2 94 
KERAMIC STUDIO 
both ends cut for use (rifflers), (Fig. 20 , AA), graving tools 
of all sizes (Fig. 19, E), blunt at one end for the hammer to 
strike upon or else having a handle to be held in the palm 
of the hand, like those used in other kinds of engraving 
(Fig. 20, B B B ), a hammer (Fig. 19, F) and chasing tools 
in great variety, applicable to all kinds of cavities, and which 
the workman must finish, even often create for himself. 
Surrounded by his tools, the engraver begins his task 
by examining minutely and working upon the inside of the 
parts which come together. 
His experience guides him, and the little tool marks 
left here and there by the turner, indicate that although 
the mould seems perfect, it has bent at certain points, espe- 
cially at the extremities. It has a tendency to curve in- 
ward at the edges, as if it had contracted. 
Fig. 19 2 and 19 3 — AA, Steel jaws BB, Iron wedges 
The workman takes two sections of the mould and joins 
them by pushing the round-headed dowels until they pros 
ject slightly beyond the interior of the walls. Having this 
point of support, the sections remain strictly in their place. 
Holding them firmly in his hands, the engraver inserts them 
in the space hollowed out at the top of the ball. He tightens 
the screws, and the sections closely joined are thrust against 
the side of the ball opposite the screws. The two sections 
of the mould, so held, must vibrate slightly when struck 
gently with the hammer (Fig. 19 2 ). 
With file or chasing tool the engraver begins to work at 
the juncture of the two sections, following the vertical and 
circular lines of the cylinder and attempting at first only 
to give the general outline. 
Having used the chasing-tool for the heavier part of 
the work, the engraver now takes a fine file, somewhat flat 
and bent, and with this instrument smooths his rough 
sketch. He treats in the same way all three sections of the 
mould. 
Comparing the model with the plaster moulds, the 
engraver cuts and rectifies with the graving and the chasing 
tool the parts of the design which stand along the division 
lines, and have been adapted to the demands of casting, so 
that they may be joined easily. 
Having made the joints perfect, he smooths the neigh- 
boring ground, as well as the whole inside surface of the 
mould with a stick of wood dipped in a mixture of pulver- 
ized emery and oil; or a tool of red copper, adapted to the 
form of the background, can also be used for this purpose. 
The engraver may complain of the smallness of the 
opening through. which his hand must pass; for the mould 
being divided into three pieces, there really remains but one 
passage, whose diameter is one-third the circumference of 
the goblet. For this reason, the division into four sections 
is more convenient, but the artist will overcome the diffi- 
culty with the patience which he has shown on other oc- 
casions. 
Having unscrewed the grouped sections, he takes them 
one by one, holding them by the handle, (Fig. 19 3 , see ex- 
planation later) and, inserting them in the engraver's ball, 
he continues the engraving and chasing. 
In figure work, at the extremities of the bodies, the 
strokes of the tools must be given with extreme care; for a 
single moment of carelessness, or a blow of the hammer 
wrongly directed, may spoil the entire piece. 
Returning repeatedly to the model for comparison, 
the artist skilfully finishes what the graving tool and riffler 
were not able to accomplish. He thus passes over all the 
sculpture, giving it greater animation, correcting the draw- 
ing which the process of casting may bave injured, but, at 
the same time, handling judiciously the points of accent, 
since too much emphasis may result in exaggeration and 
accidents almost beyond repair. 
Fig. 20— AA, Rifflers BBB, Burins (general term) C, Chisel D, Burin K, Gouge 
'/////S" 
Fig. 21 — Steel jaws, soft temper A, Inside B, Outside 
As a rule, in making a piece mould, one should begin 
to work at the joints of the section, so that the general 
form may be perfect; afterward, the details of engraving 
and chasing which extend to the centers of the sections 
should be given attention. 
We might here make numerous observations upon the 
difficulties to be encountered in the course of this work, but 
the obstacles are never the same. The engraver and chiseler 
who is often a skilful artist in these two branches, must 
meet them when they present themselves. 
The tray is also placed on the engraver's ball, with its 
handle held tightly between two steel jaws (Fig. 21); the 
surface of the latter which is in contact with the object 
being coarsely cut after the manner of a file. By the aid of 
iron wedges, the piece is held with absolute firmness (Figs. 
19 2 , 19 3 , A A ,B B). As the handle is often too long for 
height of the space hollowed in the ball, a hole is pierced in 
the height of the space hollowed in the ball, a hole is pierced 
in the middle of the mortise, upon the flat surface of t lie- 
ball, so as to afford room for this part (Fig. 19, I). 
As in the case of the goblet, the workman begins by 
cleaning the background with a hard file, or the graving 
tool, he smooths the work, and follows in the main the 
processes already described. 
