A GLOSSARY
CONTAINING THE METHODS OF WORKING VARIOUS DETAIL, &c., NOT HITHERTO
DESCRIBED.
A.
ARCH.—As a general rule, every description of arch may be successfully
modelled by means of the knife-compass; each separate moulding that
occurs must consist of separate pieces of paper, the edge of which has
been moulded by one or other of the means described, and these layers
gummed over one another when finished. To make our meaning clearer, in
fig. 1 next page, a section of a cornice is given, as illustrating the
method to be adopted for arches. It will here be seen that it is
composed of six separate pieces, or, more properly speaking,
thicknesses, for each portion will be made of the number of thicknesses
required by its depth; No. 1, the fillet, square, No. 2, the cyma recta,
first splay, as shown by the dotted line; and then press with the
moulding tool to the required shape, and thus proceed with all the other
members.
This cornice is not drawn to any scale.
[Illustration:
Fig. 1.
No. 1 Fillet. No. 2 Cyma recta. No. 3 Fillet. No. 4
Casetto. No. 5 Facia. No. 6 Continuation of facia.
No. 7 Bed mould.
]
Where deep hollows occur, as in Gothic mouldings, a different method
must be adopted, see fig. 2, the moulding for a Gothic window jamb; here
the deep hollows are constructed by bending thin paper to the required
curve, and gumming it in the right angles, or other angles required. A
and B represent the outside walls of the work, and C C C C the various
angles required by the mouldings. As will be seen, the other mouldings
are formed on the ends of angle-pieces, in the same manner as adopted
for the cornice.
[Illustration:
Fig. 2.
]
ARCHITRAVE.—In forming these, the same method may be adopted as for
cornices, cutting the mouldings separately, and laying them one over the
other in the order in which they come. Circular architraves are easily
and beautifully cut with the knife-compass.
ACANTHUS.—The method of modelling the leaves of this plant, so much used
in ornamentation, will be afterwards described under the general head of
ornaments.
ASHLAR.—In representing work of two kinds, namely, quoins of dressed
work, and filling in of random tooled ashlar:—Draw the quoins in with a
H H H pencil, score in the ashlar, and tint as may be desired.
[Illustration:
RANDOM ASHLAR.
]
ASTRAGAL.—First cut your paper square, thus—███; next bevel the edge
thus )██), and then, with one of the hollow ivory moulding tools run
along the edge by pressure, give the intended round.
ACROTERIA.—May be modelled in exactly the same manner as previously
described for chimney shafts (see page 80, _ante_).
B.
BARGE BOARD.—First determine on the thickness your board is to be, and
then let the paper for it be pressed closer together than that used for
ordinary work; carefully draw the pattern, and cut out with knife No. 3,
splaying the tracery with knives Nos. 1 and 2, and smoothing with an
ivory or agate burnisher.
[Illustration:
BARGE BOARD.
]
BUTTRESS.—If they are to a large scale, say quarter-inch, one foot, they
are best boxed out; the angles carefully and accurately mitred. Less
scale, they may be boxed out of double thickness, as described for
chimney shafts; or, if very small size, they may be cut from the solid.
[Illustration:
SIDE VIEW.
]
[Illustration:
FRONT VIEW.
]
BALUSTRADE.—Model the capping as described for cornices, with the
exception, this will be worked upon both faces.
BLOCKING.—To a cornice. This, if large, is best constructed by being
boxed out. If small in size, cut them out of the solid.
BRACKET.—Brackets in Gothic work are to be constructed in layers, in a
similar manner as described for cornices; other brackets may be cut from
the solid paper, first by making a pattern, or template, in thin tea
lead, or sheet copper, and marking round the edge upon the paper,
uniformity of size being thus ensured.
C.
CORNICES.—The construction of cornices is fully described in that of the
House, illustrated, and also under the head of Arch, where a cornice is
described as illustrating the formation of moulded arches.
COINS, or QUOINS; see those described for House, page 64, _ante_; also
Ashlar-work.
COPING.—If the coping be small scale, cut from the solid by the
adjusting straight-edge; otherwise they are better boxed out.
CRESTING.—Proceed in much the same manner as described for barge boards;
use a template to save trouble in pencilling out, and cut with knife No.
3; three thicknesses are ample for eighth scale work.
CUSPS.—See description of Tracery; window-cusps being circular work, No.
3 knife must be used.
CORBEL.—Refer to Cantilevers in House Tower Cornice, the method of
modelling being the same, except such as are composed of a series of
horizontal mouldings, in which case proceed as for cornices.
CONSOLE.—The console given for example is composed vertically of five
separate pieces; horizontally of two, each separate part receiving its
proper form, and when completed, gummed together.
[Illustration]
CAPITAL, CORINTHIAN.—We choose for illustrating the method adopted for
modelling capitals, a Corinthian one, as most useful for our purpose.
The example given is from the Temple of Vesta, at Tivoli, a beautiful
and peculiar example, to model which proceed thus
[Illustration:
A A A Flowers in the abacus. 1 2 3 Abacus. B B Volutes.
C C Caulicoles. C* Bell. 1 2 3 Astragal. D D D
Flutes.
]
Compose the abacus of three layers, 1, ovolo, 2, fillet, 3, cyma; then
the bell of the capital must be turned out of some close-grained wood,
and attached to the astragal, composed of three pieces, 1, fillet, 2,
astragal, 3, fillet. The leaves are then to be modelled, as described
under the head of ornaments, also the flower in the abacus; the volutes
and caulicoles in a similar manner to that described for consoles. When
all are prepared, they must be fixed most accurately in their places.
The bell of the capital must be tinted previously, to resemble in colour
the rest of the work.
[Illustration]
COLUMN, CIRCULAR.—This description of columns must be formed out of very
thin paper, rolled as close as possible to the required lengths and
diameters, thinning the paper at the extreme edge with a very sharp
knife to conceal the join. If the columns are too small to be cleverly
rolled, they may be turned as described for balusters; should the
columns (as in classic work,) diminish, then procure a wood core to roll
the paper round, and when the paper is gummed and dry, withdraw the
core. It will now be obvious that combinations of various descriptions
occurring so frequently in Gothic work, may easily be represented as
this column in plan, being nothing more than four rolls joined together.
If the columns are too small for paper, turn shafts, bases, and caps at
once; by this means much unnecessary trouble will be saved, and a
superior effect produced.
D.
DENTILS.—Model dentils in the same manner as previously described for
brackets, cantilevers, &c.
DOME.—Whatever the shape of the dome you wish to model may be, a pattern
on which to form it had best be turned in wood; this forms a basis upon
which the paper casing may remain until dry, and then the mould may be
removed. It has not been thought necessary within the limits of this
work to include the development of the various shapes of domes and
cupolas, the student being deemed master of this branch of science. If,
however, he should not be, any work on practical geometry will supply
his wants.
DOORS.—A copious description of the manner of modelling doors is given
in those described for the House, page 51, _ante_.
F.
FLUTES.—In order to flute a column, we proceed thus: first roll the
column up as before described, taking care to have it smaller than if
plain, to allow the fluted piece to make up the required diameter; then
prepare a piece of paper (one thickness will do), cut it of sufficient
size to go once round the column, and join exactly; upon this piece
carefully space or mark out the divisions of the flutings. Now procure a
piece of soft straight-grained _deal_, perfectly free from knots, and
with some blunt, round-headed instrument (one of the modelling tools, or
a piece of ivory filed smooth,) indent the wood with a groove the exact
length of the required flute, upon which (the paper having been
previously _damped_ only), press it into the wood groove all along the
flute with the same tool the groove was made with, and so proceed with
each in succession, gumming them to the column when dry.
H.
HOLLOWS.—In forming hollows in mouldings, &c., if large, proceed as
described under the head of Arch; if small, first cut by means of the
“adjusting straight-edge,” an angle, thus, =V=; and then with a curved
ivory tool give it the required concavity by pressure along the whole
length of the previously cut angle.
HOOD MOULD.—These may be cut with the “knife-compass,” and the mouldings
worked by fitting a piece of ivory filed to the required form in lieu of
the knife; they must be slightly gummed upon the underside to the
cutting-board, to keep them steady while being worked.
I.
IRONWORK.—May be represented in either paper, tea-lead, thin sheet
copper, or wire, depending on size and form; perhaps the easiest and
best material for general purposes is tea-lead, _i. e._, the lead with
which the tea chests are lined.
O.
ORNAMENTS.—Under this head is included every description of foliage,
leaves, &c. All the leaves, &c., must be carefully drawn and cut out,
and then indented on either side, as concavity or convexity is desired,
in a similar manner to the operation of fluting a column, with the
different _ivory_ modelling tools on a piece of soft yielding deal.
Bosses, crocketts, finials, festoons, wreaths, in short every
description of foliage, and even sculpture in bas-relief, may be
beautifully modelled by these simple means.
T.
TRACERY WINDOW.—The general method of modelling windows of this
description is very simple, but the practice difficult. First, paper
upon which you intend to cut out any tracery, must be _pressed_ closer
together than that used for ordinary work, so as to afford more
assistance to the knife when cutting on the splay. Having drawn the
design of your window, proceed to cut out all the interstices with knife
No. 3; then splay down from the nosing with knives Nos. 1 and 2, as each
may be found useful, cutting through with one stroke, or rather with a
succession of short strokes right through on the slant, boldly and
without leaving a jagged edge; afterwards smooth your work with ivory or
agate. You had better place the pieces that came from between the
mullions while cutting the splay, in their places again between the
mullions, to offer resistance to the knife and prevent them bending. The
eyes may be successfully formed by packing-needles of diamond shape,
fixed in a handle.
END OF THE GLOSSARY.
TO THE READER.
It will have afforded the Author sincere gratification if the contents
of this little work have found favour in the eyes of the Reader, and
have been a ready help to him in his efforts in Architectural Modelling.
Next to the pleasure of learning, is that of imparting knowledge. The
Author has endeavoured, to the best of his ability, to render all his
instructions clear and practical, at the same time divesting them of all
unnecessary technicalities, and rendering them as terse as possible.
FINIS.
LONDON:
BRADBURY AND EVANS, PRINTERS, WHITEFRIARS.
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Item number 4 was not included in the caption on p. 61.
2. Silently corrected typographical errors.
3. Retained anachronistic and non-standard spellings as printed.
4. Enclosed italics font in _underscores_.
5. Enclosed bold font in =equals=.