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diff --git a/old/54340-0.txt b/old/54340-0.txt deleted file mode 100644 index 6cfb24c..0000000 --- a/old/54340-0.txt +++ /dev/null @@ -1,1959 +0,0 @@ -The Project Gutenberg EBook of The Art of Architectural Modelling in Paper, by -T. A. Richardson - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Art of Architectural Modelling in Paper - -Author: T. A. Richardson - -Release Date: March 11, 2017 [EBook #54340] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURAL MODELLING IN PAPER *** - - - - -Produced by Richard Tonsing, deaurider and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -[Illustration: - - FRONTISPIECE. -] - -[Illustration] - - - - - THE ART - - OF - - ARCHITECTURAL MODELLING - - IN PAPER. - - - BY - - T. A. RICHARDSON, - - ARCHITECT. - - - WITH ILLUSTRATIONS DESIGNED BY THE AUTHOR, AND ENGRAVED BY O. JEWITT. - - - LONDON: - JOHN WEALE, 59, HIGH HOLBORN. - 1859. - - - - - LONDON: - BRADBURY AND EVANS, PRINTERS, WHITEFRIARS. - ------------------------------------------------------------------------- - - - - - PREFACE. - - -In offering the following practical dissertation (the first ever yet -published) upon the Art of Architectural Modelling, the Author feels -that he is supplying a want that must have been long felt by many -students and others in the architectural profession. The utility of the -“Model,” coupled with its beauty, is ample recommendation of the study; -and the modeller will be able to furnish the architect with sure and -certain means that he may find weighty difficulties surmounted, -especially in the case of uncomprehending clients, by giving to them the -designs of their edifices with a distinctness almost equal to the real -work when completed. With many clients, even “perspectives” are poorly -understood, which seldom fails to cause some slight dissatisfaction on -their part when they see too late certain things that the eye would have -detected in the model and corrected in the outset. Models are becoming -very general, where buildings are subjects of competition; and as this -course of procedure and honourable encounter bids fair (when weeded of -some of its present objections) to open up a good and honourable system, -whereby the “race _may be_ to the swift,” the importance of the -following brief and simple Treatise on the subject, becomes doubly -clear. - - T. A. R. - - CHESTER, _March, 1859_. - - - - - CONTENTS. - - - PAGE - - PREFACE iii - - INTRODUCTION 13 - - - PART I. - - OF THE MATERIALS REQUIRED. - - PAPER 19 - - ADHESIVE MATERIAL 21 - - OTHER REQUISITES 22 - - - PART II. - - OF THE INSTRUMENTS NECESSARY. - - CUTTING BOARD 24 - - MODELLING PRESS 25 - - =T= SQUARE 29 - - ADJUSTING STRAIGHT EDGE 31 - - CUTTING KNIVES 33 - - ADJUSTING KNIFE COMPASS 36 - - - PART III. - - THE COMMENCEMENT AND FINISH OF A MODEL. - - OUTLINE PLAN 40 - - THICKNESS OF PAPER FOR WALLS 40 - - OUTLINING THE ELEVATION 41 - - WINDOW FRAMES 44 - - GROUND PLAN, OUTLINE PLAN 45 - - GLASS OR OTHER BACKING TO WINDOWS 48 - - DOORS 49, 51 - - FORMING MITRES 52 - - INCIDENTAL PRESSURE DURING PROGRESS 54 - - FIXING THE MODEL TOGETHER 54 - - BLOCKING PIECES TO ANGLES 54 - - PREPARATION FOR FINAL FASTENING TO STAND 56 - - METHOD OF INSERTING THE WOOD STAY 57 - - THE CORNICE 59 - - MOULDING TOOLS 60 - - DETAILS OF WINDOWS 61 - - CIRCULAR PEDIMENTS 64 - - QUOINS 64 - - CIRCULAR ARCHITRAVES 65 - - KEYSTONES 65, 66 - - CANTALIVERS 66 - - CUTTING, CURVES 66 - - PLAIN ARCHITRAVES 67 - - CUTTING IN GENERAL WITH THE KNIFE 68 - - DETAILS OF WINDOWS 69 - - THE GREENHOUSE 73, 75 - - PILASTERS 75 - - CAP AND BASE 75 - - ROOF OF GREENHOUSE 76, 77 - - CORNICE AND PLINTH 79 - - CHIMNEYS 79 - - ROOF OF HOUSE 83, 84, 85 - - REMOVING THE MODEL 88 - - PREPARATION OF FINAL STAND 88 - - PREPARATION OF GLASS SHADE 89 - - FIXING THE MODEL TO ITS STAND 89 - - GOTHIC ARCHITECTURE, AND REFERENCE TO IN GLOSSARY 90 - - - PART IV. - - HINTS ON LANDSCAPE GARDENING. - - INTRODUCTION 91 - - PEDESTALS, SUN DIALS, GATE PIERS, BALUSTERS 93 - - IMITATIONS OF LAWNS, GRASS, ETC. 94 - - WATER, ROCKS, AND GROTTOES 94 - - WALKS, DRIVES, FLOWER BEDS, TREES, AND SHRUBS 95 - - - PART V. - - A GLOSSARY, CONTAINING THE METHOD OF WORKING VARIOUS DETAILS 97 - NOT HITHERTO DESCRIBED - - TO THE READER. FINIS. 111 - ------------------------------------------------------------------------- - - - - - THE ART - - OF - - ARCHITECTURAL MODELLING - - IN PAPER. - - - - - INTRODUCTION. - - -The art of Architectural Modelling is not so difficult to acquire, as an -observer, examining a model and admiring the minuteness of its parts, -would be led to suppose. But in order to gain a certain degree of -proficiency, a large amount of patience and perseverance is absolutely -necessary. The great beauties of a model consist, firstly, in perfect -symmetry and correctness of parts, all the angles being clear, -well-defined, and sharp, the various minutiæ of detail accurately -delineated; and secondly, to the straightness and evenness of the -horizontal and perpendicular lines. It will be, therefore, readily -understood, that it is these portions of the manipulation which demand -the student’s attention, more particularly as the joining of the paper -or cardboard by means of a mitre, as well as the cutting of lines on the -slant in either a horizontal or curved direction, is somewhat difficult. -These difficulties which arise in the student’s path are, however, -easily to be overcome, and he must not grow faint-hearted if, after -repeated trials, he does not succeed in producing the required effect. -Rather at this juncture let him examine some model by an adept in the -art, comparing his work with it. By these means he will be enabled to -see the points in his own requiring improvement, and then let him -continue to labour perseveringly and diligently until he gains a perfect -command of his knife and materials, and few will be found but will admit -that the result at last obtained fully repays him for his time and -labour. There is no doubt that the art is of very great antiquity, and -that in former times no building of importance was erected without one -having been previously constructed. This not only aided the successful -carrying out of the architect’s drawings, but enabled him and his -employer to judge better as to the general effect the work would have -when completed. - -We have mention made of models as early as 1546, when San Gallo (a pupil -of Bramante, the original architect of St. Peter’s, at Rome), either -himself constructed, or caused to be, a model of his proposed designs -for that magnificent structure, in order that the whole might be carried -out in the same spirit in the event of his death. On this latter event -occurring, the immortal Michael Angelo Buonarotti undertook the -important office of architect to St. Peter’s. One of his first tasks was -to set aside the model of his predecessor, which had occupied many years -in constructing, at a cost of many thousand pounds, while he constructed -himself, at a trifling expense and in a few days, another model of his -intended work. Numerous other instances of the practical utility of this -branch of art might be cited, but the author deems it unnecessary, its -importance being at once obvious; and this little work, though devoid of -all technicalities, too frequently the fault of works of this -description, yet is intended shall be eminently practical. To a large -and increasing body, the architectural assistants, it is hoped that this -little hand-book will prove to be acceptable; and though written -principally for the professional man, it is hoped it may not prove -utterly useless or uninteresting to others, who though not members of -the architectural profession may yet possess sufficient taste and skill -to wish to perpetuate - - A DESIGN IN PAPER. - - - - - PART I. - OF THE MATERIALS REQUIRED. - - -The materials the architectural modeller will require for his work, are, -for the most part, few, simple, and inexpensive. They are also easily -procured at any of the Artists’ Repositories. It is not, therefore, so -much in the material employed, but in the skill displayed in the -working, that the beauties of a model consist. The principle in this -description of modelling being, that every possible part be constructed -of paper, it is necessary that this should be procured of the -description best suited to the nature of the work, and of the best -possible quality. Inferior papers are hard, contain knots and other -imperfections, and are very frequently gritty; this latter imperfection, -by destroying the delicate edge of the knife, prevents the work having -that sharp appearance so much to be desired. The paper I use, and have -always found the best for all purposes, has a surface similar to that of -Whatman’s double-elephant drawing paper, and is, I believe, sold under -the name of Crayon paper: a specimen is bound with this book, forming -the _next page_; it is of a pale cream-colour, bearing a strong -semblance in tint to Bath-stone, but I have procured it from this to the -shades necessary for the roofs of models. It is firm, though not hard, -in texture, and not being too spongy, does not absorb to too great a -degree the paste used in fastening together the sheets for the various -thicknesses required, thus ensuring their firmness, a matter of the -highest importance, otherwise in thin strips consisting of four, five, -or more thicknesses of paper, upon their being cut each would part and -defeat the desired end. - -The most useful tint of this paper is the one already described, as it -can be easily tinted to represent bricks or rubble, &c., should it be -necessary,—for instance, in a building where the quoins, dressings, &c., -were in stone, the rest in random rubble or brick, it would enable you -to mark them with a HHH pencil, and tint before your work was made up. I -have constructed several models in pure white Bristol board, but it is a -tedious hard material to work in, though the result is very fine. - -The next most important auxiliary is an adhesive material for fastening -the sheets together to produce the necessary thicknesses of cardboard, -and to fix the whole together and the several parts in their places. For -the former a paste of flour made in the following manner, will be found -to be the best. To every two tablespoonfuls of the best wheaten flour, -add a teaspoonful of common moist or brown sugar, and a little corrosive -sublimate, the whole to be boiled, and while boiling continually stirred -to prevent lumps, till of the right consistency. If a few drops of some -essential oil, say lavender or peppermint, be added, the usual -mouldiness will not appear, and the paste will keep for a great length -of time. For the latter, a gum must be used, prepared by the following -proportions. To each six ounces of the best gum arabic, add an ounce or -less of moist or lump sugar, one teaspoonful of lavender or other -essential oil, and a table-spoonful of gin, the whole to be mixed in -_cold_ water (no heat being in any way applied) to the consistency of a -thick syrup. - -Other requisites are sheets of mica or talc, to be procured at the -ironmonger’s, and used for windows, skylights, &c.; pieces of soft deal -or beech wood, to form any small detail such as pinnacles to barge -boards, &c., that it may not be advisable or possible to form in paper; -wire, lead, cord, velvet, and numerous other nick-nacks, which will -occur to the modeller as his work proceeds, and which will hereafter, in -their place, be carefully described. - - - - - PART II. - OF THE INSTRUMENTS NECESSARY. - - -The first thing the artist must procure must be a board of fine, -close-grained wood, free from knots, to prepare and cut the several -parts of his work upon. The best for this cutting-board is beech, -sycamore, or pear-tree wood; it should be, at the least, one and a-half -inch thick, by twelve inches broad, and about eighteen inches in length. -I should prefer it even thicker than stated, as continual planing of the -surface to erase the marks of the knife soon reduces its thickness. Let -it be squared perfectly every way to allow the T square to work -accurately along its edge. As before stated, care must be taken, when -the surface has become too much cut up, to have it re-planed, or -otherwise the knife is apt to follow the marks in the board, and cut the -paper irregularly upon the under side. The size of board mentioned will -be found most useful for all ordinary purposes; should the work be of -very large dimensions, of course another must be procured, -proportionally larger. Two or three boards of close-grained deal will -also be found of service for cutting obliquely, &c., &c. - - - THE MODELLING PRESS. - -This apparatus will be found of essential service to the artist, as by -its aid he forms the cardboard which is the basis of his model. It may -be either of iron or wood; the former is lighter, and more elegant in -appearance, but the latter, though plain and homely, is in my opinion -preferable in many respects. A common copying press may be used, care -being taken not to place the damp paper between the iron, but between -two hard, close-grained pieces of wood. On page 27 is an illustration of -the press I use, which any joiner can construct for a few shillings. It -consists of a cross-beam, A, through which the screw passes; two -uprights, B B; a bottom, C, to which, and to the cross-beam, the -uprights must be firmly mortised. Between them is a moveable top-piece, -D, which by means of cord running through two small pulleys, E E, keeps -it pressing continually against the screw; the weight F, at the end of -the cord being slightly heavier than will balance the top-piece. By -these means, as you unwind the screw, either to place under, or look at -the progress of work already there, the top-piece moves out of your way. -The sizes of the wood for the different portions is given, and care must -be observed in not breaking it by too great a pressure of the screw; as -the object of the press is to keep the sheets flatly and firmly -together, while the adhesive material sets, no undue degree of force is -necessary; indeed it will, for reasons hereafter to be described, be -found a disadvantage to press them too closely. - -[Illustration: - - THE MODELLING PRESS. - - SIZES. -] - - C Bottom piece 18 inches by 12 inches by 2 inches. - B B Uprights 12 do. — 4 do. — 1½ do. - A Cross beam 15 do. — 4 do. — 2¼ do. - The screw 1⅜ths inch in diameter. - -[Illustration: - - THE T-SQUARE. -] - -This square is formed like the ordinary drawing-squares, with the -exception that the blade A is made of steel; this is firmly screwed to a -stock of hard wood, which has on each side of the blade a small piece at -C C cut out; the object of this is to allow the knife to cut completely -to the edge of the paper. The advantage, in fact, the necessity for a -steel blade, will be obvious; were it of wood, the pressure of the knife -along its edge would indent, or cut it. This square will be found -adapted for every description of large and small work, but should the -cardboard be of great thickness it is apt to stir, and by so doing cause -irregularity of line. To remedy this an instrument is used, called an -adjusting straight-edge. A is a straight ruler of flat brass, or of -steel, like the blade of the T-square. It is contrived to move to and -from the surface of the board upon the upright screws, B B, while a -dovetail groove is fitted with a piece of brass to run along it, to -allow of the horizontal movement of the ruler. The paper (upon which the -cutting-off line has been previously marked) is placed upon the board, -the straight-edge adjusted to the line; the straight-edge being then -firmly screwed down upon it by means of the two small thumb-screws, 3 3, -it is rendered immoveable during the progress of the work, this will be -better understood from the annexed engraving. - -[Illustration: - - THE ADJUSTING STRAIGHT-EDGE. -] - -No. 1 is a section of the cutting-board, showing the groove in which the -piece of brass runs. 2, The brass, to which is attached the -thumb-screws, by means of a screw through the eye at B. 3 3 3, -Thumb-screws, to screw down the ruler upon the paper. The brass rule -should not be less than an eighth of an inch in thickness, otherwise it -may bend; if steel it will do a little less. - -[Illustration: - - MODELLING KNIVES. -] - -This instrument will be found particularly useful in cutting the -necessary mitres for joining together the edges of the work, or for any -other work of similar description, such as the copings to walls, -mouldings of every description, &c., &c. Having now described these very -important instruments in a way we hope may prove perfectly intelligible, -we proceed to state the requirements in those necessary ones, knives. -The number of these the artist will use, is regulated more by his own -fancy than anything else; but there are three shapes he will find -absolutely necessary. In modelling, as in painting, there are numerous -tricks and contrivances for producing various effects; and as the -painter will often value a bit of old scrubby, worn-down brush, so the -modeller will find various cutting instruments materially assist him, -such as the broken blade of a knife, a steel pen, a bradawl, &c., &c., -many of these producing effects that more elaborate instruments would -have failed doing. On page 33 will be found an engraving representing -three requisite varieties of knives. No. 1. This knife is long in the -blade, and, as will be found in all the others, is perfectly straight on -the cutting edge; this knife is used to cut straight lines in all -directions through strong work, cutting oblique lines, mitres, splays, -&c. No. 2. One for lighter work used in forming or modelling ornaments, -or, in general, cutting work of a lighter and neater character. No. 3. -This blade is used solely for cutting all descriptions of circular work, -and curves of every description. It may be useful to remark that this is -the only shape of blade that will cut, with clearness and sharpness, -curved lines through thick cardboard. The instrument next illustrated is -called a knife compass, and is extremely valuable for cutting out -circular architraves, &c., &c., doing its work in a way that the hand -and knife could not equal, and with the least possible trouble. See -illustration, page 36. They resemble, in some respects, an ordinary pair -of compasses, but of a little stronger make than the common. A is a -moveable sweep of brass, to regulate the opening of the legs of the -compasses, which, being opened to the requisite width, are firmly held -by tightening the thumb-screw, F. B, the moveable leg to which the -cutting-knife C is attached by means of a shoulder to the blade at G, -and a socket at H, into which it fixes, and is secured by the screw at -D. E and I are two screws working on the rod, K, on each side of the -moveable bar, B. - -[Illustration: - - THE KNIFE COMPASS. -] - -By means of this contrivance the knife is always kept perfectly upright, -and in consequence cuts perpendicularly through the cardboard. There may -be several knives to fit in the socket for light and heavy work, but a -blade of the same shape as that shown in the engraving, will be found -sufficient for nearly every purpose. The instrument might perhaps be -more useful if half as large again as represented. The dotted lines are -given to show the instrument open wider, in order fully to illustrate -the utility of the moveable leg at B. The method of using this -instrument is this: Having a curve to cut, and having found the centre -of the arc, place the point of the leg L within it, then adjusting the -moveable leg to the perpendicular by means of the screws I and E, -stretch the legs to the requisite radius, and by gradually increasing -the pressure on the blade, the curve may be cut with the most perfect -ease and truth. - -[Illustration: - - H L Horizontal line. -] - - - - - PART III. - THE COMMENCEMENT AND FINISH OF A MODEL. - - -Assuming that the student has now procured the various instruments and -materials for his work, and that he has also determined upon the design -he intends in paper, the next thing necessary is to give him as far as -it is possible by a book copiously illustrated, an exact description of -the method of proceeding. We will therefore imagine a design which is to -be modelled (see frontispiece), a Villa, in the domestic Italian style, -for example; and taking it to pieces bit by bit, endeavour to raise it -up again in renewed beauty and effect. - -Having the four elevations, together with the ground and roof plans, the -latter being essential to show the position of the chimneys, skylights, -&c., we take a common drawing-board, about the size of the intended -model, and upon it strain as for a drawing that size, a piece of drawing -cartridge, say an inch and a half wider all round than the intended -model is to be. Upon this, when dry, draw an _outline plan_ of the -intended building, not putting in any internal walls, for these will not -be required as this is only to form lines whereon to erect the intended -building. To make it more readily to be understood we have given a -sketch of the outline plan on page 45. - -[Illustration: - - ELEVATIONS OF VILLA. - - ELEVATION OF ENTRANCE. -] - -[Illustration: - - SIDE ELEVATION. -] - -This being completed, we have now the edifice, as it were, set out. The -next matter for consideration is the thickness of the walls; that is, -the requisite thickness of paper we shall require. Suppose we take, as -in the plan given, the outside reveal or recess back of the window -frame, at four inches and a half; this would require four sheets of -paper, but as it is always better to exaggerate slightly in modelling -both projections and recesses, place six or even seven sheets together; -paste them together in twos, putting them as pasted under the press, and -afterwards, when nearly dry, paste them the full thickness required and -subject them once more to the action of the press. The most convenient -size of paper to work at for an ordinary-sized model will be made by -doubling a sheet of the paper as first procured into four. On the paper -becoming perfectly dry, the student must carefully draw each elevation -of the building the full height from the ground line to the top of the -blocking, being particular that every line both perpendicular and -horizontal is perfectly true and square, and marking along faintly the -lines for the cornice, strings, &c., &c., that may occur. This being -done and the whole drawn in, of course not drawing in the window frames -but merely the outline of the square of the window, the side will -present the appearance shown in the accompanying elevation, and which is -merely sketched and not drawn to any scale. - -[Illustration: - - A Lines for cornice. B Lines of upper string. C Ditto lower - cornice. D Ditto Plinth. -] - -[Illustration: - - PLANS OF VILLA. - - GROUND PLAN. - - OUTLINE PLAN. -] - -The four or more elevations having been drawn, proceed to cut out all -windows, doors, and other openings cleanly and accurately. The windows -and their frames must now be made and gummed at the back of the several -openings; where panels occur paper of the same tint must be used, -sometimes the pieces cut from the windows will form very good backing -for such parts. For the window frames take some large-sized cream laid -paper, and colour it to the tint you wish your frames to be. Should a -representation of oak be preferred, it may be imitated successfully -thus: First paint your paper yellow, gamboge and a little burnt sienna -will do, and then prepare a thick colour with Chinese white and burnt -sienna; when the first colour is dry lay this last-mentioned on, and -before _it_ has time to dry grain it by means of a fine comb; a small -tooth comb will answer best for this purpose, and if skilfully performed -a most admirable imitation will be the result. Three or four thicknesses -of paper (cream laid or other white paper) must then be pasted together, -with the oak-coloured one upon the top, and submitted to the action of -the press. - -This paper being ready for use, take one of the pieces cut from the -windows, and mark by it the size of the window-opening, then lightly -draw the frames in and cut them out, if the white paper of the under -sheets should show where cut through sectionally, touch it along with a -little burnt sienna or brown colour. You must now tint another sheet of -the same description of paper blue or neutral, not in an even tint, but -carelessly and artistically leaving bright lights; this when pasted as -for the oak-paper two or three thicknesses, will form the backing to the -frames. Then place the frames face down, on them gummed a sheet of mica; -on that again the blue backing; the whole then to be put in the press, -care being taken not exhibit too much pressure, otherwise you will have -the backing bulge out. It may, perhaps, be thought that these -thicknesses of paper for the frames and backing are unnecessary, and -that one might serve as well; but from experience I can assert, that -unless this method be adopted, that flatness the work should have, will -not be obtained. It may also be as well here to caution the reader -against pressing with too great a degree upon the cardboard when it is -under the action of the press. If too great a pressure is given, the -cardboard will become so hard as to resist all efforts of the knife to -cut through it. The paper usually presses to a little less than an inch, -to a scale of one-eighth of an inch to the foot; so that six thicknesses -or sheets of paper will answer for four and a half of brickwork or -stonework. The doors will be formed first from two thicknesses[1] and -backed with the same. This is for plainest description, but if mouldings -are inserted in the panels, adopt the following:— - -Footnote 1: - - One thickness, two thicknesses, three thicknesses, and so forth, will - be used throughout, to express the number of sheets to be pasted - together. - -[Illustration: - - DETAILS No. 1. - - ELEVATION OF ENTRANCE DOOR. -] - -[Illustration: - - PLAN OF ENTRANCE DOOR. -] - -First draw the door with the extreme size of the opening of each panel, -on a two-thickness sheet; on another two-thickness sheet, draw the same -panels a size smaller; on a third two-thickness sheet, draw them a size -smaller still; these being cut out and placed behind one another, and -finally the backing; will admirably represent mouldings: by producing -three separate lines round the inside of each panel. For work to ⅛ scale -no further trouble will be necessary; but if larger, the mouldings must -be formed before the door is gummed together, as hereafter described for -the formation of mouldings in general. The doors, windows, and backs to -all openings are now ready, but cannot be yet fixed till all the -necessary mitreing is completed, which mitres will be wherever an -outside angle occurs thus, fig. 1. (See page 53, figs. 1 and 2.) - -[Illustration: - - Fig. 1. - - OUTSIDE ANGLE. -] - -[Illustration: - - Fig. 2. - - INSIDE ANGLE. -] - -In the inner angle (see fig. 2) no mitre is required; the end of one -piece being cut square, they may be made to overlap one another. Lay the -piece, whatever it may be you wish to mitre, face down upon the -cutting-board; and then at a distance (equal to the whole thickness of -the cardboard) from the edge draw a line; and at a short distance back -from this line sufficient to let the point of the knife touch it when -held slanting to the required angle, fix the adjusting straight-edge -previously described; screw firmly upon it, and cut through the paper at -an angle of 45°, which will, of course, be by cutting from the line on -the top side of the paper, A, to the extreme edge of the underside, B -(see illustration page 55), which represents the side of a building, and -the piece may be seen curling up as cut from the mitre. Great steadiness -of hand, and a few trials on waste cardboard are necessary before the -operator will perform this skilfully. The straight-edge holding the -paper firmly, it may be cut through at two or three strokes, observing -to hold the knife always at the same angle. All mitreing work finished, -affix the windows at the back, placing the whole under a slight -pressure.[2] Then the model must be blocked up. First cut a number of -squares, all sizes, from waste or other cardboard; let them be perfectly -square; cut these diagonally, and they will form the blocks to hold the -work together at the angles. Now take any two sides that are to be -joined at the mitred angle, and fix them accurately together with gum -pretty thick, so that it may dry while you hold each side in its place. -When set, lay them down and work the others in a similar manner. Take -now the outline plan, and having previously numbered the sides to -correspond with the plan, fix them (by touching slightly their under -edge with gum) to it, and when all are in their places fix, at a -distance apart of an inch and half or so, above one another the -previously described blocking pieces with gum not so thick in -consistency. To make our meaning perfectly plain, we annex an engraving -of the appearance of an internal angle when at this stage of the -proceedings. A piece of wood (deal) about ½ inch thick, should now be -attached to the model from one side to the other (see page 57). This is -for the purpose of fastening the model, when completed, to its stand; it -may be blocked with waste pieces, such as the cuttings from doors, -windows, &c., and gummed firmly. Pieces or strips of cardboard should -also be gummed along in the inside, at the level of the intended gutters -of the house, to rest the roof upon. All portions of the work completed, -we will now assume, are fitted together and in their places. The student -will now be able to form some idea of the general effect his work will -have when finished; but there is yet more—much more—to be done, and work -requiring a still further amount of skill, practice, and patience. - -Footnote 2: - - As there are many little matters during the progress of a model - requiring a slight pressure, a pressure sufficient to hold the pieces - in their several places till dry, I have found weights answer very - well. I have pieces of square lead from one pound upwards covered with - paper; and by covering, the humble brick may be usefully pressed into - this service. - -[Illustration] - -[Illustration: - - SKETCH SHOWING THE WAY THE BLOCKING PIECES ARE INSERTED IN AN INTERNAL - ANGLE. -] - -[Illustration: - - METHOD OF INSERTING THE WOOD STAY. - - A A Cardboard angle stays. B B B B B Wood stay by which the model - is affixed to its stand by a screw passing through at C C. - D E F G Sides of model. -] - -The two principal elevations are given to the same scale as the plan -(page 41); but in order to insure our being understood, the principal -portions of the details are given to a larger scale. - -The cornice next demands our attention, a detail of which is given on -page 61, fig. 1, and in order to model which we proceed thus, the -numbers indicating the various pieces of which it is composed. No. 2 is -a piece worked of the required thickness demanded by the depth of the -cornice from A to B, and the necessary projection, in a sufficient -series of lengths to go entirely round the building. Now, as this is to -be cut through the several thicknesses of paper required, a method must -be found out to hide the different layers that would consequently be -exposed to view; this is by cutting from one or two thicknesses a piece -the whole length of the cornice, forming a facia, 8, and coming slightly -below the depth of the other under piece to 4; thus, while at the same -time it hides the layers of paper, it forms the bed of the cornice. - -The next members, Nos. 1, 3, 5, and 7, are formed, first by preparing -the size and length on the square; secondly, by cutting off at any angle -necessary to get as near to the mould as possible; and, lastly, forming -the mould itself. - -The manner of moulding being applicable to every description of either -Italian or Gothic pattern, we proceed to describe it. - -Procure from the comb-manufacturers some pieces of _ivory_ of various -sizes, and with different files, some round, some square, &c., file on -one end of a square piece the _reverse_ of the mould you require; smooth -it well; and for greater power and convenience, fix it in a handle of -wood. - -[Illustration: - - - DETAILS No. 2. - - 1 Elevation and section of main cornice. 2 Elevation of window. - 2_a_ A detail of section through window. 3 Architrave - mould. 5 Elevation of small window. 5_a_ Section of small - window. 6 Elevation of quoins. 7 Section and elevation of - tower cornice. -] - -[Illustration: - - MOULDING TOOLS. - - A, Handle with socket to secure the moulding tool (1). B, - Thumb-screw. 1, 2, 3, Moulding tools. -] - -Nos. 1, 2, 3, &c., &c., will be found generally available and useful in -the formation of all kinds of mouldings, besides numbers of other shapes -that will occur to the artist. The method of using the instrument is by -indenting the pattern along the edge of the cardboard, guided by means -of the straight-edge. The sharp arris left from the file upon the edge -of the ivory mould, had better be slightly taken off, to prevent the -paper being torn in its passage. - -The circular pediment over windows (fig. 2, page 61) must be modelled on -the flat, and the moulding returned at the ends. When each member is -finished, they must be gummed up and bent to the required curve, over a -circle of cardboard or a cylinder of wood, separately. The panels that -occur form thus: Cut as before directed for doors, the extreme size of -the opening, and at the back place the successive sizes and thicknesses -to form the mouldings, indented into hollows or worked to rounds, &c., -&c., by means of one or more of the moulding tools; to be backed last of -all. - -Commence the preparation of the quoins (fig. 6, p. 61) by cutting pieces -the required thickness and width of both long and short quoins, and in -long strips, with the _height_ of each one marked up its length -previously by the dividers.[3] Cut first the requisite splay at the edge -of the quoin, along the whole length both sides. Cut where marked for -height, and splay top and bottom. They are then finished, and may be at -once fastened to the work. - -Footnote 3: - - The small hair dividers, with the adjusting screw, will be found - extremely useful in modelling work. - -[Illustration: - - CIRCULAR ARCHITRAVES. - - K Keystone. R Radius. H L Horizontal line. -] - -The circular architraves must be formed by cutting, with the little -instrument previously described as a knife-compass (page 36), circles of -different diameters and thicknesses of paper suited to the mould to be -represented; gum together while in the circle, as shown below, the -horizontal divisional line being marked, and the radiating lines for the -insertion of the keystones. When dry cut off by the divisional line, and -then the segments, by the lines at each side of the keystone. The key -must be of paper sufficiently thick to allow of the highest mould of the -architrave abutting against it, and either left plain, cut diamond-wise, -or carved, or any other way the fancy may suggest or the design demand. - -The cantalivers in tower (fig. 7, page 61) and main cornices (fig. 1, -page 61) to be worked by preparing paper the required thickness; then -procuring a piece of very thin copper or lead, mark on it with -considerable accuracy the design of the cantaliver, and cut it out; you -will thus have prepared a mould or templet, which you can place upon the -cardboard, and by running a hard pencil round it, mark each one -precisely the same in size. - -Any portions of the dressings, &c., having curves in them, had better be -cut with knife No. 3[4]; in fact, this is the only shape of blade which -will leave the edge of a curved line after cutting, what is technically -called “sweet.” - -Footnote 4: - - In using this knife, care must be taken to hold it perfectly upright, - nor lean it either to right or left. - -The positions the cantalivers have to occupy along the cornice, must be -checked along and regularly divided. Care must also be taken in gumming -them in their places, as one out of place or leaning would immediately -be detected by a correct eye, and mar completely the effect of the -whole. - -The architrave mould (fig. 3, page 61) next demands our attention. It -will from our former description be readily understood that all -mouldings are formed by representing in paper of various thicknesses -their several component parts. Thus, in the mould last named, we have -first the groundwork of or thickness from A to B; another thickness, -forming the sinking, from C to D; and finally, the mould, E to F. Square -first, the required slant next cut from the edge, and lastly, the slant -hollowed by means of one of the ivory moulding tools. The keystones and -the blocks under the window sills are cut from paper the thickness -required, then splayed down each way from the centre to the sides at -_one_ cut, and with a sharp knife. This operation must be performed with -some dexterity, as it is important that the edges should be sharp and -free from woolliness. This effect can only be obtained by giving one cut -or slice in the direction required: for this purpose use knife No. 1, -which will be found the best for this description of work. Some -modellers use for this purpose a thin chisel with a keen edge; and of -course all means in art are legitimate that produce the desired end; but -we would recommend the use of the knife only, wherever possible, the -modeller’s object being to work with as few tools as possible, and to -trust much to his knife alone. - -[Illustration: - - DETAILS OF WINDOWS. No. 3. - - MORNING ROOM. -] - -[Illustration: - - KITCHEN. -] - -We have, in describing the method of working several important details -connected with the building, and illustrated on page 61, been, we fear, -somewhat premature, and have not sufficiently urged upon the student the -necessity of preparing his groundwork for these details in a perfectly -accurate manner. For, as it is well known, no colouring, however fine, -will in a picture make up for bad and incorrect drawing, so in a model, -walls out of square or windows and other apertures ill-cut will not -present the wished-for appearance, though all the details be most -skilfully and beautifully modelled. Draw in all doors, windows, &c., -&c., with a very hard pencil, in order that the lines may be as fine as -possible, and cut them out with knife No. 1, or No. 2, whichever may be -considered most suitable to the size of opening it is required to cut; -the knife No. 3, as before observed, being used exclusively for curved -and circular work. In cutting out the windows, hold your knife perfectly -upright; and, as you arrive at the end of the cut, let the _edge_ of the -blade be perpendicular, thus avoiding cutting past the line. In cutting -through thick, or indeed even through one thickness of paper, do not be -too anxious to sever the piece with one cut, as this way of proceeding -is almost sure to cause unevenness of line. But commence by _drawing_ a -line, as it were, in the required direction; that the rule may guide it -accurately, press but slightly at first; and as the track of the knife -gets deeper, exert more pressure. Simple as this direction may appear, -it is nevertheless of the utmost practical utility, as will readily be -found upon trial, as it is only by these means that the paper will be -left at the edge clean, sharp, and even. - -[Illustration: - - DETAILS OF GREENHOUSE. No. 1. -] - -The next object we would call attention to is the Greenhouse, page 73, -and state that there are two ways of modelling this very general -appendage to a modern mansion. The first and the simplest method is to -form the backing of blue paper behind the mica. The other, by doing away -with the blue backing, and allowing the mica to remain transparent. The -former method saves some amount of labour; but the latter being in our -opinion the best and most artistic method, we shall proceed to describe -it: First form the pilasters (you will require double the number than -for the opaque backing), and cut them in their length from A to B (see -elevation, page 73), from the commencement of the base mouldings to the -underside of those of the cap. The way of proceeding in modelling cap -and base will be readily understood from the accompanying sketch, where -it will at once be seen better than we can describe. The best way to cut -them is as if they were a window or opening, cutting the piece out of -the centre at A, after having moulded the edge all round. Then dividing -them into two along the line D L as below, fix them in their respective -places. The angle ones must be double, to avoid having to mitre them. A -piece of mica or thin glass cut to the size of the one side is now -taken, and the pilasters and other portions, divisional bars, &c., are -gummed to it, on both sides; and when with the end it is finished, let -it occupy its intended position on the outline plan. - -[Illustration: - - D L Divisional line. -] - -Now proceed to the roof, to be constructed really of iron and glass, to -be modelled of paper and mica: First, bend round a paper or other -cylinder the piece of mica for the roof, and proceed to cut a number of -strips of cardboard for the ribs, which may be coloured any suitable -tint. - -[Illustration: - - DETAILS OF GREENHOUSE. No. 2. - - PART ELEVATION. - Scale ¼ inch one foot. -] - -These are then to be affixed in their places, as shown upon the drawing, -some in thicker, others in thinner paper. A ledge of cardboard must be -left at the back of the blocking, and also on the same level against the -side of the house; this will be for the purpose of resting the roof -upon.[5] The cornice will be constructed in the manner described for the -others; the pieces on the frieze C, C, C (page 73) will be placed on the -required thickness for the return, but the return of the cornice must be -cut in it. The plinth must now be moulded, cut, and fixed; and the whole -is complete. - -Footnote 5: - - This description is for a circular roof; that, however, in the - engraving represents a flat hipped roof. The method of proceeding is - the same, except that for the latter no cylinder is required. - -Chimneys, those great ornaments to a house, at least they should be -rendered so, but, alas! for the taste of some of our modern architects, -are far more frequently the reverse, and what in able hands and with -judicious treatment would prove a crowning feature and a material -assistance to the design, becomes a glaring error and ruins the whole. -So much for the architect: but should he fortunately possess the ability -and taste to produce those necessaries to our comfort, with equal credit -to himself and benefit to the design, how often do we see his work -marred by the introduction of Messrs. Somebody’s patent never-failing -revolving smoke preventer; a hideous monster of some seven feet high, -whirling and screeching upon the slightest appearance of wind. As our -little Handbook has its mission to instruct in the Art of Modelling an -architect’s production, and as smoke-jacks are but little indebted to -him for their uneasy existence, we beg to apologise for this digression, -and resume our original topic. Details of the chimneys will be found -upon page 81 and 83; for the body of the chimney use two thicknesses, -and it will not be found necessary to mitre the join; for, if even -ordinary care be taken, the union will be scarcely perceptible, while -the labour will be considerably diminished. Form any strings, cornices, -&c., &c., that occur, by cutting the piece flat, and then cutting the -square out of the middle to admit of the shaft, slip it over the shaft -or body of the chimney, till it arrives at the position required by the -design, where it is at once to be secured in its place. Perhaps our -meaning may be rendered clearer by the accompanying illustration. A -represents the cornice prepared in the manner described, and only -requiring to be fixed in its place. B, the shaft or body of the chimney -over which the cornice is to be slipped till it arrives at the dotted -lines; the chimneys may be fixed to the roof (shortly to be described) -in the following manner: Should the chimney come on the roof lower down -than the ridge, the bottom of the shaft will have to be cut to the angle -required by the rake of the roof only; but should the chimney be cut -into by the ridge, then the angle will follow that of the roof on both -sides, diverging from the apex. For illustration of this we give the -annexed sketches, page 83. - -[Illustration: - - DETAILS OF CHIMNEYS. -] - -[Illustration: - - DETAILS OF CHIMNEYS. -] - -A represents a chimney, the base of which is cut simply _one way_, to -suit the slope of the roof. B, a chimney into which the ridge cuts, and -the angle cut both ways from the apex. It will, as a general rule, be -found better to put chimneys together with thin paper, even in the -smallest models, a squareness being thus produced not to be obtained -otherwise. The base to be formed out of thickness equal to the -projection, and treated in (as regards fitting it to the roof) a similar -manner to the shaft, so that if the rake of shaft had chanced not to -have been truly cut, there is no need to throw it away, as it could -easily be blocked under with small pieces till straight, the base hiding -all defects underneath. The method of working the strings, cornices, -&c., has already been fully described in those for the tower and main -building. Figs. 1 and 7, page 61. - -Our model now draws near to its completion. We had arrived at a stage -ready for the roof, but stopped for the preparation of the chimneys, in -order that when the roof was completed, they might be at once fixed in -their respective places. The roof may be either scored, or gauged with -paper strips overlapped. The groundwork for either method will be -prepared in the same manner. First cut, as if for a lid or top to fit -the inside of the model, a strong piece of cardboard; let it be just so -that it will slip into its place between the walls, but be prevented -slipping down by the strips or ledge on the level of the gutter, as -described for Greenhouse, page 73. - -[Illustration: - - DETAILS No. 4. - - Fig. 1. -] - -[Illustration: - - Fig. 2. - - B Bottom piece. C Cornice. L Ledge. S S S Slates. - T Top piece. W Wall. - The cross hatching shows the number of separate pieces the cornice is - composed of. -] - -[Illustration: - - Fig. 3. - - ROOF PLAN. -] - -Sections must now be taken in various parts, through the roof, to -ascertain the length of the respective sides. Thus if the angle A B C -(see fig. 1, page 85) represents the rake of the roof, the length of the -side will be found from A to B and B to C. The sides thus formed must be -splayed to fit at the valleys, apex, &c., and at the base splayed and -fixed to the top piece on which the roof plan has been drawn, observing -to leave space enough all round for the gutter. If the pieces on which -the sections have been drawn are cut out, they will answer for internal -stays to the roof. - -The roof plan is given upon page 85, fig. 3, as also an outline section -for the finishing of the roof, fig. 2, page 85; it will explain itself. -The lead flat will be formed by the bottom piece, but it must be covered -by a paper resembling in tint that of the lead itself. When the -groundwork of the roof is completed, it must be covered in imitation of -slates by one or other of the previously-mentioned methods. We will, -however, describe both, leaving the reader to use his own judgment as to -which he may adopt, our preference being for the strips of overlapping -paper. In the simple scoring, proceed to cut out of the slate tinted -paper pieces accurately fitting to the groundwork of the roof, then with -the knife handle score these sides along, as you would ink in the roof -lines in a drawing, closer at the ridge, becoming wider at the base, and -parallel to each other. The latter by cutting layers of paper, gauged -decreasing in size as before directed, fixing them to the groundwork of -the roof beginning at the base, and overlapping them about 1/16th of an -inch; after all, submitting to the press. The roof assumed to be -finished, affix the chimneys, generally make good all imperfections, -&c., and the model is ready for removal to its final destination; cut -therefore the paper it was built upon from the board, and also tear from -the bottom edges the paper that may have adhered to it, holding it by -the wood stay. - -Prepare a piece of dry wood about two or three inches wider all round -than the building itself, cover it with cloth or velvet, the latter -preferable, the best colour green, and cut a small groove out of the -upper edge; this is to receive the glass shade, which construct thus: -procure five pieces of glass, the sizes rendered necessary by your stand -to form a square or oblong shade, and fasten all together by means of -strips of thin paper and gum (the dull gold paper to be procured in -sheets at any of the artists’ repositories will look best) at their -edges. The model must now be secured to the stand, for which purpose the -piece of wood mentioned at page 56 was inserted, a hole is drilled -through the bottom of the stand, and a screw passed through it into the -wood stay. Do not screw the model down too tightly upon the stand, or -you may force away the stay from its fastenings and destroy your work. - -We have now described all the necessary materials and manipulations to -complete in every respect a model similar to the mansion given in the -illustrations, and which, though containing the general detail of a -building of that description, was wanting in numerous varieties of -detail that will occur in many other buildings of the same class more -ornate and considerably more elaborate in design than our example. - -While all our attention is being turned towards Italian architecture, -Gothic must not be forgotten, and though the general method of procedure -is the same for both, yet there are numerous things which exist only in -the latter style, and in consequence demand separate instructions. In -order, therefore, that nothing shall escape being described in the -various styles, that the student may have nothing to retard his -operations, we append the methods of working the various details in the -form of an illustrated glossary, the alphabetical arrangement of which -will, we think, enable the student more readily and quickly to find the -particular information he may require. - - - - - PART IV. - HINTS ON LANDSCAPE GARDENING; LAYING OUT GROUNDS, &c. - - -We have, as yet, proposed to finish the model in the plainest and most -simple way, completely unaided and unadorned by the adjuncts of gardens -or trees. And yet, that models are frequently considerably improved in -appearance by these imitations of natural objects, when taste and skill -go hand in hand, will be admitted by all, but we often see them -completely spoiled by such additions. It is indeed somewhat difficult to -say how far we may venture with propriety upon this path, and where to -draw the line requires some tact; we will not, therefore, lay down any -rule absolutely as to how far the laying out of grounds and the -modelling of the trees, &c., may be admissible, only giving some -instructions for modelling the objects themselves. And though the -grounds are laid out, the picturesque undulations of the surface, the -ponds, flower-beds, arcades, terraces, lawns, shrubs, and trees, -faithfully represented, let it not for one moment be supposed that by so -doing we render what was before a work of art, a mere toy. Far from it. -We do not wish the reader, when he thinks of a model, to remember those -of York Minster, or Strasbourg Cathedral, and which, borne aloft upon -the shoulders of some wandering Italian, tempt the vulgar by the rich -colours of the stained glass inserted in their chalk sides, and -brilliantly illuminated by the light of a farthing candle placed within; -or of the grounds, as bearing any resemblance to those interesting toys -representing a “_castle in cork_,” about an inch high, whose clinging -ivy is represented by one of the largest species of moss, and in whose -luxurious gardens bloom roses two inches in diameter, roses which should -have decked some matron’s cap, but which for the nonce were pressed into -this more noble service. But, to proceed. Balusters of grotesque, -Elizabethan, or other patterns, when cut out of the solid stone, must be -made by gumming the paper in different thicknesses, till that required -is obtained, carefully drawing the pattern, and then cutting out with -knife No. 3. Turned work, as circular pedestals for statues, sundials, -gate-piers, balusters, &c., cannot be successfully imitated in paper, -but are better turned in wood of some light colour, and then tinted with -body colour to the required shade; all work of the same description that -is _square_ may be constructed in exactly the same manner as before -described for chimney-stacks. For a representation of lawns and grassy -slopes, meadow, &c., we may take white velvet, and tint it to any -required shade, or use cloth which can be obtained any shade of green, -or even flock paper may be procured, which, when cleverly laid on the -work, gives an excellent imitation of grass; but of all these methods, -velvet tinted will be found the most effective and best. Water, -represent with looking-glass, or with mica, to the back of which is -gummed paper of suitable tint for the situation of the water. For rocks, -grottoes, &c., take stout white paper, and thoroughly soak it in water -until it is rendered quite pliable, and then with the fingers, pieces of -wood, or any thing that may suggest itself as being useful, mould or -model it to the required shapes fancy or skill may suggest, and -afterwards tint it to resemble nature. An effect better still may be -obtained by gumming it, when perfectly dry, with thick gum, and then -dusting or sprinkling it with fine sand, which may be procured of -various shades. This method adopt also for walks, carriage-drives, or -any place where a representation of road, or gravel, may be required. -Cut out your flower-beds in thin cork, and then burn the upper surface; -this will give the appearance of rich mould, or earth, and also serve as -a good groundwork to stick the shrubs and flowers into. In your trees, -rather aim at a general or suggestive effect, than at much minutiæ of -detail; procure pieces of twigs, and shape them for the trunks and -branches, and then gum on them the smallest-leaved moss, in good outline -to represent nature; this moss will, when perfectly dried, bear tinting -well. Flower-patches, the same moss with a bit of bright scarlet, or -other paper, here and there gummed among it. - -We have now given sufficient general instructions to enable the student -to proceed with this branch, should his fancy lead him; and with these -suggestions, and his own practice, he may in a short time be enabled to -imitate successfully the quaint gardens of the Elizabethan period, or -the more natural taste evinced in the landscape gardening of our own -times. - - ... “Does airy fancy cheat - My mind well pleased with the deceit? - I seem to hear, I seem to move, - And wander through the happy grove, - Where smooth springs flow, and murmuring breeze - Wantons through the waving trees.” - - CREECH. - - - - - PART V. - - - 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=. - - - - - -End of the Project Gutenberg EBook of The Art of Architectural Modelling in -Paper, by T. A. 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