,illustration3 ,,frontispiece4 ,illustration ,,the ,,art ,,of ,,architectural ,,modelling ,,in ,,paper4 ,,by ,t4 ,a4 ,,richardson1 ,,architect4 ,,with ,,illustrations ,,designed ,,by ,,the ,,author1 ,,and ,,engraved ,,by ,o4 ,,jewitt4 ,,london3 ,,john ,,weale1 #ei1 ,,high ,,holborn4 #ahei4 ,,london3 ,,bradbury ,,and ,,evans1 ,,printers1 ,,whitefriars4 ---------------------------------------- -------------------------------- ,,preface4 ,in offering the following practical dissertation 7the first ever yet published7 upon the ,art of ,architectural ,modelling1 the ,author feels that he is supplying a want that must have been long felt by many students and others in the architectural profession4 ,the utility of the 8,model10 coupled with its beauty1 is ample recommendation of the study2 and the modeller will be able to furnish the architect with sure and certain means that he may find weighty difficulties surmounted1 especially in the case of uncomprehending clients1 by giving to them the designs of their edifices with a distinctness almost equal to the real work when completed4 ,with many clients1 even 8perspectives0 are poorly understood1 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 outset4 ,models are becoming very general1 where buildings are subjects of competition2 and as this course of procedure and honourable encounter bids fair 7when weeded of some of its present objections7 to open up a good and honourable system1 whereby the 8race may be to the swift10 the importance of the following brief and simple ,treatise on the subject1 becomes doubly clear4 ,t4 ,a4 ,r4 ,,chester1 ,march1 #ahei4 ,,contents4 ,,page ,,preface iii ,,introduction #ac ,,part ,i4 ,,of ,,the ,,materials ,,required4 ,,paper #ai ,,adhesive ,,material #ba ,,other ,,requisites #bb ,,part ,,ii4 ,,of ,,the ,,instruments ,,necessary4 ,,cutting ,,board #bd ,,modelling ,,press #be ,t ,,square #bi ,,adjusting ,,straight ,,edge #ca ,,cutting ,,knives #cc ,,adjusting ,,knife ,,compass #cf ,,part ,,iii4 ,,the ,,commencement ,,and ,,finish ,,of ,a ,,model4 ,,outline ,,plan #dj ,,thickness ,,of ,,paper ,,for ,,walls #dj ,,outlining ,,the ,,elevation #da ,,window ,,frames #dd ,,ground ,,plan1 ,,outline ,,plan #de ,,glass ,,or ,,other ,,backing ,,to ,,windows #dh ,,doors #di1 #ea ,,forming ,,mitres #eb ,,incidental ,,pressure ,,during ,,progress #ed ,,fixing ,,the ,,model ,,together #ed ,,blocking ,,pieces ,,to ,,angles #ed ,,preparation ,,for ,,final ,,fastening ,,to ,,stand #ef ,,method ,,of ,,inserting ,,the ,,wood ,,stay #eg ,,the ,,cornice #ei ,,moulding ,,tools #fj ,,details ,,of ,,windows #fa ,,circular ,,pediments #fd ,,quoins #fd ,,circular ,,architraves #fe ,,keystones #fe1 #ff ,,cantalivers #ff ,,cutting1 ,,curves #ff ,,plain ,,architraves #fg ,,cutting ,,in ,,general ,,with ,,the ,,knife #fh ,,details ,,of ,,windows #fi ,,the ,,greenhouse #gc1 #ge ,,pilasters #ge ,,cap ,,and ,,base #ge ,,roof ,,of ,,greenhouse #gf1 #gg ,,cornice ,,and ,,plinth #gi ,,chimneys #gi ,,roof ,,of ,,house #hc1 #hd1 #he ,,removing ,,the ,,model #hh ,,preparation ,,of ,,final ,,stand #hh ,,preparation ,,of ,,glass ,,shade #hi ,,fixing ,,the ,,model ,,to ,,its ,,stand #hi ,,gothic ,,architecture1 ,,and ,,reference ,,to ,,in ,,glossary #ij ,,part ,,iv4 ,,hints ,,on ,,landscape ,,gardening4 ,,introduction #ia ,,pedestals1 ,,sun ,,dials1 ,,gate ,,piers1 ,,balusters #ic ,,imitations ,,of ,,lawns1 ,,grass1 ,,etc4 #id ,,water1 ,,rocks1 ,,and ,,grottoes #id ,,walks1 ,,drives1 ,,flower ,,beds1 ,,trees1 ,,and ,,shrubs #ie ,,part ,v4 ,a ,,glossary1 ,,containing ,,the ,,method ,,of ,,working ,,various ,,details #ig ,,not ,,hitherto ,,described ,,to ,,the ,,reader4 ,,finis4 #aaa ---------------------------------------- -------------------------------- ,,the ,,art ,,of ,,architectural ,,modelling ,,in ,,paper4 ,,introduction4 ,the art of ,architectural ,modelling is not so difficult to acquire1 as an observer1 examining a model and admiring the minuteness of its parts1 would be led to suppose4 ,but in order to gain a certain degree of proficiency1 a large amount of patience and perseverance is absolutely necessary4 ,the great beauties of a model consist1 firstly1 in perfect symmetry and correctness of parts1 all the angles being clear1 well-defined1 and sharp1 the various minuti of detail accurately delineated2 and secondly1 to the straightness and evenness of the horizontal and perpendicular lines4 ,it will be1 therefore1 readily understood1 that it is these portions of the manipulation which demand the student's attention1 more particularly as the joining of the paper or cardboard by means of a mitre1 as well as the cutting of lines on the slant in either a horizontal or curved direction1 is somewhat difficult4 ,these difficulties which arise in the student's path are1 however1 easily to be overcome1 and he must not grow faint-hearted if1 after repeated trials1 he does not succeed in producing the required effect4 ,rather at this juncture let him examine some model by an adept in the art1 comparing his work with it4 ,by these means he will be enabled to see the points in his own requiring improvement1 and then let him continue to labour perseveringly and diligently until he gains a perfect command of his knife and materials1 and few will be found but will admit that the result at last obtained fully repays him for his time and labour4 ,there is no doubt that the art is of very great antiquity1 and that in former times no building of importance was erected without one having been previously constructed4 ,this not only aided the successful carrying out of the architect's drawings1 but enabled him and his employer to judge better as to the general effect the work would have when completed4 ,we have mention made of models as early as #aedf1 when ,san ,gallo 7a pupil of ,bramante1 the original architect of ,st4 ,peter's1 at ,rome71 either himself constructed1 or caused to be1 a model of his proposed designs for that magnificent structure1 in order that the whole might be carried out in the same spirit in the event of his death4 ,on this latter event occurring1 the immortal ,michael ,angelo ,buonarotti undertook the important office of architect to ,st4 ,peter's4 ,one of his first tasks was to set aside the model of his predecessor1 which had occupied many years in constructing1 at a cost of many thousand pounds1 while he constructed himself1 at a trifling expense and in a few days1 another model of his intended work4 ,numerous other instances of the practical utility of this branch of art might be cited1 but the author deems it unnecessary1 its importance being at once obvious2 and this little work1 though devoid of all technicalities1 too frequently the fault of works of this description1 yet is intended shall be eminently practical4 ,to a large and increasing body1 the architectural assistants1 it is hoped that this little hand-book will prove to be acceptable2 and though written principally for the professional man1 it is hoped it may not prove utterly useless or uninteresting to others1 who though not members of the architectural profession may yet possess sufficient taste and skill to wish to perpetuate ,a ,,design ,,in ,,paper4 ,,part ,i4 ,,of ,,the ,,materials ,,required4 ,the materials the architectural modeller will require for his work1 are1 for the most part1 few1 simple1 and inexpensive4 ,they are also easily procured at any of the ,artists' ,repositories4 ,it is not1 therefore1 so much in the material employed1 but in the skill displayed in the working1 that the beauties of a model consist4 ,the principle in this description of modelling being1 that every possible part be constructed of paper1 it is necessary that this should be procured of the description best suited to the nature of the work1 and of the best possible quality4 ,inferior papers are hard1 contain knots and other imperfections1 and are very frequently gritty2 this latter imperfection1 by destroying the delicate edge of the knife1 prevents the work having that sharp appearance so much to be desired4 ,the paper ,i use1 and have always found the best for all purposes1 has a surface similar to that of ,whatman's double-elephant drawing paper1 and is1 ,i believe1 sold under the name of ,crayon paper3 a specimen is bound with this book1 forming the next page2 it is of a pale cream-colour1 bearing a strong semblance in tint to ,bath-stone1 but ,i have procured it from this to the shades necessary for the roofs of models4 ,it is firm1 though not hard1 in texture1 and not being too spongy1 does not absorb to too great a degree the paste used in fastening together the sheets for the various thicknesses required1 thus ensuring their firmness1 a matter of the highest importance1 otherwise in thin strips consisting of four1 five1 or more thicknesses of paper1 upon their being cut each would part and defeat the desired end4 ,the most useful tint of this paper is the one already described1 as it can be easily tinted to represent bricks or rubble1 c41 should it be necessary1--for instance1 in a building where the quoins1 dressings1 c41 were in stone1 the rest in random rubble or brick1 it would enable you to mark them with a ,,hhh pencil1 and tint before your work was made up4 ,i have constructed several models in pure white ,bristol board1 but it is a tedious hard material to work in1 though the result is very fine4 ,the next most important auxiliary is an adhesive material for fastening the sheets together to produce the necessary thicknesses of cardboard1 and to fix the whole together and the several parts in their places4 ,for the former a paste of flour made in the following manner1 will be found to be the best4 ,to every two tablespoonfuls of the best wheaten flour1 add a teaspoonful of common moist or brown sugar1 and a little corrosive sublimate1 the whole to be boiled1 and while boiling continually stirred to prevent lumps1 till of the right consistency4 ,if a few drops of some essential oil1 say lavender or peppermint1 be added1 the usual mouldiness will not appear1 and the paste will keep for a great length of time4 ,for the latter1 a gum must be used1 prepared by the following proportions4 ,to each six ounces of the best gum arabic1 add an ounce or less of moist or lump sugar1 one teaspoonful of lavender or other essential oil1 and a table-spoonful of gin1 the whole to be mixed in cold water 7no heat being in any way applied7 to the consistency of a thick syrup4 ,other requisites are sheets of mica or talc1 to be procured at the ironmonger's1 and used for windows1 skylights1 c42 pieces of soft deal or beech wood1 to form any small detail such as pinnacles to barge boards1 c41 that it may not be advisable or possible to form in paper2 wire1 lead1 cord1 velvet1 and numerous other nick-nacks1 which will occur to the modeller as his work proceeds1 and which will hereafter1 in their place1 be carefully described4 ,,part ,,ii4 ,,of ,,the ,,instruments ,,necessary4 ,the first thing the artist must procure must be a board of fine1 close-grained wood1 free from knots1 to prepare and cut the several parts of his work upon4 ,the best for this cutting-board is beech1 sycamore1 or pear-tree wood2 it should be1 at the least1 one and a-half inch thick1 by twelve inches broad1 and about eighteen inches in length4 ,i should prefer it even thicker than stated1 as continual planing of the surface to erase the marks of the knife soon reduces its thickness4 ,let it be squared perfectly every way to allow the ,t square to work accurately along its edge4 ,as before stated1 care must be taken1 when the surface has become too much cut up1 to have it re-planed1 or otherwise the knife is apt to follow the marks in the board1 and cut the paper irregularly upon the under side4 ,the size of board mentioned will be found most useful for all ordinary purposes2 should the work be of very large dimensions1 of course another must be procured1 proportionally larger4 ,two or three boards of close-grained deal will also be found of service for cutting obliquely1 c41 c4 ,,the ,,modelling ,,press4 ,this apparatus will be found of essential service to the artist1 as by its aid he forms the cardboard which is the basis of his model4 ,it may be either of iron or wood2 the former is lighter1 and more elegant in appearance1 but the latter1 though plain and homely1 is in my opinion preferable in many respects4 ,a common copying press may be used1 care being taken not to place the damp paper between the iron1 but between two hard1 close-grained pieces of wood4 ,on page #bg is an illustration of the press ,i use1 which any joiner can construct for a few shillings4 ,it consists of a cross-beam1 ,a1 through which the screw passes2 two uprights1 ,b ,b2 a bottom1 ,c1 to which1 and to the cross-beam1 the uprights must be firmly mortised4 ,between them is a moveable top-piece1 ,d1 which by means of cord running through two small pulleys1 ,e ,e1 keeps it pressing continually against the screw2 the weight ,f1 at the end of the cord being slightly heavier than will balance the top-piece4 ,by these means1 as you unwind the screw1 either to place under1 or look at the progress of work already there1 the top-piece moves out of your way4 ,the sizes of the wood for the different portions is given1 and care must be observed in not breaking it by too great a pressure of the screw2 as the object of the press is to keep the sheets flatly and firmly together1 while the adhesive material sets1 no undue degree of force is necessary2 indeed it will1 for reasons hereafter to be described1 be found a disadvantage to press them too closely4 ,illustration3 ,,the ,,modelling ,,press4 ,,sizes4 ,c ,bottom piece #ah inches by #ab inches by #b inches4 ,b ,b ,uprights #ab do4 -- #d do4 -- #a do4 ,a ,cross beam #ae do4 -- #d do4 -- #b do4 ,the screw #aths inch in diameter4 ,illustration3 ,,the ,t-,,square4 ,this square is formed like the ordinary drawing-squares1 with the exception that the blade ,a is made of steel2 this is firmly screwed to a stock of hard wood1 which has on each side of the blade a small piece at ,c ,c cut out2 the object of this is to allow the knife to cut completely to the edge of the paper4 ,the advantage1 in fact1 the necessity for a steel blade1 will be obvious2 were it of wood1 the pressure of the knife along its edge would indent1 or cut it4 ,this square will be found adapted for every description of large and small work1 but should the cardboard be of great thickness it is apt to stir1 and by so doing cause irregularity of line4 ,to remedy this an instrument is used1 called an adjusting straight-edge4 ,a is a straight ruler of flat brass1 or of steel1 like the blade of the ,t-square4 ,it is contrived to move to and from the surface of the board upon the upright screws1 ,b ,b1 while a dovetail groove is fitted with a piece of brass to run along it1 to allow of the horizontal movement of the ruler4 ,the paper 7upon which the cutting-off line has been previously marked7 is placed upon the board1 the straight-edge adjusted to the line2 the straight-edge being then firmly screwed down upon it by means of the two small thumb-screws1 #c #c1 it is rendered immoveable during the progress of the work1 this will be better understood from the annexed engraving4 ,illustration3 ,,the ,,adjusting ,,straight-,,edge4 ,no4 #a is a section of the cutting-board1 showing the groove in which the piece of brass runs4 #b1 ,the brass1 to which is attached the thumb-screws1 by means of a screw through the eye at ,b4 #c #c #c1 ,thumb-screws1 to screw down the ruler upon the paper4 ,the brass rule should not be less than an eighth of an inch in thickness1 otherwise it may bend2 if steel it will do a little less4 ,illustration3 ,,modelling ,,knives4 ,this instrument will be found particularly useful in cutting the necessary mitres for joining together the edges of the work1 or for any other work of similar description1 such as the copings to walls1 mouldings of every description1 c41 c4 ,having now described these very important instruments in a way we hope may prove perfectly intelligible1 we proceed to state the requirements in those necessary ones1 knives4 ,the number of these the artist will use1 is regulated more by his own fancy than anything else2 but there are three shapes he will find absolutely necessary4 ,in modelling1 as in painting1 there are numerous tricks and contrivances for producing various effects2 and as the painter will often value a bit of old scrubby1 worn-down brush1 so the modeller will find various cutting instruments materially assist him1 such as the broken blade of a knife1 a steel pen1 a bradawl1 c41 c41 many of these producing effects that more elaborate instruments would have failed doing4 ,on page #cc will be found an engraving representing three requisite varieties of knives4 ,no4 #a4 ,this knife is long in the blade1 and1 as will be found in all the others1 is perfectly straight on the cutting edge2 this knife is used to cut straight lines in all directions through strong work1 cutting oblique lines1 mitres1 splays1 c4 ,no4 #b4 ,one for lighter work used in forming or modelling ornaments1 or1 in general1 cutting work of a lighter and neater character4 ,no4 #c4 ,this blade is used solely for cutting all descriptions of circular work1 and curves of every description4 ,it may be useful to remark that this is the only shape of blade that will cut1 with clearness and sharpness1 curved lines through thick cardboard4 ,the instrument next illustrated is called a knife compass1 and is extremely valuable for cutting out circular architraves1 c41 c41 doing its work in a way that the hand and knife could not equal1 and with the least possible trouble4 ,see illustration1 page #cf4 ,they resemble1 in some respects1 an ordinary pair of compasses1 but of a little stronger make than the common4 ,a is a moveable sweep of brass1 to regulate the opening of the legs of the compasses1 which1 being opened to the requisite width1 are firmly held by tightening the thumb-screw1 ,f4 ,b1 the moveable leg to which the cutting-knife ,c is attached by means of a shoulder to the blade at ,g1 and a socket at ,h1 into which it fixes1 and is secured by the screw at ,d4 ,e and ,i are two screws working on the rod1 ,k1 on each side of the moveable bar1 ,b4 ,illustration3 ,,the ,,knife ,,compass4 ,by means of this contrivance the knife is always kept perfectly upright1 and in consequence cuts perpendicularly through the cardboard4 ,there may be several knives to fit in the socket for light and heavy work1 but a blade of the same shape as that shown in the engraving1 will be found sufficient for nearly every purpose4 ,the instrument might perhaps be more useful if half as large again as represented4 ,the dotted lines are given to show the instrument open wider1 in order fully to illustrate the utility of the moveable leg at ,b4 ,the method of using this instrument is this3 ,having a curve to cut1 and having found the centre of the arc1 place the point of the leg ,l within it1 then adjusting the moveable leg to the perpendicular by means of the screws ,i and ,e1 stretch the legs to the requisite radius1 and by gradually increasing the pressure on the blade1 the curve may be cut with the most perfect ease and truth4 ,illustration3 ,h ,l ,horizontal line4 ,,part ,,iii4 ,,the ,,commencement ,,and ,,finish ,,of ,a ,,model4 ,assuming that the student has now procured the various instruments and materials for his work1 and that he has also determined upon the design he intends in paper1 the next thing necessary is to give him as far as it is possible by a book copiously illustrated1 an exact description of the method of proceeding4 ,we will therefore imagine a design which is to be modelled 7see frontispiece71 a ,villa1 in the domestic ,italian style1 for example2 and taking it to pieces bit by bit1 endeavour to raise it up again in renewed beauty and effect4 ,having the four elevations1 together with the ground and roof plans1 the latter being essential to show the position of the chimneys1 skylights1 c41 we take a common drawing-board1 about the size of the intended model1 and upon it strain as for a drawing that size1 a piece of drawing cartridge1 say an inch and a half wider all round than the intended model is to be4 ,upon this1 when dry1 draw an outline plan of the intended building1 not putting in any internal walls1 for these will not be required as this is only to form lines whereon to erect the intended building4 ,to make it more readily to be understood we have given a sketch of the outline plan on page #de4 ,illustration3 ,,elevations ,,of ,,villa4 ,,elevation ,,of ,,entrance4 ,illustration3 ,,side ,,elevation4 ,this being completed1 we have now the edifice1 as it were1 set out4 ,the next matter for consideration is the thickness of the walls2 that is1 the requisite thickness of paper we shall require4 ,suppose we take1 as in the plan given1 the outside reveal or recess back of the window frame1 at four inches and a half2 this would require four sheets of paper1 but as it is always better to exaggerate slightly in modelling both projections and recesses1 place six or even seven sheets together2 paste them together in twos1 putting them as pasted under the press1 and afterwards1 when nearly dry1 paste them the full thickness required and subject them once more to the action of the press4 ,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 four4 ,on the paper becoming perfectly dry1 the student must carefully draw each elevation of the building the full height from the ground line to the top of the blocking1 being particular that every line both perpendicular and horizontal is perfectly true and square1 and marking along faintly the lines for the cornice1 strings1 c41 c41 that may occur4 ,this being done and the whole drawn in1 of course not drawing in the window frames but merely the outline of the square of the window1 the side will present the appearance shown in the accompanying elevation1 and which is merely sketched and not drawn to any scale4 ,illustration3 ,a ,lines for cornice4 ,b ,lines of upper string4 ,c ,ditto lower cornice4 ,d ,ditto ,plinth4 ,illustration3 ,,plans ,,of ,,villa4 ,,ground ,,plan4 ,,outline ,,plan4 ,the four or more elevations having been drawn1 proceed to cut out all windows1 doors1 and other openings cleanly and accurately4 ,the windows and their frames must now be made and gummed at the back of the several openings2 where panels occur paper of the same tint must be used1 sometimes the pieces cut from the windows will form very good backing for such parts4 ,for the window frames take some large-sized cream laid paper1 and colour it to the tint you wish your frames to be4 ,should a representation of oak be preferred1 it may be imitated successfully thus3 ,first paint your paper yellow1 gamboge and a little burnt sienna will do1 and then prepare a thick colour with ,chinese white and burnt sienna2 when the first colour is dry lay this last-mentioned on1 and before it has time to dry grain it by means of a fine comb2 a small tooth comb will answer best for this purpose1 and if skilfully performed a most admirable imitation will be the result4 ,three or four thicknesses of paper 7cream laid or other white paper7 must then be pasted together1 with the oak-coloured one upon the top1 and submitted to the action of the press4 ,this paper being ready for use1 take one of the pieces cut from the windows1 and mark by it the size of the window-opening1 then lightly draw the frames in and cut them out1 if the white paper of the under sheets should show where cut through sectionally1 touch it along with a little burnt sienna or brown colour4 ,you must now tint another sheet of the same description of paper blue or neutral1 not in an even tint1 but carelessly and artistically leaving bright lights2 this when pasted as for the oak-paper two or three thicknesses1 will form the backing to the frames4 ,then place the frames face down1 on them gummed a sheet of mica2 on that again the blue backing2 the whole then to be put in the press1 care being taken not exhibit too much pressure1 otherwise you will have the backing bulge out4 ,it may1 perhaps1 be thought that these thicknesses of paper for the frames and backing are unnecessary1 and that one might serve as well2 but from experience ,i can assert1 that unless this method be adopted1 that flatness the work should have1 will not be obtained4 ,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 press4 ,if too great a pressure is given1 the cardboard will become so hard as to resist all efforts of the knife to cut through it4 ,the paper usually presses to a little less than an inch1 to a scale of one-eighth of an inch to the foot2 so that six thicknesses or sheets of paper will answer for four and a half of brickwork or stonework4 ,the doors will be formed first from two thicknesses#a and backed with the same4 ,this is for plainest description1 but if mouldings are inserted in the panels1 adopt the following3-- ,footnote #a3 ,one thickness1 two thicknesses1 three thicknesses1 and so forth1 will be used throughout1 to express the number of sheets to be pasted together4 ,illustration3 ,,details ,no4 #a4 ,,elevation ,,of ,,entrance ,,door4 ,illustration3 ,,plan ,,of ,,entrance ,,door4 ,first draw the door with the extreme size of the opening of each panel1 on a two-thickness sheet2 on another two-thickness sheet1 draw the same panels a size smaller2 on a third two-thickness sheet1 draw them a size smaller still2 these being cut out and placed behind one another1 and finally the backing2 will admirably represent mouldings3 by producing three separate lines round the inside of each panel4 ,for work to scale no further trouble will be necessary2 but if larger1 the mouldings must be formed before the door is gummed together1 as hereafter described for the formation of mouldings in general4 ,the doors1 windows1 and backs to all openings are now ready1 but cannot be yet fixed till all the necessary mitreing is completed1 which mitres will be wherever an outside angle occurs thus1 fig4 #a4 7,see page #ec1 figs4 #a and #b47 ,illustration3 ,fig4 #a4 ,,outside ,,angle4 ,illustration3 ,fig4 #b4 ,,inside ,,angle4 ,in the inner angle 7see fig4 #b7 no mitre is required2 the end of one piece being cut square1 they may be made to overlap one another4 ,lay the piece1 whatever it may be you wish to mitre1 face down upon the cutting-board2 and then at a distance 7equal to the whole thickness of the cardboard7 from the edge draw a line2 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 angle1 fix the adjusting straight-edge previously described2 screw firmly upon it1 and cut through the paper at an angle of #de1 which will1 of course1 be by cutting from the line on the top side of the paper1 ,a1 to the extreme edge of the underside1 ,b 7see illustration page #ee71 which represents the side of a building1 and the piece may be seen curling up as cut from the mitre4 ,great steadiness of hand1 and a few trials on waste cardboard are necessary before the operator will perform this skilfully4 ,the straight-edge holding the paper firmly1 it may be cut through at two or three strokes1 observing to hold the knife always at the same angle4 ,all mitreing work finished1 affix the windows at the back1 placing the whole under a slight pressure4#b ,then the model must be blocked up4 ,first cut a number of squares1 all sizes1 from waste or other cardboard2 let them be perfectly square2 cut these diagonally1 and they will form the blocks to hold the work together at the angles4 ,now take any two sides that are to be joined at the mitred angle1 and fix them accurately together with gum pretty thick1 so that it may dry while you hold each side in its place4 ,when set1 lay them down and work the others in a similar manner4 ,take now the outline plan1 and having previously numbered the sides to correspond with the plan1 fix them 7by touching slightly their under edge with gum7 to it1 and when all are in their places fix1 at a distance apart of an inch and half or so1 above one another the previously described blocking pieces with gum not so thick in consistency4 ,to make our meaning perfectly plain1 we annex an engraving of the appearance of an internal angle when at this stage of the proceedings4 ,a piece of wood 7deal7 about inch thick1 should now be attached to the model from one side to the other 7see page #eg74 ,this is for the purpose of fastening the model1 when completed1 to its stand2 it may be blocked with waste pieces1 such as the cuttings from doors1 windows1 c41 and gummed firmly4 ,pieces or strips of cardboard should also be gummed along in the inside1 at the level of the intended gutters of the house1 to rest the roof upon4 ,all portions of the work completed1 we will now assume1 are fitted together and in their places4 ,the student will now be able to form some idea of the general effect his work will have when finished2 but there is yet more--much more--to be done1 and work requiring a still further amount of skill1 practice1 and patience4 ,footnote #b3 ,as there are many little matters during the progress of a model requiring a slight pressure1 a pressure sufficient to hold the pieces in their several places till dry1 ,i have found weights answer very well4 ,i have pieces of square lead from one pound upwards covered with paper2 and by covering1 the humble brick may be usefully pressed into this service4 ,illustration ,illustration3 ,,sketch ,,showing ,,the ,,way ,,the ,,blocking ,,pieces ,,are ,,inserted ,,in ,,an ,,internal ,,angle4 ,illustration3 ,,method ,,of ,,inserting ,,the ,,wood ,,stay4 ,a ,a ,cardboard angle stays4 ,b ,b ,b ,b ,b ,wood stay by which the model is affixed to its stand by a screw passing through at ,c ,c4 ,d ,e ,f ,g ,sides of model4 ,the two principal elevations are given to the same scale as the plan 7page #da72 but in order to insure our being understood1 the principal portions of the details are given to a larger scale4 ,the cornice next demands our attention1 a detail of which is given on page #fa1 fig4 #a1 and in order to model which we proceed thus1 the numbers indicating the various pieces of which it is composed4 ,no4 #b is a piece worked of the required thickness demanded by the depth of the cornice from ,a to ,b1 and the necessary projection1 in a sufficient series of lengths to go entirely round the building4 ,now1 as this is to be cut through the several thicknesses of paper required1 a method must be found out to hide the different layers that would consequently be exposed to view2 this is by cutting from one or two thicknesses a piece the whole length of the cornice1 forming a facia1 #h1 and coming slightly below the depth of the other under piece to #d2 thus1 while at the same time it hides the layers of paper1 it forms the bed of the cornice4 ,the next members1 ,nos4 #a1 #c1 #e1 and #g1 are formed1 first by preparing the size and length on the square2 secondly1 by cutting off at any angle necessary to get as near to the mould as possible2 and1 lastly1 forming the mould itself4 ,the manner of moulding being applicable to every description of either ,italian or ,gothic pattern1 we proceed to describe it4 ,procure from the comb-manufacturers some pieces of ivory of various sizes1 and with different files1 some round1 some square1 c41 file on one end of a square piece the reverse of the mould you require2 smooth it well2 and for greater power and convenience1 fix it in a handle of wood4 ,illustration3 ,,details ,no4 #b4 #a ,elevation and section of main cornice4 #b ,elevation of window4 #b;a ,a detail of section through window4 #c ,architrave mould4 #e ,elevation of small window4 #e;a ,section of small window4 #f ,elevation of quoins4 #g ,section and elevation of tower cornice4 ,illustration3 ,,moulding ,,tools4 ,a1 ,handle with socket to secure the moulding tool 7#a74 ,b1 ,thumb-screw4 #a1 #b1 #c1 ,moulding tools4 ,nos4 #a1 #b1 #c1 c41 c41 will be found generally available and useful in the formation of all kinds of mouldings1 besides numbers of other shapes that will occur to the artist4 ,the method of using the instrument is by indenting the pattern along the edge of the cardboard1 guided by means of the straight-edge4 ,the sharp arris left from the file upon the edge of the ivory mould1 had better be slightly taken off1 to prevent the paper being torn in its passage4 ,the circular pediment over windows 7fig4 #b1 page #fa7 must be modelled on the flat1 and the moulding returned at the ends4 ,when each member is finished1 they must be gummed up and bent to the required curve1 over a circle of cardboard or a cylinder of wood1 separately4 ,the panels that occur form thus3 ,cut as before directed for doors1 the extreme size of the opening1 and at the back place the successive sizes and thicknesses to form the mouldings1 indented into hollows or worked to rounds1 c41 c41 by means of one or more of the moulding tools2 to be backed last of all4 ,commence the preparation of the quoins 7fig4 #f1 p4 #fa7 by cutting pieces the required thickness and width of both long and short quoins1 and in long strips1 with the height of each one marked up its length previously by the dividers4#c ,cut first the requisite splay at the edge of the quoin1 along the whole length both sides4 ,cut where marked for height1 and splay top and bottom4 ,they are then finished1 and may be at once fastened to the work4 ,footnote #c3 ,the small hair dividers1 with the adjusting screw1 will be found extremely useful in modelling work4 ,illustration3 ,,circular ,,architraves4 ,k ,keystone4 ,r ,radius4 ,h ,l ,horizontal line4 ,the circular architraves must be formed by cutting1 with the little instrument previously described as a knife-compass 7page #cf71 circles of different diameters and thicknesses of paper suited to the mould to be represented2 gum together while in the circle1 as shown below1 the horizontal divisional line being marked1 and the radiating lines for the insertion of the keystones4 ,when dry cut off by the divisional line1 and then the segments1 by the lines at each side of the keystone4 ,the key must be of paper sufficiently thick to allow of the highest mould of the architrave abutting against it1 and either left plain1 cut diamond-wise1 or carved1 or any other way the fancy may suggest or the design demand4 ,the cantalivers in tower 7fig4 #g1 page #fa7 and main cornices 7fig4 #a1 page #fa7 to be worked by preparing paper the required thickness2 then procuring a piece of very thin copper or lead1 mark on it with considerable accuracy the design of the cantaliver1 and cut it out2 you will thus have prepared a mould or templet1 which you can place upon the cardboard1 and by running a hard pencil round it1 mark each one precisely the same in size4 ,any portions of the dressings1 c41 having curves in them1 had better be cut with knife ,no4 #cd2 in fact1 this is the only shape of blade which will leave the edge of a curved line after cutting1 what is technically called 8sweet40 ,footnote #d3 ,in using this knife1 care must be taken to hold it perfectly upright1 nor lean it either to right or left4 ,the positions the cantalivers have to occupy along the cornice1 must be checked along and regularly divided4 ,care must also be taken in gumming them in their places1 as one out of place or leaning would immediately be detected by a correct eye1 and mar completely the effect of the whole4 ,the architrave mould 7fig4 #c1 page #fa7 next demands our attention4 ,it will from our former description be readily understood that all mouldings are formed by representing in paper of various thicknesses their several component parts4 ,thus1 in the mould last named1 we have first the groundwork of or thickness from ,a to ,b2 another thickness1 forming the sinking1 from ,c to ,d2 and finally1 the mould1 ,e to ,f4 ,square first1 the required slant next cut from the edge1 and lastly1 the slant hollowed by means of one of the ivory moulding tools4 ,the keystones and the blocks under the window sills are cut from paper the thickness required1 then splayed down each way from the centre to the sides at one cut1 and with a sharp knife4 ,this operation must be performed with some dexterity1 as it is important that the edges should be sharp and free from woolliness4 ,this effect can only be obtained by giving one cut or slice in the direction required3 for this purpose use knife ,no4 #a1 which will be found the best for this description of work4 ,some modellers use for this purpose a thin chisel with a keen edge2 and of course all means in art are legitimate that produce the desired end2 but we would recommend the use of the knife only1 wherever possible1 the modeller's object being to work with as few tools as possible1 and to trust much to his knife alone4 ,illustration3 ,,details ,,of ,,windows4 ,no4 #c4 ,,morning ,,room4 ,illustration3 ,,kitchen4 ,we have1 in describing the method of working several important details connected with the building1 and illustrated on page #fa1 been1 we fear1 somewhat premature1 and have not sufficiently urged upon the student the necessity of preparing his groundwork for these details in a perfectly accurate manner4 ,for1 as it is well known1 no colouring1 however fine1 will in a picture make up for bad and incorrect drawing1 so in a model1 walls out of square or windows and other apertures ill-cut will not present the wished-for appearance1 though all the details be most skilfully and beautifully modelled4 ,draw in all doors1 windows1 c41 c41 with a very hard pencil1 in order that the lines may be as fine as possible1 and cut them out with knife ,no4 #a1 or ,no4 #b1 whichever may be considered most suitable to the size of opening it is required to cut2 the knife ,no4 #c1 as before observed1 being used exclusively for curved and circular work4 ,in cutting out the windows1 hold your knife perfectly upright2 and1 as you arrive at the end of the cut1 let the edge of the blade be perpendicular1 thus avoiding cutting past the line4 ,in cutting through thick1 or indeed even through one thickness of paper1 do not be too anxious to sever the piece with one cut1 as this way of proceeding is almost sure to cause unevenness of line4 ,but commence by drawing a line1 as it were1 in the required direction2 that the rule may guide it accurately1 press but slightly at first2 and as the track of the knife gets deeper1 exert more pressure4 ,simple as this direction may appear1 it is nevertheless of the utmost practical utility1 as will readily be found upon trial1 as it is only by these means that the paper will be left at the edge clean1 sharp1 and even4 ,illustration3 ,,details ,,of ,,greenhouse4 ,no4 #a4 ,the next object we would call attention to is the ,greenhouse1 page #gc1 and state that there are two ways of modelling this very general appendage to a modern mansion4 ,the first and the simplest method is to form the backing of blue paper behind the mica4 ,the other1 by doing away with the blue backing1 and allowing the mica to remain transparent4 ,the former method saves some amount of labour2 but the latter being in our opinion the best and most artistic method1 we shall proceed to describe it3 ,first form the pilasters 7you will require double the number than for the opaque backing71 and cut them in their length from ,a to ,b 7see elevation1 page #gc71 from the commencement of the base mouldings to the underside of those of the cap4 ,the way of proceeding in modelling cap and base will be readily understood from the accompanying sketch1 where it will at once be seen better than we can describe4 ,the best way to cut them is as if they were a window or opening1 cutting the piece out of the centre at ,a1 after having moulded the edge all round4 ,then dividing them into two along the line ,d ,l as below1 fix them in their respective places4 ,the angle ones must be double1 to avoid having to mitre them4 ,a piece of mica or thin glass cut to the size of the one side is now taken1 and the pilasters and other portions1 divisional bars1 c41 are gummed to it1 on both sides2 and when with the end it is finished1 let it occupy its intended position on the outline plan4 ,illustration3 ,d ,l ,divisional line4 ,now proceed to the roof1 to be constructed really of iron and glass1 to be modelled of paper and mica3 ,first1 bend round a paper or other cylinder the piece of mica for the roof1 and proceed to cut a number of strips of cardboard for the ribs1 which may be coloured any suitable tint4 ,illustration3 ,,details ,,of ,,greenhouse4 ,no4 #b4 ,,part ,,elevation4 ,scale inch one foot4 ,these are then to be affixed in their places1 as shown upon the drawing1 some in thicker1 others in thinner paper4 ,a ledge of cardboard must be left at the back of the blocking1 and also on the same level against the side of the house2 this will be for the purpose of resting the roof upon4#e ,the cornice will be constructed in the manner described for the others2 the pieces on the frieze ,c1 ,c1 ,c 7page #gc7 will be placed on the required thickness for the return1 but the return of the cornice must be cut in it4 ,the plinth must now be moulded1 cut1 and fixed2 and the whole is complete4 ,footnote #e3 ,this description is for a circular roof2 that1 however1 in the engraving represents a flat hipped roof4 ,the method of proceeding is the same1 except that for the latter no cylinder is required4 ,chimneys1 those great ornaments to a house1 at least they should be rendered so1 but1 alas6 for the taste of some of our modern architects1 are far more frequently the reverse1 and what in able hands and with judicious treatment would prove a crowning feature and a material assistance to the design1 becomes a glaring error and ruins the whole4 ,so much for the architect3 but should he fortunately possess the ability and taste to produce those necessaries to our comfort1 with equal credit to himself and benefit to the design1 how often do we see his work marred by the introduction of ,messrs4 ,somebody's patent never-failing revolving smoke preventer2 a hideous monster of some seven feet high1 whirling and screeching upon the slightest appearance of wind4 ,as our little ,handbook has its mission to instruct in the ,art of ,modelling an architect's production1 and as smoke-jacks are but little indebted to him for their uneasy existence1 we beg to apologise for this digression1 and resume our original topic4 ,details of the chimneys will be found upon page #ha and #hc2 for the body of the chimney use two thicknesses1 and it will not be found necessary to mitre the join2 for1 if even ordinary care be taken1 the union will be scarcely perceptible1 while the labour will be considerably diminished4 ,form any strings1 cornices1 c41 c41 that occur1 by cutting the piece flat1 and then cutting the square out of the middle to admit of the shaft1 slip it over the shaft or body of the chimney1 till it arrives at the position required by the design1 where it is at once to be secured in its place4 ,perhaps our meaning may be rendered clearer by the accompanying illustration4 ,a represents the cornice prepared in the manner described1 and only requiring to be fixed in its place4 ,b1 the shaft or body of the chimney over which the cornice is to be slipped till it arrives at the dotted lines2 the chimneys may be fixed to the roof 7shortly to be described7 in the following manner3 ,should the chimney come on the roof lower down than the ridge1 the bottom of the shaft will have to be cut to the angle required by the rake of the roof only2 but should the chimney be cut into by the ridge1 then the angle will follow that of the roof on both sides1 diverging from the apex4 ,for illustration of this we give the annexed sketches1 page #hc4 ,illustration3 ,,details ,,of ,,chimneys4 ,illustration3 ,,details ,,of ,,chimneys4 ,a represents a chimney1 the base of which is cut simply one way1 to suit the slope of the roof4 ,b1 a chimney into which the ridge cuts1 and the angle cut both ways from the apex4 ,it will1 as a general rule1 be found better to put chimneys together with thin paper1 even in the smallest models1 a squareness being thus produced not to be obtained otherwise4 ,the base to be formed out of thickness equal to the projection1 and treated in 7as regards fitting it to the roof7 a similar manner to the shaft1 so that if the rake of shaft had chanced not to have been truly cut1 there is no need to throw it away1 as it could easily be blocked under with small pieces till straight1 the base hiding all defects underneath4 ,the method of working the strings1 cornices1 c41 has already been fully described in those for the tower and main building4 ,figs4 #a and #g1 page #fa4 ,our model now draws near to its completion4 ,we had arrived at a stage ready for the roof1 but stopped for the preparation of the chimneys1 in order that when the roof was completed1 they might be at once fixed in their respective places4 ,the roof may be either scored1 or gauged with paper strips overlapped4 ,the groundwork for either method will be prepared in the same manner4 ,first cut1 as if for a lid or top to fit the inside of the model1 a strong piece of cardboard2 let it be just so that it will slip into its place between the walls1 but be prevented slipping down by the strips or ledge on the level of the gutter1 as described for ,greenhouse1 page #gc4 ,illustration3 ,,details ,no4 #d4 ,fig4 #a4 ,illustration3 ,fig4 #b4 ,b ,bottom piece4 ,c ,cornice4 ,l ,ledge4 ,s ,s ,s ,slates4 ,t ,top piece4 ,w ,wall4 ,the cross hatching shows the number of separate pieces the cornice is composed of4 ,illustration3 ,fig4 #c4 ,,roof ,,plan4 ,sections must now be taken in various parts1 through the roof1 to ascertain the length of the respective sides4 ,thus if the angle ,a ,b ,c 7see fig4 #a1 page #he7 represents the rake of the roof1 the length of the side will be found from ,a to ,b and ,b to ,c4 ,the sides thus formed must be splayed to fit at the valleys1 apex1 c41 and at the base splayed and fixed to the top piece on which the roof plan has been drawn1 observing to leave space enough all round for the gutter4 ,if the pieces on which the sections have been drawn are cut out1 they will answer for internal stays to the roof4 ,the roof plan is given upon page #he1 fig4 #c1 as also an outline section for the finishing of the roof1 fig4 #b1 page #he2 it will explain itself4 ,the lead flat will be formed by the bottom piece1 but it must be covered by a paper resembling in tint that of the lead itself4 ,when the groundwork of the roof is completed1 it must be covered in imitation of slates by one or other of the previously-mentioned methods4 ,we will1 however1 describe both1 leaving the reader to use his own judgment as to which he may adopt1 our preference being for the strips of overlapping paper4 ,in the simple scoring1 proceed to cut out of the slate tinted paper pieces accurately fitting to the groundwork of the roof1 then with the knife handle score these sides along1 as you would ink in the roof lines in a drawing1 closer at the ridge1 becoming wider at the base1 and parallel to each other4 ,the latter by cutting layers of paper1 gauged decreasing in size as before directed1 fixing them to the groundwork of the roof beginning at the base1 and overlapping them about #a_/afth of an inch2 after all1 submitting to the press4 ,the roof assumed to be finished1 affix the chimneys1 generally make good all imperfections1 c41 and the model is ready for removal to its final destination2 cut therefore the paper it was built upon from the board1 and also tear from the bottom edges the paper that may have adhered to it1 holding it by the wood stay4 ,prepare a piece of dry wood about two or three inches wider all round than the building itself1 cover it with cloth or velvet1 the latter preferable1 the best colour green1 and cut a small groove out of the upper edge2 this is to receive the glass shade1 which construct thus3 procure five pieces of glass1 the sizes rendered necessary by your stand to form a square or oblong shade1 and fasten all together by means of strips of thin paper and gum 7the dull gold paper to be procured in sheets at any of the artists' repositories will look best7 at their edges4 ,the model must now be secured to the stand1 for which purpose the piece of wood mentioned at page #ef was inserted1 a hole is drilled through the bottom of the stand1 and a screw passed through it into the wood stay4 ,do not screw the model down too tightly upon the stand1 or you may force away the stay from its fastenings and destroy your work4 ,we have now described all the necessary materials and manipulations to complete in every respect a model similar to the mansion given in the illustrations1 and which1 though containing the general detail of a building of that description1 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 example4 ,while all our attention is being turned towards ,italian architecture1 ,gothic must not be forgotten1 and though the general method of procedure is the same for both1 yet there are numerous things which exist only in the latter style1 and in consequence demand separate instructions4 ,in order1 therefore1 that nothing shall escape being described in the various styles1 that the student may have nothing to retard his operations1 we append the methods of working the various details in the form of an illustrated glossary1 the alphabetical arrangement of which will1 we think1 enable the student more readily and quickly to find the particular information he may require4 ,,part ,,iv4 ,,hints ,,on ,,landscape ,,gardening2 ,,laying ,,out ,,grounds1 c4 ,we have1 as yet1 proposed to finish the model in the plainest and most simple way1 completely unaided and unadorned by the adjuncts of gardens or trees4 ,and yet1 that models are frequently considerably improved in appearance by these imitations of natural objects1 when taste and skill go hand in hand1 will be admitted by all1 but we often see them completely spoiled by such additions4 ,it is indeed somewhat difficult to say how far we may venture with propriety upon this path1 and where to draw the line requires some tact2 we will not1 therefore1 lay down any rule absolutely as to how far the laying out of grounds and the modelling of the trees1 c41 may be admissible1 only giving some instructions for modelling the objects themselves4 ,and though the grounds are laid out1 the picturesque undulations of the surface1 the ponds1 flower-beds1 arcades1 terraces1 lawns1 shrubs1 and trees1 faithfully represented1 let it not for one moment be supposed that by so doing we render what was before a work of art1 a mere toy4 ,far from it4 ,we do not wish the reader1 when he thinks of a model1 to remember those of ,york ,minster1 or ,strasbourg ,cathedral1 and which1 borne aloft upon the shoulders of some wandering ,italian1 tempt the vulgar by the rich colours of the stained glass inserted in their chalk sides1 and brilliantly illuminated by the light of a farthing candle placed within2 or of the grounds1 as bearing any resemblance to those interesting toys representing a 8castle in cork10 about an inch high1 whose clinging ivy is represented by one of the largest species of moss1 and in whose luxurious gardens bloom roses two inches in diameter1 roses which should have decked some matron's cap1 but which for the nonce were pressed into this more noble service4 ,but1 to proceed4 ,balusters of grotesque1 ,elizabethan1 or other patterns1 when cut out of the solid stone1 must be made by gumming the paper in different thicknesses1 till that required is obtained1 carefully drawing the pattern1 and then cutting out with knife ,no4 #c4 ,turned work1 as circular pedestals for statues1 sundials1 gate-piers1 balusters1 c41 cannot be successfully imitated in paper1 but are better turned in wood of some light colour1 and then tinted with body colour to the required shade2 all work of the same description that is square may be constructed in exactly the same manner as before described for chimney-stacks4 ,for a representation of lawns and grassy slopes1 meadow1 c41 we may take white velvet1 and tint it to any required shade1 or use cloth which can be obtained any shade of green1 or even flock paper may be procured1 which1 when cleverly laid on the work1 gives an excellent imitation of grass2 but of all these methods1 velvet tinted will be found the most effective and best4 ,water1 represent with looking-glass1 or with mica1 to the back of which is gummed paper of suitable tint for the situation of the water4 ,for rocks1 grottoes1 c41 take stout white paper1 and thoroughly soak it in water until it is rendered quite pliable1 and then with the fingers1 pieces of wood1 or any thing that may suggest itself as being useful1 mould or model it to the required shapes fancy or skill may suggest1 and afterwards tint it to resemble nature4 ,an effect better still may be obtained by gumming it1 when perfectly dry1 with thick gum1 and then dusting or sprinkling it with fine sand1 which may be procured of various shades4 ,this method adopt also for walks1 carriage-drives1 or any place where a representation of road1 or gravel1 may be required4 ,cut out your flower-beds in thin cork1 and then burn the upper surface2 this will give the appearance of rich mould1 or earth1 and also serve as a good groundwork to stick the shrubs and flowers into4 ,in your trees1 rather aim at a general or suggestive effect1 than at much minuti of detail2 procure pieces of twigs1 and shape them for the trunks and branches1 and then gum on them the smallest-leaved moss1 in good outline to represent nature2 this moss will1 when perfectly dried1 bear tinting well4 ,flower-patches1 the same moss with a bit of bright scarlet1 or other paper1 here and there gummed among it4 ,we have now given sufficient general instructions to enable the student to proceed with this branch1 should his fancy lead him2 and with these suggestions1 and his own practice1 he may in a short time be enabled to imitate successfully the quaint gardens of the ,elizabethan period1 or the more natural taste evinced in the landscape gardening of our own times4 444 8,does airy fancy cheat ,my mind well pleased with the deceit8 ,i seem to hear1 ,i seem to move1 ,and wander through the happy grove1 ,where smooth springs flow1 and murmuring breeze ,wantons through the waving trees40 ,,creech4 ,,part ,v4 ,a ,,glossary ,,containing ,,the ,,methods ,,of ,,working ,,various ,,detail1 c41 ,,not ,,hitherto ,,described4 ,a4 ,,arch4--,as a general rule1 every description of arch may be successfully modelled by means of the knife-compass2 each separate moulding that occurs must consist of separate pieces of paper1 the edge of which has been moulded by one or other of the means described1 and these layers gummed over one another when finished4 ,to make our meaning clearer1 in fig4 #a next page1 a section of a cornice is given1 as illustrating the method to be adopted for arches4 ,it will here be seen that it is composed of six separate pieces1 or1 more properly speaking1 thicknesses1 for each portion will be made of the number of thicknesses required by its depth2 ,no4 #a1 the fillet1 square1 ,no4 #b1 the cyma recta1 first splay1 as shown by the dotted line2 and then press with the moulding tool to the required shape1 and thus proceed with all the other members4 ,this cornice is not drawn to any scale4 ,illustration3 ,fig4 #a4 ,no4 #a ,fillet4 ,no4 #b ,cyma recta4 ,no4 #c ,fillet4 ,no4 #d ,casetto4 ,no4 #e ,facia4 ,no4 #f ,continuation of facia4 ,no4 #g ,bed mould4 ,where deep hollows occur1 as in ,gothic mouldings1 a different method must be adopted1 see fig4 #b1 the moulding for a ,gothic window jamb2 here the deep hollows are constructed by bending thin paper to the required curve1 and gumming it in the right angles1 or other angles required4 ,a and ,b represent the outside walls of the work1 and ,c ,c ,c ,c the various angles required by the mouldings4 ,as will be seen1 the other mouldings are formed on the ends of angle-pieces1 in the same manner as adopted for the cornice4 ,illustration3 ,fig4 #b4 ,,architrave4--,in forming these1 the same method may be adopted as for cornices1 cutting the mouldings separately1 and laying them one over the other in the order in which they come4 ,circular architraves are easily and beautifully cut with the knife-compass4 ,,acanthus4--,the method of modelling the leaves of this plant1 so much used in ornamentation1 will be afterwards described under the general head of ornaments4 ,,ashlar4--,in representing work of two kinds1 namely1 quoins of dressed work1 and filling in of random tooled ashlar3--,draw the quoins in with a ,h ,h ,h pencil1 score in the ashlar1 and tint as may be desired4 ,illustration3 ,,random ,,ashlar4 ,,astragal4--,first cut your paper square1 thus--2 next bevel the edge thus 771 and then1 with one of the hollow ivory moulding tools run along the edge by pressure1 give the intended round4 ,,acroteria4--,may be modelled in exactly the same manner as previously described for chimney shafts 7see page #hj1 ante74 ,b4 ,,barge ,,board4--,first determine on the thickness your board is to be1 and then let the paper for it be pressed closer together than that used for ordinary work2 carefully draw the pattern1 and cut out with knife ,no4 #c1 splaying the tracery with knives ,nos4 #a and #b1 and smoothing with an ivory or agate burnisher4 ,illustration3 ,,barge ,,board4 ,,buttress4--,if they are to a large scale1 say quarter-inch1 one foot1 they are best boxed out2 the angles carefully and accurately mitred4 ,less scale1 they may be boxed out of double thickness1 as described for chimney shafts2 or1 if very small size1 they may be cut from the solid4 ,illustration3 ,,side ,,view4 ,illustration3 ,,front ,,view4 ,,balustrade4--,model the capping as described for cornices1 with the exception1 this will be worked upon both faces4 ,,blocking4--,to a cornice4 ,this1 if large1 is best constructed by being boxed out4 ,if small in size1 cut them out of the solid4 ,,bracket4--,brackets in ,gothic work are to be constructed in layers1 in a similar manner as described for cornices2 other brackets may be cut from the solid paper1 first by making a pattern1 or template1 in thin tea lead1 or sheet copper1 and marking round the edge upon the paper1 uniformity of size being thus ensured4 ,c4 ,,cornices4--,the construction of cornices is fully described in that of the ,house1 illustrated1 and also under the head of ,arch1 where a cornice is described as illustrating the formation of moulded arches4 ,,coins1 or ,,quoins2 see those described for ,house1 page #fd1 ante2 also ,ashlar-work4 ,,coping4--,if the coping be small scale1 cut from the solid by the adjusting straight-edge2 otherwise they are better boxed out4 ,,cresting4--,proceed in much the same manner as described for barge boards2 use a template to save trouble in pencilling out1 and cut with knife ,no4 #c2 three thicknesses are ample for eighth scale work4 ,,cusps4--,see description of ,tracery2 window-cusps being circular work1 ,no4 #c knife must be used4 ,,corbel4--,refer to ,cantilevers in ,house ,tower ,cornice1 the method of modelling being the same1 except such as are composed of a series of horizontal mouldings1 in which case proceed as for cornices4 ,,console4--,the console given for example is composed vertically of five separate pieces2 horizontally of two1 each separate part receiving its proper form1 and when completed1 gummed together4 ,illustration ,,capital1 ,,corinthian4--,we choose for illustrating the method adopted for modelling capitals1 a ,corinthian one1 as most useful for our purpose4 ,the example given is from the ,temple of ,vesta1 at ,tivoli1 a beautiful and peculiar example1 to model which proceed thus ,illustration3 ,a ,a ,a ,flowers in the abacus4 #a #b #c ,abacus4 ,b ,b ,volutes4 ,c ,c ,caulicoles4 ,c99 ,bell4 #a #b #c ,astragal4 ,d ,d ,d ,flutes4 ,compose the abacus of three layers1 #a1 ovolo1 #b1 fillet1 #c1 cyma2 then the bell of the capital must be turned out of some close-grained wood1 and attached to the astragal1 composed of three pieces1 #a1 fillet1 #b1 astragal1 #c1 fillet4 ,the leaves are then to be modelled1 as described under the head of ornaments1 also the flower in the abacus2 the volutes and caulicoles in a similar manner to that described for consoles4 ,when all are prepared1 they must be fixed most accurately in their places4 ,the bell of the capital must be tinted previously1 to resemble in colour the rest of the work4 ,illustration ,,column1 ,,circular4--,this description of columns must be formed out of very thin paper1 rolled as close as possible to the required lengths and diameters1 thinning the paper at the extreme edge with a very sharp knife to conceal the join4 ,if the columns are too small to be cleverly rolled1 they may be turned as described for balusters2 should the columns 7as in classic work17 diminish1 then procure a wood core to roll the paper round1 and when the paper is gummed and dry1 withdraw the core4 ,it will now be obvious that combinations of various descriptions occurring so frequently in ,gothic work1 may easily be represented as this column in plan1 being nothing more than four rolls joined together4 ,if the columns are too small for paper1 turn shafts1 bases1 and caps at once2 by this means much unnecessary trouble will be saved1 and a superior effect produced4 ,d4 ,,dentils4--,model dentils in the same manner as previously described for brackets1 cantilevers1 c4 ,,dome4--,whatever the shape of the dome you wish to model may be1 a pattern on which to form it had best be turned in wood2 this forms a basis upon which the paper casing may remain until dry1 and then the mould may be removed4 ,it has not been thought necessary within the limits of this work to include the development of the various shapes of domes and cupolas1 the student being deemed master of this branch of science4 ,if1 however1 he should not be1 any work on practical geometry will supply his wants4 ,,doors4--,a copious description of the manner of modelling doors is given in those described for the ,house1 page #ea1 ante4 ,f4 ,,flutes4--,in order to flute a column1 we proceed thus3 first roll the column up as before described1 taking care to have it smaller than if plain1 to allow the fluted piece to make up the required diameter2 then prepare a piece of paper 7one thickness will do71 cut it of sufficient size to go once round the column1 and join exactly2 upon this piece carefully space or mark out the divisions of the flutings4 ,now procure a piece of soft straight-grained deal1 perfectly free from knots1 and with some blunt1 round-headed instrument 7one of the modelling tools1 or a piece of ivory filed smooth17 indent the wood with a groove the exact length of the required flute1 upon which 7the paper having been previously damped only71 press it into the wood groove all along the flute with the same tool the groove was made with1 and so proceed with each in succession1 gumming them to the column when dry4 ,h4 ,,hollows4--,in forming hollows in mouldings1 c41 if large1 proceed as described under the head of ,arch2 if small1 first cut by means of the 8adjusting straight-edge10 an angle1 thus1 ,v2 and then with a curved ivory tool give it the required concavity by pressure along the whole length of the previously cut angle4 ,,hood ,,mould4--,these may be cut with the 8knife-compass10 and the mouldings worked by fitting a piece of ivory filed to the required form in lieu of the knife2 they must be slightly gummed upon the underside to the cutting-board1 to keep them steady while being worked4 ,i4 ,,ironwork4--,may be represented in either paper1 tea-lead1 thin sheet copper1 or wire1 depending on size and form2 perhaps the easiest and best material for general purposes is tea-lead1 i4 e41 the lead with which the tea chests are lined4 ,o4 ,,ornaments4--,under this head is included every description of foliage1 leaves1 c4 ,all the leaves1 c41 must be carefully drawn and cut out1 and then indented on either side1 as concavity or convexity is desired1 in a similar manner to the operation of fluting a column1 with the different ivory modelling tools on a piece of soft yielding deal4 ,bosses1 crocketts1 finials1 festoons1 wreaths1 in short every description of foliage1 and even sculpture in bas-relief1 may be beautifully modelled by these simple means4 ,t4 ,,tracery ,,window4--,the general method of modelling windows of this description is very simple1 but the practice difficult4 ,first1 paper upon which you intend to cut out any tracery1 must be pressed closer together than that used for ordinary work1 so as to afford more assistance to the knife when cutting on the splay4 ,having drawn the design of your window1 proceed to cut out all the interstices with knife ,no4 #c2 then splay down from the nosing with knives ,nos4 #a and #b1 as each may be found useful1 cutting through with one stroke1 or rather with a succession of short strokes right through on the slant1 boldly and without leaving a jagged edge2 afterwards smooth your work with ivory or agate4 ,you had better place the pieces that came from between the mullions while cutting the splay1 in their places again between the mullions1 to offer resistance to the knife and prevent them bending4 ,the eyes may be successfully formed by packing-needles of diamond shape1 fixed in a handle4 ,,end ,,of ,,the ,,glossary4 ,,to ,,the ,,reader4 ,it will have afforded the ,author sincere gratification if the contents of this little work have found favour in the eyes of the ,reader1 and have been a ready help to him in his efforts in ,architectural ,modelling4 ,next to the pleasure of learning1 is that of imparting knowledge4 ,the ,author has endeavoured1 to the best of his ability1 to render all his instructions clear and practical1 at the same time divesting them of all unnecessary technicalities1 and rendering them as terse as possible4 ,,finis4 ,,london3 ,,bradbury ,,and ,,evans1 ,,printers1 ,,whitefriars4 ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,item number #d was not included in the caption on p4 #fa4 #b4 ,silently corrected typographical errors4 #c4 ,retained anachronistic and non-standard spellings as printed4 #d4 ,enclosed italics font in underscores4 #e4 ,enclosed bold font in equals4