby
are
be
will
find
in
this
skill
become useful
their
friends
made ornaments
for a room.
The wood required

described
for
should be pine.
making
the
models
here
should be planed on both sides
It
dition
can
it
be
general purposes,
by the
supplied
carpenter.
inch and \
should be
it
which con-
in
For
inch in
thickness.
and very
thin
be
will
It
easily
understood
light tools will be
that
needed for working such
wood; a good strong penknife
useful instrument
(an
is,
in fact, a
most
admission, allowable of course
The
only to amateurs).
very few
only
the tenon
tools necessary are
saw, a hammer, three chisels, the "print cutters' tools/'

referred to in
of these
should be \,
bradawl,
may
on wood carving
our paper
pair
of
and \
\,
pliers,
and
be purchased in small
sizes
mallet.
fit
and a miniature smoothing-plane may

this
tool
some
requires
be attained after a
We
in
for
gimlet,
All
ladies'
also be
using,
sizes
these
use,
added
which
will
practice.
do not, however, wish to imply that we expect
ladies to
why
little
skill
inch),
(the
" plane
up timber," but there
is
no reason
they should not acquire the power of smooth ening
the edges of the material they arc using, of gracefully
rounding the corners, and in various ways improving
Drawing
Models,
work by the
the
and how
make
to
recommended,
is
the idea
when
not by any means
the troublesome and heavy implement
when
aid of this useful tool, which
of the small size
to be,
them.
is
it
supposed
"
associated with the " long-plane
is
used by the working carpenter.
When
a piece
fully
board
drawn out
should be
line
of
the
may
the
one
direction
and
drawing
in fact be
We
simple
it
it
back,
that,
will
cube,
made
angles
as to
force
forward
act
should
;
not
movement should
than a pressing one.
describe
the size
of the
tool
the backward
lifting
now
so
therefore,
of
the
inch
method
which
This will consist of six pieces
care-
which should be done without
at all
more a
right
at
saw are formed
of the
teeth
pressing on
be
must be pointed out
It
be used only when pushing the

in
must be
cut
be absolutely
to the surface of the board.
in
be sawn across,
made, the saw being held upright, so that the
edge of the cut
that
to
is
wood,
is
to
making a
of
be
inches.
two of which may

and the
rest
of
the
inch.
The two made
of the
thicker
wood
are
to
be 3
120
inches
square,
the other sides
for
as
these
made
of
wood \ inch
size of 4 inches will
will
surrounded
be
by
thick, the required
thus be reached.
Prepare two pieces, 3f inches square, and two pieces
Fig.
28.
3f wide, and 4 inches
Hollow Cube.
long.
When
these have been
attached at their ends to the square pieces, four sides

of the cube will be formed,
Two more
3f high.
square, are
each 4 inches long, and
pieces of the
\ wood, 4 inches
then to be cut, and these will form the
two remaining
sides,
which
on being
attached,
will
complete the cube, each side of which will be 4 inches

square.
In a cube of
this size, quite sufficient strength
Drawing Models, and how
is
obtained
by
closeness of the joints,
No
first
but a
nailing,
make
to
them.
glue acids to the
little
and may therefore be employed.
attempt should be made to use the nails without
boring holes in the outer piece
The
the bradawl.
wood
of
using
holes should be bored at a distance
from the edge, equal to half the thickness of the wood,

into
edge
the
nails
of
which the
used are those
nails
are
to pass.
" sprigs," which
called
may
The
be
obtained as short as \ inch.
In nailing two
taken
hold them
to
manner
that
the
together
sides
at
one
right
does
great
angles,
not
must be
care
and
in
such a
beyond
project
the
ether.
In using the hammer, the hand should be placed at

the end of the handle,
the
possible,
can then be
driven
as
distant from the
elbow being slightly

struck
on the
perpendicularly
raised.
and
top,
otherwise
it
may
head as
The
thus
nail
be
might be beDt
sideways, and split the wood.
The
may
nails
not
surface.
must be well driven
project
in
the
in, so
slightest
that the heads
degree from
the
Pretty Arts for Leisure Hotws.
122
The edges and
surface of the whole should
rubbed down with
fine
now
sand-paper, a piece of which
wood
should be wrapped round a small block of cork or

so that a flat surface
be
may
Care must,
be presented.
however, be taken that in this process the angles of
may
the cube
any way rounded, but that
not be in
they are kept perfectly sharp.
The method
of
constructing a cube
be found applicable to
difference
being only in
conversation
its
models
the rectilineal
the
Thus a square prism,
parts.
only
all
relative
or as
it
the
proportions
would
of
in general
be termed, an oblong block, would have
two ends square, whilst the four
be oblong
of course
will
sides
would
but in the method of construction there
would be no
difference.
In triangular and other prisms the ends
must be
method.
For
instance, in constructing the equilateral triangle,
abc,
formed
(Fig.
according
29),
prism, take
which
is
in the
of the triangle,
arcs, intersecting
to
the
to
geometrical
be the end
of
compass the length A
and from A and

each other in
c.
b,
B,
triangular
the base
as centres, describe
Draw
the lines A c
Drawing
and B
sawn
make
to
completing the figure, which
c,
We
out.
penknife,
and how
Models,
and
is
instrument
this
will,
and b
b,
then to be
c,
guided by a
rule,
present
the
in
be found most convenient to
123
have already hinted at the use of a
instance,
c,
them.
cut the
lines
provided that the
Equilateral Triangle.
Fig. 29.
wood be only \ inch
The
thick.
as nearly upright as possible, only
being used.
is
When
it
side,
so
as
cut
must be taken
very
little
pressure
to
should
be repeated on
meet the previous one, by
to
which means a rough edge

caxe
must be held
becomes obvious that the wood
nearly penetrated, the
the other
knife
will be avoided
insure that the
but great
cut from the
back coincides precisely with that made from the

so that both
We
may merge
into one
smooth
front,
cut.
of course advise the amateur to acquire as soon
124
power of using the saw, working with
as possible the
the
penknife being only
may
be
no time
that
described, so
lost in the constructive portion of the subject
must be considered
but, speaking technically, the knife
as an expedient permissible only at starting.
The long
sides of the prism
must be
Their width
the triangle
slanted
Fig.
precisely equal to
the
towards
at
a,
the
inner
b,
and c
near the edge of the table.
This
c.
The same
not so
is
efficient as
tool be used
respect
for
it
will
great care
in
wood
lying
may
be
but for the
the plane, by
which the absolute straightness of the edge
this
of
bevelling
object
accomplished by using the largest chisel

purpose this tool
shown
as
side,
should be done with the plane, the piece of
Whichever
side
but the loug edges must be bevelled, or
off
29,
must now be prepared.
is
insured.
must be taken
in
be evident that unless the
edges of the sides are kept perfectly straight the three

pieces will not unite accurately,
and the angles of the
prism will be irregular and unequal.
The
three
together,
sides
great
should in the
care
being
taken
first
in
place be glued
insuring
their
Drawing
accurate meeting
at the angles
by means
secured
further
and how
Models,
operation great care
is
for
that the nails
the sides
which they are
into
would not be
which they at
When
very
of course
of the
sprigs
Care
the purpose.
first
may run
to
pass;
with
parallel
in
this case
at right angles to the sides into

enter.
the three sides have been thus put together,
the ends are to be added, a part of the
no
last
also be taken to give the proper direction to the
hole bored, so
these
is
The smallest
should, therefore, be selected
must
this
necessary to avoid splitting the
to chip.
liable
In
nails.
wood, which at the extreme edge

thin and
125
they should then be
of
make them.
to
difficulty will
accurately done
work
in
which
be found, provided the rest has been

the test of this accuracy will be in
the exact fitting of the end with the sides, the edges
of the
end becoming, when the whole
is
made
up,
absolute portions of the sides of the whole.
Another method of
make up
sides,
constructing this
the triangular body,
and then cut the ends
openings.
to
model
is
to
consisting of the three

fit
into the triangular
126
The
pyramid
(Figs. 30, 31, 32)
model, since forms based upon

occurrence.
a very important
are of very frequent
In commencing to make a pyramid the
Figs.
30,
31.
32. Pyramid, Base, and Side.
square base (Fig. 31)

four triangular sides
is
to be cut
the
precise
be regulated by the height
pyramid.
it
is
The edges
it
is
first,
and then the
form of which will

desired to
give the
of each of these five pieces are
Drawing Models, and how

then to
inwardly,
be bevelled off
plane or the chisel
to
make
using
them.
127
either
the
but, as already said in relation to
the prism, the greatest care
must be taken
to keep the
and not
any way to
slanting edge perfectly straight,
in
injure the extreme edges of the pieces.
When
four
the edges have been sufficiently bevelled, the

are
sides
be
to
subsequently by
united,
addition
the
first
of
with
sprigs,
glue,
the
and
thinner
and smaller ones being used, and the greatest care

being exercised in driving them
be added,
to
bevelled
this
and
if
should
The base
is
now
edges have been properly
the
fit
in.
accurately into
its
place and
complete the object.
making
In
amateur
size
these
simple
geometrical
models,
the
advised to observe a certain uniformity in
is
and proportion.
Thus, the base of the pyramid
should be the same as the side of the cube, the end

of the oblong block,
end of the prism.

involved in
this,
and the base of the triangular

There
is,
of course, no principle
but uniformity in
size is of material
aid in the elementary stage of model drawing.

Fig.
33
is
a model of a
small field or road gate,
Pretty Arts for Leisitre Hours.
128
and
in
its
construction
hoped, experience any
We
do
Fig.
measurements
troubling
our
readers
is
with
33. Model of a Field or Road Gate.
more
than
necessary,
as
matter of
taste
or
convenience.
will
it
obvious that, in the present instance, the
be
it
difficulty.
purpose
not
amateur will not,
the
size
We
be
must
would,
however, just mention that the gate-posts should be

about
inches high,
and
to
this
length \
inch
is
and how
to
make
This extra \ inch
is
to be reduced
Drawing
to be added.
\ inch
of the
end
the
Models,
wood being removed
inch
Fig. 34),
responding
The
to
and
size,
gate-posts,
is
129
by
round, leaving
called
a tenon
34. Mortise and Tenon.
Fig.
(a,
This
square.
all
them.
is
to
fit
into a
square hole of cor-
called the mortise, b, cut in the stand.
in
be made of wood
the
1
present
model,
we
assume
inch square, the upright end
pieces of the gate itself to be
\ inch
square,
and the
K
130
bars and cross-pieces of

thick.
Wood
wood \ inch wide and J inch
of these dimensions can be supplied
any carpenter, and the work of the amateur
by
will thus
be confined to absolute construction.
The upper part
of the post
that a pyramidical top
end pieces of the gate
is
may be
itself are
to be bevelled
off,
so
The upright
formed.
next to be cut; they
of course, to be shorter than the gate-posts, and,
are,
as has already been said, they are to be of the smaller
sized
wood.
When
have been cut
these
to
their
intended length, two lines are to be drawn along one

of their sides, at a distance apart equal to the intended
thickness of the horizontal bars of the gate.
Between
these lines the width of the horizontal bars
is to
be
marked, and this will give the forms of the recesses

into
which the ends of the bars
are then to be cut with the chisel.
were
required
these
recesses
through the side post

will be sufficient to
These
If absolute strength
would
be taken quite
but in the present instance
carry their depth
the thickness of the post.

all
are to enter.
When
to
it
about half
these recesses have
been made and the horizontal bars have been cut
Drawing
Models, a7id
how
made
to the exact size, the gate is to be
of the horizontals being

cross-piece
then
is
to
make
to
them.
131
up, the ends
The
glued into the recesses.
be
fixed
as
shown
the
in
sketch.
The hinges
are
to be
two simple rectangular hooks
made
of wire
loops
being placed in the upright of the gate
and
fixed in the gate-post,
and two wire

itself.
These loops when placed over the upright hooks
form a hinge which

the gate
the
may
pattern
will act
The
very well.
will
latch of
be made of wire or wood, according to
it
may
be desired to imitate
and
for
drawing purposes the simpler the form adopted the

better.
We
may, perhaps, be allowed to
give, in this place,
a few words of advice which refer not only to model
making but
careful
or
in
to
model drawing.
not to overdo
imitation.
details,
Our
either
advice
in
The general form and
is
Be
construction
position
of
the whole and of the leading points should be boldly
and correctly rendered, but the minor points should be

merely indicated or hinted at as portions of a complete
whole.
K
132
of this model may, with advantage,
Several views
The
be drawn.
gate
parallel
is
crossing,
spectator
angles,
advancing,
is
when
the whole
with the plane of the picture, as
right
at
should be taken
first
along which
a road
the
being
gate
closed.
if
the
second view should represent the gate as open, parallel
with the road, that

position
shown
and
in
is,
third
view,
the
gate
may
These studies
partially open.
to its normal
at right angles
should be
be rendered
doubly advantageous by views being taken from the

back as well as from the front
in the one case, the
open gate being directed towards, and in the other

from the spectator.
Garden
gate, Fig. 35, represents a
model of a small
garden gate, the construction of which

simple
character.
wood, \ inch
The
gate-posts
the
square,
height
is
may
of the most
be made of
being about
six
inches.
These are to be placed at the proper distance apart

in
the
joint
stand,
shown
The gate
being fixed by the mortise and tenon
in figure 34.
itself
is
next to be taken in hand.
It
Drawing
upright
simply of
consists
and how
Models,
make
to
them.
pointed
staves,
at
133
their
upper end, and these are held together by two crosspieces,
to
which
The
sprigs.
are
staves
the
to
between the
distance
be attached
by
may
be
staves
A A
Fig.
35. Model of a Garden Gate.
equal to their width, but this

of taste
they may, in
alternate one
study
It
may
is
of
course a matter
be so attached that each
fact,
be taken off whilst an elementary
made
added
is
being
is
unnecessary to
or
hinges and fastenings
as a subsequent lesson.
the
forms in which
made
The ingenuity
suggest
may
be
134
of the amateur will no doubt suggest these, and
materials
may
the
be easily obtained.
This model, like the former one, should be drawn from

various points of view.
place,
The gate
be sketched as a whole
door, in order that the upper
staves
may
as
if,
in fact,
it
and lower ends of
were a
all
be governed by the same perspective
The whole plane

and
should, in the first
is
the
lines.
then to be divided by vertical lines
in this the artist
must be reminded that whilst the
front surfaces of all the staves would, if the whole plane
were parallel to the picture, be equal,

the case
if
this
would not be
the gate were open, the whole surface being
either at right angles or placed obliquely to the plane
of the
picture.
In such
case,
the staves
would be
rendered narrower in proportion to their distance, and

the height.
CHAPTER
XII.
METHODS OF TRANSFERRING DESIGNS.
We
are aware that for the various branches of orna-
mental needlework, the

with the pattern
however, that
<{
many
purchased
be
We
ready drawn " on it

ladies are able to
designs, or to copy others,
following
may
material
and we
make
therefore
know,
their
own
give the
methods of transferring from the original
drawings or from prints.

the liberty of pointing
portion of the
work
is
We
must,
however,
take
out to our readers, that this

to a certain extent mechanical,
we allowed
and that we should be misleading them
if
them
shown can
to suppose that the
process here
in
any degree supersede the necessity of actual power

of drawing,
and of a knowledge of the principles of
design.
We
urgently
recommend those
readers
who wish
to
136
pursue needlework as an
which design
and
art,
or
any work indeed in
concerned, to study the subject
is
to practise freehand drawing.
able
accomplish
to
success than
course
it
if
own
Floral
broidering
will be
by
far
work
to
more
to be
then be
much
greater
and of
interesting during the
engaged in carrying out
designs than those of others.

designs
are
those
principally
and similar branches of
and we therefore advise
work
with
will
they merely work mechanically
progress of the
their
object
their
They
first,
Art
used in emneedlework,
who would engage
all
in such
study the natural growth of plants.
designer, like the poet,
is
The
permitted a certain latitude,
but this must in designing be kept within the bounds

of
truth.
leaves
Thus, although
may
and flowers
posed in such a manner as

ideas, the
natural
be
branches,
bent,
may
twigs,
tendrils,
interwoven or
dis-
carry out the designer's
characteristics
of each
plant
must
be carefully observed, and their mode of growth must

not be departed from.
We
advise our readers, therefore, to avail themselves
of every opportunity of making drawings from plants,
Methods of transferring Designs.

placing them in various
may
positions
plan
be observed, a
which
student the richest results.
Fig. 36.
more absurd than
if
We
plants
that each part
bring to
will
the
For there can be nothing
Greek Honeysuckle Border.
to see in
and leaves rendered as

or as
so
if
a design
all
the flowers
seen from one point of view,
placed carefully in position "to be looked at."

advise
our readers to
adapted for
designing,
form
and
collections of the
for
this
purpose
38
they
course of their
in
will,
summer, find hundreds of
country rambles in the
wild
flowers
which
them pleasant study and employment
afford
winter
hours;
for
the
in
which
flowers
in
twine
will
the
so
elegantly amidst our hedges, and in those which spring
up amongst the
as
grass in our fields, there will be found
much beauty
more
is
The
served
growth in many
and leaves which are
to be saved (for
"
between
their
mode
graceful.
flowers
our process
colour as in the most

of
exotics, whilst
scarce
cases
of form and
is
too simple to allow of the term "pre-
being used), must in the

several
sheets
of
thick
first
place be laid
blotting-paper,
and
the whole should then be placed between two drawing

boards,
and
laid
horizontally;
books or other weights
number
being placed on
of
heavy
the
upper
board.
In course of about a week, the plants are to be
removed with dry blotting-paper, and
week they
will
in about another
be ready to be fixed in the book to
be kept.
This
may
be a scrap
book provided
the paper be

strong
the
colour of the pages should be white
grey, or grey only
any other colours would
must be bound
and
interfere
Between the pages
with the appearance of the plants.

" guards "
139
these are narrow strips of
thick paper which cause a space between the adjoining
and prevent the covers being forced open by
surfaces,
the intervening plants.
The plants may

and
in others they
in
may
some
be
cases
gummed down,
be secured by strips of
gummed
paper crossing the branches at intervals.
Having given
we proceed
method
immediate purpose of showing the
to our
of
drawings
these few hints 011 the general subject,
transferring
the
to
from
designs
fabrics
on
the
original
which they are
to
be
worked, or the wood in which they are to be carved,

or out of
We
which they are to be sawn.
have already, in our chapter on wood carving,
described
how
the back of the design
may
be rubbed
over with black chalk and then, by drawing over the

lines
to
with a blunt point, the design
the
wood
specially
but
made on
this
rather
may
implies
that
thin
paper,
be transferred
the
design
is
and that the
140
outline on the
wood can be
We
corrected.
now
purpose
showing methods of transferring designs to materials
which require more refined treatment, and on which

the design must be at once drawn with absolute cor-
none of the
rectness, as
lines can be erased or cut
done in the case of wood
as could be
carving:.
The design having been completed, a tracing

be made of
at
Tracing-paper, which
it.
any Art
repository,
is
design,
may
and pinned down
not
be
progressing,
visible
the
through
of
lines
the
the
at
the
corners,
most cases to be
finer
and
repeatedly
to be used
more
many
that
work
it
is
are
to
be drawn
the latter
is
preferred, as the lines can be kept
accurate,
pointing
which will be
design,
tracing-paper,
so
the
whilst
over either with pencil or pen and ink

in
stiff.
been placed over the
move
to
liable
to
prepared so as to be quite
having
of tracing-paper
piece
is
may be purchased
same time tolerably
transparent, and at the
away
the
without
pencil.
If
the
the
times for embroidering the
on a dozen or two of pocket-handkerchiefs,

to use "tracing cloth,"
which
is
a thin
trouble
tracing
of
is
monogram
it is
advisable
woven
material,

prepared so that
ink,
and
also
is
same
at the
141
can be drawn upon in pencil or
it
rendered perfectly transparent, whilst,
time,
not liable to be worn out in
is
it
the process of tracing.
We
suggest to our readers that
it
is
a book something like that Used for

in which these tracings
may
they
may
little
gum,
is
rather
This
is
made by
Crayon) No.
angles, that
required.
tracing-cloth,
the
more glossy than the other
on which the tracing

Black or red
two of the
when
In both tracing-paper and
which
is
may
They should simply be
at
be easily detached
saving plants,
be kept, in case they
be required for future use.

attached by a
useful to keep
is
side
that
to be made.
paper
transferring
is
now
required.
scraping black French chalk (Comte
1 or 2,
over one side of rather thin paper,
such as foreign letter paper, and rubbing the powder
paper with
over the
should
be
done
ball
of
very lightly at
powder may be equally spread.
must
very
be
pressure
is
light
and
equal,
This
cotton wool.
first,
so
that
the
The pressure used

for
when
greater
applied at one part more than at another,
142
that part will be blacker than the rest which
not
is
desirable.
As much
away by the
rub
pressure
to be rubbed
is
may
cotton wool, so that the black
when touched
off
powder
as possible of the
accidentally,
but
not
when
only
used in a manner to be presently described.
is
Eed "setoff" paper
made
is
in
same
the
precisely
manner, red chalk being used instead of black.

In commencing to transfer the design to the material
on
which
carefully
it
worked,
be
to
is
on the required
spot,
and secure
by means of a couple of small

set-off
paper
downward.
under
Insert
the
the
small
the tracing, set-off paper, and material

perfectly
flat.
Now
of a crochet needle,
may
the
it
tracing
temporarily
Next, pass the
pins.
tracing,
few more
adjust
black
or
red
pins,
so
that
may
be kept
with a blunt point, such as that

or an ivory tracing point,
which
be purchased, trace over the lines of the design,
using just enough pressure to cause the lines which
have been passed over to appear on the surface, on
which the work

the lines of the
is
to
be executed.
tracing,
In passing over
the tracing-point
should be
143
held as upright as possible, so that the lines transferred
may
be fine and uniform.
Should any
inaccuracy in tracing cause a line
little
may
to appear outside the needlework, this
by a
over
be removed
piece of dry stale bread being carefully rubbed

it.
The following method
is
adapted for transferring a
pattern to cloth or velvet, or other fabric having a soft

or yielding surface.
Select
some good
foolscap size,
clear paper, of the
and pin a sheet down
The paper used
a drawing board.
should
good writing
be a
and of a medium thickness
clear,
sheet which
is free
for
purpose
this
smooth and very
and the part of the
&c), should be used.
This
be ascertained by holding the paper up to the
light,
The
to
at its corners to
from the water-mark (the name of
the manufacturer, date,
may
paper,
quarto post or
when
the water-mark will become visible.
paper, having
been attached to the board,
is
may
be
be painted over with copal varnish, which
obtained of any
artists'
The brush used
colourman.
for this purpose
should be a "flat
144
hog's
one inch in width
of about
hair "
be kept well
filled
with varnish, and should be held
Great care should be taken to spread the
upright.
may
varnish equally over the paper, which
by working the
brush
be washed
in
been
has
the varnishing
once
should
it
out
cross
done,
When
directions.
the
turpentine
in
be done
must
brush
at
and afterwards
rinsed in water.
The paper should be
on the board placed in
left
a horizontal position for three or four days, when,

the
materials
will
present
used are of
a
glossy
good
surface
quality,
and
will
if
the
paper
be
nearly
transparent
The varnished
paper,"
now
is
paper, which
varnish
is
will call the " stencil
to be placed over the design,
lines are to be traced
In this
we
on
it
with a pen and ink.
last operation, care
not scratched
and the
off
must be taken that the
by the
pen, for in such case
the stencil would be useless.
The ink
of the
ment
lines
design
to be
having become perfectly dry, the whole
is
to be pricked through.
employed
The
instru-
for this purpose should be
made
lower half of a rather thick needle, fixed in
of the
145
wooden
light
handle,
or
fine
may
stiletto
be
used.
It is necessary that the small holes
which are to be
pricked in the design should not, on the reverse side, be
surrounded by a projecting edge to a greater degree
than can be avoided.
It
will
be easily understood
that this will, in a very great degree, depend on the
manner
in
which the
the piercing process
stencil
paper
for, if it lies
on a
placed
is
during
soft cushion, the
force of the needle will press the paper into the too-
yielding
surface
surrounded
by
underneath,
a
ridge,
and each hole
which
will
appearance of a volcanic mountain with
As
crater.
this
projection
will
give
will
give
its
it
way under
used in the subsequent process, and
the hole,
it
The
it
fill
the
up
of course important that there should be
is
as possible.
stencil
paper should, therefore, during the process
of piercing, rest on a
blotting
the
yawning
pressure
as little of
be
paper,
sufficiently far
which
pad made of several sheets of

will
allow the needle to pass
through the stencil paper, whilst
it
will
146
edge of the
resist to a great extent the rising of the

hole.
In piercing the design, care must be taken that the

holes are not pricked too closely together
in such case
the stencil will be liable to tear, and part of the design

will be set free.
It
must be mentioned that the smaller
the holes are pricked, the better, so long as they admit

of the passage of the points of the hairs of the brush
to be subsequently used.
settled
by
This
of course be easily
trial.
In commencing to use the

placed
may
stencil, it is to
on the required spot on the material, which
should be spread over a drawing-board

fully secured
of either
by
pins, so that there
both being care-
may
be no chance
moving during the brushing which
The brush used
is
follows.
that called a velvet painting brush
the hairs of this are short, straight, and
and
be carefully
stiff,
but are soft
fine at the points.
If the design is to
white
is
to be used
be transferred to a dark material,

this
may
be either Chinese white
sold in bottles, or moist colour sold in tubes or pans.
small quantity of this having been rubbed up with

water on a slab or plate
transferring
47
to coloured materials, water-colours (either
may
the tube or the moist in pans, or the cakes)
used
For
to be allowed to dry.
is
the
colour
be
to
rather
lighter
than
be
the
material.
The brush, having been soaked,

that
it
may
retain
as
little
is
to be squeezed, so
water as possible;
it
is
then to be rubbed over the colour which has dried on

the slab and, being held perfectly upright,
be worked over the
stencil, care
portion of the design
is
it
next to
is
being taken that every
The brush
gone over.
is
to
be
pressed only sufficiently to cause the points of the hairs

to pass through the holes in the design
under the
stencil, in
but not to bend
which case the pattern would be
blotted.
Each time that the brush requires

to be pressed
it is
on a wet sponge, and then rubbed on the
dry colour on the slab
by
this
pression will be obtained, which

if
replenishing,
method a
clear im-
would not be the case
the brush were dipped into wet colour, as this would
run and cause blotches on the material.
For large designs,
stencil brass
may
be used.
L 2
This
148
material
may
of about the
same thickness
with ease be penetrated by the
needle
file
is
it
will,
as paper,
and
stiletto or a strong
however, be necessary to pass a small
over the back of the stencil in order to clear off
the roughness which will necessarily occur around each

hole.
CHAPTER
AND HOW TO MAKE THEM.
TOYS,
Of
while
all
XIII.
the work with which our fair readers
away
their leisure hours, there is
may
no one which
can bring greater pleasure than that of toy-making.
For
this gives
not only pleasure to the worker, but
brings joy into the hearts of the
the progress of the
ones,
little
work with the deepest
who watch
interest.
Children do not value toys according to the price

paid for them; but
cheapest as
enjoyment
and
Any
one
with the most

consists,
in the
are, as a rule, as
expensive.
has been
have noticed the
The
greatest
however, in seeing the toys made,
idea that they have
who
pleased with the
warm
helped in the work.
associated with children will
tone in which they say " Please
cut something out for me,"
or,
" Please
make me some-
thing " and having seen the toy made, they are more
;
150
careful of it than if they

for
it.
other
Nor
is
this
Children,
all.
ideas are called out,
and they learn
in attempting to
have seen done
and the power
to
care.
place, to enter
uses of toys
amuse themselves
what they may
imitate
they thus acquire habits of industry
of
amusing themselves.
upon a
but we
within our limits
disquisition
feel that
we
when we urge
be most carefully avoided.

admissible;
or
Their
would be beyond our purpose were we, in
It
are
by seeing toys
made, learn accuracy and
objects
and others
had seen a goodly sum paid
this
on the educational
shall only
be keeping
that ugly toys should
Comic ones and
caricatures
but those which are absolutely ugly
should never be given, as the child, by constant association with them, is likely to acquire ideas of form
which may militate against lessons
may
in
beauty which
subsequently be given.
Animals cut out are amongst the simplest and best

toys
and the power of cutting them
is
by any one who has some knowledge

But we recommend our readers
the forms of animals
soon acquired
of
drawing.
to practise
sketching
before attempting to
cut
them
and
Toys,
hoiv to
out for children, so that they

characteristics to each animal.
make
may
them.
151
give their absolute
The perceptive
faculties
of most children are, as a rule, far stronger than
persons not accustomed to watch them
know from
the
name
actual experience
many
We
suppose.
that they will
call
of the animal about being cut the
out
moment
the general form of the back or head has been given

that
is,
when
the form given
is
that which they have
seen either alive, or represented by drawing.
Excellent
drawings of animals are to be found in
most of the works on Natural History now published.

In copying these, the general outline should be given,
with only sufficient additional lines to show the eyes or
such other details as
These animals
stands,
string,
may
may
be
gummed
to
little
card-board
and may then be drawn along by a piece of

but in such case the animal should be represented
as walking or running,
down.
be necessary.
not as standing
still
or lying
Wheels under animals, however unlike Nature,
cannot be avoided
but there
is
no danger of misleading
the children in this respect, for of course they
that horses and
know
all
cows do not move on wheels
still,
152
Avhenever
the natural
better
imitated
motion of the animal can be

Swans,
desirable.
is
it
and other water-fowl may be made

a very simple manner by the
Fig.
Here a b
37.
about
wide,
inches
such length as
is
may
to glide along in
On
this,
two
strips
shown
contrivance
the
end of a
about
\ inch
in
of wood,
strip
thick,
and of
agree with the mantelpiece of the
room, or of a table on which the model
Fig.
ducks, geese
is
to be worked.
37.Slide fok Model.
of wood, about
to be fixed, leaving a space
\ inch wide,
between them of
are
inch.
These must be accurately placed against Hues previously

ruled,
the
so
same
that
the
distance
throughout the
between them
whole
tramway may thus be formed.

\ inch
thickness,
and exactly
length.
may
be
simple
piece of wood, of
inch in breadth, and
about 2 inches long, and on this piece two strips are

to
be
nailed,
leaving
space
between
them
just
and how
Toys,
wide enough
just
in
for the insertion
the
equal to
this
thickness
groove the animal
end of the
piece,
f,
Fig. 38.
inserted
and,
attached.
By
make
to
to
is
them.
153
of the animal
cardboard.
of the
a small wire loop (g)
these,
pieces
is,
And
At each
to be placed.
Animal ron
that
is
to be
Slide.
of
string
are
to
be
these strings, carried over the end of the
stand, the block
on which the animal
is
placed
is
to
be drawn along, an operation which will afford great
amusement
to the children.
the animal
is
to be taken out
When
it
reaches the end,
and reversed
for return
Pretty Arts for Leisure Hoitrs.
154
the eye, wing, and other details must therefore be drawn
on both
sides.
add
will
It
the interest of the children
to
the
if
toy be worked by means of weights attached to the
ends of the
place
The weights should
strings.
be equal, but they should be attached in such
a manner
that
an additional
the end towards which
slight groove should
the
of
and
in the first
ground-piece,
the
figure
be
to
is
used at
be drawn.
be cut on the edge of the end

in
which
the
may
string
run,
must be made very smooth.
this
made
roller,
and over
of a cotton-reel,
this the
string will
may
roll
small and light figures, the plan
be quite
may
one
be inserted here,
smoothly; but, for
we have
described will
sufficient.
The galloping
favourite
or
one with
accomplishment.
motion
rocking-horse
and
children
One method
is
not
is
to
is
a very
difficult
of
imitate as nearly
as possible the stand of a rocking-horse
by cutting the
curved portions out of thin wood and uniting them by

cross pieces.
cardboard
The pattern should
so that,
by laying
it
first
be cut out of
down on
the
wood and
and how
Toys,
marking round
also be
made
This kind of stand
be ensured.
very simple stand for a small horse
piece
may
line
with a
stiletto or
may
made
be
penknife along a
cardboard and folding the piece exactly in
of
The opposite edge
line.
form a part of a
slight
155
of strong cardboard.
by marking a
the
them.
with a pencil, the exact similarity of
it
may
the two sides
make
to
stand
is
then to be cut so as to
and the piece
circle,
form a
will then
bottom edges may be attached to
the
each other by strips of cardboard.

carriages,
Carts,
and
cabs,
favourite objects that can be

is
made
amongst the most

for children
and
it
astonishing to see the rapidity with which some of
them acquire the power

of
are
the
various
kinds
of
making very pretty models
of
conveyances.
It
is
un-
necessary here to give illustrations of the various parts

of a cab,
which are well known to
ourselves therefore to
all
we
confine
giving a few suggestions as to
the general method of construction.
The two
sides are to be first cut out
found convenient to
box be in
the
same
let
the
piece
side
and
of the
with each
it
will be
coachman's
side,
as
the
156
trouble
made
a box
of attaching
separately
thus
is
saved.
The door
course the
next to be cut out of this
is
window
is
may
cut.
In cutting out the
left at
top and bottom so
to be
must be
door, a broad ridge
and of
much weakened.
not be too
that the
sides
will also
add materially to the strength of the door
a narrow strip of cardboard
edge on the inner
gummed
is
The door
side.
is
It
if
round the
all
afterwards to be
made
attached to the body of the cab by small hinges

of pieces of leather.
The top
of the cab
rectangular, but
is
is
is
next to be made
it
is
rather wider across the middle.
not
This
not really a matter of importance in a toy such as
but
is
best to
correct as possible.
When
this,
still
it
make
the
the general form as
form of the top has
been marked out, an edging must be

sides, to
sides,
top
left
on
all
four
be bent downward for the attachment of the
the back, and the front.
be curved,
it
will
If the shape
of
the
be necessary to jag out this

will not
edging into pieces, otherwise
it
The back, bottom, and
may
front
bend down.
be formed of one
and how
Toys,
long piece, which,
if
to
make them.
157
the top of the cab be curved, will
require to be shaped at the bottom to correspond with
the top.
similar piece
is
to be carried to the
the coachman's box, aud will
also
back of
" splash
form the
board " in front of the coachman.
The
to be
and the
axles of the wheels,
made
shafts, are of course
of wood, and should be as simple as possible.
The wheels should be made of cardboard, rather thicker

than that previously used
and
if
the model be of a
large size, an additional thickness should be glued

to one side of the rim,
The
part.
spokes
according to
taste,
and on
to the nave or central
the wheels
of
on
may
be designed
and should be arranged
at equal
distances in the wheel.
From
drawn
each of the dividing points, a line
to
the
centre,
and
lines
are to
is
to
be
be drawn on
each side of these centre lines, at a distance equal to

half
the
thickness
piece of cardboard
It
will
move on
at
is
of
the
spokes.
The intermediate
then to be cut away.
be at once seen that, as the wheels are to

pins, the holes
the centre
through which the pins pass
would soon become enlarged, owiug to
158
the wearing
small,
this
away
may
of the cardboard.
be prevented by two or three thick-
nesses of cardboard being
gummed
nave, as already mentioned
the better plan

centre,
is
and glue
model be
If the
but, for a larger
,*
away a
to cut
or glued over the
wheel,
of the
circular piece
in a piece of wood, cut so that
may
it
pass endwise into the nave ; this will form a strong centre.
Each wheel
is
to be attached to the end of the axle
means of a pin
cut across
or rather a part of a pin
by a small
by
the pin being
and the upper portion being
file,
used, the end having been previously filed to a point.
hole
is
now
to be bored through the piece of
forming the centre of the wheel, and the pin

passed through this into the
which
it
is
to
end of the
be driven by the
centre of the wheel
enough space being
is
nearly close
left to
the
to be
axle,
hammer
to
is
wood
into
until
the
axle,
just
allow of the free rotation
of the wheel.
It
must be mentioned
that, in
making up the body
of the cab, the broad strip forming the back, bottom,
and
front, should
be affixed
first
the seats,
made
of
cardboard, are then to be fixed, and the whole of the
Toys,
and how
work which we may

The
covered.
upper
must be borne
in
edge,
mind
is
of our
that,
in
lining
must not be attached near the
lining
but a narrow space
which the edging, bent down

the top,
of the
of course to be similarly
is
the sides, the
a portion
safely entrust to the taste
inside of the roof
It
159
thetJt.
with thin cloth or velvet
interior lined
readers.
make
to
for
must be
into
left
the attachment
of
to be inserted.
The model would not be complete without a horse

and
it
that
is,
must be pointed
it
out, that as
represents a cab in
its
the cab
is
solid,
proper proportions,
a simple horse cut of cardboard would not harmonize
because
it
would be
It will
flat.
to obtain a horse at a toy-shop
be necessary, therefore
and in
this
our reader
is
advised to select one representing a natural horse as

nearly as possible, carefully avoiding those sold under
the
name
the
of
rounded piece
sticks,
of
noble
animal,
wood,
but consisting of a
on
supported
with a head and neck cut out of a
of wood, a piece of fur for a mane,
tail,
four
the
whole
with large red
coloured
spots.
We
black,
have
flat
square
piece
and another
and
for
bespattered
already given
our
160
reasons for
objecting
such
to
libels
on nature being
presented to children.
It is almost needless to
say that an omnibus can be
constructed in the same manner; from
form
it
perhaps even
is
The
easier.
finished, are to be painted; the colours
rectangular
its
vehicles, being
may
used
be the
usual water-colours sold in cakes, but the moist colours in
tubes are
better,
as they
have more consistency, and
therefore cover the surface better.
Or, the colours
may
be purchased in powder, and these when ground up with
water and a
little
gum
arabic, give the best
body colours
that can be used.
Gold
for
edging or
that sold in shells, or in

this,
ornamentation
may
either
called " gold bronze
powder
when ground up with water and gum,
better
and
is
by
far
be
"
covers
more economical than the
shell
gold.
Any
small doll can be
and our readers
will not,
made
we
to
do duty as a
are sure, find
any
driver,
difficulty
in providing the proper attire.
Open
described
carriages
;
may be made
and these
afford great
in
the
manner here
amusement
to children,
and how
Toys,
in giving
to
make them.
them the opportunity of handing the
their little dolls
into
ladies
the vehicles, and giving them
a drive.
The general method
of constructing wheeled vehicles
having been thus described, our readers will have but

little
difficulty in
goods waggons
will
enable
making a few railway
and a
them
make
to
locomotive engine.
motive
little
We
for of course a
and
carriages
observation and ingenuity
a model
representing
say "representing" the loco-
working model
is
not required,
but merely a model in which the leading parts are

represented, and having moveable wheels.
be thus formed, and a
wood
nailed to a flat
a railway
line of rails,
piece, as
the train being
named on page
154.
We
in
train
formed of
may
strips of
Fig. 37, will
form
drawn along by weights

have, in our
"Boy
as
Joiner,"
given a more complete description of this toy.
In concluding this brief addition to "Pretty Arts/'
we
would express the hope that our remarks may not be

misunderstood.
We
make
do not by any means imply that every lady can

toys equal to those she can buy,
but we have
M
\6i
endeavoured
may
show
how
be made for children
have already
seen
to
said,
several
amusing
objects
their interest being, as
we
enhanced by the fact that they have
them produced, and that they have,
in their
estimation at least, assisted materially in the work.
own
CHAPTER
COTTAGES, &c,
We
name
XIV.
MODELLED IN CARDBOARD.
can scarcely dignify the present subject by the

Architectural
Modelling
knowledge of the history and
would be
far
to attempt to give this
beyond the scope of
models of
it
may
in
rooms
rustic
mode
and
in
many
to
of constructing
form simple ornaments
cases keeping alive the
some place around which pleasant
of
pur-
and other buildings, which
be desired to imitate
;
We
this work.
pose giving instructions as to the

simple
by that term a
scientific details of archi-
would be implied, and
tecture
since
memory
associations
may
cling.
Our
object for
simplest
the
character
subject
convey
illustration
small
may however
sufficient
practical
is
therefore
cottage.
be,
it
will,
one of the
Elementary, as
it
information to
is
hoped,
enable
our
Pretty Arts for Leisicre Hours.
164
readers
construct
to
much
and
larger
handsomer
models.
The material used may be
either cardboard or thin
may
wood, and in some models both these
We
be combined.
assume the former to be employed in the present
model.
The material should be a good
having a slightly rough surface.

be a rather
large
one
or
building,
technically
the walls
" rough
called,
drawing
paper,
drawing,
may
such
be
as
cast/'
rubble
for
the
as
are,
sheet
used
over
pasted
which
of
is
model
If the
representing
one,
stout cardboard,
is
to
stone
it
is
rough
of
water-colour
of
sheet
card-
board.
In doing
this,
paste should be equally spread over
the drawing-paper, which

cardboard, covered with
well rubbed
down with
is
then to be laid on the
a sheet of waste paper, and

a closely folded cloth
care
being taken that the whole
and
that
remain.
no inequalities or
When
passed over the

vening,
nearly dry, a
is
blisters
warm
surface, a sheet of
equally
are
great
rubbed,
allowed
to
to
be
flat-iron
is
clean paper inter-
and gentle pressure being used.
Cardboards
Pretty Arts for Leisure Hoitrs.
66
of various
degrees
be purchased
some
in
are given for the
not
be
benefit
readily
able
localities
to
may
and roughness
of thickness
the foregoing hints
of those
the
obtain
who may
readers
they
material
require.
The
the
object
first
ends.
now under
place,
We
of a front
consideration
formed,
is
in
and back, and two gable-
give one of these.
The
rectangle a, b,
c, d,
having been drawn, take in the compass the length

of the line
B,
c,
being the centre.
and describe an arc
another arc
intersect the previous arc in e,
Now
Next, with the same length, using
c as a centre, describe
point.
at E, the point
draw the
at
which
lines B, E,
c,
will
be the gable
will
and
which
E,
E,
which
will
complete the general form of the gable-end.
On
the vertical sides the slips F and G are to be
left
the vertical lines are to be cut to about half the thickness of the cardboard.
can then be stripped
mainder
is
The upper portion

off
of the slips
with the penknife
the
re-
then to be folded back at right angles to the
surface for the attachment of the front
Similar slips are also to be
left
at
and back.
h and
I,
which
&c, Modelled
Cottages,
down
being bent
in
Cardboard.
will serve for the
167
attachment of the
roof.
It
however, be seen that these
will,
slips
on the
slanting sides of the gable do not extend as far as the
gable point, but the gable
forming the
rectangle,
is
continued in the form of a
sides
of
the
chimney.
This
rectangle having been extended, vertical lines are to be
drawn
to
mark the widths
These
stack.
of the sides of the chimney-
lines being cut half through, the sides are
to be bent into their places,
piece of cardboard
stack,
and over
is
and the edge glued up
then to be put over the top of the
this the
chimney-pots are subsequently
to be placed.
It
may
be mentioned
only a small or
medium
may
made
back,
all
be
lines at the angles
that, if the cottage is to

size,
be of
the gable-ends, front and
of one piece of cardboard, the
being cut half through to allow of the
parts being bent into their respective positions; there will
then be only one joint, at the meeting of the one edge of

the gable-side, with one of the back.
The roof
The
is
to be cut to the form
shown
in Fig. 39.
entire length should equal that of the front of the
Pretty Arts for Leisitre Hours.
68
cottage, with the addition of the projection of the eaves.
The width on each
side of the centre line or ridge A, b,
should be equal to the slanting side of the gable-end
with the addition also of a certain width of the eaves to
overhang the front of the cottage.
The roof
is
to be bent
on the ridge
line,
which must
be partially cut through until the sides are inclined to

each other at the same angle as the sides of the gableend.
Before the forms of the different parts of the cottage

are cut out, the
windows may
spaces
may
The
back.
either be painted in water colours, or the
be cut out and pieces of glass placed at the

glass best adapted for this purpose
used in mounting
objects
When
" thin glass."

at the
The
windows and door must be drawn.
for
the
is
microscope,
that
called
the piece of glass has been placed
back of the space cut out
for the
window,
strips of
paper or card are to be glued over the edges, so that

it
may
be attached to the wall.
coloured before
showing the
ruled.
it
is
slates
The roof should be
fixed in its place, so that the lines
may
The chimney-pots
be accurately measured and

are to be
made
of cardboard,
Cottages,
and may be
&c, Modelled
Cardboard.
We
either cylindrical or square.
and
further details to the wishes
Flower boxes
may
in
may
the cottage
leave the
taste of the worker.
be placed at the windows
be added to the door
169
may
a porch
be sur-
rounded by a garden, the verdure being composed of

dried moss, some of which
may
of the walls to represent ivy,

that,
be carried up the sides
etc.
We
have no doubt
with the practical suggestions here given, and
with the hints thrown out,
many
of our readers will
accomplish very satisfactory results.
THE END.
hKADBl'liV.
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ALLONGE'S LANDSCAPES
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as sets, can only be"supplied in sets.
CHAPMAN
29
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the complete
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and 12 inches across, and each 3 inches high 1 Upright, 3 feet high 2 Cross Arms,
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Ladder, 23 inches high. A Kitchen Table, 14% inches high. A Chair to correspond. A Four-legged Stool, with projecting top and cross rails, height 14 inches.
A Tub, with handles and projecting hoops, and the divisions between the staves
plainly marked. A strong Trestle, 18 inches high. A Hollow Cylinder, 9 inches
in diameter, and 12 inches long, divided lengthwise.
Hollow Sphere, 9 inches
in diameter, divided into semi-spheres, one of which is again divided into quarters
the semi-sphere, when placed on the cylinder, gives the form and principles of
shading a dome, whilst one of the quarters placed on half the cylinder forms a
niche.
Davidson's Apparatus for Teaching Practical Geometry (22 models), ^5.

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These Models are particularly adapted for teaching

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z% inch square ; Intersecting Circles, 19 inches solid wood 2% by x% inches.
Wire Models Triangular Prism, 17 inches side, 22 inches high ; Square Prism,
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14 inches side, 20 inches high
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diameter, 24 inches high ; Square Pyramid, 17 inches side, 24 inches high ; Cone,
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17 inches side, 24 inches high
Plain Square, 19 inches side. Table,
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19 inches side
27 inches by 21% inches. Stand. The set complete, ,14 13s.
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Vulcanite Set Square,
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square, 5s.
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ASTRONOMICAL
TWELVE SHEETS.
By John Drew,
mittee of Council on Education.
BOTANICAL
Ph. Dr., F.R.S.A.
Sheets,
8s.;
on
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Prepared for the Comand varnished, 4 4s.
NINE SHEETS.
Method of Teaching Botany. By Professor

and varnished, 3 3s.
DIAGRAM.
SECTION.
Illustrating a Practical
Henslow, F.L.S.
2; on
rollers
CLASS.
DIVISION.
Thalamifloral
Dicotyledon
5
6
. .
Monocotyledons
( Superior
t Inferior
Glumaceous
Models, &c, entered as
sets,
can only be supplied in
sets.
30
&
BOOKS PUBLISHED BY CHAPMAN
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BUILDING CONSTRUCTION
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In sets, 1 is.
LAXTON'S EXAMPLES OF BUILDING CONSTRUCTION IN TWO
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BUSBRIDGE'S DRAWINGS OF BUILDING CONSTRUCTION, n Sheets.
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and Professor Shelley.

highly coloured.
of 41 Diagrams {$2% Sheets),

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SELECTED EXAMPLES OF MACHINES, OF IRON AND WOOD

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PHYSIOLOGICAL
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BUSBRIDGE'S DRAWINGS OF MACHINE CONSTRUCTION.

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THE MUSCLES, JOINTS, AND ANIMAL MECHANICS.
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THE LYMPHATICS OR ABSORBENTS.
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THE ORGANS OF THE SENSES.
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THE MICROSCOPIC STRUCTURE OF THE TEXTURES AND ORGANS.
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3.
4.
5.
6.
7.
8.
9.
10.
11.
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THE
THE
THE
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4.
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Explanatory Key,
Each
is.
THE SKELETON, Side View.

THE MUSCLES, Side View.
THE FEMALE SKELETON,
SKELETON, Front View.

MUSCLES, Front View.
SKELETON, Back View.
MUSCLES, Back View.
Front View.
ZOOLOGICAL
TEN SHEETS.
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;
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^3
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By Robert Patterson.
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PHYSIOLOGY AND ANATOMY OF THE HONEY

Two
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7s.
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BEE.
MODERN
A
ARTISTS.
SERIES OF ILLUSTRATED BIOGRAPHIES.
by
Edited
F.
DUMAS.
G.
UNDER
the above title a Series of Biographical Sketches, with Characteristic

Portraits, and of Critical Studies of the works of the Great Painters of the
day, has been in preparation for some time.
In the publication of the work the co-operation of the highest authorities on Art,
and the most noted Etchers, has fortunately been obtained.
The publication is divided into
BIOGRAPHIES, each containing
24 folio pages of Text (20 x 14 inches), profusely Illustrated with facsimile
reproductions of original Drawings by the Artists themselves, and views of their
studios and residences, printed on fine plate paper, numbered 1 to 1,200, and
accompanied by 36 Lettered Proofs of the various Etchings stamped by the
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The greatest care has been exercised in the selection of the works for engraving,
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The first section of Three Parts will consist of
TWELVE
SIR FREDERICK LEIGHTON,

Portrait
The
by Rajon,
after G. F.
P.R.A.
Watts, R.A.
Athlete Wrestling with a Python.
Group from The Arts of War.
JOHN EVERETT MILLAIS,
R.A.
Portrait by Waltner, after the Artist.
The North-West Passage.

Forbidden Fruit.
HUBERT HERKOMER,
A.R.A.
Portrait by himself.
The Poacher's Fate.

The Woodcutters.
Proofs of the above, also stamped by the Printsellers' Association, may
special attention has been paid to the selection of the proper materials for
the printing of these Proofs.
Artists'
be had
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*
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AMATEUR'S EDITION.
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BOOKS PUBLISHED B Y CHAPMAN
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THE FORTNIGHTLY REVIEW.

Edited by
JOHN MORLEY,
HTHE FORTNIGHTLY REVIEW
published on the ist of
is
every month (the issue on the 15th being suspended), and a
Volume
is
completed every Six Months.
The following are among
SIR
RUTHERFORD ALCOCK.
LORD LYTTON.
MATHEW ARNOLD.
SIR H. S. MAINE.
DR. MAUDSLEY.
PROFESSOR BAIN.
PROFESSOR BEESLY.
PROFESSOR MAX MULLER.

PROFESSOR HENRY MORLEY.
G. OSBORNE MORGAN, Q.C, M.P.
WILLIAM MORRIS.
DR. BRIDGES.
HON. GEORGE C. BRODRICK

SIR GEORGE CAMPBELL, M.P.
J. CHAMBERLAIN, M.P.
PROFESSOR SIDNEY COLVIN.
MONTAGUE COOKSON, Q.C.
L. H. COURTNEY, M.P.
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PROFESSOR FAWCETT, M.P.
EDWARD
A.
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RT. HON. LYON PLAYFAIR, M.P.
DANTE GABRIEL ROSSETTI.
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LESLIE STEPHEN.
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THOMAS HARE.
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J.
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A.
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T. E.
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ANTHONY TROLLOPE.
PROFESSOR TYNDALL.
RIGHT HON.
THE EDITOR.
CLIFFE LESLIE.
R. LOWE, M.P.
SIR JOHN LUBBOCK, M.P.
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[CRYSTAL PALACE PRESS.

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PRETTY ARTS

EMPLOYMENT OF LEISURE HOURS.

Digitized by the Internet Archive

EMPLOYMENT OF LEISURE HOURS

AUTHOR OF "THE HAPPY NURSERY,"

AMATEUR HOUSE CARPENTER/' "THE

CHAPMAN AND HALL,

the author feels assured that his purpose

by them, that purpose being

suggest a variety of Arts

their leisure time

be employed, and in the practice of which they

give pleasure to others.

and refinement which Ladies bring

in the various branches of fancy work, leave

exercise their powers in

and the experience

that Ladies are not

requiring more practical

of the author has

such manual work as

be suited to them, and,

and mallet have been wielded

by the hands of Ladies, and many of the publications

of our day are illustrated

have the subjects of wood-carving, modelling

and wood-engraving, been treated of

saw, the hammer, and the

and thus they

apply their powers in making such other small fancy

not the subject

of the present work, the principles of Perspective

out of the subject,

study of fine Art,

readers being urged to pursue

with the aid of some of the

numerous works extant, and

MODELLING IN CLAY AND CASTING IN PLASTER

THE ELEMENTS OF WOOD ENGRAVING

DRAWING FROM OBJECTS

DRAWING-MODELS, AND HOW TO MAKE THEM

COTTAGES, ETC., MODELLED

AND HOW TO MAKE THEM

METHODS OF TRANSFERRING DESIGNS

END OF BOOK CRADLE

CARVED IVY LEAF

FRONT OF READING STAND

SIDE VIEW OF READING STAND

DOUBLE ROW OF COLUMNS

PLAN OF A CIRCLE IN PERSPECTIVE

CUBE AND PYRAMID

PYRAMID, BASE, AND SIDE

MODEL OF A FIELD OR ROAD GATE

MORTISE AND TENON

MODEL OF A GARDEN GATE

GREEK HONEYSUCKLE BORDER

SLIDE FOR MODEL

ANIMAL FOR SLIDE

COTTAGE, ROOF, GABLE,

PRETTY ARTS FOR LEISURE HOURS.

place, describe the tools used,

well adapted for ladies, calling

work done by the