Wood Carving Part 7

Fig. 58 is a clock case. Something of this kind would make an excellent "opus" such as I have alluded to, and give plenty of scope for invention. As clocks of this kind are generally hung on a wall, the brackets, from a practical point of view, are of course unnecessary, but as it is important that they should _look_ as if they were supported and to satisfy the eye, something in the way of a bracket or brackets is generally added. A bracket like the one in the ill.u.s.tration, not being a real support constructively speaking, but only put there to give a.s.surance that such has not been overlooked or neglected, becomes a kind of toy, and may be treated as such by adding some little fancy to make it amusing, and give an excuse for making a feature of it. This will be a good place to try your hand at some modest attempt at figure work. In designing your bracket, should you wish to introduce a little figure of man or beast, I think you will find it more satisfactory if the figure is separated from the structural part by a slight suggestion of solid surroundings of its own. Thus the little roof over, and the solid bit of wood under, the figure in the ill.u.s.tration serve this purpose, lending an appearance of steadiness which would be wanting in a bracket formed of a detached figure. At any rate, never make your figures, whether of man or beast, seem to carry the clock; you may hunch them up into any shape you like, but no weight should be supposed to rest upon them.

[Ill.u.s.tration: FIG. 58.]

For sake of the carving, oak will be the best wood to employ in making this clock, or one like it, but Italian walnut will do equally well. The size should be fairly large, say about three feet over all in height.

This will give a face of about ten inches in diameter, which face will look best if made of copper gilt, and not much of it, perhaps a mere ring, with the figures either raised or cut out, leaving nothing but themselves and two rings surrounding. This should project from the wood, leaving a s.p.a.ce of about one inch.

[Ill.u.s.tration: FIG. 59.]

If you are inclined to try a heavier piece of work, the bench or settle-end in Fig. 59 may give you a suggestion. In this there is a bird introduced in the shape of a c.o.c.k roosting on the branch of a tree. It would require to be done in a thick piece of wood, say 3 ins. thick, and would be best in English oak. The idea will be, to cut away the wood from the outer lower portion, leaving only about 1-1/4 or 1-1/2 in.

thickness, but at the top retaining the full thickness; in which the bird must be carved, the outer edges being kept full thickness in order to give the structural form and enclose the carving. The inside of this upper part, toward the seat, should also be carved, but with a smooth and shallow pattern of some kind, as both may be seen together, and in contrast to each other.

[Ill.u.s.tration: FIG. 60.]

The introduction of figures leads me to a subject which it will be better to discuss in the next chapter, i.e., the question as to how far it is possible or consistent with present conditions to attempt anything that may bear the character of humor. But in the meantime here are three more subjects upon which fancy and ingenuity may be expended with profit. In Fig. 60 you have a heraldic subject. In all such cases the heraldry should be true, and not of the "bogus" kind. This s.h.i.+eld represents a real coat of arms, and was done from a design by Philip Webb, being finally covered with gesso, silvered and painted in transparent colors.

Figs. 61 and 62 are suggestions for wooden crosses, oak being the best material to use for such a purpose. The carving should be so arranged as to form some kind of pattern on the cross. In Fig. 62 the black trefoils are supposed to be cut right through the thin pieces of wood forming the center portion, and the carving on that part is very shallow.

[Ill.u.s.tration: FIG. 61.]

[Ill.u.s.tration: FIG. 62.]

CHAPTER XIX

THE GROTESQUE IN CARVING

Misproportion not Essential to the Expression of Humor--The Sham Grotesque Contemptible--A True Sense of Humor Helpful to the Carver.

The dullness which comes of "all work and no play" may be said to affect the carver at times. He tires of carving leaves and ornaments: what more natural than to seek change and amus.e.m.e.nt in the invention of droll figures of men or animals? The enjoyment which we all feel in contemplating the outcome of this spirit in ancient work, leads us to the imitation of both subject and manner, hoping thereby that the same results may be obtained; but somehow the repet.i.tion is seldom attended with much success, while of original fancies of the same sort we are obliged to confess ourselves almost dest.i.tute. Who can behold the fantastic humors of Gothic carvings without being both amused and interested? Those grotesque heads with gaping mouths recall the stories of childhood, peopled with goblins and gnomes. It is all so natural, and so much in keeping with the architecture which surrounds it, the carving is so rude and simple, that it seems absurd when some authority on such matters makes a statement to the effect that all such expression of humor has become forever impossible to ourselves.

This important part of the question must be left to your own meditation, to settle according to your lights; experience will probably lead you ultimately to the same opinion. Meantime, the point I wish to impress upon you is this, that until you feel yourself secure, and something of a master of various branches of your craft, you should not attempt any subject which aims at being decidedly grotesque. There are very good and practical reasons for this; one is, that while you are studying your art, you must do nothing that may tend to obscure what faculties you have for judging proportion. Now, as all grotesque work is based more or less on exaggeration, it forms a very dangerous kind of exercise to the beginner, therefore I should never allow a pupil of mine to so much as attempt it. Do not think that I wish to discourage every effort which has not an ultra-serious aim. On the contrary, I am but taking a rather roundabout way to an admission that the humorous element has, and must have at all times, a powerful attraction for the wood-carver; and to the statement of an opinion that it should not be allowed to take a prominent place in the work of a student; moreover, that it is quite possible to find in nature a varied and unfailing source of suggestion in this respect (more, in fact, than we are ever likely to account for), and which requires no artificial exaggeration to aid its expression.

Some tincture of the faculty is absolutely necessary to the carver who takes his subjects from birds or beasts, in order that he may perceive and seize the salient lines and characteristic forms, of which the key-note is often to be found in a faint touch of humor, and which, like the scent of a flower, adds charm by appealing to another sense.

The same argument applies to the treatment of the human figure. Let no student (and I may include, also, master-carver) think that a grotesque treatment will raise the smile or excite the interest which is antic.i.p.ated. The "grotesque" is a vehicle for grim and often terrible ideas, lightly veiled by a cloak of humorous exaggeration; a sort of Viking horse-play--it is, in fact, a language which expresses the mixed feelings of sportive contempt and real fear in about equal proportions.

When these feelings are not behind the expression, it becomes a language which is in itself only contemptible.

[Ill.u.s.tration: FIG. 63.]

If, carried away by fancy, you must find vent for its impulses, and carve images of unearthly beings, at least make them cheerful looking; one can imagine such demons and goblins as being rather nice fellows than otherwise. A grim jest that fails is generally a foolish one--at least its perpetrator neither deserves nor receives sympathy for his discomfiture. Now, I shall show you one or two examples which may make this matter a little clearer to you, if you are at all inclined to argue the position. I think, at any rate, they will prove that the expression of humor does not always depend upon exaggeration, and may exist in a work which is, one may say, almost copied from nature. Fig. 63 is an example to this effect. The little jester just emerging from a flower, one of the side-pieces to a Miserere seat carving, is undoubtedly a true portrait, carved without the slightest attempt at exaggeration. The quiet humor which it evinces required only sympathy to perceive and skill to portray on the part of its carver. He had nothing to invent in the common acceptation of the word. The carving of the mendicant, which comes on the other side, is equally vivid in its truth to nature. It is so lifelike that we do not notice the humorous enjoyment of the artist in depicting the whining lips and closed eyes of the professional beggar. Observe the good manners of it all--the natural refinement of the artist who leaves his characters to make all the fun, without intrusion from himself other than to give the aid of his skill in representation. Now, subjects of this cla.s.s will, in all probability, present themselves until the end of the world; but artists like this Gothic one are not so likely to be common. Great technical skill, a large fund of vitality, and many other controlling qualities are necessary to the production of such an artist; but he gives a clue to the right action, which we may with safety accept, even if we can not hope to equal his performance.

[Ill.u.s.tration: FIG. 64.]

[Ill.u.s.tration: FIG. 65.]

The center-piece, Fig. 64, tells a little story of Samson. It is noticeable in these medieval picture subjects, how, when a story has to be told, the details are treated in a broad and distinct fas.h.i.+on, as if the story could take care of itself, and only required to be stated clearly as to facts. The detached ornamental parts, on the contrary, receive a degree of careful attention not given to the picture, seemingly with the object of making their loneliness attractive.

The broad-humor characteristic of the companion picture of medieval life, in the little domestic scene, Fig. 65, is equally free from forced exaggeration or intentional misproportion. Scale and anatomy, to be sure, have had little consideration from the carver, but we readily forgive the inaccuracies in this respect, on account of his quick wit in devising means to an end.

Before we leave this subject, look at Plate II, in which you will see a curious use of misproportion--intentional, too, in this case--and used for quite other than humorous purposes. This is a little ornamental figure from the tomb of Henry IV, in Canterbury Cathedral. You will see that the body is out of all proportion; too small for the head which surmounts it, or too big for the feet upon which it stands. Now, what could have induced the carver to treat a dainty little lady thus? It certainly was not that he considered it an improvement upon nature, nor was it a joke on his part. It could only be done for some practical reason such as this: that the little figure does part duty as a bracket, hence, more appearance of solidity is required at the top, and less at the foot, than true proportions would admit. It is all done so unostentatiously that one might look for hours at the figure without noticing the license. Not that I should advise you to imitate this naive way out of a difficulty. The childlike simplicity of its treatment succeeds where conscious effort would only end in affectation.

[Ill.u.s.tration: FIG. 66.]

[Ill.u.s.tration: FIG. 67.]

In Fig. 66 you will see another little figure doing duty in connection with a stall division in the Lady Chapel at Winchester Cathedral. Its smooth roundness of form is very appropriate to the position it occupies; while its polished surface bears ample testimony that it has given no offense to the touch of the many hands which have rested upon it.

Fig. 67 shows another example of the same sort, but perched on a lower part of the division. This one is from the cathedral at Berne, each division of the stalls having a different figure, of which this is a type.

CHAPTER XX

STUDIES FROM NATURE--BIRDS AND BEASTS

The Introduction of Animal Forms--Rude Vitality Better than Dull "Natural History"--"Action"--Difficulties of the Study for Town-Bred Students--The Aid of Books and Photographs--Outline Drawing and Suggestion of Main Ma.s.ses--Sketch-Book Studies, Sections, and Notes--Swiss Animal Carving--The Clay Model: its Use and Abuse.

Nothing enlivens or gives more variety of interest to wood-carving than the introduction of animal forms. They make agreeable halting-places on which the eye may rest with pleasure. They are, in general, both beautiful in their shapes and a.s.sociated with ideas which appeal strongly to the imagination, thus affording in ma.s.ses of abstract ornament the pleasantest kind of relief by adding to it points of definite lineament and meaning.

To carve animals as they ought to be carved, one must have something more than a pa.s.sing interest in their forms; there must be included also an understanding of their natures, and some acquaintance with their habits. A cattle-drover is likely to know the salient points of a bullock, a horse-breeder all those connected with a horse, and so on. We students, however, not having the advantage of such accurate and personal knowledge, must make s.h.i.+ft in the best way we can to discover and note the points so familiar to trained eyes. To see animals in this way, and, with knowledge of their forms and habits, treat their sculptured images according to the laws of our craft, is no light task.

If choice were to be made between a rude manner of carving--but which familiarity with the subject invested with lively recognition of character--and a more cultured and elaborate, but lifeless study in natural history, there should be no hesitation in making choice of the former method, because animal forms, without some indication of vitality, are the dullest of all dull ornaments.

It is quite impossible to describe in words the kind of "action" which is most appropriate to sculpture, it being much more a question of treatment, and the guiding spirit of the moment, than a subject which can be formulated. As a broad and general principle which may be taken for guidance, you will always find yourself on surer ground in the attempt to indicate the _capacity_ for energy and the suggestion of _movement_, than you will if your aim is the extremity of action in any direction. You may, with some justice, point to the ill.u.s.tration given in Fig. 65, and which appears to contradict this statement, as being an example in which violent action is the key-note. You must notice, however, that the two figures, although struggling, are for the moment still, or may be supposed so. There is enough suggestion of this pause to excuse the att.i.tudes and save the composition from restlessness--even the raised hands may be supposed to remain in the same position for a second or two. This imaginary pause, however infinitesimal, is essential to the dignity of the sculptor's art, as nothing is more irritating to the mind than being forced to recognize the contradiction between a motionless image and its suggestion of restless action. It is necessary to observe the same rule in the expression of actual repose, as some clue must be given, some completed action be suggested, in order to distinguish dormant energy from downright inertia. I should like to impress upon you the importance of making a special study of the characteristic movements of animals. You will in time become so far familiar with them that certain standards of comparison and contrast will be established in your mind as aids to memory. Thus you will be all the better able to carve with significance the measured and stately action of a horse, if you have in your mind's eye at the same time a picture of the more c.u.mbrous and slower movements of a cow; and you will be helped in the same way when you are carving a dog, by remembering that the movements of a cat afford a striking contrast, in being stealthy where the other is nervous and quick.

For the unfortunate town-bred student or artist, who has had few opportunities to study birds and beasts familiar to the country schoolboy, there is no other way but to make the best of stuffed birds, photographs, etc. Much may be done with these aids if a little personal acquaintance with their habits and a.s.sociations is added like salt, to keep the second-hand knowledge sweet and wholesome.

In the absence of opportunity for study from the life, no pictures of animals can compare in their usefulness to the carver with those by Bewick. They are so completely developed in essential details, so full of character and expressive of life, that even when personal acquaintance has been made with their various qualities, a glance at one of his engravings of birds or beasts conveys new meaning, either of gesture or att.i.tude, to what we have previously learned. Every student who wishes to make a lively representation in carving of familiar beast or bird should study Bewick's engravings of "Quadrupeds" and "Birds."

Drawings made for the purpose of study need not be elaborate: indeed, such drawings are only embarra.s.sing to work from. The most practical plan is to make a drawing in which the main ma.s.ses are given correctly, and in about the same relative position that they will occupy in the carving. I give you in Plate VII an example of this in a drawing made by Philip Webb, who, by the study of a lifetime, has ama.s.sed a valuable store of knowledge concerning animals, and acquired that extraordinary skill in their delineation and the expression of character which is only to be attained by close observation and great sympathy with the subject.

The drawing in question was made for myself at the time I was carving a lion for the cover of a book (given in Plate VIII). It was made, in his good-natured way, to "help a lame dog over a stile," as I had got into difficulties with the form. This drawing is all that a carver's first diagram should be, and gives what is always the first necessity in such preliminary outlines--that is, the right relations.h.i.+p of the main ma.s.ses, and the merest hint of what is to come in the way of detail; all of which must be studied separately, but which would be entirely useless if a wrong start had been made. In Fig. 68 I give you tracings from some notes I made myself while carving the sheep in Plates V and VI. The object was to gain some definite knowledge of form by noting the relation of planes, sections of parts, projections, etc., etc. The section lines and side-notes are the most valuable part of the memoranda. In the same manner the ill.u.s.tration, Fig. 69, shows diagrams made from a heron, giving section lines of beak, etc.

The side-notes about the colors are valuable, as, although not translatable into carving, they do to some extent influence the manner of interpreting forms.

Photographs must not be despised, but they are only of use if read by the light of previous knowledge. For this reason you can not make too many notes of sectional structure through heads, necks, and legs, which will help to explain the mystery common to all photographs.

The bear shown in the frontispiece is traced from a photographic ill.u.s.tration which appeared in the Westminster Budget some time ago. By the merest accident it is suggestive of a subject almost ready for the carver's hand.

[Ill.u.s.tration: FIG. 68.]

[Ill.u.s.tration: FIG. 69.]

Until tourists began to explore the beauties of Switzerland, there were no better carvers of animals than the serious but genial craftsmen of that n.o.ble country, more especially of such animals as were familiar to their eyes. This preeminence shows distinct signs of soon becoming a thing of the past in the endeavors to meet the demands created by thoughtless visitors. Still, it is possible to obtain a little of the traditional work, uninfluenced by that fatal impetus originating in modern commerce. A piece of this kind is shown in Fig. 70, bought by a friend only a year or two ago in the Grindelwald, and which, although forming part of the usual stock of such things made for tourist consumption, was picked out with judicious discrimination from a number of stupid and trivial objects which displayed neither interest of design nor other than mechanical skill of carving. This little bear, a few inches in size, is carved in a way which shows long experience of the subject, and great familiarity with the animal's ways. The tooling of the hair is done with the most extraordinary skill, and without the waste of a single touch. Now, a word or two more on studies from the life before we leave this subject. I have given you examples of diagrams made for this purpose, but much may be done without any drawings, further than a preliminary map of the general ma.s.ses. In the case of such an animal as the horse, which can be seen in every street, I have myself found it useful to follow them in my walks, taking mental note of such details as I happened to be engaged upon, such as its legs and joints, its head or neck; another day I would confine my attention to eyes, ears, mane, etc., always with reference to the work immediately in hand, as that is the time to get the best results from life study; because the difficulties have presented themselves, and one knows exactly what to look for. Five minutes spent thus after the work has been started (provided the start has been right and involves no mistake in the general ma.s.ses) is more valuable than hours of labor in making preliminary drawings.