When you have been all round the design in this way with such gouges as may be needed for the slow and quick curves, get the wood out nearly down to the ground, leaving a little for finishing. Do this with any tool that fits the spaces best; the larger the better. Cut across the grain as much as possible, not along it. The flat gouge, No. 1, will be found useful for this purpose in the larger spaces, and the grounders for the narrow passages. This leaves the ground in a rough state, which must be finished later on.

Now take gouges Nos. 2, 3, 4, 5, 6, 7, and chisels Nos. 10, 11, 12, and with them cut down the outline as accurately as possible to the depth of the ground, and, if you are lucky, just a hair's breadth deeper. In doing this make the sides slope a little outward toward the bottom. If the gouges do not entirely adapt themselves to the contours of your lines, do not trouble, but leave that bit to be done afterward with a sweep of the tool, either a flat gouge, or the corner-chisel used like a knife.

Now we have all the outline cut down to the depth of the background, and may proceed to clear out the wood hanging about between the design and the ground all round it. We shall do this with the "grounders," using the largest one when possible, and only taking to the smallest when absolutely necessary on account of space. This done, we shall now proceed to finish the hollow sides of the panel and make the miters. Again, take No. 6 gouge and drive a clear hollow touching the blue line at end of panel, and reaching the bottom of the sinking, i.e., the actual ground as finished, seea, Fig. 15. To form the miter at top of left-hand side of panel, carry the hollow on until the tool reaches the bottom of the hollow running along the top; as soon as this point is gained, turn the tool out and pitch it a little up in the way shown atc, Fig. 15, in which the tool is shown at an angle which brings the edge of the gouge exactly on the line of the miter to be formed. Beginning as it does atb, this quick turn of the handle to the left takes out the little bit of wood shown by dotted lines atb, and forms one-half of the miter. The cross-grain cut should be done first, as in this way there is less risk of splintering. Now repeat the process on the long-grain side of the panel, and one miter is in a good way for being finished.

A word now about these sides of sunk panels. They always look better if they are hollowed with a gouge instead of being cut square down. In the first case they carry out the impression that the whole thing is cut out of a solid piece of wood, whereas when they are cut sharply down they always suggest cabinet-making, as if a piece had been glued on to form a margin.

We have now got the work blocked out and the ground fairly level, and we are ready to do the little carving we have allowed ourselves. Before we begin this I shall take the opportunity of reminding you that you must be very careful in handling your tools; it is a matter of the greatest importance, if the contingency of cut fingers or damaged work is to be avoided. The left hand in carving has nearly as much to do as the right, only in a different way. Grasp the chisel or gouge in the left hand with the fingers somewhat extended, that is, the little finger will come well on to the blade, and the thumb run up toward the top of the handle; the wrist meanwhile resting on the work. The right hand is used for pushing the tool forward, and for turning it this way and that, in fact does most of the guiding. Both hands may be described as opposing each other in force, for the pressure on the tool from the right hand should be resisted by the left, until almost a balance is struck, and just enough force left to cut the wood gently, without danger of slipping forward and damaging it or the fingers. The tool is thus in complete command, and the slightest change of pressure on either hand may alter its direction or stop it altogether. Never drive a tool forward with one hand without this counter-resistance, as there is no knowing what may happen if it slips. Never wave tools about in the hand, and generally remember that they are dangerous implements, both to the user and the work. Never put too much force on a tool when in the neighborhood of a delicate passage, but take time and eat the bit of wood out mouse-like, in small fragments.

Now we are ready to finish our panel. Take the grounders, according to the size required, always using the biggest possible. Keep the tool well pressed down, andshaveaway the roughness of the ground, giving the tool a slight sideway motion as well as a forward one. Work right up to the leaves, etc., which, if cut deep enough, should allow the chips to come away freely, leaving a clear line of intersection; if it does not, then the upright sides must be cut down until the ground is quite clear of chips. Grounder tools are very prone to dig into the surface and make work for themselves: sharp tools, practise, and a slight sideway motion will prevent this. Tool No. 23 is useful in this respect, its corners being slightly lifted above the level of the ground as it passes along. Corners that can not be reached with the bent chisels may be finished off with the corner-chisel.

Now we come to the surface decorations, for the carving in this design consists of little more. This is all done with the gouges. Generally speaking, enter the groove at its widest end and leave it at the narrowest, lowering the handle of the tool gradually as you go along to lift the gouge out of the wood, producing the drawing of the forms at the same time. A gouge cut never looks so well as when done at one stroke; patching it afterward with amendments always produces a labored look. If this has to be done, the tool should be passed finally over the whole groove to remove the superfluous tool marks - a sideway gliding motion of the edge, combined with its forward motion, often succeeds in this operation. To form the circular center of the flower, press down gouge Nos. 5 or 6, gently at first and perpendicular to the wood. When a cut has been made all round the circle, work the edge of the tool in it, circus-like, by turning the handle in the fingers round and round until the edge cuts its way down to the proper depth. (See A, Fig. 15.)

Carve the sides of the leaves where necessary with flat gouges on the inside curves, and with chisels and corner-chisels on the outside ones. These should be used in a sliding or knife-like fashion, and not merely pushed forward. Finish the surface in the same manner all over between the gouge grooves and the edges of the leaves, producing a very slight bevel as in sectiona, Fig. 13, and this panel may be called finished.

Fig. 14 is another suggestion for a design, upon which I hope you will base one of your own as an exercise at this stage of your progress.

Before we begin another, though, I shall take this opportunity of reading you a short lecture on a most important matter which has a great deal to do with the preparation of your mind in making a suitable choice of subject for your future work.