Generate a small ink-on-paper engraved illustration of a single wooden staked sawbench stool, presented inside a thin double-line roundel frame. The image must read as a real 19th–early 20th century pulled wood engraving — Bewick / Lost Art Press / Roubo lineage — NOT as an AI-generated illustration. Read every section below carefully. The three sections marked CRITICAL describe failures that prior generations have made repeatedly; you must not repeat them.

================================================================ CRITICAL #1: TENON HEADS ARE NOT SCREWS. ONE LINE, NOT A CROSS.

The four small marks on the seat top are NOT SCREWS. They are NOT Phillips heads. They are NOT flathead screws. They are NOT crosses, X's, plus signs, asterisks, or any kind of crossed-line symbol.

Each mark is a WEDGED ROUND TENON END. Construction: a round wooden leg has been driven up through a round hole in the slab seat. After it's seated, the carpenter has made ONE single straight saw-cut (a kerf) across the top of the round tenon, then driven a small thin wooden wedge into that single kerf. The wedge spreads the tenon and locks the leg in place.

What you draw on the seat top, at each of the four tenon positions:

• A small round disk (the round end-grain of the tenon, ~1/2" diameter actual size, foreshortened to a slight ellipse by the camera tilt). The disk shows fine concentric or radial end-grain lines inside it — it is a wooden pith circle, not a metal disk.
• ONE single straight thin line across the diameter of that disk. This is the wedge driven into the kerf. The line is darker than the surrounding grain. The line runs all the way across the disk from one side to the other.
• That is all. Nothing else inside the disk. NO second crossing line. NO countersink ring. NO threads. NO recessed slot. NO Phillips X. NO ornamental detail.

Visual reference for the tenon mark: think of the Greek letter theta (Θ) — a circle bisected by a single horizontal line. NOT theta with two crossing lines. NOT a target. NOT a screw head.

All four wedges are oriented the same direction: their lines all run PARALLEL to each other, all parallel to the SHORT AXIS of the rectangular seat (because in real woodworking, kerfs are always cut perpendicular to the seat's grain to prevent splitting). So if the seat is wider than it is deep and the long axis runs left-to-right in the image, all four wedge lines run TOP-TO-BOTTOM (front-to-back) on the seat.

================================================================ CRITICAL #2: LEGS ARE RECTANGULAR/SQUARE-SECTION TAPERED PRISMS, FLARING OUTWARD. NOT ROUND. NOT OCTAGONAL.

The legs are NOT round. NOT octagonal. NOT turned spindles. NOT cylindrical.

Each leg is a STRAIGHT-SIDED four-sided RECTANGULAR (or square) cross-section TAPERED PRISM. Like a small section of dimensional lumber that has been planed to a taper. Four flat faces, four sharp arrises (corners) running its length.

LEG TAPER — this has been generated wrong every time:

• Each leg is THICKER AT THE TOP (where it meets the seat) and NARROWER AT THE BOTTOM (where it meets the floor).
• The taper goes FROM THICK AT TOP TO THIN AT BOTTOM. Not the other way around. Not parallel-sided. Not bulging in the middle.
• Approximate proportions: at the top where the leg meets the seat, the leg is roughly 1.5 inches square. At the foot where it meets the floor, the leg is roughly 1 inch square. The faces taper smoothly and linearly between these two cross-sections.
• The four arrises (corner edges) of each leg are visible as four straight crisp lines running the full length of the leg, converging toward the foot.

LEG SPLAY (independent from taper):

• Each leg also leans OUTWARD as it descends. The four legs together form a wider footprint at the floor than the seat above them — but with the leg getting THINNER as it leans out, not thicker.
• Compound splay: each leg leans both forward/back AND outward to the side. Front-left leg leans forward-and-left as it goes down; front-right leans forward-and-right; back-left leans back-and-left; back-right leans back-and-right.
• Splay angle approximately 10° in each direction.
• Important: even though the leg leans outward, its taper still goes from THICK at top to THIN at bottom. Splay describes the leg's centerline; taper describes the leg's cross-section. These are independent. Do not confuse them.

LEG SILHOUETTE (the visible outline of each leg in the drawing):

• Looking at any one leg head-on, you see two roughly-vertical lines that converge slightly toward the bottom (the taper) AND lean outward toward the bottom (the splay). The leg's silhouette is a slim, slightly-tilted, downward-narrowing trapezoid.
• The bottom of each leg is cut SQUARE TO THE FLOOR — a flat horizontal foot surface that the leg stands on. NOT angled, NOT pointed.

================================================================ CRITICAL #3: HAND-ENGRAVED LINE QUALITY, NOT AI ILLUSTRATION.

The image must read as a PULLED PRINT from a hand-cut wood-engraving block, made by an English engraver in the Bewick lineage. It must NOT read as a digital illustration, vector art, or AI-generated cross-hatching.

What "hand-engraved" actually means visually:

• Lines have subtle WOBBLE and irregularity. They are not perfectly smooth or perfectly straight. Even "straight" lines have a slight tremble where the burin moved through the wood.
• Lines TAPER at their ends — they don't terminate as rectangular dashes but as fine pointed lifts where the engraver's tool came off the block.
• Hatching is NOT mechanically uniform. The spacing varies subtly. Some parallel lines are slightly closer, some slightly farther. The density is hand-judged, not algorithmic.
• WHITE-LINE technique: in real wood engraving, the engraver cuts white lines INTO a black block. So in deep shadow areas, instead of drawing more black lines on white, the engraver leaves the black field and cuts thin white grooves through it. This produces small areas of black mass with fine white lines through them — the inverse of pen-and-ink hatching. Use this technique sparingly in the deepest shadow zones (right end-grain face, undersides of seat overhang).
• Line weight is generally consistent (a single nib width, since one engraving tool was used) — but the IMPRESSION varies because some lines are pulled with more ink (thicker, blacker) and some with less (lighter, finer). This is the natural variation of relief printing, not deliberate stylistic variation.
• Slight INK-TRAP at line intersections: where two lines cross, there's a tiny thickening or pooling, like a pulled letterpress impression. Microscopic but present.
• A few small imperfections: a cross-hatch that doesn't quite close, a grain line that breaks or skips, a hatch line that ends one tick short. The hand showing through.

What to avoid (these are the AI tells):

• Mechanically perfect line spacing
• Uniform line weight throughout
• Vector-clean curves with no irregularity
• Hatching that doesn't follow the form (lines going in arbitrary directions instead of wrapping around the cylinder, following the grain, or angling with the surface)
• "Halos" of empty white around hatched zones (real engraving has hatching extending all the way to the form's edge)
• Phantom double outlines (two parallel lines defining one edge)
• Symmetric grain patterns (real wood is asymmetric)
• Identical legs (real hand-drawn furniture has subtle leg-to-leg variation in grain pattern, even when proportions match)

================================================================ TYPOLOGY (context — read for understanding, not new constraints)

The stool is a STAKED SAWBENCH in the Christopher Schwarz / Lost Art Press tradition (see The Anarchist's Design Book, The Stick Chair Book) — derived from André-Jacob Roubo's 18th-century L'Art du Menuisier plates and from English / Welsh country-stool vernacular and American primitive milking-stool traditions.

CORRECTION TO THE TYPOLOGY for this generation: the canonical staked sawbench uses ROUND tenons through ROUND holes, but this version uses RECTANGULAR-SECTION TAPERED legs (because that's the visual register I want). The legs join the seat with rectangular wedged through-tenons — the leg's top is shaped to a round tenon for the last ~3/4" of its length so it can pass through a round hole in the seat, but the body of each leg below the seat is rectangular-section. Above the seat, you only see the round tenon end with its single wedge line. Below the seat, you see the rectangular tapered leg. The transition from round tenon to rectangular leg happens hidden inside the seat thickness.

Construction summary:

• Single thick rectangular slab of solid hardwood for the seat.
• Four rectangular-section tapered legs, each with a round tenon at its top, driven up through round holes in the seat from below.
• Each tenon is wedged from above with a single hardwood wedge in a single saw kerf.
• No apron, no stretchers, no rails. Seat is the only horizontal element.

================================================================ SEAT

• Rectangular slab, approximately 2:1 long-to-wide ratio, ~2 inches thick (visible seat-edge thickness).
• Top edge slightly chamfered/eased: a fine bevel runs around the top perimeter, drawn as a thin parallel inner line ~1/16" inside the outer edge of the seat top.
• Top surface: long-axis grain. Fine parallel grain lines running the long direction. Two or three subtle "cathedral" arches where flat-sawn lumber would show its growth-ring peaks. One or two small oval knots, asymmetrically placed.
• Front long edge of seat: long-grain face. Vertical stack of fine parallel lines (the side view of the long-grain).
• Visible short end (right end at this camera angle): END-GRAIN. Drawn as concentric arcs or tight cathedral V's — distinctly DIFFERENT TEXTURE from the long-grain face. End-grain reads as more chaotic, with arcs and knots and the heart of the tree showing.
• Four wedged tenons positioned ~1.5–2" inset from each corner of the seat top. Each tenon is a small foreshortened circle with ONE single wedge line across it (see CRITICAL #1).

================================================================ CAMERA / VIEWPOINT

• Three-quarter view from the front-right.
• Camera elevation: approximately 30° above horizon. Looking DOWN onto the seat top.
• Seat top must be clearly visible as a foreshortened parallelogram with all four wedged tenons readable on it.
• Camera horizontal angle: about 30° off the long axis of the seat. Viewer sees the front long face of the seat AND the right short end of the seat.
• All four legs are individually visible — none completely hidden behind another.
• Front-right leg foreshortened nearest the viewer; front-left further; two rear legs visible behind/between them with their splay readable.

================================================================ LIGHTING

• Single implied light source from upper left, raking at ~30° from horizontal.
• Lit surfaces (seat top, left faces of legs): minimal hatching, mostly white paper with thin grain lines.
• Shadow surfaces (right end-grain of seat, right faces of legs): denser parallel hatching, optionally crossed in the deepest zones, with white-line technique in the very deepest pockets.
• Cast shadows ON the stool itself (seat overhang shadowing the upper part of legs): a thin denser band of hatching at those interfaces.
• DO NOT add a cast shadow on the ground. The stool floats with no ground line, no hatched ground patch, no decorative pattern under it.

================================================================ ROUNDEL FRAME

• Two concentric circles centered on the canvas.
• Outer ring: thin hairline, ~1.5 pixels on a 1000-pixel canvas. Slightly irregular (hand-engraved character — see CRITICAL #3).
• Inner ring: thin hairline, ~1.5 pixels, offset inward by ~3% of canvas width.
• Both rings perfectly continuous: no gaps, no breaks, no banner, no text, no initials, no decoration.
• Register: Doves Press / Eragny Press / Edward Gordon Craig bookplate ex-libris. Quiet, hand-printed.
• DO NOT make the outer ring heavy or stamped-looking. DO NOT add a third ring. DO NOT add corner ornaments.

================================================================ COMPOSITION INSIDE THE ROUNDEL

• Stool occupies approximately 55–65% of the inner-circle diameter.
• OPTICAL CENTERING: stool's visual mass center sits ~4% BELOW the geometric center of the roundel. Negative space above the stool slightly larger than below.
• Stool sits level (no tilt, no rotation).
• Even breathing room around the stool. The widest extent of the splayed feet should not come closer than ~8% of canvas width to the inner circle.

================================================================ REFERENCE CANON (style-match these specifically)

For object construction and physics:

• Christopher Schwarz / Lost Art Press staked sawbenches and Roman benches
• André-Jacob Roubo, L'Art du Menuisier (1769–1775)
• Welsh stick stools and English country milking stools, 18th–19th century
• Eric Sloane, A Reverence for Wood, A Museum of Early American Tools
• Foxfire book series illustrations

For engraving line quality and hatching technique:

• Thomas Bewick, A History of British Birds tailpieces (1797, 1804)
• Diderot's Encyclopédie tool plates
• Lynd Ward novels in woodcuts (1929–1937)
• Rockwell Kent's wood engravings

For the roundel ring:

• Doves Press, Ashendene Press, Eragny Press device marks (1900–1916)
• Edward Gordon Craig and Eric Gill bookplate / ex-libris designs

================================================================ PHYSICS / RENDERING CHECKLIST (verify before generating)

1. Each of the 4 tenon ellipses on the seat top has ONE single straight wedge line, not a cross, not a Phillips X, not two crossed lines.
2. All 4 wedge lines are parallel to each other, all running the seat's short axis.
3. Each tenon position on the seat top maps to a specific leg below — the line from tenon center down through the seat continues out the bottom along that leg's splay vector to the foot. No crossed wires.
4. Each leg is RECTANGULAR / SQUARE cross-section, not round, not octagonal.
5. Each leg is THICKER AT TOP and NARROWER AT FOOT — taper goes top-fat to bottom-thin.
6. Each leg also splays outward as it descends (compound angle, ~10° in each plane). Splay and taper are independent and both present.
7. Each leg has crisp visible arrises (corner edges) running its length.
8. Foot of each leg is cut flat, parallel to the floor.
9. Stool floats with no ground line, no cast shadow, no hatched ground patch.
10. Cathedral-grain pattern on seat top is ASYMMETRIC (not mirrored).
11. Light source is consistent across all elements.
12. Hatching follows form (wraps cylinders, follows grain, angles with surfaces) — never arbitrary.
13. Lines have the slight wobble and tapered-end character of a hand-cut block, not vector smoothness.
14. Outer and inner roundel rings are both hairline, both continuous, no decoration.
15. Stool sits ~4% below geometric center of the roundel.

================================================================ DO NOT

• Do not draw the tenons as screws. No cross. No X. No Phillips. No plus. No two crossing lines. ONE line per tenon. Period.
• Do not make legs round, cylindrical, octagonal, faceted, or turned. Rectangular/square section ONLY.
• Do not taper legs the wrong way (fat at bottom, thin at top). They are FAT AT TOP, THIN AT FOOT.
• Do not add a cast shadow under the stool. No ground line. No hatched ground patch. No decorative floor pattern.
• Do not add stretchers, aprons, rails, dowel pins, brackets, or any horizontal element other than the seat.
• Do not add text, banners, ribbons, ornaments, initials, dates, or signatures.
• Do not use color. Pure black ink on white paper.
• Do not use stipple or dot shading. Parallel-line engraving only.
• Do not add a heavy outer ring. Both rings stay hairline.
• Do not center the stool geometrically. It sits ~4% below center.
• Do not produce vector-clean digital line work. The line must show the wobble, taper, and irregularity of a hand-cut wood block.
• Do not produce visible AI artifacts: melting tenons, half-finger legs, phantom edges, double outlines, hatching that doesn't follow form, mirrored-symmetric grain.

================================================================ OUTPUT

• 1254 × 1254 pixels.
• Square canvas.
• White paper background (#FFFFFF).
• Pure black ink (#000000).
• PNG format.
• The roundel and the stool are the ONLY content. No watermark, no signature, no border outside the roundel, no margin frame.