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.
Let the pupil take a panel and draw on it a pattern, Fig. 37 _a_. He is to cut this out in what is called flat carving, and sometimes "ribbon work." He begins by _outlining_, which may be effected in different ways. I. By taking a small _fluter_ or veiner, or a tooling-gouge one-tenth of an inch in diameter, and cutting a groove all around the pattern just outside of it, but accurately close to it. If perfect in Lesson II. this will be very easy for him. II. He may do this also with a V or parting tool, but the gouge is better for a _first_ attempt. III. The outline cutting may be effected by taking a _firmer_ or carver's chisel, one-third of an inch broad, and placing it "up and down" close to the pattern, but sloping outwardly, give it a tap with the mallet so as to sink it a very little way into the wood. Do not cut "straight up and down," but so as to make a sloping bank. IV. There is yet another way, which is more difficult and seldom practised, yet which if mastered gives great skill in carving. Take the firmer or flat chisel, and holding it with great care run it along the edge, sloping outwards, so as to cut the line accurately. By means of this method the whole work may be very well outlined. It is not urged as absolutely necessary at a first lesson, but it is advisable to practise it sooner or later.