1. Carving, in its widest sense, is the art of forming figures in
various hard substances by means of some cutting instruments, such as
a chisel or graver; but, in the restricted sense in which the term is
generally applied, it has reference to the production of figures in
wood.
2. Carving in wood, in all countries where it has been practised, has
ever preceded sculpture, or carving in stone. It is, therefore, an art
of the highest antiquity; and, although the same with sculpture in
some of its applications, yet it differs from it somewhat in the mode
of execution, according with the nature of the material.
3. The art of carving is very extensive in its application, being
used in the decorative parts of architecture, both civil and naval,
and likewise in ornamenting cabinet-ware, as well as in forming
patterns for casting in metals, particularly in iron and brass. The
Gothic style of architecture is peculiarly rich in carved work; and
the productions of some ages are more so than those of others.
4. The style of Louis the Fourteenth, of France, so called because
practised in his reign, was more overloaded with ornament than any
other. A lighter and more beautiful style succeeded, which is still
employed for some purposes; but generally the chaste and simple line
of Grecian ornament now prevails.
5. In executing any proposed work, a drawing is first made on paper,
commonly with a lead-pencil. The part of the paper not embraced in the
outline is then cut away, and the remaining portion is laid upon the
surface of the wood. The outlines are next drawn on the wood, by
moving the pencil around those on the paper. The design having been
thus transferred, the superfluous portions of the wood are cut away
with carving tools, of which there is a considerable variety of both
size and form. The tools are driven with a mallet or with the palm of
the hand, but in most cases with the latter.
6. A capacity for designing, and a knowledge of drawing and modelling,
are particularly necessary to make a finished carver. Without these
qualifications, at least in some degree, one may be a mechanic, but
not an artist. The subject most difficult of execution, is the human
figure, and in producing it with accuracy, the same qualifications in
the artist are required, and the same general process is pursued, as
in producing it in marble.