THE CRAFTS 
WOOD CARVING AND PYROGRAPHY. LEATHER AND METAL. BASKETRY, ETC. 
Ujider the management of Miss Emily Peacock, Karol Shop, 22 East i6th St., Nezv York. All inquiries in regard to the various 
Crafts are to be sent to the above address, but zvill be atiszvered in the magazine under this head. 
All questions m.ust he received before the 10th day of month preceding issue and will be answered under "Answers to Inquiries" only. Please do not send stamped 
envelope for reply. The editors will answer questions only in these columns. 
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WOOD CARVING 
Elizabeth Saugstad 
THERE are those who have a native love and understand- 
Vig of wood and wood-working tools, and if they have also a 
sense of beauty and fitness they possess the prime qualities 
of the true wood carver. Of course a good teacher is to be 
desired, even by the most fortunately endowed; but it is possible 
to go a long way alone if content to begin very simply, go very 
slowly and be ever sensitively alive to all the tools and material 
can teach; for, rightly interpreted, these are the best of 
masters. All that I can hope to do here is to give such general 
but fundamental principles, as will, I trust, afford a growing 
basis, and from which particular problems may be logically 
solved. 
Wood carving is not only one of the oldest and noblest 
of the artistic crafts, but it is one of the most wholesome and 
altogether delightful; and no material is more "live" and 
responsive than wood to one who knows and loves it and re- 
spects its laws and limitations. To one who does not, there is 
none more maddening and perverse. So the first thing for a 
would-be-carver to do is to get as intimate a knowledge of it 
as possible. Though almost any wood may be carved it is 
not desirable to use that which is coarse grained or brittle; 
nor is very hard, tough wood, like maple, for instance, de- 
sirable for beginners, unless in small pieces, like bread-boards 
or paper knives, where those qualities would be essential. 
The only woods we need consider particularly^ here are the 
four most commonly used and most easily procured: white 
pine, mahogany, walnut and oak. There are several charac- 
teristics which these, as well as all other woods, have in com- 
mon and which must be taken into account from the very 
beginning. They all shrink when they are dried and expand 
under the influence of moisture; and this shrinkage and ex- 
pansion is from side to side, not from end to end, of the grain. 
Provision must be made for this in all cabinet work — par- 
ticularly for panels. Of course wood should be as thoroughly 
seasoned as possible, as otherwise it is likely not only to shrink 
but to warp, and to split at the ends. These are the principal 
points in common. As for particular characteristics, pine 
is so familiar that it needs little description. There is prob- 
ahly no better wood for the beginner, as it cuts easily and 
cleanly and should have very broad and simple design and 
treatment. Being a soft wood and without particular beauty 
in color or texture, elaboration would be inappropriate. 
It is almost impossible to get Spanish or Cuban mahogany, 
which is heavy, hard and finely grained; but, fortunately, 
for the amateur's purpose it is not as good as the softer, lighter 
kinds which are delightful to work. These come between 
pine and walnut in hardness and include almost every degree 
from baywood through the Honduras variations to the heaviest 
and hardest first mentioned. These vary in color also, from 
a pale golden tan through ruddy golden browns to rich dull 
reds. Even the lightest may be stained to the deepest tones; 
but they are very beautiful left in their natviral color with a 
finish of oil and wax, or wax alone. There is also a white 
mahogany but it is rare. 
Although walnut can hardly be called a softer wood than 
oak, it is easier to carve because the grain is more even — that 
is, hard ridges do not alternate with soft and open pores as in 
the other. Walnut is scarce and dear — costing from 20 cents 
a foot upwards, as much as good mahogany. But it is verj' 
beautiful and satisfactory for some purposes, and the expense 
is, after all, not so great for those who can do their own joining. 
Both walnut and mahogan}' admit of a greater richness 
in design and a finer finish than the other woods mentioned 
on account of their fine, close gi-ain and lustrous texture. 
Oak seems to demand designs of greater robustness, and 
directness and simplicity in treatment. English oak is said 
to be finer grained than ours. 
Oak is probably more used than any other wood for 
carving. It is easy to get, strong, durable and beautiful; 
but it is unquestionablj' hard to carve. It is, however, en- 
tirely worth the trouble. It varies very much in grain and 
degrees of hardness and it is well to select pieces for carving 
