THE YOUNG SCIENTIST. 
55 
seen, much less, and therefore more under 
control. 
The discussion of this point naturally 
brings us to another, namely, the shape of 
the handle. A file handle is often used 
for a graver, but it is highly unsuitable, 
for the graver requires, even for the small- 
est machine work, to be held with both 
hands, as shown in Fig. 8, the end of the 
handle. A, resting against the shoulder of 
the operator. The motion of the tool is 
given by twisting the handle from right to 
left, while at the same time the end. A, is 
moved laterally from left to right. 
These facts show the wide range of use- 
fulness which this tool covers ; in skilful 
hands it may be made a substitute for 
almost every other turning tool, but it re- 
quires a little practice before the begin- 
ner learns the art of using it, and perhaps 
there is no test which so readily shows the 
skill of the turner as his power of making- 
use of this little implement. 
Engraving on Wood— III. 
BY SARAH E. FULLER. 
IN our second article, we said we would 
tell you how to engrave the flower 
piece, of which we explained the process 
of drawing. We will suppose you have 
your tools in good order, viz., well graded 
and nicely sharpened. 
First lessons in engraving usually con- 
sist of exercises in making tints— at first 
straight line tints, and afterwards waved, 
curved and graduated. Then come les- 
sons in outline work ; afterwards pictures 
for which the work of the previous exer- 
cises has given the necessary training. At 
first these pictures should be simple, and, 
after some practice, those that are more 
difficult may be undertaken. But as you 
may be impatient to make a picture, we 
will tell you now how to cut the flowers 
and leaves in No. 2. 
If you will examine very closely, you 
will discover a very fine white line on the 
inside of the edge line of the leaves, on 
each side of the veins, and around the 
flower petals. To cut this fine line, use 
No. 1 of the tint tools, and hold the block 
so that you can cut curves downwards. 
Use this same fine tool to cut all the dark- 
est part of the tint, but be very cautious as 
your tool approaches the vein lines, so as 
not to cut through them. You will now 
find the use of the fine white outline, for 
as you approach the lines the little chip 
breaks off and drops out. 
At the outer portion of this dark shade, 
it will be well to use your finest tool, but 
press it deeper into the wood than you did 
in the darkest part, and observe also to 
leave the black lines thinner than you did 
in the darkest part. For the next lightest 
tint, use tool No. 2. On the two upper 
leaves all the work will be done by these 
two tools, except a very small space on tho 
upper left hand leaf, on its upper inner ^ 
edge— there you will require your No. 3 or 
4, which you will also need in the lightest 
tint on the large leaf. 
In cutting any tints, you must use the 
tool that will make the gray you desire, 
for tints are really different shades of gray 
color, made up of black and white lines in. 
alternation. Whenever you want to pro- 
duce dark gray, you leave wide black 
lines, and cut out fine white ones. When 
you want it very light, the white lines are 
broad, and the black lines very "sharp," 
or " hair line." 
For the lines on the stems, choose the 
tools that will make the different shades 
of gray — Nos. 1 and 2 will be the ones to 
use, with a higher number to make the 
broad white lines. 
You will notice that the lines on the 
leaves are not entirely straight; they 
curve gently, and in portions are waived. 
The direction of the lines is generally 
chosen to indicate the form of the object 
represented. 
After you have cut the leaves and stems, 
take a coarse tint tool, and cut across the 
ends of the tints on the petals, where the 
white spaces are, and outline with the fine 
tool close to the edges of the petals. Then 
choose the tool that will fit the tint, and 
hold the block so you can cut the curves 
downwards. Commence always at the top 
of any series of lines that make tints, so 
that each black line, as you cut it, will be 
above your tool, because you always need 
to see the line you are making. 
You need to outline the stamens, but 
notice the little dark spot from which they 
