Very beautiful articles can be made by ingenious boys and girls, from
cork bark. Those of our readers who have only seen cork work in the
shape of common bottle corks, will not be attracted by the title of
this chapter. But all who have seen, either at home or abroad, the
exquisite models of castles, old ruins, churches, and many other
picturesque objects, made entirely from this material, will welcome a
few simple directions for this work.
We will first speak of the cork bark, as it may not be generally known
that cork is not indigenous, but is the soft, elastic bark of a species
of oak tree, that grows abundantly in the northern part of France,
Spain, and Italy. When the tree is fifteen years old the barking is
commenced, and is repeated at intervals of eight years, the bark
improving with every operation. The cork is stripped from the tree
in July and August; it is then piled up in water under heavy stones,
to flatten it, after which it is fire dried, and packed in bales for
exportation. The cork cutters divide the sheets of cork in narrow
strips, and after cutting them the proper length, round them with a
thin, sharp-bladed knife into a cylindrical form. The cork tree and
uses of its bark were known to the Greeks and Romans.
Cork bark can be obtained at any of the numerous cork factories; it is
not expensive, and the refuse bark can be used in making many pretty
models.
The beginner should select the simplest subjects for his first work,
such as a rustic cottage, bridge, or simple ruins.
When a certain amount of proficiency has been attained, it will be easy
to advance to higher themes, until the most elaborate designs may be
attempted without fear of failure.
In this art, models or pictures, with some description of the
proportions, are sufficient guides.
In this work no tools are required except a sharp penknife and a
glue-pot.
The walls of buildings must be cut from the cork block. The proper
thickness for the cork used in making walls is about one half, or
even one quarter of an inch, and the smoothest cork should always be
selected for this work.
When the required size has been obtained, square it smoothly to the
shape called for, making the two side walls exactly alike. Next mark
with a black lead pencil the shapes of the windows, doors, &c. Then cut
the windows with a penknife, making the opening smaller on the inner
side, but slanting outwardly, especially in the sill the slope is very
considerable, and in gothic windows should never be flat or square. The
waste and refuse pieces of common cork will all be of use in making the
trimmings and ornamental work. For the mouldings around the windows,
cut small rims of cork, like your model, and glue them on at proper
distances from the outer edges. Thin sheets of mica glued on the inside
of the windows, are excellent substitutes for glass; the appearance of
stained glass can be given by gumming paper of the color you desire to
represent, on the inside, over the mica. All ornaments can be formed
of tiny shavings of cork. The gables, doors, &c., are prepared as
the model may require. The most suitable base, on which to glue your
building, is a board covered with green cloth or baize. The four walls
can now be glued together and placed on the green cloth board. If
not firm, small splints of wood, shaved so as to fit into the inner
corners, will strengthen the edifice. The roof comes next, and can be
made of smooth seasoned wood, about a sixteenth of an inch thick.
Cut the board large enough to extend well over the edges, so as to form
eaves; glue one side firmly along the gable ends, then fit the peak
of the other side. A roof with a high pitch adds much to the tasteful
appearance of a rustic church. If there is to be a steeple, or spire,
the tower, or base of the building should be formed of small pieces,
cut so as to fit the slopes of the roof, and built as a mason joins
bricks or square blocks in a wall. When the base is formed square and
flat on top, the tapering spire should start from this foundation, with
a round, or eight-sided piece of cork, whose four opposite sides are
exactly the size of the square base on which it is to be glued; on this
place another cork a trifle smaller; this in turn will be covered with
another still less; so on until it tapers to a point.
Common bottle corks, of various sizes, are best to use for spires and
columns.
The best way to make spires or columns, is to glue them in proper
shape separately from the building; when all are joined, shave them
carefully, so as to form the proper slope for the spire, and the
columns can be cut with a knife to imitate fluted sides, or in any
desirable way. When they are finished, glue them in the proper place on
your buildings.
The outside ornaments, such as a cross or vane for the point of the
spire, the caps of the columns, the buttresses, eaves, moulding around
the doors, porches over the entrance, cornices, &c., may now be added.
The roof may be colored with a little vandyke brown or burned umber,
mixed either in turpentine or oil; a single coat will be sufficient,
and if a rough appearance is desired, dust some fine sand over it
before the paint is dry.
If you glue moss on to the base board, it adds to the natural
appearance of the building. If you design to represent a ruin, or
Gothic church, a little green moss, neatly gummed on to represent ivy
and other creeping vines, is an improvement. Time adds grace to all
ruins, by its moss and vines, planted by divine Providence.
Landscapes, in the picture style, are often designed with cork; the
finest shavings of cork can be used to cut into shapes to represent a
castle, a light-house with rocks near by, a bridge, or whatever else
may be selected to form the design. Some idea of perspective drawing
will be necessary in this work; the object should be arranged and
fastened with gum arabic on to a piece of white card-board, and the
sky slightly tinted in water-colors for a back ground. Irregular edges
increase the resemblance to distant hills, and sharp edges of thicker
cork represent the objects in the foreground.
There is no attempt to imitate nature in the variety of color, for
the picture wears the sombre shade of cork, but the general effect is
pleasing; the light background, seen through the thin shavings of cork,
give a good idea of brown autumnal forests.
Crosses to train ivy on can be made of cork.
We trust our readers will be induced to try this cork work. It is often
difficult to know what to make for fairs or for Christmas presents.
This work in our country is rarely seen, and it would sell well, or
prove a pretty present, if neatly done; but, like all things worth
doing, it requires time, practice, and patience to insure perfect
success.