FLAT PATTERNS MADE WITH CUTS AND LINES—CAVO RELIEVO OR INTAGLIO RILEVATO (CAVO-CUTTING).

There is an easy kind of flat or hollow carving, if it can be so called, which is executed with a gouge or V tool, or a firmer alone, but which produces flat patterns. Make the design, and as it is to be executed almost entirely with lines or grooves, or small hollows, it must be so designed that the patterns are close fitting, or separated only by lines. Now and then, or here and there, a small corner or larger space or cavity may be removed by a touch of the tool, but as a rule there is little work in it beyond mere lines. However, as in the gouge-work of the previous lesson, although anybody can learn in a day or two to “run” the lines, yet if good patterns be available, remarkably beautiful and valuable work may be produced by it. It is as applicable to cabinets, chests, panels for chairs, or other kinds of decoration. Of course the lines, or hollows, or excavations may, as in all cases, be filled in with colour, Fig. 31.

This work can often be very well executed with the firmer (or flat carver’s chisel) alone, and it will afford good practice to acquire familiarity with that greatly neglected tool.

Flat or cavo-cutting of this kind as work is only a little advance on grooving with a gouge, but its results may be very much more artistic. It occupies a position between gouge grooving and cutting out the ground. Each of these are as separated as so many distinct arts, but they lead one to the other, Figs. 31-35.

The easiest way to prepare this work is to execute the pattern on the wood in Indian ink, and then simply cut away all the black. The lines in leaves, etc., must be very carefully run with the V tool; all the larger hollows should be cut with a gouge. If very large hollows, or spaces, or grounds are left, they must be executed as described in the next lesson.

Observe in Figs. 31 to 35 that all the carving is confined to simply cutting away the parts indicated by the black ground. The fine lines can be best executed with a parting or V tool, and in many instances with the smallest gouge or veiner. Though not usual, it is excellent practice, when possible, to learn to do this with a small firmer, or carver’s chisel.

These cavo relievo or cut-out flat patterns are as easy of execution as gouge-work to any one who has learned the latter. They are not now much studied, but they are capable of a wide application in large decorative art. The lines and cavities look best when painted or dyed. It is the next step beyond gouge-work, which represents simple drawing of lines in design, and corresponds to sketching.

Contour or rounding and modelling of course correspond to light and shade, but plain gouge and cavo-cutting is simple sketching. Any animal, or a human figure, a vase, flowers, or vines may be thus carved, the only further condition being that the outlines shall always be broad and bold. Great care should be exercised not to make too many lines, especially fine ones, and in all cases to avoid detail, and make the design as simple as you can. When in thus outlining an animal you have clearly indicated, with as few lines as possible, what it is meant to be, you have done enough, as in all sketching the golden rule is to give as much representation with as little work as possible, Fig. 36.

It may be observed that familiar and extensive practice of the very easy gouge-groove work, and of simple flat or cavo-cutting in hollows, if carried out on a large scale, as for instance in wall and door patterns, gives the pupil far more energy and confidence, and is more conducive to free-hand carving and the sweep-cut, than the usual method of devoting much time in the beginning to chipping elaborate leaves and other small work. Therefore it will be well for the pupil to perfect himself in such simple groove and hollow work. This was the first step in mediÆval carving, and it was the proper one for general decoration. It was in this manner that the old carvers of England and their masters, the Flemings, taught their pupils.