present all the corners, I return to
them, in my hand gouge 24, three-eighths of an inch, and work them
out on the same basis exactly as the main groove. All this being to
my mind as shown in fig. 6, I take gouge 43, used before, and in the
roughest way possible, and avoiding any depth of cutting, I model
the back in its first stage, as shown in fig. 7, obtaining even here
a decently developed and somewhat truthful arching all over.

[Illustration: PLATE VI.]

[Illustration: PLATE VII.]

From which I advance to obtain the first smooth stage all over, as
in fig. 8, thus--with a square of No. 2-1/2 sandpaper folded in
half, so that in size it is about 2-1/2 inches all ways, and this
again folded crosswise, giving me a firm point as would be a rasp so
formed, I work out the corners, and all about them for, say, an
inch, until I get a beginning and an example of groundwork from
which to smooth down the whole. Then I take the cork rubber, tool
67, and a piece of sandpaper as last, rather larger than the one
just used, so that I can bend it firmly over both sides and as I
want, when I change it about to secure a fresh, sharp edge.

[Illustration: PLATE VIII.]

I begin by firmly placing the wood, etc., as before, and working the
sandpaper (over the cork), firmly pressed in the first stage,
against the rough, raised edge, all around the outline, but being
most careful not to wear what is left of it away, which must be left
intact as far as possible to the end, when it is made to assume that
beautiful sort of curled, yet sharp edge so much admired. Then, more
towards the upper ridges, over and over, backwards and forwards,
having always the careful arching and model of elegance before me,
until I arrive at that growing stage of the work as shown in fig. 8,
which I proceed to damp well all over with a wet sponge, the
surface, as you may see, as I hold it well to the light, being again
abominably rough, and not at all _now_ like fig. 8, as the moisture
has raised the fibres in all directions.

But before I go farther into this interesting, consequently
absorbing process, I must answer some question such as "but why use
sandpaper? it is decried by most experts, and utterly ignored by
some writers as having no status among the tools used by
professional makers of note, and was not believed to have had a
place among those of the Ancients."

Then so much the worse for the work of the makers of to-day and for
those of yester