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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/20317-8.txt b/20317-8.txt new file mode 100644 index 0000000..21877fb --- /dev/null +++ b/20317-8.txt @@ -0,0 +1,1401 @@ +The Project Gutenberg EBook of A Treatise on Staff Making and Pivoting, by +Eugene E. Hall + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Treatise on Staff Making and Pivoting + Containing Complete Directions for Making and Fitting New + Staffs from the Raw Material + +Author: Eugene E. Hall + +Release Date: January 8, 2007 [EBook #20317] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON STAFF MAKING *** + + + + +Produced by Sigal Alon, Chris Curnow, Fox in the Stars and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + +Transcriber's notes: +Some minor typographical errors have been corrected. +The author's spelling has been retained. + + + + + A TREATISE + + ON + + STAFF MAKING + + AND + + PIVOTING + + + CONTAINING COMPLETE DIRECTIONS FOR MAKING + AND FITTING NEW STAFFS FROM + THE RAW MATERIAL + + + EUGENE E. HALL + + + WITH NUMEROUS ILLUSTRATIONS + + + CHICAGO: + HAZLITT & WALKER, PUBLISHERS + 1910 + + + + + CONTENTS. + + + CHAPTER I. + +The raw material. The gravers. The roughing out. The hardening +and tempering 5 + + CHAPTER II. + +Kinds of pivots. Their shape. Capillarity. The requirements of +a good pivot 13 + + CHAPTER III. + +The proper measurements and how obtained 19 + + CHAPTER IV. + +The gauging of holes. The side shake. The position of the graver 23 + + CHAPTER V. + +The grinding and polishing. The reversal of the work. The wax +chuck 29 + + CHAPTER VI. + +Another wax chuck. The centering of the work 35 + + CHAPTER VII. + +The finishing of the staff. Pivoting. Making pivot drills. Hardening +drills. The drilling and fitting of new pivots 39 + + + + +STAFF MAKING AND PIVOTING. + + + + +CHAPTER I. + + +To produce a good balance staff requires more skill than to produce any +other turned portion of a watch, and your success will depend not alone +on your knowledge of its proper shape and measurements, nor the tools at +your command, but rather upon your skill with the graver and your success +in hardening and tempering. There are many points worthy of consideration +in the making of a balance staff that are too often neglected. I have +seen staffs that were models as regards execution and finish, that were +nearly worthless from a practical standpoint, simply because the maker +had devoted all his time and energy to the execution of a beautiful piece +of lathe work, and had given no thought or study to the form and size of +the pivots. On the other hand, one often sees staffs whose pivots are +faultless in shape, but the execution and finish so bungling as to offset +all the good qualities as regards shape. To have good tools and the right +ideas is one thing, and to use these tools properly and make a practical +demonstration of your theory is another. + +I shall endeavor to take up every point in connection with the balance +staff, from the steel to the jewels, and their relation to the pivots, +and I believe this will then convey to the reader all the necessary +points, not only as regards staffs, but pivots also, whether applied to a +balance or a pinion staff. + +It may be argued, and we often do hear material dealers advance the +theory, that to-day, with our interchangeable parts and the cheapness of +all material, it is a waste of time to make a balance staff. To the +reader who takes this view of the situation I simply want to say, kindly +follow me to the end of this paragraph, and if you are still of the same +opinion, then you are wasting your time in following me farther. For a +material dealer to advance this theory I can find some excuse; he is an +interested party, and the selling of material is his bread and butter; +but the other fellow, well I never could understand him and possibly +never shall. When we seriously consider the various styles and series in +"old model" and "new model," of only one of the leading manufacturers of +watches in this country, to say nothing of the legion of small and large +concerns who are manufacturing or have manufactured in the past, and then +think of carrying these staffs in stock, all ready for use, we then begin +to realize how utterly absurd the idea is, to say nothing of how +expensive! On the other hand, if you reside in a large city and propose +to rely on the stock of your material dealer, you will find yourself in +an embarrasing situation very often, for as likely as not the movement +requiring a new staff was made by a company that went out of business +back in the '80s, or it is a new movement, the material for which has +not yet been placed on the market. This state of affairs leads to +makeshifts, and they in turn lead to botch work. The watchmaker who does +not possess the experience or necessary qualifications to make a new +balance staff and make it in a neat and workmanlike manner, is never +certain of having exactly what is needed, and cannot hope to long retain +the confidence of his customers. In fact, he is not a watchmaker at all, +but simply an apprentice or student, even though he be working for a +salary or be his own master. There are undoubtedly many worthy members of +the trade, who are not familiar with the making of a balance staff, who +will take exceptions to this statement; but it is nevertheless true. They +may be good workmen as far as they go; they may be painstaking; but they +cannot be classed as watchmakers. + +This article is intended for the benefit of that large class whose +opportunities for obtaining instruction are limited, and who are ready +and willing to learn, and for that still larger class of practical +workmen who can make a new staff in a creditable manner, but who are +always glad to read others people's ideas on any subject connected with +the trade and who are not yet too old to learn new tricks should they +find any such. + +[Illustration: _Fig. 1._] + +Good tools, in good condition, are the most essential requisites in +making a new staff. I would not advise any particular make of lathe, as +the most expensive lathe in the world will not produce a true staff if +the workman cannot center his work accurately and does not know how to +handle his graver, while on the other hand fine work can be done on the +simplest and cheapest lathe by a workman possessing the requisite skill. +I will take it for granted that you use an American-made lathe of some +kind, or a foreign-made lathe manufactured on American lines. It is +advisable, though not absolutely necessary, to have three gravers similar +to those illustrated in Fig. 1, A being used for turning the staff down +in the rough; B for the conical pivots and square shoulders and C for the +under-cutting. The other tools and attachments needed will be described +as I come to them in use. + +The balance staff should be made of the best steel, tempered to such a +degree as to give the longest service and yet not so hard as to endanger +the breakage of the pivots. Select a piece of Stubb's steel wire, say No. +46, or a little larger than the largest part of the finished staff is to +be, and center it in a split chuck of your lathe. Be careful in selecting +your chuck that you pick one that fits the wire fairly close. The chuck +holds the work truest that comes the nearest to fitting it. If you try to +use a chuck that is too large or too small for the work, you will only +ruin the chuck for truth. Turn the wire to the form of a rough staff, as +shown in Fig. 2, leaving on a small part of the original wire, as shown +at A. After the wire is roughed out to this general form, remove from the +chuck and get ready to harden and temper it. The hardening and tempering +may be effected in various ways, and I am scarcely prepared to say which +method is the best, as there are several which give about the same +general results. One method of hardening is to smear the blank with +common yellow soap, heat it to a cherry red, and drop endwise into +linseed oil. Petroleum is preferred by some to linseed oil, but, to tell +the truth, I can see no difference in the action of linseed, petroleum or +olive oil. Be sure and have enough oil to thoroughly cool the blank, and +a deep vessel, such as a large-mouthed vial, is preferable to a saucer. +The blank will now be found too hard to work easily with the graver, and +we must therefore draw the temper down to that of fine spring steel. +Before doing this the blank should be brightened, in order that we may +see to just what color we are drawing it. The main object in using the +soap in hardening is that it may form a scale upon the blank, and if the +heating is effected gradually the soap will melt and form a practically +air-tight case around the blank. This scale, if the hardening is +carefully and properly done, will generally chip and fall off when the +blank is plunged in the oil, particularly if the oil is cool, and if it +does not fall off of its own accord, it can easily be removed by rolling +the blank upon the bench. If it does not come out clean, or if soap is +not used, it may be brightened by again inserting in the lathe and +bringing it in contact with a piece of fine emery paper or cloth. + +[Illustration: _Fig. 2._] + +I draw the temper in the following manner: Place some fine brass filings +in a boiling-out cup or bluing pan and lay the blank upon these filings, +holding the pan over the flame of an alcohol lamp until the blank assumes +a dark purple color, which it will reach when the heat gets to about 500° +F. This I consider the right hardness for a balance staff, as it is not +too hard to work well under the graver nor too soft for the pivots. At +this degree of hardness steel will assume an exquisite polish if properly +treated. Another method of tempering is to place the staff on a piece of +sheet iron or copper (say 1 inch wide by 4 long), having previously bent +it into a small angle, for the reception of the staff, as shown in Fig. +3. This piece of metal, when nicely fitted into a file handle, will +answer all the purposes of the bluing pan and presents quite a neat +appearance. Having placed the blank in the angle, lay on it a piece of +yellow wax about the size of a bean, and heat it over your lamp until the +wax takes fire and burns. Blow out the flame and allow the staff to cool, +and it will be found to be of about the right hardness. + +[Illustration: _Fig. 3._] + +We have now arrived at an important station in staff making, a junction, +we may term it, where many lines branch off from the main road. At this +particular spot is where authorities differ. I have no hesitation in +saying that at this particular point the split chuck should be removed +from the lathe head and carefully placed in the chuck box and the cement +chuck put in its place. I believe that all of the remaining work upon a +staff should be executed while it is held in a cement chuck. On the other +hand I have seen good workmen who turned and finished all the lower part +of a staff while in a split chuck, cut it off and turned and finished the +upper part in a cement chuck. All I have got to say is that they had more +confidence in the truth of their chucks than I have in mine. I have even +read of watchmakers who made the entire staff in a split chuck, but I +must confess I am somewhat curious to examine a staff made in that way, +and must have the privilege of examining it before I will admit that a +true staff can be so made. + +We will suppose that the workman has a moderately true chuck, and that he +prefers to turn and finish all the lower portions in this way. Of course +the directions for using a cement chuck on the upper part of a staff are +equally applicable to the lower. Before going further I think it +advisable to consider the requirements of a pivot, but will reserve this +for another chapter. + + + + +CHAPTER II. + + +The chief requirements of a pivot are that it shall be round and well +polished. Avoid the burnish file at all hazards; it will not leave the +pivot round, for the pressure is unequal at various points in the +revolution. A pivot that was not perfectly round might act fairly well in +a jewel hole that was round, but unfortunately the greater proportion of +jewel holes are not as they should be, and we must therefore take every +precaution to guard against untrue pivots. Let us examine just what the +effect will be if an imperfect pivot is fitted into an unround hole +jewel, and to demonstrate its action more clearly let us exaggerate the +defects. Suppose we pick a perfectly round jewel and insert into the +opening a three-cornered piece of steel wire, in shape somewhat +resembling the taper of a triangular file. We find that this triangular +piece of steel will turn in the jewel with the same ease that the most +perfect cylindrical pivot will. Now suppose we change the jewel for one +that is out of round and repeat the experiment. We now find that the +triangular steel soon finds the hollow spots in the jewel hole and comes +to a stand-still as it is inserted in the hole. The action of a pivot +that is not true, when in contact with a jewel whose hole is out of +round, is very similar, though in a less marked degree. If the pivot +inclines toward the elliptical and the jewel hole has a like failing, +which is often the case, it is very evident that this want of truth in +both the pivot and hole is very detrimental to the good going of a watch. + +[Illustration: _Fig. 4._] + +[Illustration: _Fig. 5._] + +There are two kinds of pivots, known respectively as straight and conical +pivots, but for the balance staff there is but one kind and that is the +conical, which is illustrated in Fig. 4. The conical pivot has at least +one advantage over the straight one, _i. e._, it can be made much smaller +than a straight pivot, as it is much stronger in proportion, owing to its +shape. All pivots have a tendency to draw the oil away from the jewels, +and particularly the conically formed variety, which develops a strong +capillary attraction. To prevent this capillary attraction of the oil, +the back-slope is formed next to the shoulder, although many persons seem +to think that this back-slope is merely added by way of ornament, to make +the pivot more graceful in appearance. It is very essential, however, for +if too much oil is applied the staff would certainly draw it away if its +thickness were not reduced, by means of the back-slope. Before leaving +the subject of capillarity let us examine the enlarged jewel in Fig. 5; +_c_ is an enlarged pivot, _b_ is the hole jewel and _a_ is the end stone. +We observe that the hole jewel on the side towards the end stone is +convex. It is so made that through capillarity the oil is retained at +the end of the pivot where it is most wanted. It is, in my opinion, very +necessary that the young watchmaker should have at least a fair +understanding of capillarity, and should understand why the end stone is +made convex and the pivot with a back slope. For this reason I will try +and make clear this point before proceeding further. We all know that it +is essential to apply oil to all surfaces coming in contact, in order to +reduce the friction as much as possible, and if the application of oil is +necessary to any part of the mechanism of a watch, that part is the +pivot. Saunier very aptly puts it thus: "A liquid is subject to the +action of three forces: gravity, adhesion (the mutual attraction between +the liquid and the substance of the vessel containing it), and cohesion +(the attractive force existing among the molecules of the liquid and +opposing the subdivision of the mass.)" + +We all know that if we place a small drop of oil upon a piece of flat +glass or steel and then invert the same the oil will cling to the glass, +owing to the adhesion of the particles; if we then add a little more to +the drop and again invert, it will still cling, although the drop may be +elongated to a certain degree. This is owing to the cohesion of the +molecules of the oil, which refuse to be separated from one another. If, +however, we again add to the drop of oil and invert the plate the drop +will elongate and finally part, one portion dropping while the other +portion clings to the main body of the liquid. The fall of the drop is +occasioned by gravity overcoming the cohesion of the molecules. Now take +a perfectly clean and polished needle and place a drop of oil upon its +point and we will see that the oil very rapidly ascends towards the +thicker portion of the needle. Now if we heat and hammer out the point of +the needle into the form of a small drill and repeat the operation we +find that the oil no longer ascends. It rises from the point to the +extreme width of the drill portion, but refuses to go beyond. It clings +to that portion of the needle which would correspond to the ridge just +back of the slope in a conical pivot. Water, oil, etc., when placed in a +clean wine glass, do not exhibit a perfectly level surface, but raise at +the edges as shown at _a_ in Fig. 6. If a tube is now inserted, we find +that the liquid not only rises around the outside of the tube and the +edges of the vessel, but also rises in the tube far beyond its mean +level, as shown at _b_. These various effects are caused by one of the +forces above described, _i. e._, the adhesion, or mutual attraction +existing between the liquid and the substance of the vessel and rod. The +word capillarity is of Latin derivation, and signifies hair-like +slenderness. The smaller the tube, or the nearer the edges of a vessel +are brought together, the higher in proportion will the liquid rise above +the level. An ascent of a liquid, due to capillarity, also takes place, +where the liquid is placed between two separate bodies, as oil placed +between two pieces of flat glass. If the plates are parallel to one +another and perpendicular to the surface of the liquid it will ascend to +the same height between the plates, as shown at _c_ in Fig. 6. If the +plates were united at the back like a book and spread somewhat at the +front, the oil would ascend the higher as the two sides approach one +another, as shown at _d_, Fig. 6. If a drop is placed somewhat away from +the intersecting point, of the glasses, as shown at _m_ it will, if not +too far away, gradually work its way to the junction, providing the +glasses are level. If, however, the glasses are inclined to a certain +extent, the drop will remain stationary, since it is drawn in one +direction by gravity and in the other by capillarity. When a drop of oil +is placed between two surfaces, both of which are convex, or one convex +and the other plain, as shown at _g_, it will collect at the point _n_, +at which the surfaces nearest approach one another. We now see very +clearly why the hole jewel is made convex on the side towards the +end-stone and concave on the side towards the pivot. + +[Illustration: _Fig. 6._] + +Particular pains should be taken to polish those portions of the pivots +which actually enter the jewel hole and to see that all marks of the +graver be thoroughly removed, because if any grooves, no matter how +small, are left, they act as minute capillary tubes to convey the oil. + +If the hole jewel be of the proper shape, the end-stone not too far from +the hole jewel and too much oil is not applied at one time, the oil will +not spread nor run down the staff, but a small portion will be retained +at the acting surface of pivot and jewel, and this supply will be +gradually fed to these parts from the reservoir between the jewel and +end-stone, by the action of capillarity. + +Having examined into the requirements of the pivot and its jewel and +having gained an insight into what their forms should be, we are the +better able to perform that portion of the work in an intelligent +manner. + + + + +CHAPTER III. + + +Our wire has been roughed out into the form of a staff, has been hardened +and the temper drawn down to the requisite hardness and we are now ready +to proceed with our work. As I said before, we have now arrived at a +point where many authorities differ, _i. e._, as to whether the finishing +of the staff proper, should be performed while the work is held in the +chuck, or whether a wax chuck be substituted. We will take it for granted +that you have a true chuck and that you prefer to finish all the lower +portion of the staff while held in the chuck. + +Before we proceed with our work it will be necessary for us to make some +accurate measurements, as we cannot afford to do any guess work by +measuring by means of the old staff. I have used a number of different +kinds of calipers and measuring instruments for determining the various +measurements for a balance staff, but have met with more success with a +very simple little tool which I made myself from drawings and description +published some years ago in THE AMERICAN JEWELER. This simple little tool +is shown in Fig. 7, and has been of great service to me. It consists of a +brass sleeve A, with a projection at one end as shown at B. This sleeve +is threaded, and into it is fitted the screw part C, which terminates in +a pivot D, which is small enough to enter the smallest jewel. The sleeve +I made from a solid piece of brass, turning it down in my lathe and +finishing the projection by means of a file. The hole was then drilled +and threaded with a standard thread. The screw part C, I made of steel +and polished carefully. + +[Illustration: _Fig. 7._] + +To ascertain the proper height for the roller, place it upon the tool, +allowing it to rest upon the leg B, and set the pivot D in the foot +jewel. Now adjust, by means of the screw C until the roller is in its +proper position in relation to the lever fork. This may be understood +better by consulting Fig. 8, where A is the gauge, C is the roller, E is +the lever, F is the plate and G is the potance. + +[Illustration: _Fig. 8._] + +Now in order to locate the proper place to cut the seat for the roller, +remove it from the foot of the gauge and apply the gauge to the work as +shown in Fig. 9. The foot of the gauge resting against the end of the +pivot, the taper end of the gauge will locate accurately the position of +the roller seat. In order to locate the proper position for the seat for +the balance, proceed the same as for the roller, except that the foot of +the gauge is lowered until it is brought sufficiently below the plate to +allow of the proper clearance as indicated by the dotted lines at H. Now +apply the gauge to the new staff, as shown in Fig. 10, and the taper end +will locate the exact position for the balance seat. + +[Illustration: _Fig. 9._] + +[Illustration: _Fig. 10._] + +As previously stated, I have taken it for granted that you preferred to +finish all the lower portion of the staff while the work was held in the +chuck. I have assumed that you prefer to work in this way because I have +noted the fact that nine watchmakers out of every ten start with, and +first finish up, the lower portion of the staff. Where this method of +working originated I do not know, but it always has the appearance to me +of "placing the cart before the horse." I do not pretend to say that a +true staff cannot be made in this way, but it certainly is not the most +convenient nor advisable. We all know that the heaviest part of the staff +is from the roller seat to the end of the top pivot. Now it seems to me +that it is the most natural thing in the world for a mechanic to desire +to turn the greater bulk of his work before reversing it. Now if the +workman has been educated to turn indifferently with right or left hand, +it may make little difference, as far as the actual turning is concerned, +whether he starts to work at the upper or lower end of the staff, but +unfortunately there are few among us who are so skilled as to use the +graver with equal facility with either hand, and it is therefore an +advantage to start with the upper end, as you can thus finish a greater +portion of the work more readily. You can readily see that when you come +to reverse your staff and use the wax chuck, that by starting at the top +of staff your wax has a much larger surface of metal to cling to, and +again the shape of the balance seat is such as to secure the work firmly +in the wax, while if the reverse method is employed, the larger portion +of the balance seat is exposed and the staff is more liable to loosen +from the motion of the lathe and pressure of the graver and polishers. + + + + +CHAPTER IV. + + +By the aid of the pinion calipers and the old staff, the diameter of the +roller seat and the balance and hair-spring collet seats may be readily +taken, but it is perhaps better to gauge the holes, as the old staff may +not have been perfect in this respect. A round broach will answer +admirably for this purpose, and the size may be taken from the broach by +means of the calipers. In fitting our pivots, we can not be too exact; +and as yet no instrument has been placed upon the market for this purpose +which is moderate in price and yet thoroughly reliable. The majority of +watchmakers use what is termed the pivot-gauge, a neat little instrument +which accompanies the Jacot lathe, and which may be obtained from any +material house. This tool, which is shown in Fig. 11, is, however, open +to one objection in the measurement of pivots, and that is that it may be +pressed down at one time with greater force than at another, and +consequently will show a variation in two measurements of the same pivot. +Some of my readers may think that I am over-particular on this point, and +that the difference in measurement on two occasions is too trivial to be +worthy of attention, but I do not think that too much care can be +bestowed upon this part of the work, and neglect in this particular is, +I think, the cause of poor performance in many otherwise good +timepieces. The ordinarily accepted rule among watchmakers is that a +pivot should be made 1/2500 of an inch smaller than the hole in the jewel +to allow for the proper lubrication. I am acquainted with watchmakers, +and men who are termed good workmen, too, who invariably allow 1/2500 of +an inch side shake, no matter whether the pivot is 12/2500 or 16/2500 of +an inch in diameter. Now if 1/2500 of an inch is the proper side shake +for a pivot measuring 12/2500 of an inch in diameter, it is certainly not +sufficient for a pivot which is one-third larger. Of course it is +understood that side shakes do not increase in proportion according as +the pivot increases in size, for if they did a six-inch shaft would +require at this rate a side shake of 1/2 inch, or 1/4 inch on each side, +which would be ridiculously out of all proportion, as the 1/64 of an inch +would be ample under any circumstances. Neither can we arrive at the +proper end shake for a pivot by reducing in proportion from the end shake +allowed on a six-inch shaft, because if we followed out the same course +of reasoning we would arrive at a point where a pivot measuring 12/2500 +of an inch would require an end shake so infinitely small that it would +require six figures to express the denominator of the fraction, and the +most minute measuring instrument yet invented would be incapable of +recording the measurement. We must leave sufficient side shake, however, +on the smallest pivot and jewel for the globules of the oil to move +freely, and experiments have shown conclusively that 1/2500 of an inch or +1/5000 on each side of the pivot, is as little space as it is desirable +to leave for that purpose, as the globules of the best chronometer oil +will refuse to enter spaces that are very much more minute. But to return +to our pivot gauge. + +[Illustration: _Fig. 11._] + +[Illustration: _Fig. 12._] + +Each division on the gauge represents 1/2500 of an inch, which is all +that we require. The diameter that the pivot should be, can be +ascertained by inserting a round pivot broach into the jewel and taking +the measurement with the pivot gauge, and then making the necessary +deduction for side shake. Slip the jewel on the broach as far as it will +go, as shown in Fig. 12, and then with the pivot gauge, take the size of +the broach, as close up to the jewel as you can measure, and the taper of +the broach will be about right for the side shake of the pivot. If, +however, you prefer to make the measurement still more accurate, you can +do so by dipping the broach into rouge before slipping on the jewel and +then remove the jewel and the place which is occupied on the broach can +be plainly discerned and the exact measurement taken and an allowance of +1/2500 of an inch made for the side shake. Another method, and one which +is particularly applicable to Swiss watches, where the jewel is burnished +into the cock or plate, is to first slip on to the broach a small flat +piece of cork and as the broach enters the jewel the cork is forced +farther on to the broach, and when the jewel is removed it marks the +place on the broach which its inner side occupied, and the measurement +can then be taken with the gauge. If care is used in the selection of a +broach, that it be as nearly perfect in round and taper as possible, by a +little experiment you can soon ascertain just what part of the length of +the broach corresponds to one degree on the gauge and by a repetition of +the experiment the broach can then be divided accurately, by very minute +rings turned with a fine-pointed graver, into sections, each representing +one degree, or 1/2500 of an inch, and the measurement will thus be +simplified greatly. + +[Illustration: _Fig. 13._] + +As before stated, much depends upon the condition of your gravers and the +manner of using them. It is of the utmost importance that they be kept +sharp, and as soon as they begin to show the slightest sign of losing +their keenness, you should sharpen them. The proper shape for balance +pivots was shown in Fig. 4. Now let us examine into the best positions +for holding the gravers. In Fig. 13 two ways of holding the graver are +shown, _A_ representing the right and _B_ representing the wrong way. If +the graver is applied to the work as shown at _A_, it will cut a clean +shaving, while if applied as shown at _B_ it will simply scrape the side +of the pivot and ruin the point of the graver without materially +forwarding the work. Again, the holding of the graver as indicated at _A_ +has its advantages, because the force of the cut is towards the hand +holding it, and should it catch from any cause the jar of the obstruction +will be conveyed immediately to the hand, and it will naturally give and +no harm will be done. If, on the other hand, the graver should meet with +an obstruction while held in the position indicated at _B_, the force of +the cut will be in the direction of the arrow, downward and toward the +rest, and the rest being unlike the hand, or rather being rigid, it +cannot give, and the result is that the work, or graver, or both, are +ruined. In Fig. 14 two other methods of holding the graver are shown. The +general roughing out of a staff should be done with the graver held about +as shown at _A_, Fig. 13; but in finishing, the graver should be held so +that the cut is made diagonally, as indicated at _A_, Fig. 14. It is +rather dificult to explain in print just how the graver should be held, +but a little experiment will suffice to teach the proper position. The +best indication that a graver is doing its work properly, is the fact +that the chips come away in long spiral coils. Aim to see how light a cut +you can make rather than how heavy. Never use force in removing the +material, but depend entirely upon the keenness of the cutting edges. +Never use the point of the graver, except where you are compelled to, but +rather use the right or left hand cutting edges. By following out this +rule you will find that your work, when left by the graver, requires +little or no finishing up, except at the pivots. At _B_, Fig. 14, is +shown the correct manner of applying the graver when turning a pivot. +Hold the graver nearly on a line with the axis of the lathe and catching +a chip at the extreme end of the pivot with the back edge of the graver, +push slightly forward and at the same time roll the graver towards you +and it will give the pivot the desired conical form. By keeping the +graver on a line with the length of the pivot, all the force applied is +simply exerted in the direction of the chuck, and does not tend to spring +the pivot, as it would were the extreme point applied, as in Fig. 13. +When we come to such places as the shoulder of the back slope, the seat +for the roller, balance, etc., we must necessarily use the point of the +graver. + +[Illustration: _Fig. 14._] + + + + +CHAPTER V. + + +In chapter IV I called attention to the right and wrong way of holding +the graver while using the extreme point, and also the correct manner of +applying the graver in turning conical pivots. I also called attention to +the fact that it was well to only use the point of the graver where +positively necessary, as in the back slope of the pivot, etc. In turning +the seat for the balance, as indicated at A, Fig. 15, the graver A, Fig. +1, or a similar one as shown at B, Fig. 15, should be used. The slope at +C should now be turned. In turning the pivot and seat for the roller, you +should leave them slightly larger than required, to allow for the +grinding and polishing which is to follow. No definite amount can be left +for this purpose, because the amount left for polishing depends entirely +on how smoothly your turning has been done. If it has been done +indifferently, you may have to allow considerable for grinding and +polishing before all the graver marks are removed, while, on the +contrary, if the work has been performed with care, very little will have +to be removed. Avoid the use of the pivot file by performing your work +properly to start with. + +[Illustration: _Fig. 15._] + +[Illustration: _Fig. 16._] + +For grinding, bell-metal or soft iron slips are desirable, and the +grinding is effected by means of oil stone powder and oil. Two slips of +metal similar in shape to A and B, Fig. 16, are easily made, and will be +found very useful. A is for square pivots, etc., while B is used for +conical pivots. These slips should be dressed with a dead smooth file, +the filing to be done crosswise, to hold the oil stone powder and oil. +During the operation of grinding, the lathe should be run at a high speed +and the slips applied to the work lightly, squarely and carefully. The +polishing is effected by means of diamantine and alcohol. After the work +is brought to a smooth gray surface, slips of boxwood of the shape shown +in Fig. 16 should be substituted for the metal slips. Oil stone slips are +sometimes used in lieu of metal ones, but they soon get out of shape and +are troublesome to care for on this account. All things considered, there +is nothing better for polishing than a slip or file made of agate, say +one inch long, one-quarter inch wide and one-eighth inch thick. A slip of +this kind can be obtained from any lapidary, and after grinding with +emery and water until the surface has a very fine grain, it should be +mounted by fastening with cement into a brass socket and this is then +inserted into a small wooden handle, as shown in Fig. 17. The agate slip +should be ground to about the shape of B, Fig. 16, so that one side can +be used for square corners and the other for conical pivots. The final +polish can soon be imparted by means of a small boxwood slip, or +flattened peg-wood, and diamantine and alcohol. Never try to bring out +the final polish until you are satisfied that all graver marks have been +ground out, otherwise you will simply have to go all over the work again. + +[Illustration: _Fig. 17._] + +When the staff is finished from the lower pivot to the seat of the +balance, the upper part should be roughed out nearly to size and then cut +off preparatory to finishing the top part. + +Attention was previously called to the fact that the majority of +watchmakers prefer to finish all the lower portion of the staff first, +notwithstanding the fact that there are numerous advantages to be gained +by proceeding to first finish up the upper portion. We have now reached +the point where the wax chuck must be used, and perhaps these advantages +may be now more clearly defined. In order that the two procedures may be +more distinctly shown, illustrations of both methods are here given. +Fig. 18 shows the popular method, the lower portion of the staff being +all completed and fastened by means of wax, in the wax chuck. Fig. 19 +shows the opposite course of procedure. In both illustrations the lines +indicate the amount of wax applied to hold the work. It will be noted +that in Fig. 18 the hub of the staff is enclosed in the wax very much as +a cork is fitted into a bottle, while in Fig. 19 the hub is reversed, +just as a cork would appear were the larger portion within the bottle and +the smaller portion protruding through the neck. A study of the diagram +will readily show that in Fig. 19 the staff is held more rigidly in place +and that a greater bulk of the work is enclosed in the wax than in Fig. +18, although there is less wax used in the former than in the latter. + +[Illustration: _Fig. 18._] + +[Illustration: _Fig. 19._] + +Before proceeding to set the staff in the wax, it is necessary to make +some measurements to determine its full length. Remove both cap jewels +and screw the balance cock in place. Examine the cock and see if it has +at any time been bent up or down or punched to raise or lower it. If so, +rectify the error by straightening it and then put it in place. Now with +a degree gauge, or calipers, proceed to take the distance between the +outer surfaces of the hole jewels and shorten the staff to the required +length. Do not remove too much, but leave the staff a little long rather +than cut it too short, as the length can be shortened later. + +[Illustration: _Fig. 20._] + +[Illustration: _Fig. 21._] + +A very handy tool for the purpose of making these length measurements can +be constructed by adding a stop screw to the common double calipers as +shown in Fig. 20. The improvement consists in the fact that they can be +opened to remove from the work and closed again at exactly the same +place, so that an accurate measurement can be made. The all-important +point in the use of wax chucks is to get a perfect center. If you are not +careful you are liable to leave a small projection in the center as shown +at A, Fig. 21. The ordinary wax chuck cannot be unscrewed from the +spindle and restored to its proper place again with anything like a +certainty of its being exactly true, and if you insist on doing this +there is no remedy left but finding a new center each time. It will be +found more satisfactory and economical in the long run to have a +permanent chuck for a wax chuck and you will then have no necessity for +removing the brass chuck. + +The center, or cone for the reception of the pivot, should be turned out +with the graver at an angle of about 60° and such a graver as is shown at +B, Fig. 1, will answer admirably for this purpose. After you have +carefully centered your wax chuck, place a small alcohol lamp under the +chuck and heat it until the wax will just become fluid and yet not be hot +enough to burn the wax. Revolve the lathe slowly and insert the staff so +that the pivot rests squarely and firmly in the center. Now re-heat the +chuck carefully in order that the wax may adhere firmly to the staff, +keeping the lathe revolving meanwhile, but not so fast that the wax will +be drawn from the center, and at the same time apply the forefinger to +the end of the staff, as shown in Figs. 18 and 19, and gently press it +squarely into place in the wax chuck. The lines in Figs. 18 and 19 +designate about the right amount of wax after the work is ready, but it +is well to add a little more than is shown in those figures, and you +should be careful to keep the wax of equal bulk all around, or when it +cools it will have a tendency to draw the staff to one side. Now remove +the lamp and keep the lathe revolving until the wax is quite cool, when +it should be removed, by means of a graver, down to the dimensions +designated by the lines in Figs. 18 and 19. When this is accomplished +re-heat a little, but only enough to make it soft, but not liquid, and +placing a sharpened peg-wood on the tool rest proceed to the final truing +up, by resting the pointed end against the hub. + + + + +CHAPTER VI. + + +I have described above one of the methods in vogue for holding a staff by +means of wax. It is the common method employed by most watch repairers, +the popular method so to speak. The method which I am now about to +describe may seem awkward at first to those who have not practiced it, +but once you have fairly tried it, you will never be contented to work in +any other way. + +The first requisite is a true taper chuck; and it is well to purchase an +extra one to be used solely for this purpose, so that you will be +prepared at all times for staff work. Select a good steel taper, and +having placed your chuck in the lathe, see if your taper fits well by +inserting it in the chuck while running slowly. If it fits well, it will +be marked almost throughout its length. Insert again in the chuck, and +with a few light taps of the hammer set it firmly in place, so that you +know that there is no danger of its working loose. The taper will then +project about three-quarters of an inch from the face of the chuck. By +means of a sharp graver, make the face of the taper smooth and straight, +and cut off the taper end. Now mark a point on the taper about one-fourth +of an inch from the end, and proceed to turn down the diameter from this +point to the end, leaving that portion of the taper about two-thirds of +its original diameter, and finish with a nice square shoulder. Now with +a long-pointed sharp graver proceed to cut a nice V-shaped center with an +angle of about 60°. When you have proceeded thus far you will find that +you have an implement resembling that shown in Fig. 22. + +[Illustration: _Fig. 22._] + +Care must be taken that the center is quite true, and that no projection +is left like that illustrated in Fig. 21, no matter how minute it may be. +Now examine the center by the aid of a strong glass, and after you are +satisfied with its appearance proceed to test it. Take a large sized pin +with a good point, and placing the point in the center, maintain it in +position by pressing upon the head, and while revolving the lathe slowly +proceed to examine by means of your glass. If the center is a good one +there will be no perceptible vibration of the pin. + +Now procure a piece of small brass tubing with an internal diameter a +little less than that of the turned down portion of your taper. If the +brass tubing cannot be procured readily, you can substitute a piece of +brass wire a little larger than the taper, and by means of a drill a +little smaller in diameter than the turned down portion you can readily +make a small tube about one-half inch long. Now by means of a broach +proceed to open the tube to a point one-quarter inch from one end, and +carefully fit it on the turned down portion of your taper. After fitting +tightly to the shoulder of the taper, proceed to turn out the other end +until it will take in the hub of your staff easily and leave a little +room to spare. Now turn your tube down in length until a little of the +hub is exposed either way you put the staff in. Turn the outside of the +tube smooth and to correspond with the outline of the taper, so you will +have a nice looking job when completed. Just below where the hub will +come drill a small hole in the tube and remove all burr, both inside and +out, that may have been made in drilling, so that the shellac or wax will +not adhere to it. This little hole acts as an outlet for the air in the +tube; and as the hot shellac enters at the end of the tube the air is +expelled through this vent. It also helps to hold the cement firmly in +place. Now try your staff in the tube again, and be sure that it is quite +free, and that you will be able to work on the portions of it above and +below the hub, according as one end or the other is inserted. + +You are now ready to insert your staff and proceed with your work. Hold +your shellac in the flame of your lamp a moment until it is quite liquid, +and then smear both the inside and outside of the tube with it. Heat the +shell or tube gently by means of the lamp, keeping the lathe revolving +slowly all the while, and taking the staff in your tweezers proceed to +insert it carefully into the tube. Press firmly back, making sure that it +has reached the bottom of the V-shaped center. Pack the cement well in +around the staff, and while centering remove the lamp and allow the +whole to cool, keeping the whole revolving until quite cool. Now remove +the superfluous cement by means of the graver, and heating the tube again +slightly, proceed to center exactly by means of a pointed peg-wood, +resting on your T rest to steady it. Turn slowly in the lathe and examine +with glass to see that it is quite true. Your completed instrument will +resemble Fig. 23. + +[Illustration: _Fig. 23._] + +The advantage of the device is that your center is always ready, and all +you have to do is to insert your chuck in the lathe, warm it, and you are +ready to insert your staff and proceed to work. As I said in the first +place, it is well to employ a taper chuck exclusively for this work, and +not attempt to use it for any other, for if you try to remove your taper +and replace it again, you will surely find that your work is out of +center, and you will be compelled to remove the brass shell and find a +new center each time you use it. You can avoid all this trouble, however, +by purchasing an extra chuck and devoting it exclusively to wax work. Of +course, the brass shell can be removed and placed in position again +without in any way affecting the truth of the center, and any number, +shape and size of shells can be made to fit the one taper, and these +shells will be found very useful for holding a variety of work, aside +from balance staffs. + + + + +CHAPTER VII. + + +The two popular methods of holding a balance staff in wax have been +described and illustrated; the reader may take his choice. The turning +and finishing of the other end of the staff is performed as previously +described. That portion on which the hair-spring collet goes should be +turned to nearly the proper size, making due allowance for the grinding +and polishing that is to come. The balance seat should be slightly +undercut, so that the balance can be driven on tightly and all riveting +dispensed with. The size for the pivot can be determined from its jewel, +as previously described. Finish the ends of the pivots flat and round the +corners off slightly; and right here comes a point worthy of +consideration in all watch work. Leave no absolutely square corners in +any of your work, but round them off very slightly. This may seem a very +little thing, but it is one of the small things that go to make up +first-class work. You can judge pretty accurately of a watchmaker by the +corners he leaves on his work, as well as by the appearance of his +gravers and screw-drivers. + +When your staff is completed and nicely polished, remove from the wax and +boil in alcohol to clean, and when dried it is ready for the balance. +Great care must be exercised in removing the balance from the old staff, +especially if it be a compensation balance, that you do not distort it +any way. If the balance has been riveted on extra care will have to be +exercised. The riveting may be cut by means of a graver, or a hollow +drill made from Stubb's steel wire. The recess in the drill should just +fit over the shoulder left for the reception of the hair-spring collet. +The edge of the hollow drill has small teeth formed upon it similar to a +fine file, and will cut quite rapidly. + +After removing the balance, if it appears to be sprung in the arms, the +result of removal or previous bad treatment, proceed to bend them +straight, and then to true up the rim carefully, and stake on with a flat +end punch. Now put on your roller and drive it down to the hub and see +that the roller is free from the fork. See that jewel pin reaches fork +properly and that the guard pin also reaches the roller. See that your +balance is free from the plate and the bridge. If the balance is true and +all right, you are ready to put on your hair-spring. See that it is in +beat. It is well to make a mark on the balance before taking off the old +staff, showing positions of hair-spring stud and jewel pin. + +Three-quarter plate English lever and Swiss lever balance staffs differ +only in detail, except that they are sprung under balances. The general +operations for making, however, are similar to those described. + +I have not described the method of poising the balance for two reasons; +first, the mere poising of a balance for a cheap movement is so simple +that it needs no explanation; and second, to describe the poising of the +balance of a fine watch is a lengthy task, and can hardly be included +under the heading of staffing and pivoting. The ground has been +thoroughly and conscientiously covered by Mr. J. L. Finn, in a little +volume entitled Poising the Balance,[A] and I would advise all +watchmakers, both young and old, to read what he has to say. + +Good pivoting is an art in itself, and although there are many who +undertake to do this work, there are but few who can pivot a staff in +such a manner that it will bear close inspection under the glass. We +often hear watchmakers brag of the secrets they possess for hardening +pivot drills, but I fancy they would be somewhat surprised if they +traveled around a little, to find how many watchmakers harden their +drills in exactly the same way that they do. The great secret, so-called, +of making good drills, is to first secure good steel, and then use care +to see that you do not burn it in the subsequent operations. The fewer +times the steel is heated the better. My experience teaches me that you +can do no better than to select some nice pieces of Stubb's steel for +your pivot drills. Many watchmakers make their drills from sewing +needles, say No. 3 or 4, sharps. The steel in these needles is usually of +good quality, but the great drawback is that a drill made from a needle +will not resist any great pressure, and is liable to break just at the +time that you have arrived at the most important point. If your drill is +made from a piece of Stubb's steel wire, or an old French or Swiss +graver, you not only know that the material in it is first-class, but you +can leave the base of the drill solid and substantial, with enough metal +in it to resist considerable pressure. The part of the drill which +actually enters the pivot is very short, and the end can be turned down +to the desired diameter. Turn or reduce your wire by means of a pivot +file so as to be smooth and conical, as shown at _A_, Fig. 24. The +conical form is given to the drill for exactly the same reason that it is +given to the balance pivots, because it gives additional strength. Heat +to a very pale red for about one-half inch from the end, and then spread +the point, as shown at _B_, Fig. 24, by a slight blow of the hammer. We +are now ready to temper our drill, and we must exercise a little care +that the steel is not burnt and that the drill is not bent or warped when +hardening. The flame of the alcohol lamp should be reduced as small as +possible, or otherwise the steel may become overheated and lose all its +good qualities. If needles are used for making drills there is a great +liability of their warping when hardening, but when a larger piece of +wire is used there is not much danger, if care is exercised in +introducing the drill that it goes into the compound straight and point +foremost. If a needle is used, it is well to construct a shield for it, +to be used when heating and hardening. This shield can be made from a +small piece of metal tubing, broached out to fit loosely over the shank +and point of the drill. The drill is introduced into this shield as shown +in Fig. 25, and a little soap may be introduced into the end _a_ before +plunging. Various hardening devices are used, but in my experience +beeswax or sealing wax will be found as good as any. Heat the drill (or +if a needle, the drill and shield both), to a pale red and plunge +straight into the wax. In the latter case, where the shield is used, the +shield, on striking the wax, will run up the shank of the drill, allowing +the point to pierce the wax. Some watchmakers introduce the extreme point +of the drill into mercury first and then plunge into the wax. This +hardens the extreme point of the drill very hard, so hard, in fact, that +it will penetrate the hardest steel, but care must be exercised with such +a drill because the mercury makes it not only very hard but very brittle. +_C_, Fig. 24, shows a drill after it has been finished on the Arkansas +stone. This shape of drill will withstand the pressure necessary to drill +into hard steel. Many watchmakers reduce the temper of every staff before +drilling. This, I think, is quite unnecessary. There are very few cases +in which it is necessary to reduce the temper of the staff, and even then +it should only be reduced as far as it is to be drilled, and then not in +excess of a good spring temper. + +[Illustration: _Fig. 24._] + +[Illustration: _Fig. 25._] + +The centering of a staff in wax has been thoroughly described and in +pivoting the proceeding is the same as in staffing. After accurately +centering your work, make a small cut in the center for the reception of +the drill and make this mark deep enough to take the entire cutting head +of the drill. Keep the drill firmly pressed into this center and kept wet +constantly with turpentine. Do not revolve the work all one way, but give +the lathe an alternating motion. At first give but a third or a half +revolution each way, until the drill begins to bite into the staff, when +you can then safely give it a full revolution each way. Care must be +exercised, however, not to give the work too rapid a motion, for if you +do the friction is apt to draw down the temper of your drill. Many +watchmakers find that their drills cut well for a certain distance and +then refuse to work altogether, and one of the chief reasons is that they +are in too great a hurry with their drilling. + +If you find it absolutely necessary to reduce the hardness of your staff +before drilling, do so by drilling a hole in the end of a small piece of +copper wire that will just fit over the part to be softened, and apply +the heat to this copper wire, say one-fourth of an inch from the staff. +The heat will run down the copper wire and heat the staff just where you +wish to draw the temper. Be careful and do not draw the temper too much, +nor let it extend down the staff too far. + +The plug for the new pivot should be carefully made, perfectly round, +with a very little taper, and should be draw-filed before being driven +in. Some workmen dip the plug in acid before driving in, as they declare +that the pivot is less liable to be loosened while turning, if so +treated. The acid simply rusts the pivot and the hole, but I cannot see +that this will hold it any more firmly in place while finishing. If the +taper is a gradual one and the pivot a good close fit, there will be +little danger of it loosening while dressing to shape. If too great a +taper is given to the plug, there is danger of splitting the end of the +staff, and this involves the making of an entire new staff. + +The turning up of a new pivot does not differ in any way from the +instructions given for turning pivots on a new staff. With a little care +both in turning and finishing, a new pivot can be put in so nicely that +only the initiated can tell it, and then only with the aid of a strong +glass. + +In pivoting cylinders there is some danger of breaking them. To avoid +this, select a piece of joint wire, the opening of which is slightly +larger than the diameter of the cylinder at the lower end, and cut off a +piece the length of the cylinder proper, leaving the pivot projecting. +Now fill the cylinder with lathe wax, and while the wax is warm, slip on +the joint wire. You can now proceed to true up the pivot in the usual +manner, and when the wax is quite cold, proceed to turn and polish the +pivot before removing from the lathe. If the joint wire is properly +cemented on the cylinder, it is almost impossible to break it. After all +the work is done, the wax can be dissolved in alcohol. In pivoting +pinions to cylinder escape-wheels and third wheels, it is not necessary +to remove the wheels, but great care should be used in handling. In the +latter case use plenty of wax. Do all your centering by the outside of +the pinion. Perfect centering and sharp tools are requisite to good +pivoting. Do not try to rush your work, especially while drilling. +Proceed deliberately with your work and aim to restore the watch to the +condition it was in originally, and you will find staffing and pivoting +is not half as hard as some workmen would have you believe. + +[Footnote A: POISING THE BALANCE, by J. L. Finn, Geo. K. Hazlitt & Co., +publishers, Chicago.] + + + + + +End of the Project Gutenberg EBook of A Treatise on Staff Making and Pivoting, by +Eugene E. 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Hall. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + img {border: 0;} + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .transnote {width: 21em; margin: auto; clear: both; border: thin dotted gray; padding: 1em;} + + .caption {text-align: center; padding: 0; margin: 0;} + .figcenter, .figright, .figleft + {padding: .5em; margin: 0; text-align: center; font-size: 0.8em;} + + .figcenter {margin: auto;} + .figleft {float: left; clear:left;} + .figright {float: right; clear:right;} + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + // --> + /* XML end ]]>*/ + </style> + </head> + +<body> + + +<pre> + +The Project Gutenberg EBook of A Treatise on Staff Making and Pivoting, by +Eugene E. Hall + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Treatise on Staff Making and Pivoting + Containing Complete Directions for Making and Fitting New + Staffs from the Raw Material + +Author: Eugene E. Hall + +Release Date: January 8, 2007 [EBook #20317] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON STAFF MAKING *** + + + + +Produced by Sigal Alon, Chris Curnow, Fox in the Stars and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + +<p class="transnote"><b>Transcriber's notes:</b><br /><br /> +Some minor typographical errors have been corrected.<br /> +The author's spelling has been retained.</p> + +<h3>A TREATISE</h3> +<h5>ON</h5> +<h1>STAFF MAKING</h1> +<h4>AND</h4> +<h1>PIVOTING<br /><br /></h1> + +<h4> CONTAINING COMPLETE DIRECTIONS FOR MAKING<br /> +AND FITTING NEW STAFFS FROM<br /> +THE RAW MATERIAL<br /><br /></h4> + +<h3>EUGENE E. HALL<br /><br /></h3> + +<h4> WITH NUMEROUS ILLUSTRATIONS<br /><br /></h4> + +<div class='center'> +CHICAGO:<br /> +<small><span class="smcap">Hazlitt & Walker, Publishers</span><br /> +1910</small></div> + +<hr style="width: 65%;" /> + +<h3>CONTENTS.<br /></h3> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr><td align='center'><a href="#CHAPTER_I"><b>CHAPTER I.</b></a></td></tr> +<tr><td align='left'>The raw material. The gravers. The roughing out. The hardening</td></tr> +<tr><td align='left'>and tempering</td><td align='right'>5</td></tr> +<tr><td align='center'><a href="#CHAPTER_II"><b>CHAPTER II.</b></a></td></tr> +<tr><td align='left'>Kinds of pivots. Their shape. Capillarity. The requirements of</td></tr> +<tr><td align='left'>a good pivot</td><td align='right'>13</td></tr> +<tr><td align='center'><a href="#CHAPTER_III"><b>CHAPTER III.</b></a></td></tr> +<tr><td align='left'>The proper measurements and how obtained</td><td align='right'>19</td></tr> +<tr><td align='center'><a href="#CHAPTER_IV"><b>CHAPTER IV.</b></a></td></tr> +<tr><td align='left'>The gauging of holes. The side shake. The position of the graver</td> +<td align='right'>23</td></tr> +<tr><td align='center'><a href="#CHAPTER_V"><b>CHAPTER V.</b></a></td></tr> +<tr><td align='left'>The grinding and polishing. The reversal of the work. The wax</td></tr> +<tr><td align='left'>chuck</td><td align='right'>29</td></tr> +<tr><td align='center'><a href="#CHAPTER_VI"><b>CHAPTER VI.</b></a></td></tr> +<tr><td align='left'>Another wax chuck. The centering of the work</td><td align='right'>35</td></tr> +<tr><td align='center'><a href="#CHAPTER_VII"><b>CHAPTER VII.</b></a></td></tr> +<tr><td align='left'>The finishing of the staff. Pivoting. Making pivot drills. Hardening</td></tr> +<tr><td align='left'>drills. The drilling and fitting of new pivots</td><td align='right'>39</td></tr> +</table></div> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> + +<h1>STAFF MAKING AND PIVOTING.<br /></h1> + +<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2> + +<p>To produce a good balance staff requires more skill +than to produce any other turned portion of a watch, +and your success will depend not alone on your knowledge +of its proper shape and measurements, nor the +tools at your command, but rather upon your skill with +the graver and your success in hardening and tempering. +There are many points worthy of consideration in the +making of a balance staff that are too often neglected. +I have seen staffs that were models as regards execution +and finish, that were nearly worthless from a practical +standpoint, simply because the maker had devoted all +his time and energy to the execution of a beautiful piece +of lathe work, and had given no thought or study to the +form and size of the pivots. On the other hand, one +often sees staffs whose pivots are faultless in shape, but +the execution and finish so bungling as to offset all the +good qualities as regards shape. To have good tools and +the right ideas is one thing, and to use these tools properly +and make a practical demonstration of your theory +is another.</p> + +<p>I shall endeavor to take up every point in connection +with the balance staff, from the steel to the jewels, and<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> +their relation to the pivots, and I believe this will then +convey to the reader all the necessary points, not only as +regards staffs, but pivots also, whether applied to a balance +or a pinion staff.</p> + +<p>It may be argued, and we often do hear material +dealers advance the theory, that to-day, with our interchangeable +parts and the cheapness of all material, it is a +waste of time to make a balance staff. To the reader +who takes this view of the situation I simply want to say, +kindly follow me to the end of this paragraph, and if you +are still of the same opinion, then you are wasting your +time in following me farther. For a material dealer to +advance this theory I can find some excuse; he is an interested +party, and the selling of material is his bread and +butter; but the other fellow, well I never could understand +him and possibly never shall. When we seriously consider +the various styles and series in "old model" and +"new model," of only one of the leading manufacturers +of watches in this country, to say nothing of the legion of +small and large concerns who are manufacturing or have +manufactured in the past, and then think of carrying +these staffs in stock, all ready for use, we then begin to +realize how utterly absurd the idea is, to say nothing of +how expensive! On the other hand, if you reside in a +large city and propose to rely on the stock of your +material dealer, you will find yourself in an embarrasing +situation very often, for as likely as not the movement +requiring a new staff was made by a company that +went out of business back in the '80s, or it is a new<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> +movement, the material for which has not yet been placed +on the market. This state of affairs leads to makeshifts, +and they in turn lead to botch work. The watchmaker +who does not possess the experience or necessary qualifications +to make a new balance staff and make it in a neat +and workmanlike manner, is never certain of having +exactly what is needed, and cannot hope to long retain +the confidence of his customers. In fact, he is not a +watchmaker at all, but simply an apprentice or student, +even though he be working for a salary or be his own +master. There are undoubtedly many worthy members +of the trade, who are not familiar with the making of a +balance staff, who will take exceptions to this statement; +but it is nevertheless true. They may be good workmen +as far as they go; they may be painstaking; but they cannot +be classed as watchmakers.</p> + +<p>This article is intended for the benefit of that large class +whose opportunities for obtaining instruction are limited, +and who are ready and willing to learn, +and for that still larger class of practical +workmen who can make a new +staff in a creditable manner, but who +are always glad to read others people's +ideas on any subject connected with +the trade and who are not yet too old to learn new tricks +should they find any such.</p> + +<div class="figleft"> + <a href="images/il07.jpg"> + <img id="f1" src="images/il07-th.jpg" alt="Fig. 1." /> + </a> + <p class="caption">Fig. 1.</p> +</div> + +<p>Good tools, in good condition, are the most essential +requisites in making a new staff. I would not advise any +particular make of lathe, as the most expensive lathe in<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> +the world will not produce a true staff if the workman +cannot center his work accurately and does not know +how to handle his graver, while on the other hand fine +work can be done on the simplest and cheapest lathe by +a workman possessing the requisite skill. I will take it +for granted that you use an American-made lathe of some +kind, or a foreign-made lathe manufactured on American +lines. It is advisable, though not absolutely necessary, to +have three gravers similar to those illustrated in <a href="#f1">Fig. 1</a>, +A being used for turning the staff down in the rough; B +for the conical pivots and square shoulders and C for the +under-cutting. The other tools and attachments needed +will be described as I come to them in use.</p> + +<p>The balance staff should be made of the best steel, +tempered to such a degree as to give the longest service +and yet not so hard as to endanger the breakage of the +pivots. Select a piece of Stubb's steel wire, say No. 46, +or a little larger than the largest part of the finished staff +is to be, and center it in a split chuck of your lathe. Be +careful in selecting your chuck that you pick one that fits +the wire fairly close. The chuck holds the work truest +that comes the nearest to fitting it. If you try to use a +chuck that is too large or too small for the work, you +will only ruin the chuck for truth. Turn the wire to the +form of a rough staff, as shown in <a href="#f2">Fig. 2</a>, leaving on a +small part of the original wire, as shown at A. After the +wire is roughed out to this general form, remove from +the chuck and get ready to harden and temper it. The +hardening and tempering may be effected in various<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> +ways, and I am scarcely prepared to say which method +is the best, as there are several which give about the +same general results. One method of hardening is to +smear the blank with common yellow soap, heat it to a +cherry red, and drop endwise into linseed oil. Petroleum +is preferred by some to linseed oil, but, to tell the truth, I +can see no difference in the action of linseed, petroleum +or olive oil. Be sure and have enough oil to thoroughly +cool the blank, and a deep vessel, such as a large-mouthed +vial, is preferable to a saucer. The blank will now be +found too hard to work easily with the graver, and we +must therefore draw the temper down to that of fine +spring steel. Before doing this the blank should be +brightened, in order that we may see to just what color +we are drawing it. The main object in using the soap in +hardening is that it may form a scale +upon the blank, and if the heating is +effected gradually the soap will melt and +form a practically air-tight case around the blank. This +scale, if the hardening is carefully and properly done, +will generally chip and fall off when the blank is plunged +in the oil, particularly if the oil is cool, and if it does not +fall off of its own accord, it can easily be removed by +rolling the blank upon the bench. If it does not come +out clean, or if soap is not used, it may be brightened by +again inserting in the lathe and bringing it in contact with +a piece of fine emery paper or cloth.</p> + +<div class="figleft"> + <a href="images/il09.jpg"> + <img id="f2" src="images/il09-th.jpg" alt="Fig. 2." /> + </a> + <p class="caption">Fig. 2.</p> +</div> + +<p>I draw the temper in the following manner: Place some +fine brass filings in a boiling-out cup or bluing pan and lay<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> +the blank upon these filings, holding the pan over the flame +of an alcohol lamp until the blank assumes a dark purple +color, which it will reach when the heat gets to about 500° +F. This I consider the right hardness for a balance staff, +as it is not too hard to work well under the graver nor too +soft for the pivots. At this degree of hardness steel will +assume an exquisite polish if properly treated. Another +method of tempering is to place the staff on a piece of +sheet iron or copper (say 1 inch wide by 4 long), having +previously bent it into a small angle, for the reception of +the staff, as shown in <a href="#f3">Fig. 3</a>. This piece of metal, when +nicely fitted into a file handle, will answer all the purposes +of the bluing pan and presents +quite a neat appearance. Having placed +the blank in the angle, lay on it a piece +of yellow wax about the size of a bean, +and heat it over your lamp until the wax takes fire and +burns. Blow out the flame and allow the staff to cool, +and it will be found to be of about the right hardness.</p> + +<div class="figleft"> + <a href="images/il10.jpg"> + <img id="f3" src="images/il10-th.jpg" alt="Fig. 3." /> + </a> + <p class="caption">Fig. 3.</p> +</div> + +<p>We have now arrived at an important station in staff +making, a junction, we may term it, where many lines +branch off from the main road. At this particular spot is +where authorities differ. I have no hesitation in saying +that at this particular point the split chuck should be +removed from the lathe head and carefully placed in the +chuck box and the cement chuck put in its place. I +believe that all of the remaining work upon a staff should +be executed while it is held in a cement chuck. On the +other hand I have seen good workmen who turned and<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> +finished all the lower part of a staff while in a split chuck, +cut it off and turned and finished the upper part in a +cement chuck. All I have got to say is that they had +more confidence in the truth of their chucks than I have +in mine. I have even read of watchmakers who made +the entire staff in a split chuck, but I must confess I am +somewhat curious to examine a staff made in that way, +and must have the privilege of examining it before I will +admit that a true staff can be so made.</p> + +<p>We will suppose that the workman has a moderately +true chuck, and that he prefers to turn and finish all the +lower portions in this way. Of course the directions for +using a cement chuck on the upper part of a staff are +equally applicable to the lower. Before going further I +think it advisable to consider the requirements of a pivot, +but will reserve this for another chapter. +</p> + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2> + +<p>The chief requirements of a pivot are that it shall +be round and well polished. Avoid the burnish file +at all hazards; it will not leave the pivot round, for the +pressure is unequal at various points in the revolution. +A pivot that was not perfectly round might act fairly well +in a jewel hole that was round, but unfortunately the +greater proportion of jewel holes are not as they should +be, and we must therefore take every precaution to guard +against untrue pivots. Let us examine just what the +effect will be if an imperfect pivot is fitted into an unround +hole jewel, and to demonstrate its action more clearly let +us exaggerate the defects. Suppose we pick a perfectly +round jewel and insert into the opening a three-cornered +piece of steel wire, in shape somewhat resembling the +taper of a triangular file. We find that this triangular +piece of steel will turn in the jewel with the same ease +that the most perfect cylindrical pivot will. Now suppose +we change the jewel for one that is out of round and +repeat the experiment. We now find that the triangular +steel soon finds the hollow spots in the jewel hole and +comes to a stand-still as it is inserted in the hole. The +action of a pivot that is not true, when in contact with a +jewel whose hole is out of round, is very similar, though<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> +in a less marked degree. If the pivot inclines toward the +elliptical and the jewel hole has a like failing, which is +often the case, it is very evident that this want of truth +in both the pivot and hole is very detrimental to the good +going of a watch.</p> + +<div class="figleft"> + <a href="images/il14a.jpg"> + <img id="f4" src="images/il14a-th.jpg" alt="Fig. 4." /> + </a> + <p class="caption">Fig. 4.</p> +</div> + +<div class="figright"> + <a href="images/il14b.jpg"> + <img id="f5" src="images/il14b-th.jpg" alt="Fig. 5." /> + </a> + <p class="caption">Fig. 5.</p> +</div> + +<p>There are two kinds of pivots, known respectively as +straight and conical pivots, but for the balance staff there +is but one kind and that is the conical, which is illustrated +in <a href="#f4">Fig. 4</a>. The conical pivot has at least one advantage +over the straight one, <i>i. e.</i>, it can be made much smaller +than a straight pivot, as it is much stronger in proportion, +owing to its shape. All pivots have a tendency to draw +the oil away from the jewels, and particularly the conically +formed variety, which develops a strong capillary +attraction. To prevent this capillary +attraction of the oil, the +back-slope is formed next to the +shoulder, although many persons seem to think that this +back-slope is merely added by way of ornament, to make +the pivot more graceful in appearance. It is very essential, +however, for if too much oil is applied the staff +would certainly draw it away if its thickness +were not reduced, by means of the +back-slope. Before leaving the subject of +capillarity let us examine the enlarged jewel +in <a href="#f5">Fig. 5</a>; <i>c</i> is an enlarged pivot, <i>b</i> is the +hole jewel and <i>a</i> is the end stone. We +observe that the hole jewel on the side towards the end +stone is convex. It is so made that through capillarity the<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> +oil is retained at the end of the pivot where it is most +wanted. It is, in my opinion, very necessary that the +young watchmaker should have at least a fair understanding +of capillarity, and should understand why the end +stone is made convex and the pivot with a back slope. +For this reason I will try and make clear this point before +proceeding further. We all know that it is essential to +apply oil to all surfaces coming in contact, in order to +reduce the friction as much as possible, and if the application +of oil is necessary to any part of the mechanism of a +watch, that part is the pivot. Saunier very aptly puts it +thus: "A liquid is subject to the action of three forces: +gravity, adhesion (the mutual attraction between the +liquid and the substance of the vessel containing it), and +cohesion (the attractive force existing among the molecules +of the liquid and opposing the subdivision of the +mass.)"</p> + +<p>We all know that if we place a small drop of oil upon +a piece of flat glass or steel and then invert the same the +oil will cling to the glass, owing to the adhesion of the +particles; if we then add a little more to the drop and +again invert, it will still cling, although the drop may be +elongated to a certain degree. This is owing to the +cohesion of the molecules of the oil, which refuse to be +separated from one another. If, however, we again add +to the drop of oil and invert the plate the drop will elongate +and finally part, one portion dropping while the +other portion clings to the main body of the liquid. The +fall of the drop is occasioned by gravity overcoming the<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> +cohesion of the molecules. Now take a perfectly clean +and polished needle and place a drop of oil upon its point +and we will see that the oil very rapidly ascends towards +the thicker portion of the needle. Now if we heat and +hammer out the point of the needle into the form of a +small drill and repeat the operation we find that the oil no +longer ascends. It rises from the point to the extreme +width of the drill portion, but refuses to go beyond. It clings +to that portion of the needle which would correspond to +the ridge just back of the slope in a conical pivot. Water, +oil, etc., when placed in a clean wine glass, do not exhibit +a perfectly level surface, but raise at the edges as +shown at <i>a</i> in <a href="#f6">Fig. 6</a>. If a tube is now inserted, we find +that the liquid not only rises around the outside of the +tube and the edges of the vessel, but also rises in the tube +far beyond its mean level, as shown at <i>b</i>. These various +effects are caused by one of the forces above described, +<i>i. e.</i>, the adhesion, or mutual attraction existing between +the liquid and the substance of the vessel and rod. The +word capillarity is of Latin derivation, and signifies hair-like +slenderness. The smaller the tube, or the nearer the +edges of a vessel are brought together, the higher in proportion +will the liquid rise above the level. An ascent of<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> +a liquid, due to capillarity, also takes place, where the +liquid is placed between two separate bodies, as oil placed +between two pieces of flat glass. If the plates are parallel +to one another and perpendicular to the surface of the +liquid it will ascend to the same height between the plates, +as shown at <i>c</i> in <a href="#f6">Fig. 6</a>. If the plates were united at the +back like a book and spread somewhat at the front, the +oil would ascend the higher as the two sides approach +one another, as shown at <i>d</i>, <a href="#f6">Fig. 6</a>. If a drop is placed +somewhat away from the intersecting point, of the +glasses, as shown at <i>m</i> it will, if not too far away, gradually +work its way to the junction, providing the glasses are +level. If, however, the glasses are inclined to a certain +extent, the drop will remain stationary, since it is drawn in +one direction by gravity and in the other by capillarity. +When a drop of oil is placed between two surfaces, both +of which are convex, or one convex and the other plain, +as shown at <i>g</i>, it will collect at the point <i>n</i>, at which +the surfaces nearest approach one another. We now see +very clearly why the hole jewel is made convex on the +side towards the end-stone and concave on the side +towards the pivot.</p> + +<div class="figcenter"> + <a href="images/il16.jpg"> + <img id="f6" src="images/il16-th.jpg" alt="Fig. 6." /> + </a> + <p class="caption">Fig. 6.</p> +</div> + +<p>Particular pains should be taken to polish those portions +of the pivots which actually enter the jewel hole and +to see that all marks of the graver be thoroughly removed, +because if any grooves, no matter how small, are +left, they act as minute capillary tubes to convey the oil.</p> + +<p>If the hole jewel be of the proper shape, the end-stone not +too far from the hole jewel and too much oil is not applied<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> +at one time, the oil will not spread nor run down the staff, +but a small portion will be retained at the acting surface +of pivot and jewel, and this supply will be gradually fed to +these parts from the reservoir between the jewel and end-stone, +by the action of capillarity.</p> + +<p>Having examined into the requirements of the pivot +and its jewel and having gained an insight into what their +forms should be, we are the better able to perform that +portion of the work in an intelligent manner. +</p> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> +<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2> + +<p>Our wire has been roughed out into the form of a +staff, has been hardened and the temper drawn +down to the requisite hardness and we are now ready to +proceed with our work. As I said before, we have now +arrived at a point where many authorities differ, <i>i. e.</i>, as to +whether the finishing of the staff proper, should be performed +while the work is held in the chuck, or whether a +wax chuck be substituted. We will take it for granted +that you have a true chuck and that you prefer to finish +all the lower portion of the staff while held in the chuck.</p> + +<p>Before we proceed with our work it will be necessary +for us to make some accurate measurements, as we cannot +afford to do any guess work by measuring by means +of the old staff. I have used a number of different +kinds of calipers and measuring instruments for determining +the various measurements for a balance staff, but +have met with more success with a very simple little tool +which I made myself from drawings and description published +some years ago in <span class="smcap">The American Jeweler</span>. +This simple little tool is shown in <a href="#f7">Fig. 7</a>, and has been of +great service to me. It consists of a brass sleeve A, with +a projection at one end as shown at B. This sleeve is +threaded, and into it is fitted the screw part C, which<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> +terminates in a pivot D, which is small enough to enter +the smallest jewel. The sleeve I made from a solid piece +of brass, turning it down in my lathe and finishing the +projection by means of a file. The hole was then drilled +and threaded with a standard thread. The screw part +C, I made of steel and polished carefully.</p> + +<div class="figcenter"> + <a href="images/il20a.jpg"> + <img id="f7" src="images/il20a-th.jpg" alt="Fig. 7." /> + </a> + <p class="caption">Fig. 7.</p> +</div> + +<div class="figleft"> + <a href="images/il20b.jpg"> + <img id="f8" src="images/il20b-th.jpg" alt="Fig. 8." /> + </a> + <p class="caption">Fig. 8.</p> +</div> + +<p>To ascertain the proper height for the roller, place it +upon the tool, allowing it to rest upon the leg B, and set +the pivot D in the foot jewel. Now adjust, by means of the +screw C until the roller is in its proper position in +relation to the lever fork. This may be understood better +by consulting <a href="#f8">Fig. 8</a>, where A is the gauge, C is the roller, +E is the lever, F is the plate and G is the potance.</p> + +<p>Now in order to locate the proper place to cut the seat +for the roller, remove it from the foot of the gauge and +apply the gauge to the work as shown in <a href="#f9">Fig. 9</a>. The foot +of the gauge resting against the end of the pivot, the taper +end of the gauge will locate accurately the position of the +roller seat. In order to locate the proper position for the<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span> +seat for the balance, proceed the same as for the roller, +except that the foot of the gauge is lowered until it is +brought sufficiently below the plate to allow of the proper +clearance as indicated by the dotted lines at H. Now +apply the gauge to the new staff, as shown in <a href="#f10">Fig. 10</a>, and +the taper end will locate the exact position for the +balance seat.</p> + +<div class="figleft"> + <a href="images/il21a.jpg"> + <img id="f9" src="images/il21a-th.jpg" alt="Fig. 9." /> + </a> + <p class="caption">Fig. 9.</p> +</div> + +<div class="figcenter"> + <a href="images/il21b.jpg"> + <img id="f10" src="images/il21b-th.jpg" alt="Fig. 10." /> + </a> + <p class="caption">Fig. 10.</p> +</div> + +<p>As previously stated, I have taken it for granted that +you preferred to finish all the lower portion of the staff +while the work was held in the chuck. I have assumed +that you prefer to work in this way because I have noted +the fact that nine watchmakers out of every ten start +with, and first finish up, the lower portion of the staff. +Where this method of working originated I do not know, +but it always has the appearance to me of "placing the +cart before the horse." I do not pretend to say that a +true staff cannot be made in this way, but it certainly is +not the most convenient nor advisable. We all know +that the heaviest part of the staff is from the roller seat +to the end of the top pivot. Now it seems to me that it +is the most natural thing in the world for a mechanic to +desire to turn the greater bulk of his work before reversing +it. Now if the workman has been educated to turn +indifferently with right or left hand, it may make little +difference, as far as the actual turning is concerned, +whether he starts to work at the upper or lower end of<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> +the staff, but unfortunately there are few among us who +are so skilled as to use the graver with equal facility with +either hand, and it is therefore an advantage to start with +the upper end, as you can thus finish a greater portion of +the work more readily. You can readily see that when +you come to reverse your staff and use the wax chuck, +that by starting at the top of staff your wax has a much +larger surface of metal to cling to, and again the shape of +the balance seat is such as to secure the work firmly in +the wax, while if the reverse method is employed, the +larger portion of the balance seat is exposed and the staff +is more liable to loosen from the motion of the lathe and +pressure of the graver and polishers.</p> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> +<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2> + +<p>By the aid of the pinion calipers and the old staff, the +diameter of the roller seat and the balance and hair-spring +collet seats may be readily taken, but it is perhaps +better to gauge the holes, as the old staff may not have +been perfect in this respect. A round broach will answer +admirably for this purpose, and the size may be taken +from the broach by means of the calipers. In fitting our +pivots, we can not be too exact; and as yet no instrument +has been placed upon the market for this purpose which +is moderate in price and yet thoroughly reliable. The +majority of watchmakers use what is termed the pivot-gauge, +a neat little instrument which accompanies the +Jacot lathe, and which may be obtained from any material +house. This tool, which is shown in <a href="#f11">Fig. 11</a>, is, however, +open to one objection in the measurement of pivots, and +that is that it may be pressed down at one time with +greater force than at another, and consequently will show +a variation in two measurements of the same pivot. +Some of my readers may think that I am over-particular +on this point, and that the difference in measurement on +two occasions is too trivial to be worthy of attention, but +I do not think that too much care can be bestowed upon +this part of the work, and neglect in this particular is, I<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> +think, the cause of poor performance in many otherwise +good timepieces. The ordinarily accepted rule among +watchmakers is that a pivot should be made 1/2500 of an +inch smaller than the hole in the jewel to allow for the +proper lubrication. I am acquainted with watchmakers, +and men who are termed good workmen, too, who +invariably allow 1/2500 of an inch side shake, no matter +whether the pivot is 12/2500 or 16/2500 of an inch in diameter. +Now if 1/2500 of an inch is the proper side shake for a +pivot measuring 12/2500 of an inch in diameter, it is certainly +not sufficient for a pivot which is one-third larger. +Of course it is understood that side shakes +do not increase in proportion according +as the pivot increases in size, for if they +did a six-inch shaft would require at this +rate a side shake of 1/2 inch, or 1/4 inch +on each side, which would be ridiculously +out of all proportion, as the 1/64 of an inch +would be ample under any circumstances. +Neither can we arrive at the proper end +shake for a pivot by reducing in proportion from the end +shake allowed on a six-inch shaft, because if we followed +out the same course of reasoning we would arrive at a +point where a pivot measuring 12/2500 of an inch would +require an end shake so infinitely small that it would +require six figures to express the denominator of the +fraction, and the most minute measuring instrument yet +invented would be incapable of recording the measurement. +We must leave sufficient side shake, however, on<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> +the smallest pivot and jewel for the globules of the oil +to move freely, and experiments have shown conclusively +that 1/2500 of an inch or 1/5000 on each side of the pivot, +is as little space as it is desirable to leave for that purpose, +as the globules of the best chronometer oil will refuse +to enter spaces that are very much more minute. But +to return to our pivot gauge.</p> + +<div class="figleft"> + <a href="images/il24a.jpg"> + <img id="f11" src="images/il24a-th.jpg" alt="Fig. 11." /> + </a> + <p class="caption">Fig. 11.</p> +</div> + +<div class="figright"> + <a href="images/il24b.jpg"> + <img id="f12" src="images/il24b-th.jpg" alt="Fig. 12." /> + </a> + <p class="caption">Fig. 12.</p> +</div> + +<p>Each division on the gauge represents 1/2500 of an inch, +which is all that we require. The diameter that the pivot +should be, can be ascertained by inserting a round pivot +broach into the jewel and taking the measurement with +the pivot gauge, and then making the necessary deduction +for side shake. Slip the jewel on the broach as far +as it will go, as shown in <a href="#f12">Fig. 12</a>, and then with the pivot +gauge, take the size of the broach, as close up to the +jewel as you can measure, and the taper of the broach +will be about right for the side shake of the pivot. If, +however, you prefer to make the measurement still more +accurate, you can do so by dipping the broach into rouge +before slipping on the jewel and then remove the jewel +and the place which is occupied on the broach can be +plainly discerned and the exact measurement taken and +an allowance of 1/2500 of an inch made for the side shake. +Another method, and one which is particularly applicable +to Swiss watches, where the jewel is burnished into the +cock or plate, is to first slip on to the broach a small flat +piece of cork and as the broach enters the jewel the cork +is forced farther on to the broach, and when the jewel is +removed it marks the place on the broach which its inner<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> +side occupied, and the measurement can then be taken +with the gauge. If care is used in the selection of a +broach, that it be as nearly perfect in round and taper as +possible, by a little experiment you can soon ascertain just +what part of the length of the broach corresponds to one +degree on the gauge and by a repetition of the experiment +the broach can then be divided accurately, by very +minute rings turned with a fine-pointed graver, into sections, +each representing one degree, or 1/2500 of an inch, +and the measurement will thus be simplified greatly.</p> + +<div class="figleft"> + <a href="images/il26.jpg"> + <img id="f13" src="images/il26-th.jpg" alt="Fig. 13." /> + </a> + <p class="caption">Fig. 13.</p> +</div> + +<p>As before stated, much depends upon the condition of +your gravers and the manner of using them. It is of the +utmost importance that they be kept sharp, and as soon +as they begin to show the slightest sign of losing their +keenness, you should sharpen them. The proper shape +for balance pivots was shown in <a href="#f4">Fig. 4</a>. +Now let us examine into the best positions +for holding the gravers. In <a href="#f13">Fig. 13</a> two +ways of holding the graver are shown, <i>A</i> +representing the right and <i>B</i> representing +the wrong way. If the graver is applied to the work as +shown at <i>A</i>, it will cut a clean shaving, while if applied as +shown at <i>B</i> it will simply scrape the side of the pivot and +ruin the point of the graver without materially forwarding +the work. Again, the holding of the graver as indicated +at <i>A</i> has its advantages, because the force of the cut is +towards the hand holding it, and should it catch from any +cause the jar of the obstruction will be conveyed immediately +to the hand, and it will naturally give and no harm<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> +will be done. If, on the other hand, the graver should +meet with an obstruction while held in the position indicated +at <i>B</i>, the force of the cut will be in the direction of +the arrow, downward and toward the rest, and the rest +being unlike the hand, or rather being rigid, it cannot +give, and the result is that the work, or graver, or both, +are ruined. In <a href="#f14">Fig. 14</a> two other methods of holding the +graver are shown. The general +roughing out of a staff should +be done with the graver held +about as shown at <i>A</i>, <a href="#f13">Fig. 13</a>; but in finishing, the graver +should be held so that the cut is +made diagonally, as indicated at +<i>A</i>, <a href="#f14">Fig. 14</a>. It is rather dificult +to explain in print just how the +graver should be held, but a little experiment will suffice +to teach the proper position. The best indication that a +graver is doing its work properly, is the fact that the chips +come away in long spiral coils. Aim to see how light a cut +you can make rather than how heavy. Never use force +in removing the material, but depend entirely upon the +keenness of the cutting edges. Never use the point of +the graver, except where you are compelled to, but rather +use the right or left hand cutting edges. By following +out this rule you will find that your work, when left by +the graver, requires little or no finishing up, except at the +pivots.</p> + +<div class="figright"> + <a href="images/il27.jpg"> + <img id="f14" src="images/il27-th.jpg" alt="Fig. 14." /> + </a> + <p class="caption">Fig. 14.</p> +</div> + +<p>At <i>B</i>, <a href="#f14">Fig. 14</a>, is shown the correct manner of +applying the graver when turning a pivot. Hold the<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> +graver nearly on a line with the axis of the lathe and +catching a chip at the extreme end of the pivot with the +back edge of the graver, push slightly forward and at the +same time roll the graver towards you and it will give the +pivot the desired conical form. By keeping the graver +on a line with the length of the pivot, all the force applied +is simply exerted in the direction of the chuck, and +does not tend to spring the pivot, as it would were the +extreme point applied, as in <a href="#f13">Fig. 13</a>. When we come to +such places as the shoulder of the back slope, the seat for +the roller, balance, etc., we must necessarily use the point +of the graver.</p> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> +<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2> + +<p>In chapter IV I called attention to the right and wrong +way of holding the graver while using the extreme +point, and also the correct manner of applying the graver +in turning conical pivots.</p> + +<div class="figcenter"> + <a href="images/il29.jpg"> + <img id="f15" src="images/il29-th.jpg" alt="Fig. 15." /> + </a> + <p class="caption">Fig. 15.</p> +</div> + +<p>I also called attention to the +fact that it was well to only use the point of the graver +where positively necessary, as in the back slope of the +pivot, etc. In turning the seat for the balance, as +indicated at A, <a href="#f15">Fig. 15</a>, the graver A, <a href="#f1">Fig. 1</a>, or a similar +one as shown at B, <a href="#f15">Fig. 15</a>, should be used. The +slope at C should now be turned. In turning the pivot +and seat for the roller, you should leave them slightly +larger than required, to allow for the grinding and polishing +which is to follow. No definite amount can be left +for this purpose, because the amount left for polishing +depends entirely on how smoothly your turning has been +done. If it has been done indifferently, you may have to +allow considerable for grinding and polishing before all<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> +the graver marks are removed, while, on the contrary, if +the work has been performed with care, very little will +have to be removed. Avoid the use of the pivot file by +performing your work properly to start with.</p> + +<div class="figcenter"> + <a href="images/il30.jpg"> + <img id="f16" src="images/il30-th.jpg" alt="Fig. 16." /> + </a> + <p class="caption">Fig. 16.</p> +</div> + +<p>For grinding, bell-metal or soft iron slips are desirable, +and the grinding is effected by means of oil stone powder +and oil. Two slips of metal similar in shape to A and B, +<a href="#f16">Fig. 16</a>, are easily made, and will be found very useful. +A is for square pivots, etc., while B is used for conical +pivots. These slips should be dressed with a dead smooth +file, the filing to be done crosswise, to hold the oil stone +powder and oil. During the operation of grinding, the +lathe should be run at a high speed and the slips applied to +the work lightly, squarely and carefully. The polishing is +effected by means of diamantine and alcohol. After the +work is brought to a smooth gray surface, slips of boxwood +of the shape shown in <a href="#f16">Fig. 16</a> should be substituted +for the metal slips. Oil stone slips are sometimes used in +lieu of metal ones, but they soon get out of shape and are +troublesome to care for on this account. All things considered, +there is nothing better for polishing than a slip +or file made of agate, say one inch long, one-quarter inch +wide and one-eighth inch thick. A slip of this kind can +be obtained from any lapidary, and after grinding with +emery and water until the surface has a very fine grain, +it should be mounted by fastening with cement into a<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> +brass socket and this is then inserted into a small wooden +handle, as shown in <a href="#f17">Fig. 17</a>. The agate slip should be +ground to about the shape of B, <a href="#f16">Fig. 16</a>, so that one side +can be used for square corners and the other for conical +pivots. The final polish can soon be imparted by means +of a small boxwood slip, or flattened peg-wood, and diamantine +and alcohol. Never try to bring out the final +polish until you are satisfied that all graver marks have +been ground out, otherwise you will simply have to go all +over the work again.</p> + +<div class="figcenter"> + <a href="images/il31.jpg"> + <img id="f17" src="images/il31-th.jpg" alt="Fig. 17." /> + </a> + <p class="caption">Fig. 17.</p> +</div> + +<p>When the staff is finished from the lower pivot to the +seat of the balance, the upper part should be roughed out +nearly to size and then cut off preparatory to finishing +the top part.</p> + +<p>Attention was previously called to the fact that the +majority of watchmakers prefer to finish all the lower +portion of the staff first, notwithstanding the fact that +there are numerous advantages to be gained by proceeding +to first finish up the upper portion. We have now +reached the point where the wax chuck must be used, +and perhaps these advantages may be now more clearly +defined. In order that the two procedures may be more<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> +distinctly shown, illustrations of both methods are here +given. <a href="#f18">Fig. 18</a> shows the popular method, the lower +portion of the staff being all completed and fastened by +means of wax, in the wax chuck. <a href="#f19">Fig. 19</a> shows the +opposite course of procedure. In both illustrations the +lines indicate the amount of wax applied to hold the work. +It will be noted that in <a href="#f18">Fig. 18</a> the hub of the staff is +enclosed in the wax very much as a cork is fitted into a +bottle, while in <a href="#f19">Fig. 19</a> the hub is reversed, just as a cork +would appear were the larger portion within the bottle +and the smaller portion protruding through the neck. A +study of the diagram will readily show that in <a href="#f19">Fig. 19</a> the +staff is held more rigidly in place and that a greater bulk +of the work is enclosed in the wax than in <a href="#f18">Fig. 18</a>, +although there is less wax used in the former than in the +latter.</p> + +<div class="figleft"> + <a href="images/il32a.jpg"> + <img id="f18" src="images/il32a-th.jpg" alt="Fig. 18." /> + </a> + <p class="caption">Fig. 18.</p> +</div> + +<div class="figright"> + <a href="images/il32b.jpg"> + <img id="f19" src="images/il32b-th.jpg" alt="Fig. 19." /> + </a> + <p class="caption">Fig. 19.</p> +</div> + +<p>Before proceeding to set the staff in the wax, it is +necessary to make some measurements to determine its full +length. Remove both cap jewels and screw the balance +cock in place. Examine the cock and see if it has at any +time been bent up or down or punched to raise or lower +it. If so, rectify the error by straightening it and then +put it in place. Now with a degree gauge, or calipers, +proceed to take the distance between the outer surfaces +of the hole jewels and shorten the staff to the required<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> +length. Do not remove too much, but leave the staff a +little long rather than cut it too short, as the length can +be shortened later.</p> + +<div class="figcenter"> + <a href="images/il33a.jpg"> + <img id="f20" src="images/il33a-th.jpg" alt="Fig. 20." /> + </a> + <p class="caption">Fig. 20.</p> +</div> + +<p>A very handy tool for the purpose of making these +length measurements can be constructed by adding a +stop screw to the common double calipers as shown in <a href="#f20">Fig. 20</a> +. The improvement consists in the fact that they can +be opened to remove from the work and closed again at +exactly the same place, so that an accurate measurement +can be made.</p> + +<div class="figleft"> + <a href="images/il33b.jpg"> + <img id="f21" src="images/il33b-th.jpg" alt="Fig. 21." /> + </a> + <p class="caption">Fig. 21.</p> +</div> + +<p>The all-important point in the use of wax +chucks is to get a perfect center. If you are not careful +you are liable to leave a small projection in the center +as shown at A, <a href="#f21">Fig. 21</a>. The ordinary wax chuck cannot be +unscrewed from the spindle and restored to its proper +place again with anything like a certainty of its being exactly +true, and if you insist on doing this there is no remedy +left but finding a new center each time. It will be found +more satisfactory and economical in the long run to have +a permanent chuck for a wax chuck and you will then +have no necessity for removing the brass chuck.</p> + +<p>The center, or cone for the reception of the pivot, should +be turned out with the graver at an angle of about 60° +and such a graver as is shown at B, <a href="#f1">Fig. 1</a>, will answer<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> +admirably for this purpose. After you have carefully +centered your wax chuck, place a small alcohol lamp under +the chuck and heat it until the wax will just become fluid +and yet not be hot enough to burn the wax. Revolve the +lathe slowly and insert the staff so that the pivot rests +squarely and firmly in the center. Now re-heat the chuck +carefully in order that the wax may adhere firmly to the +staff, keeping the lathe revolving meanwhile, but not so +fast that the wax will be drawn from the center, and at +the same time apply the forefinger to the end of the staff, +as shown in <a href="#f18">Fig. 18 and 19</a>, and gently press it squarely +into place in the wax chuck. The lines in <a href="#f18">Fig. 18 and 19</a> +designate about the right amount of wax after +the work is ready, but it is well to add a little more than +is shown in those figures, and you should be careful to +keep the wax of equal bulk all around, or when it cools it +will have a tendency to draw the staff to one side. Now +remove the lamp and keep the lathe revolving until the +wax is quite cool, when it should be removed, by means +of a graver, down to the dimensions designated by the +lines in <a href="#f18">Fig. 18 and 19</a>. When this is accomplished +re-heat a little, but only enough to make it soft, but not +liquid, and placing a sharpened peg-wood on the tool rest +proceed to the final truing up, by resting the pointed +end against the hub.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> +<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2> + + +<p>I have described above one of the methods in vogue +for holding a staff by means of wax. It is the common +method employed by most watch repairers, the popular +method so to speak. The method which I am now +about to describe may seem awkward at first to those +who have not practiced it, but once you have fairly tried +it, you will never be contented to work in any other way.</p> + +<p>The first requisite is a true taper chuck; and it is well +to purchase an extra one to be used solely for this purpose, +so that you will be prepared at all times for staff +work. Select a good steel taper, and having placed your +chuck in the lathe, see if your taper fits well by inserting +it in the chuck while running slowly. If it fits well, it will +be marked almost throughout its length. Insert again in +the chuck, and with a few light taps of the hammer set it +firmly in place, so that you know that there is no danger +of its working loose. The taper will then project about +three-quarters of an inch from the face of the chuck. By +means of a sharp graver, make the face of the taper +smooth and straight, and cut off the taper end. Now +mark a point on the taper about one-fourth of an inch +from the end, and proceed to turn down the diameter +from this point to the end, leaving that portion of the +taper about two-thirds of its original diameter, and finish<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> +with a nice square shoulder. Now with a long-pointed +sharp graver proceed to cut a nice V-shaped center with +an angle of about 60°. When you have proceeded thus +far you will find that you have an implement resembling +that shown in <a href="#f22">Fig. 22</a>.</p> + +<div class="figcenter"> + <a href="images/il36.jpg"> + <img id="f22" src="images/il36-th.jpg" alt="Fig. 22." /> + </a> + <p class="caption">Fig. 22.</p> +</div> + +<p>Care must be taken that the center is quite true, and +that no projection is left like that illustrated in <a href="#f21">Fig. 21</a>, no +matter how minute it may be. Now examine the center +by the aid of a strong glass, and after you are satisfied +with its appearance proceed to test it. Take a large sized +pin with a good point, and placing the point in the center, +maintain it in position by pressing upon the head, and +while revolving the lathe slowly proceed to examine by +means of your glass. If the center is a good one there +will be no perceptible vibration of the pin.</p> + +<p>Now procure a piece of small brass tubing with an +internal diameter a little less than that of the turned down +portion of your taper. If the brass tubing cannot be procured +readily, you can substitute a piece of brass wire a +little larger than the taper, and by means of a drill a little +smaller in diameter than the turned down portion you can +readily make a small tube about one-half inch long. Now +by means of a broach proceed to open the tube to a point +one-quarter inch from one end, and carefully fit it on the<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> +turned down portion of your taper. After fitting tightly +to the shoulder of the taper, proceed to turn out the other +end until it will take in the hub of your staff easily and +leave a little room to spare. Now turn your tube down +in length until a little of the hub is exposed either way you +put the staff in. Turn the outside of the tube smooth and +to correspond with the outline of the taper, so you will +have a nice looking job when completed. Just below +where the hub will come drill a small hole in the tube and +remove all burr, both inside and out, that may have been +made in drilling, so that the shellac or wax will not adhere +to it. This little hole acts as an outlet for the air in the +tube; and as the hot shellac enters at the end of the +tube the air is expelled through this vent. It also helps +to hold the cement firmly in place. Now try your staff +in the tube again, and be sure that it is quite free, and that +you will be able to work on the portions of it above and +below the hub, according as one end or the other is +inserted.</p> + +<p>You are now ready to insert your staff and proceed +with your work. Hold your shellac in the flame of your +lamp a moment until it is quite liquid, and then smear both +the inside and outside of the tube with it. Heat the shell +or tube gently by means of the lamp, keeping the lathe +revolving slowly all the while, and taking the staff in your +tweezers proceed to insert it carefully into the tube. +Press firmly back, making sure that it has reached the +bottom of the V-shaped center. Pack the cement well +in around the staff, and while centering remove the lamp<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> +and allow the whole to cool, keeping the whole revolving +until quite cool. Now remove the superfluous cement by +means of the graver, and heating the tube again slightly, +proceed to center exactly by means of a pointed peg-wood, +resting on your T rest to steady it. Turn slowly +in the lathe and examine with glass to see that it is quite +true. Your completed instrument will resemble <a href="#f23">Fig. 23</a>.</p> + +<div class="figcenter"> + <a href="images/il38.jpg"> + <img id="f23" src="images/il38-th.jpg" alt="Fig. 23." /> + </a> + <p class="caption">Fig. 23.</p> +</div> + +<p>The advantage of the device is that your center is +always ready, and all you have to do is to insert your +chuck in the lathe, warm it, and you are ready to insert +your staff and proceed to work. As I said in the first +place, it is well to employ a taper chuck exclusively for +this work, and not attempt to use it for any other, for +if you try to remove your taper and replace it again, you +will surely find that your work is out of center, and you +will be compelled to remove the brass shell and find a +new center each time you use it. You can avoid all this +trouble, however, by purchasing an extra chuck and +devoting it exclusively to wax work. Of course, the +brass shell can be removed and placed in position again +without in any way affecting the truth of the center, +and any number, shape and size of shells can be made to +fit the one taper, and these shells will be found very useful +for holding a variety of work, aside from balance staffs.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> +<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2> + + +<p>The two popular methods of holding a balance staff in +wax have been described and illustrated; the reader +may take his choice. The turning and finishing of the +other end of the staff is performed as previously described. +That portion on which the hair-spring collet goes should +be turned to nearly the proper size, making due allowance +for the grinding and polishing that is to come. The +balance seat should be slightly undercut, so that the balance +can be driven on tightly and all riveting dispensed +with. The size for the pivot can be determined from its +jewel, as previously described. Finish the ends of the +pivots flat and round the corners off slightly; and right +here comes a point worthy of consideration in all watch +work. Leave no absolutely square corners in any of +your work, but round them off very slightly. This may +seem a very little thing, but it is one of the small things +that go to make up first-class work. You can judge +pretty accurately of a watchmaker by the corners he +leaves on his work, as well as by the appearance of his +gravers and screw-drivers.</p> + +<p>When your staff is completed and nicely polished, +remove from the wax and boil in alcohol to clean, and +when dried it is ready for the balance. Great care must +be exercised in removing the balance from the old staff,<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> +especially if it be a compensation balance, that you do not +distort it any way. If the balance has been riveted on +extra care will have to be exercised. The riveting may +be cut by means of a graver, or a hollow drill made from +Stubb's steel wire. The recess in the drill should just fit +over the shoulder left for the reception of the hair-spring +collet. The edge of the hollow drill has small teeth +formed upon it similar to a fine file, and will cut quite +rapidly.</p> + +<p>After removing the balance, if it appears to be sprung +in the arms, the result of removal or previous bad treatment, +proceed to bend them straight, and then to true +up the rim carefully, and stake on with a flat end punch. +Now put on your roller and drive it down to the hub and +see that the roller is free from the fork. See that jewel pin +reaches fork properly and that the guard pin also reaches +the roller. See that your balance is free from the plate and +the bridge. If the balance is true and all right, you are +ready to put on your hair-spring. See that it is in beat. +It is well to make a mark on the balance before taking +off the old staff, showing positions of hair-spring stud and +jewel pin.</p> + +<p>Three-quarter plate English lever and Swiss lever balance +staffs differ only in detail, except that they are +sprung under balances. The general operations for making, +however, are similar to those described.</p> + +<p>I have not described the method of poising the balance +for two reasons; first, the mere poising of a balance for a +cheap movement is so simple that it needs no explanation;<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> +and second, to describe the poising of the balance of a +fine watch is a lengthy task, and can hardly be included +under the heading of staffing and pivoting. The ground +has been thoroughly and conscientiously covered by Mr. +J. L. Finn, in a little volume entitled Poising the Balance,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> +and I would advise all watchmakers, both young and old, +to read what he has to say.</p> + +<p>Good pivoting is an art in itself, and although there are +many who undertake to do this work, there are but few +who can pivot a staff in such a manner that it will bear +close inspection under the glass. We often hear watchmakers +brag of the secrets they possess for hardening +pivot drills, but I fancy they would be somewhat surprised +if they traveled around a little, to find how many +watchmakers harden their drills in exactly the same way +that they do. The great secret, so-called, of making +good drills, is to first secure good steel, and then use +care to see that you do not burn it in the subsequent +operations. The fewer times the steel is heated the better. +My experience teaches me that you can do no better +than to select some nice pieces of Stubb's steel for your +pivot drills. Many watchmakers make their drills from +sewing needles, say No. 3 or 4, sharps. The steel in +these needles is usually of good quality, but the great +drawback is that a drill made from a needle will not resist +any great pressure, and is liable to break just at the time +that you have arrived at the most important point. If<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> +your drill is made from a piece of Stubb's steel wire, or an +old French or Swiss graver, you not only know that the +material in it is first-class, but you can leave the base of +the drill solid and substantial, with enough metal in it to +resist considerable pressure. The part of the drill which +actually enters the pivot is very short, and the end can be +turned down to the desired diameter. Turn or reduce +your wire by means of a pivot file so as to be smooth and +conical, as shown at <i>A</i>, <a href="#f24">Fig. 24</a>.</p> + +<div class="figright"> + <a href="images/il42.jpg"> + <img id="f24" src="images/il42-th.jpg" alt="Fig. 24." /> + </a> + <p class="caption">Fig. 24.</p> +</div> + +<p>The conical form is given to the drill for exactly the same +reason that it is given to the balance pivots, because +it gives additional strength. Heat +to a very pale red for about one-half +inch from the end, and then spread +the point, as shown at <i>B</i>, <a href="#f24">Fig. 24</a>, by +a slight blow of the hammer. We +are now ready to temper our drill, +and we must exercise a little care +that the steel is not burnt and that the drill is not bent +or warped when hardening. The flame of the alcohol +lamp should be reduced as small as possible, or otherwise +the steel may become overheated and lose all its +good qualities. If needles are used for making drills +there is a great liability of their warping when hardening, +but when a larger piece of wire is used there is not much +danger, if care is exercised in introducing the drill that it +goes into the compound straight and point foremost. If +a needle is used, it is well to construct a shield for it, to +be used when heating and hardening. This shield can<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> +be made from a small piece of metal tubing, broached +out to fit loosely over the shank and point of the drill. +The drill is introduced into this shield as shown in <a href="#f25">Fig. +25</a>, and a little soap may be introduced into the end <i>a</i> +before plunging. Various hardening devices are used, +but in my experience beeswax or sealing wax will be +found as good as any. Heat the drill (or if a needle, the +drill and shield both), to a pale red and plunge straight +into the wax. In the latter case, +where the shield is used, the shield, +on striking the wax, will run up +the shank of the drill, allowing +the point to pierce the wax. Some watchmakers introduce +the extreme point of the drill into mercury first and +then plunge into the wax. This hardens the extreme +point of the drill very hard, so hard, in fact, that it +will penetrate the hardest steel, but care must be +exercised with such a drill because the mercury makes +it not only very hard but very brittle. <i>C</i>, <a href="#f24">Fig. 24</a>, +shows a drill after it has been finished on the Arkansas +stone. This shape of drill will withstand the pressure +necessary to drill into hard steel. Many watchmakers +reduce the temper of every staff before drilling. This, I +think, is quite unnecessary. There are very few cases +in which it is necessary to reduce the temper of the staff, +and even then it should only be reduced as far as it is to +be drilled, and then not in excess of a good spring temper.</p> + +<div class="figleft"> + <a href="images/il43.jpg"> + <img id="f25" src="images/il43-th.jpg" alt="Fig. 25." /> + </a> + <p class="caption">Fig. 25.</p> +</div> + + +<p>The centering of a staff in wax has been thoroughly +described and in pivoting the proceeding is the same as<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> +in staffing. After accurately centering your work, make +a small cut in the center for the reception of the drill and +make this mark deep enough to take the entire cutting +head of the drill. Keep the drill firmly pressed into this +center and kept wet constantly with turpentine. Do not +revolve the work all one way, but give the lathe an alternating +motion. At first give but a third or a half revolution +each way, until the drill begins to bite into the staff, +when you can then safely give it a full revolution each +way. Care must be exercised, however, not to give the +work too rapid a motion, for if you do the friction is apt +to draw down the temper of your drill. Many watchmakers +find that their drills cut well for a certain distance +and then refuse to work altogether, and one of the chief +reasons is that they are in too great a hurry with their +drilling.</p> + +<p>If you find it absolutely necessary to reduce the hardness +of your staff before drilling, do so by drilling a hole +in the end of a small piece of copper wire that will just fit +over the part to be softened, and apply the heat to this +copper wire, say one-fourth of an inch from the staff. +The heat will run down the copper wire and heat the +staff just where you wish to draw the temper. Be careful +and do not draw the temper too much, nor let it +extend down the staff too far.</p> + +<p>The plug for the new pivot should be carefully made, +perfectly round, with a very little taper, and should be +draw-filed before being driven in. Some workmen dip +the plug in acid before driving in, as they declare that the<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> +pivot is less liable to be loosened while turning, if so treated. +The acid simply rusts the pivot and the hole, but I cannot +see that this will hold it any more firmly in place +while finishing. If the taper is a gradual one and the +pivot a good close fit, there will be little danger of it +loosening while dressing to shape. If too great a taper +is given to the plug, there is danger of splitting the end +of the staff, and this involves the making of an entire new +staff.</p> + +<p>The turning up of a new pivot does not differ in any +way from the instructions given for turning pivots on a +new staff. With a little care both in turning and finishing, +a new pivot can be put in so nicely that only the +initiated can tell it, and then only with the aid of a strong +glass.</p> + +<p>In pivoting cylinders there is some danger of breaking +them. To avoid this, select a piece of joint wire, the +opening of which is slightly larger than the diameter of +the cylinder at the lower end, and cut off a piece the +length of the cylinder proper, leaving the pivot projecting. +Now fill the cylinder with lathe wax, and while the +wax is warm, slip on the joint wire. You can now proceed +to true up the pivot in the usual manner, and when +the wax is quite cold, proceed to turn and polish the pivot +before removing from the lathe. If the joint wire is +properly cemented on the cylinder, it is almost impossible +to break it. After all the work is done, the wax can be +dissolved in alcohol. In pivoting pinions to cylinder +escape-wheels and third wheels, it is not necessary to<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> +remove the wheels, but great care should be used in +handling. In the latter case use plenty of wax. Do all +your centering by the outside of the pinion. Perfect +centering and sharp tools are requisite to good pivoting. +Do not try to rush your work, especially while drilling. +Proceed deliberately with your work and aim to restore +the watch to the condition it was in originally, and you +will find staffing and pivoting is not half as hard as some +workmen would have you believe.</p> + +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> POISING THE BALANCE, by J. L. Finn, Geo. K. Hazlitt & Co., publishers, +Chicago.</p></div> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of A Treatise on Staff Making and Pivoting, by +Eugene E. 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/dev/null +++ b/20317-h/images/il42.jpg diff --git a/20317-h/images/il43-th.jpg b/20317-h/images/il43-th.jpg Binary files differnew file mode 100644 index 0000000..3f11eb7 --- /dev/null +++ b/20317-h/images/il43-th.jpg diff --git a/20317-h/images/il43.jpg b/20317-h/images/il43.jpg Binary files differnew file mode 100644 index 0000000..c6872d1 --- /dev/null +++ b/20317-h/images/il43.jpg diff --git a/20317.txt b/20317.txt new file mode 100644 index 0000000..e0bae4b --- /dev/null +++ b/20317.txt @@ -0,0 +1,1401 @@ +The Project Gutenberg EBook of A Treatise on Staff Making and Pivoting, by +Eugene E. Hall + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Treatise on Staff Making and Pivoting + Containing Complete Directions for Making and Fitting New + Staffs from the Raw Material + +Author: Eugene E. Hall + +Release Date: January 8, 2007 [EBook #20317] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON STAFF MAKING *** + + + + +Produced by Sigal Alon, Chris Curnow, Fox in the Stars and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + +Transcriber's notes: +Some minor typographical errors have been corrected. +The author's spelling has been retained. + + + + + A TREATISE + + ON + + STAFF MAKING + + AND + + PIVOTING + + + CONTAINING COMPLETE DIRECTIONS FOR MAKING + AND FITTING NEW STAFFS FROM + THE RAW MATERIAL + + + EUGENE E. HALL + + + WITH NUMEROUS ILLUSTRATIONS + + + CHICAGO: + HAZLITT & WALKER, PUBLISHERS + 1910 + + + + + CONTENTS. + + + CHAPTER I. + +The raw material. The gravers. The roughing out. The hardening +and tempering 5 + + CHAPTER II. + +Kinds of pivots. Their shape. Capillarity. The requirements of +a good pivot 13 + + CHAPTER III. + +The proper measurements and how obtained 19 + + CHAPTER IV. + +The gauging of holes. The side shake. The position of the graver 23 + + CHAPTER V. + +The grinding and polishing. The reversal of the work. The wax +chuck 29 + + CHAPTER VI. + +Another wax chuck. The centering of the work 35 + + CHAPTER VII. + +The finishing of the staff. Pivoting. Making pivot drills. Hardening +drills. The drilling and fitting of new pivots 39 + + + + +STAFF MAKING AND PIVOTING. + + + + +CHAPTER I. + + +To produce a good balance staff requires more skill than to produce any +other turned portion of a watch, and your success will depend not alone +on your knowledge of its proper shape and measurements, nor the tools at +your command, but rather upon your skill with the graver and your success +in hardening and tempering. There are many points worthy of consideration +in the making of a balance staff that are too often neglected. I have +seen staffs that were models as regards execution and finish, that were +nearly worthless from a practical standpoint, simply because the maker +had devoted all his time and energy to the execution of a beautiful piece +of lathe work, and had given no thought or study to the form and size of +the pivots. On the other hand, one often sees staffs whose pivots are +faultless in shape, but the execution and finish so bungling as to offset +all the good qualities as regards shape. To have good tools and the right +ideas is one thing, and to use these tools properly and make a practical +demonstration of your theory is another. + +I shall endeavor to take up every point in connection with the balance +staff, from the steel to the jewels, and their relation to the pivots, +and I believe this will then convey to the reader all the necessary +points, not only as regards staffs, but pivots also, whether applied to a +balance or a pinion staff. + +It may be argued, and we often do hear material dealers advance the +theory, that to-day, with our interchangeable parts and the cheapness of +all material, it is a waste of time to make a balance staff. To the +reader who takes this view of the situation I simply want to say, kindly +follow me to the end of this paragraph, and if you are still of the same +opinion, then you are wasting your time in following me farther. For a +material dealer to advance this theory I can find some excuse; he is an +interested party, and the selling of material is his bread and butter; +but the other fellow, well I never could understand him and possibly +never shall. When we seriously consider the various styles and series in +"old model" and "new model," of only one of the leading manufacturers of +watches in this country, to say nothing of the legion of small and large +concerns who are manufacturing or have manufactured in the past, and then +think of carrying these staffs in stock, all ready for use, we then begin +to realize how utterly absurd the idea is, to say nothing of how +expensive! On the other hand, if you reside in a large city and propose +to rely on the stock of your material dealer, you will find yourself in +an embarrasing situation very often, for as likely as not the movement +requiring a new staff was made by a company that went out of business +back in the '80s, or it is a new movement, the material for which has +not yet been placed on the market. This state of affairs leads to +makeshifts, and they in turn lead to botch work. The watchmaker who does +not possess the experience or necessary qualifications to make a new +balance staff and make it in a neat and workmanlike manner, is never +certain of having exactly what is needed, and cannot hope to long retain +the confidence of his customers. In fact, he is not a watchmaker at all, +but simply an apprentice or student, even though he be working for a +salary or be his own master. There are undoubtedly many worthy members of +the trade, who are not familiar with the making of a balance staff, who +will take exceptions to this statement; but it is nevertheless true. They +may be good workmen as far as they go; they may be painstaking; but they +cannot be classed as watchmakers. + +This article is intended for the benefit of that large class whose +opportunities for obtaining instruction are limited, and who are ready +and willing to learn, and for that still larger class of practical +workmen who can make a new staff in a creditable manner, but who are +always glad to read others people's ideas on any subject connected with +the trade and who are not yet too old to learn new tricks should they +find any such. + +[Illustration: _Fig. 1._] + +Good tools, in good condition, are the most essential requisites in +making a new staff. I would not advise any particular make of lathe, as +the most expensive lathe in the world will not produce a true staff if +the workman cannot center his work accurately and does not know how to +handle his graver, while on the other hand fine work can be done on the +simplest and cheapest lathe by a workman possessing the requisite skill. +I will take it for granted that you use an American-made lathe of some +kind, or a foreign-made lathe manufactured on American lines. It is +advisable, though not absolutely necessary, to have three gravers similar +to those illustrated in Fig. 1, A being used for turning the staff down +in the rough; B for the conical pivots and square shoulders and C for the +under-cutting. The other tools and attachments needed will be described +as I come to them in use. + +The balance staff should be made of the best steel, tempered to such a +degree as to give the longest service and yet not so hard as to endanger +the breakage of the pivots. Select a piece of Stubb's steel wire, say No. +46, or a little larger than the largest part of the finished staff is to +be, and center it in a split chuck of your lathe. Be careful in selecting +your chuck that you pick one that fits the wire fairly close. The chuck +holds the work truest that comes the nearest to fitting it. If you try to +use a chuck that is too large or too small for the work, you will only +ruin the chuck for truth. Turn the wire to the form of a rough staff, as +shown in Fig. 2, leaving on a small part of the original wire, as shown +at A. After the wire is roughed out to this general form, remove from the +chuck and get ready to harden and temper it. The hardening and tempering +may be effected in various ways, and I am scarcely prepared to say which +method is the best, as there are several which give about the same +general results. One method of hardening is to smear the blank with +common yellow soap, heat it to a cherry red, and drop endwise into +linseed oil. Petroleum is preferred by some to linseed oil, but, to tell +the truth, I can see no difference in the action of linseed, petroleum or +olive oil. Be sure and have enough oil to thoroughly cool the blank, and +a deep vessel, such as a large-mouthed vial, is preferable to a saucer. +The blank will now be found too hard to work easily with the graver, and +we must therefore draw the temper down to that of fine spring steel. +Before doing this the blank should be brightened, in order that we may +see to just what color we are drawing it. The main object in using the +soap in hardening is that it may form a scale upon the blank, and if the +heating is effected gradually the soap will melt and form a practically +air-tight case around the blank. This scale, if the hardening is +carefully and properly done, will generally chip and fall off when the +blank is plunged in the oil, particularly if the oil is cool, and if it +does not fall off of its own accord, it can easily be removed by rolling +the blank upon the bench. If it does not come out clean, or if soap is +not used, it may be brightened by again inserting in the lathe and +bringing it in contact with a piece of fine emery paper or cloth. + +[Illustration: _Fig. 2._] + +I draw the temper in the following manner: Place some fine brass filings +in a boiling-out cup or bluing pan and lay the blank upon these filings, +holding the pan over the flame of an alcohol lamp until the blank assumes +a dark purple color, which it will reach when the heat gets to about 500 deg. +F. This I consider the right hardness for a balance staff, as it is not +too hard to work well under the graver nor too soft for the pivots. At +this degree of hardness steel will assume an exquisite polish if properly +treated. Another method of tempering is to place the staff on a piece of +sheet iron or copper (say 1 inch wide by 4 long), having previously bent +it into a small angle, for the reception of the staff, as shown in Fig. +3. This piece of metal, when nicely fitted into a file handle, will +answer all the purposes of the bluing pan and presents quite a neat +appearance. Having placed the blank in the angle, lay on it a piece of +yellow wax about the size of a bean, and heat it over your lamp until the +wax takes fire and burns. Blow out the flame and allow the staff to cool, +and it will be found to be of about the right hardness. + +[Illustration: _Fig. 3._] + +We have now arrived at an important station in staff making, a junction, +we may term it, where many lines branch off from the main road. At this +particular spot is where authorities differ. I have no hesitation in +saying that at this particular point the split chuck should be removed +from the lathe head and carefully placed in the chuck box and the cement +chuck put in its place. I believe that all of the remaining work upon a +staff should be executed while it is held in a cement chuck. On the other +hand I have seen good workmen who turned and finished all the lower part +of a staff while in a split chuck, cut it off and turned and finished the +upper part in a cement chuck. All I have got to say is that they had more +confidence in the truth of their chucks than I have in mine. I have even +read of watchmakers who made the entire staff in a split chuck, but I +must confess I am somewhat curious to examine a staff made in that way, +and must have the privilege of examining it before I will admit that a +true staff can be so made. + +We will suppose that the workman has a moderately true chuck, and that he +prefers to turn and finish all the lower portions in this way. Of course +the directions for using a cement chuck on the upper part of a staff are +equally applicable to the lower. Before going further I think it +advisable to consider the requirements of a pivot, but will reserve this +for another chapter. + + + + +CHAPTER II. + + +The chief requirements of a pivot are that it shall be round and well +polished. Avoid the burnish file at all hazards; it will not leave the +pivot round, for the pressure is unequal at various points in the +revolution. A pivot that was not perfectly round might act fairly well in +a jewel hole that was round, but unfortunately the greater proportion of +jewel holes are not as they should be, and we must therefore take every +precaution to guard against untrue pivots. Let us examine just what the +effect will be if an imperfect pivot is fitted into an unround hole +jewel, and to demonstrate its action more clearly let us exaggerate the +defects. Suppose we pick a perfectly round jewel and insert into the +opening a three-cornered piece of steel wire, in shape somewhat +resembling the taper of a triangular file. We find that this triangular +piece of steel will turn in the jewel with the same ease that the most +perfect cylindrical pivot will. Now suppose we change the jewel for one +that is out of round and repeat the experiment. We now find that the +triangular steel soon finds the hollow spots in the jewel hole and comes +to a stand-still as it is inserted in the hole. The action of a pivot +that is not true, when in contact with a jewel whose hole is out of +round, is very similar, though in a less marked degree. If the pivot +inclines toward the elliptical and the jewel hole has a like failing, +which is often the case, it is very evident that this want of truth in +both the pivot and hole is very detrimental to the good going of a watch. + +[Illustration: _Fig. 4._] + +[Illustration: _Fig. 5._] + +There are two kinds of pivots, known respectively as straight and conical +pivots, but for the balance staff there is but one kind and that is the +conical, which is illustrated in Fig. 4. The conical pivot has at least +one advantage over the straight one, _i. e._, it can be made much smaller +than a straight pivot, as it is much stronger in proportion, owing to its +shape. All pivots have a tendency to draw the oil away from the jewels, +and particularly the conically formed variety, which develops a strong +capillary attraction. To prevent this capillary attraction of the oil, +the back-slope is formed next to the shoulder, although many persons seem +to think that this back-slope is merely added by way of ornament, to make +the pivot more graceful in appearance. It is very essential, however, for +if too much oil is applied the staff would certainly draw it away if its +thickness were not reduced, by means of the back-slope. Before leaving +the subject of capillarity let us examine the enlarged jewel in Fig. 5; +_c_ is an enlarged pivot, _b_ is the hole jewel and _a_ is the end stone. +We observe that the hole jewel on the side towards the end stone is +convex. It is so made that through capillarity the oil is retained at +the end of the pivot where it is most wanted. It is, in my opinion, very +necessary that the young watchmaker should have at least a fair +understanding of capillarity, and should understand why the end stone is +made convex and the pivot with a back slope. For this reason I will try +and make clear this point before proceeding further. We all know that it +is essential to apply oil to all surfaces coming in contact, in order to +reduce the friction as much as possible, and if the application of oil is +necessary to any part of the mechanism of a watch, that part is the +pivot. Saunier very aptly puts it thus: "A liquid is subject to the +action of three forces: gravity, adhesion (the mutual attraction between +the liquid and the substance of the vessel containing it), and cohesion +(the attractive force existing among the molecules of the liquid and +opposing the subdivision of the mass.)" + +We all know that if we place a small drop of oil upon a piece of flat +glass or steel and then invert the same the oil will cling to the glass, +owing to the adhesion of the particles; if we then add a little more to +the drop and again invert, it will still cling, although the drop may be +elongated to a certain degree. This is owing to the cohesion of the +molecules of the oil, which refuse to be separated from one another. If, +however, we again add to the drop of oil and invert the plate the drop +will elongate and finally part, one portion dropping while the other +portion clings to the main body of the liquid. The fall of the drop is +occasioned by gravity overcoming the cohesion of the molecules. Now take +a perfectly clean and polished needle and place a drop of oil upon its +point and we will see that the oil very rapidly ascends towards the +thicker portion of the needle. Now if we heat and hammer out the point of +the needle into the form of a small drill and repeat the operation we +find that the oil no longer ascends. It rises from the point to the +extreme width of the drill portion, but refuses to go beyond. It clings +to that portion of the needle which would correspond to the ridge just +back of the slope in a conical pivot. Water, oil, etc., when placed in a +clean wine glass, do not exhibit a perfectly level surface, but raise at +the edges as shown at _a_ in Fig. 6. If a tube is now inserted, we find +that the liquid not only rises around the outside of the tube and the +edges of the vessel, but also rises in the tube far beyond its mean +level, as shown at _b_. These various effects are caused by one of the +forces above described, _i. e._, the adhesion, or mutual attraction +existing between the liquid and the substance of the vessel and rod. The +word capillarity is of Latin derivation, and signifies hair-like +slenderness. The smaller the tube, or the nearer the edges of a vessel +are brought together, the higher in proportion will the liquid rise above +the level. An ascent of a liquid, due to capillarity, also takes place, +where the liquid is placed between two separate bodies, as oil placed +between two pieces of flat glass. If the plates are parallel to one +another and perpendicular to the surface of the liquid it will ascend to +the same height between the plates, as shown at _c_ in Fig. 6. If the +plates were united at the back like a book and spread somewhat at the +front, the oil would ascend the higher as the two sides approach one +another, as shown at _d_, Fig. 6. If a drop is placed somewhat away from +the intersecting point, of the glasses, as shown at _m_ it will, if not +too far away, gradually work its way to the junction, providing the +glasses are level. If, however, the glasses are inclined to a certain +extent, the drop will remain stationary, since it is drawn in one +direction by gravity and in the other by capillarity. When a drop of oil +is placed between two surfaces, both of which are convex, or one convex +and the other plain, as shown at _g_, it will collect at the point _n_, +at which the surfaces nearest approach one another. We now see very +clearly why the hole jewel is made convex on the side towards the +end-stone and concave on the side towards the pivot. + +[Illustration: _Fig. 6._] + +Particular pains should be taken to polish those portions of the pivots +which actually enter the jewel hole and to see that all marks of the +graver be thoroughly removed, because if any grooves, no matter how +small, are left, they act as minute capillary tubes to convey the oil. + +If the hole jewel be of the proper shape, the end-stone not too far from +the hole jewel and too much oil is not applied at one time, the oil will +not spread nor run down the staff, but a small portion will be retained +at the acting surface of pivot and jewel, and this supply will be +gradually fed to these parts from the reservoir between the jewel and +end-stone, by the action of capillarity. + +Having examined into the requirements of the pivot and its jewel and +having gained an insight into what their forms should be, we are the +better able to perform that portion of the work in an intelligent +manner. + + + + +CHAPTER III. + + +Our wire has been roughed out into the form of a staff, has been hardened +and the temper drawn down to the requisite hardness and we are now ready +to proceed with our work. As I said before, we have now arrived at a +point where many authorities differ, _i. e._, as to whether the finishing +of the staff proper, should be performed while the work is held in the +chuck, or whether a wax chuck be substituted. We will take it for granted +that you have a true chuck and that you prefer to finish all the lower +portion of the staff while held in the chuck. + +Before we proceed with our work it will be necessary for us to make some +accurate measurements, as we cannot afford to do any guess work by +measuring by means of the old staff. I have used a number of different +kinds of calipers and measuring instruments for determining the various +measurements for a balance staff, but have met with more success with a +very simple little tool which I made myself from drawings and description +published some years ago in THE AMERICAN JEWELER. This simple little tool +is shown in Fig. 7, and has been of great service to me. It consists of a +brass sleeve A, with a projection at one end as shown at B. This sleeve +is threaded, and into it is fitted the screw part C, which terminates in +a pivot D, which is small enough to enter the smallest jewel. The sleeve +I made from a solid piece of brass, turning it down in my lathe and +finishing the projection by means of a file. The hole was then drilled +and threaded with a standard thread. The screw part C, I made of steel +and polished carefully. + +[Illustration: _Fig. 7._] + +To ascertain the proper height for the roller, place it upon the tool, +allowing it to rest upon the leg B, and set the pivot D in the foot +jewel. Now adjust, by means of the screw C until the roller is in its +proper position in relation to the lever fork. This may be understood +better by consulting Fig. 8, where A is the gauge, C is the roller, E is +the lever, F is the plate and G is the potance. + +[Illustration: _Fig. 8._] + +Now in order to locate the proper place to cut the seat for the roller, +remove it from the foot of the gauge and apply the gauge to the work as +shown in Fig. 9. The foot of the gauge resting against the end of the +pivot, the taper end of the gauge will locate accurately the position of +the roller seat. In order to locate the proper position for the seat for +the balance, proceed the same as for the roller, except that the foot of +the gauge is lowered until it is brought sufficiently below the plate to +allow of the proper clearance as indicated by the dotted lines at H. Now +apply the gauge to the new staff, as shown in Fig. 10, and the taper end +will locate the exact position for the balance seat. + +[Illustration: _Fig. 9._] + +[Illustration: _Fig. 10._] + +As previously stated, I have taken it for granted that you preferred to +finish all the lower portion of the staff while the work was held in the +chuck. I have assumed that you prefer to work in this way because I have +noted the fact that nine watchmakers out of every ten start with, and +first finish up, the lower portion of the staff. Where this method of +working originated I do not know, but it always has the appearance to me +of "placing the cart before the horse." I do not pretend to say that a +true staff cannot be made in this way, but it certainly is not the most +convenient nor advisable. We all know that the heaviest part of the staff +is from the roller seat to the end of the top pivot. Now it seems to me +that it is the most natural thing in the world for a mechanic to desire +to turn the greater bulk of his work before reversing it. Now if the +workman has been educated to turn indifferently with right or left hand, +it may make little difference, as far as the actual turning is concerned, +whether he starts to work at the upper or lower end of the staff, but +unfortunately there are few among us who are so skilled as to use the +graver with equal facility with either hand, and it is therefore an +advantage to start with the upper end, as you can thus finish a greater +portion of the work more readily. You can readily see that when you come +to reverse your staff and use the wax chuck, that by starting at the top +of staff your wax has a much larger surface of metal to cling to, and +again the shape of the balance seat is such as to secure the work firmly +in the wax, while if the reverse method is employed, the larger portion +of the balance seat is exposed and the staff is more liable to loosen +from the motion of the lathe and pressure of the graver and polishers. + + + + +CHAPTER IV. + + +By the aid of the pinion calipers and the old staff, the diameter of the +roller seat and the balance and hair-spring collet seats may be readily +taken, but it is perhaps better to gauge the holes, as the old staff may +not have been perfect in this respect. A round broach will answer +admirably for this purpose, and the size may be taken from the broach by +means of the calipers. In fitting our pivots, we can not be too exact; +and as yet no instrument has been placed upon the market for this purpose +which is moderate in price and yet thoroughly reliable. The majority of +watchmakers use what is termed the pivot-gauge, a neat little instrument +which accompanies the Jacot lathe, and which may be obtained from any +material house. This tool, which is shown in Fig. 11, is, however, open +to one objection in the measurement of pivots, and that is that it may be +pressed down at one time with greater force than at another, and +consequently will show a variation in two measurements of the same pivot. +Some of my readers may think that I am over-particular on this point, and +that the difference in measurement on two occasions is too trivial to be +worthy of attention, but I do not think that too much care can be +bestowed upon this part of the work, and neglect in this particular is, +I think, the cause of poor performance in many otherwise good +timepieces. The ordinarily accepted rule among watchmakers is that a +pivot should be made 1/2500 of an inch smaller than the hole in the jewel +to allow for the proper lubrication. I am acquainted with watchmakers, +and men who are termed good workmen, too, who invariably allow 1/2500 of +an inch side shake, no matter whether the pivot is 12/2500 or 16/2500 of +an inch in diameter. Now if 1/2500 of an inch is the proper side shake +for a pivot measuring 12/2500 of an inch in diameter, it is certainly not +sufficient for a pivot which is one-third larger. Of course it is +understood that side shakes do not increase in proportion according as +the pivot increases in size, for if they did a six-inch shaft would +require at this rate a side shake of 1/2 inch, or 1/4 inch on each side, +which would be ridiculously out of all proportion, as the 1/64 of an inch +would be ample under any circumstances. Neither can we arrive at the +proper end shake for a pivot by reducing in proportion from the end shake +allowed on a six-inch shaft, because if we followed out the same course +of reasoning we would arrive at a point where a pivot measuring 12/2500 +of an inch would require an end shake so infinitely small that it would +require six figures to express the denominator of the fraction, and the +most minute measuring instrument yet invented would be incapable of +recording the measurement. We must leave sufficient side shake, however, +on the smallest pivot and jewel for the globules of the oil to move +freely, and experiments have shown conclusively that 1/2500 of an inch or +1/5000 on each side of the pivot, is as little space as it is desirable +to leave for that purpose, as the globules of the best chronometer oil +will refuse to enter spaces that are very much more minute. But to return +to our pivot gauge. + +[Illustration: _Fig. 11._] + +[Illustration: _Fig. 12._] + +Each division on the gauge represents 1/2500 of an inch, which is all +that we require. The diameter that the pivot should be, can be +ascertained by inserting a round pivot broach into the jewel and taking +the measurement with the pivot gauge, and then making the necessary +deduction for side shake. Slip the jewel on the broach as far as it will +go, as shown in Fig. 12, and then with the pivot gauge, take the size of +the broach, as close up to the jewel as you can measure, and the taper of +the broach will be about right for the side shake of the pivot. If, +however, you prefer to make the measurement still more accurate, you can +do so by dipping the broach into rouge before slipping on the jewel and +then remove the jewel and the place which is occupied on the broach can +be plainly discerned and the exact measurement taken and an allowance of +1/2500 of an inch made for the side shake. Another method, and one which +is particularly applicable to Swiss watches, where the jewel is burnished +into the cock or plate, is to first slip on to the broach a small flat +piece of cork and as the broach enters the jewel the cork is forced +farther on to the broach, and when the jewel is removed it marks the +place on the broach which its inner side occupied, and the measurement +can then be taken with the gauge. If care is used in the selection of a +broach, that it be as nearly perfect in round and taper as possible, by a +little experiment you can soon ascertain just what part of the length of +the broach corresponds to one degree on the gauge and by a repetition of +the experiment the broach can then be divided accurately, by very minute +rings turned with a fine-pointed graver, into sections, each representing +one degree, or 1/2500 of an inch, and the measurement will thus be +simplified greatly. + +[Illustration: _Fig. 13._] + +As before stated, much depends upon the condition of your gravers and the +manner of using them. It is of the utmost importance that they be kept +sharp, and as soon as they begin to show the slightest sign of losing +their keenness, you should sharpen them. The proper shape for balance +pivots was shown in Fig. 4. Now let us examine into the best positions +for holding the gravers. In Fig. 13 two ways of holding the graver are +shown, _A_ representing the right and _B_ representing the wrong way. If +the graver is applied to the work as shown at _A_, it will cut a clean +shaving, while if applied as shown at _B_ it will simply scrape the side +of the pivot and ruin the point of the graver without materially +forwarding the work. Again, the holding of the graver as indicated at _A_ +has its advantages, because the force of the cut is towards the hand +holding it, and should it catch from any cause the jar of the obstruction +will be conveyed immediately to the hand, and it will naturally give and +no harm will be done. If, on the other hand, the graver should meet with +an obstruction while held in the position indicated at _B_, the force of +the cut will be in the direction of the arrow, downward and toward the +rest, and the rest being unlike the hand, or rather being rigid, it +cannot give, and the result is that the work, or graver, or both, are +ruined. In Fig. 14 two other methods of holding the graver are shown. The +general roughing out of a staff should be done with the graver held about +as shown at _A_, Fig. 13; but in finishing, the graver should be held so +that the cut is made diagonally, as indicated at _A_, Fig. 14. It is +rather dificult to explain in print just how the graver should be held, +but a little experiment will suffice to teach the proper position. The +best indication that a graver is doing its work properly, is the fact +that the chips come away in long spiral coils. Aim to see how light a cut +you can make rather than how heavy. Never use force in removing the +material, but depend entirely upon the keenness of the cutting edges. +Never use the point of the graver, except where you are compelled to, but +rather use the right or left hand cutting edges. By following out this +rule you will find that your work, when left by the graver, requires +little or no finishing up, except at the pivots. At _B_, Fig. 14, is +shown the correct manner of applying the graver when turning a pivot. +Hold the graver nearly on a line with the axis of the lathe and catching +a chip at the extreme end of the pivot with the back edge of the graver, +push slightly forward and at the same time roll the graver towards you +and it will give the pivot the desired conical form. By keeping the +graver on a line with the length of the pivot, all the force applied is +simply exerted in the direction of the chuck, and does not tend to spring +the pivot, as it would were the extreme point applied, as in Fig. 13. +When we come to such places as the shoulder of the back slope, the seat +for the roller, balance, etc., we must necessarily use the point of the +graver. + +[Illustration: _Fig. 14._] + + + + +CHAPTER V. + + +In chapter IV I called attention to the right and wrong way of holding +the graver while using the extreme point, and also the correct manner of +applying the graver in turning conical pivots. I also called attention to +the fact that it was well to only use the point of the graver where +positively necessary, as in the back slope of the pivot, etc. In turning +the seat for the balance, as indicated at A, Fig. 15, the graver A, Fig. +1, or a similar one as shown at B, Fig. 15, should be used. The slope at +C should now be turned. In turning the pivot and seat for the roller, you +should leave them slightly larger than required, to allow for the +grinding and polishing which is to follow. No definite amount can be left +for this purpose, because the amount left for polishing depends entirely +on how smoothly your turning has been done. If it has been done +indifferently, you may have to allow considerable for grinding and +polishing before all the graver marks are removed, while, on the +contrary, if the work has been performed with care, very little will have +to be removed. Avoid the use of the pivot file by performing your work +properly to start with. + +[Illustration: _Fig. 15._] + +[Illustration: _Fig. 16._] + +For grinding, bell-metal or soft iron slips are desirable, and the +grinding is effected by means of oil stone powder and oil. Two slips of +metal similar in shape to A and B, Fig. 16, are easily made, and will be +found very useful. A is for square pivots, etc., while B is used for +conical pivots. These slips should be dressed with a dead smooth file, +the filing to be done crosswise, to hold the oil stone powder and oil. +During the operation of grinding, the lathe should be run at a high speed +and the slips applied to the work lightly, squarely and carefully. The +polishing is effected by means of diamantine and alcohol. After the work +is brought to a smooth gray surface, slips of boxwood of the shape shown +in Fig. 16 should be substituted for the metal slips. Oil stone slips are +sometimes used in lieu of metal ones, but they soon get out of shape and +are troublesome to care for on this account. All things considered, there +is nothing better for polishing than a slip or file made of agate, say +one inch long, one-quarter inch wide and one-eighth inch thick. A slip of +this kind can be obtained from any lapidary, and after grinding with +emery and water until the surface has a very fine grain, it should be +mounted by fastening with cement into a brass socket and this is then +inserted into a small wooden handle, as shown in Fig. 17. The agate slip +should be ground to about the shape of B, Fig. 16, so that one side can +be used for square corners and the other for conical pivots. The final +polish can soon be imparted by means of a small boxwood slip, or +flattened peg-wood, and diamantine and alcohol. Never try to bring out +the final polish until you are satisfied that all graver marks have been +ground out, otherwise you will simply have to go all over the work again. + +[Illustration: _Fig. 17._] + +When the staff is finished from the lower pivot to the seat of the +balance, the upper part should be roughed out nearly to size and then cut +off preparatory to finishing the top part. + +Attention was previously called to the fact that the majority of +watchmakers prefer to finish all the lower portion of the staff first, +notwithstanding the fact that there are numerous advantages to be gained +by proceeding to first finish up the upper portion. We have now reached +the point where the wax chuck must be used, and perhaps these advantages +may be now more clearly defined. In order that the two procedures may be +more distinctly shown, illustrations of both methods are here given. +Fig. 18 shows the popular method, the lower portion of the staff being +all completed and fastened by means of wax, in the wax chuck. Fig. 19 +shows the opposite course of procedure. In both illustrations the lines +indicate the amount of wax applied to hold the work. It will be noted +that in Fig. 18 the hub of the staff is enclosed in the wax very much as +a cork is fitted into a bottle, while in Fig. 19 the hub is reversed, +just as a cork would appear were the larger portion within the bottle and +the smaller portion protruding through the neck. A study of the diagram +will readily show that in Fig. 19 the staff is held more rigidly in place +and that a greater bulk of the work is enclosed in the wax than in Fig. +18, although there is less wax used in the former than in the latter. + +[Illustration: _Fig. 18._] + +[Illustration: _Fig. 19._] + +Before proceeding to set the staff in the wax, it is necessary to make +some measurements to determine its full length. Remove both cap jewels +and screw the balance cock in place. Examine the cock and see if it has +at any time been bent up or down or punched to raise or lower it. If so, +rectify the error by straightening it and then put it in place. Now with +a degree gauge, or calipers, proceed to take the distance between the +outer surfaces of the hole jewels and shorten the staff to the required +length. Do not remove too much, but leave the staff a little long rather +than cut it too short, as the length can be shortened later. + +[Illustration: _Fig. 20._] + +[Illustration: _Fig. 21._] + +A very handy tool for the purpose of making these length measurements can +be constructed by adding a stop screw to the common double calipers as +shown in Fig. 20. The improvement consists in the fact that they can be +opened to remove from the work and closed again at exactly the same +place, so that an accurate measurement can be made. The all-important +point in the use of wax chucks is to get a perfect center. If you are not +careful you are liable to leave a small projection in the center as shown +at A, Fig. 21. The ordinary wax chuck cannot be unscrewed from the +spindle and restored to its proper place again with anything like a +certainty of its being exactly true, and if you insist on doing this +there is no remedy left but finding a new center each time. It will be +found more satisfactory and economical in the long run to have a +permanent chuck for a wax chuck and you will then have no necessity for +removing the brass chuck. + +The center, or cone for the reception of the pivot, should be turned out +with the graver at an angle of about 60 deg. and such a graver as is shown at +B, Fig. 1, will answer admirably for this purpose. After you have +carefully centered your wax chuck, place a small alcohol lamp under the +chuck and heat it until the wax will just become fluid and yet not be hot +enough to burn the wax. Revolve the lathe slowly and insert the staff so +that the pivot rests squarely and firmly in the center. Now re-heat the +chuck carefully in order that the wax may adhere firmly to the staff, +keeping the lathe revolving meanwhile, but not so fast that the wax will +be drawn from the center, and at the same time apply the forefinger to +the end of the staff, as shown in Figs. 18 and 19, and gently press it +squarely into place in the wax chuck. The lines in Figs. 18 and 19 +designate about the right amount of wax after the work is ready, but it +is well to add a little more than is shown in those figures, and you +should be careful to keep the wax of equal bulk all around, or when it +cools it will have a tendency to draw the staff to one side. Now remove +the lamp and keep the lathe revolving until the wax is quite cool, when +it should be removed, by means of a graver, down to the dimensions +designated by the lines in Figs. 18 and 19. When this is accomplished +re-heat a little, but only enough to make it soft, but not liquid, and +placing a sharpened peg-wood on the tool rest proceed to the final truing +up, by resting the pointed end against the hub. + + + + +CHAPTER VI. + + +I have described above one of the methods in vogue for holding a staff by +means of wax. It is the common method employed by most watch repairers, +the popular method so to speak. The method which I am now about to +describe may seem awkward at first to those who have not practiced it, +but once you have fairly tried it, you will never be contented to work in +any other way. + +The first requisite is a true taper chuck; and it is well to purchase an +extra one to be used solely for this purpose, so that you will be +prepared at all times for staff work. Select a good steel taper, and +having placed your chuck in the lathe, see if your taper fits well by +inserting it in the chuck while running slowly. If it fits well, it will +be marked almost throughout its length. Insert again in the chuck, and +with a few light taps of the hammer set it firmly in place, so that you +know that there is no danger of its working loose. The taper will then +project about three-quarters of an inch from the face of the chuck. By +means of a sharp graver, make the face of the taper smooth and straight, +and cut off the taper end. Now mark a point on the taper about one-fourth +of an inch from the end, and proceed to turn down the diameter from this +point to the end, leaving that portion of the taper about two-thirds of +its original diameter, and finish with a nice square shoulder. Now with +a long-pointed sharp graver proceed to cut a nice V-shaped center with an +angle of about 60 deg.. When you have proceeded thus far you will find that +you have an implement resembling that shown in Fig. 22. + +[Illustration: _Fig. 22._] + +Care must be taken that the center is quite true, and that no projection +is left like that illustrated in Fig. 21, no matter how minute it may be. +Now examine the center by the aid of a strong glass, and after you are +satisfied with its appearance proceed to test it. Take a large sized pin +with a good point, and placing the point in the center, maintain it in +position by pressing upon the head, and while revolving the lathe slowly +proceed to examine by means of your glass. If the center is a good one +there will be no perceptible vibration of the pin. + +Now procure a piece of small brass tubing with an internal diameter a +little less than that of the turned down portion of your taper. If the +brass tubing cannot be procured readily, you can substitute a piece of +brass wire a little larger than the taper, and by means of a drill a +little smaller in diameter than the turned down portion you can readily +make a small tube about one-half inch long. Now by means of a broach +proceed to open the tube to a point one-quarter inch from one end, and +carefully fit it on the turned down portion of your taper. After fitting +tightly to the shoulder of the taper, proceed to turn out the other end +until it will take in the hub of your staff easily and leave a little +room to spare. Now turn your tube down in length until a little of the +hub is exposed either way you put the staff in. Turn the outside of the +tube smooth and to correspond with the outline of the taper, so you will +have a nice looking job when completed. Just below where the hub will +come drill a small hole in the tube and remove all burr, both inside and +out, that may have been made in drilling, so that the shellac or wax will +not adhere to it. This little hole acts as an outlet for the air in the +tube; and as the hot shellac enters at the end of the tube the air is +expelled through this vent. It also helps to hold the cement firmly in +place. Now try your staff in the tube again, and be sure that it is quite +free, and that you will be able to work on the portions of it above and +below the hub, according as one end or the other is inserted. + +You are now ready to insert your staff and proceed with your work. Hold +your shellac in the flame of your lamp a moment until it is quite liquid, +and then smear both the inside and outside of the tube with it. Heat the +shell or tube gently by means of the lamp, keeping the lathe revolving +slowly all the while, and taking the staff in your tweezers proceed to +insert it carefully into the tube. Press firmly back, making sure that it +has reached the bottom of the V-shaped center. Pack the cement well in +around the staff, and while centering remove the lamp and allow the +whole to cool, keeping the whole revolving until quite cool. Now remove +the superfluous cement by means of the graver, and heating the tube again +slightly, proceed to center exactly by means of a pointed peg-wood, +resting on your T rest to steady it. Turn slowly in the lathe and examine +with glass to see that it is quite true. Your completed instrument will +resemble Fig. 23. + +[Illustration: _Fig. 23._] + +The advantage of the device is that your center is always ready, and all +you have to do is to insert your chuck in the lathe, warm it, and you are +ready to insert your staff and proceed to work. As I said in the first +place, it is well to employ a taper chuck exclusively for this work, and +not attempt to use it for any other, for if you try to remove your taper +and replace it again, you will surely find that your work is out of +center, and you will be compelled to remove the brass shell and find a +new center each time you use it. You can avoid all this trouble, however, +by purchasing an extra chuck and devoting it exclusively to wax work. Of +course, the brass shell can be removed and placed in position again +without in any way affecting the truth of the center, and any number, +shape and size of shells can be made to fit the one taper, and these +shells will be found very useful for holding a variety of work, aside +from balance staffs. + + + + +CHAPTER VII. + + +The two popular methods of holding a balance staff in wax have been +described and illustrated; the reader may take his choice. The turning +and finishing of the other end of the staff is performed as previously +described. That portion on which the hair-spring collet goes should be +turned to nearly the proper size, making due allowance for the grinding +and polishing that is to come. The balance seat should be slightly +undercut, so that the balance can be driven on tightly and all riveting +dispensed with. The size for the pivot can be determined from its jewel, +as previously described. Finish the ends of the pivots flat and round the +corners off slightly; and right here comes a point worthy of +consideration in all watch work. Leave no absolutely square corners in +any of your work, but round them off very slightly. This may seem a very +little thing, but it is one of the small things that go to make up +first-class work. You can judge pretty accurately of a watchmaker by the +corners he leaves on his work, as well as by the appearance of his +gravers and screw-drivers. + +When your staff is completed and nicely polished, remove from the wax and +boil in alcohol to clean, and when dried it is ready for the balance. +Great care must be exercised in removing the balance from the old staff, +especially if it be a compensation balance, that you do not distort it +any way. If the balance has been riveted on extra care will have to be +exercised. The riveting may be cut by means of a graver, or a hollow +drill made from Stubb's steel wire. The recess in the drill should just +fit over the shoulder left for the reception of the hair-spring collet. +The edge of the hollow drill has small teeth formed upon it similar to a +fine file, and will cut quite rapidly. + +After removing the balance, if it appears to be sprung in the arms, the +result of removal or previous bad treatment, proceed to bend them +straight, and then to true up the rim carefully, and stake on with a flat +end punch. Now put on your roller and drive it down to the hub and see +that the roller is free from the fork. See that jewel pin reaches fork +properly and that the guard pin also reaches the roller. See that your +balance is free from the plate and the bridge. If the balance is true and +all right, you are ready to put on your hair-spring. See that it is in +beat. It is well to make a mark on the balance before taking off the old +staff, showing positions of hair-spring stud and jewel pin. + +Three-quarter plate English lever and Swiss lever balance staffs differ +only in detail, except that they are sprung under balances. The general +operations for making, however, are similar to those described. + +I have not described the method of poising the balance for two reasons; +first, the mere poising of a balance for a cheap movement is so simple +that it needs no explanation; and second, to describe the poising of the +balance of a fine watch is a lengthy task, and can hardly be included +under the heading of staffing and pivoting. The ground has been +thoroughly and conscientiously covered by Mr. J. L. Finn, in a little +volume entitled Poising the Balance,[A] and I would advise all +watchmakers, both young and old, to read what he has to say. + +Good pivoting is an art in itself, and although there are many who +undertake to do this work, there are but few who can pivot a staff in +such a manner that it will bear close inspection under the glass. We +often hear watchmakers brag of the secrets they possess for hardening +pivot drills, but I fancy they would be somewhat surprised if they +traveled around a little, to find how many watchmakers harden their +drills in exactly the same way that they do. The great secret, so-called, +of making good drills, is to first secure good steel, and then use care +to see that you do not burn it in the subsequent operations. The fewer +times the steel is heated the better. My experience teaches me that you +can do no better than to select some nice pieces of Stubb's steel for +your pivot drills. Many watchmakers make their drills from sewing +needles, say No. 3 or 4, sharps. The steel in these needles is usually of +good quality, but the great drawback is that a drill made from a needle +will not resist any great pressure, and is liable to break just at the +time that you have arrived at the most important point. If your drill is +made from a piece of Stubb's steel wire, or an old French or Swiss +graver, you not only know that the material in it is first-class, but you +can leave the base of the drill solid and substantial, with enough metal +in it to resist considerable pressure. The part of the drill which +actually enters the pivot is very short, and the end can be turned down +to the desired diameter. Turn or reduce your wire by means of a pivot +file so as to be smooth and conical, as shown at _A_, Fig. 24. The +conical form is given to the drill for exactly the same reason that it is +given to the balance pivots, because it gives additional strength. Heat +to a very pale red for about one-half inch from the end, and then spread +the point, as shown at _B_, Fig. 24, by a slight blow of the hammer. We +are now ready to temper our drill, and we must exercise a little care +that the steel is not burnt and that the drill is not bent or warped when +hardening. The flame of the alcohol lamp should be reduced as small as +possible, or otherwise the steel may become overheated and lose all its +good qualities. If needles are used for making drills there is a great +liability of their warping when hardening, but when a larger piece of +wire is used there is not much danger, if care is exercised in +introducing the drill that it goes into the compound straight and point +foremost. If a needle is used, it is well to construct a shield for it, +to be used when heating and hardening. This shield can be made from a +small piece of metal tubing, broached out to fit loosely over the shank +and point of the drill. The drill is introduced into this shield as shown +in Fig. 25, and a little soap may be introduced into the end _a_ before +plunging. Various hardening devices are used, but in my experience +beeswax or sealing wax will be found as good as any. Heat the drill (or +if a needle, the drill and shield both), to a pale red and plunge +straight into the wax. In the latter case, where the shield is used, the +shield, on striking the wax, will run up the shank of the drill, allowing +the point to pierce the wax. Some watchmakers introduce the extreme point +of the drill into mercury first and then plunge into the wax. This +hardens the extreme point of the drill very hard, so hard, in fact, that +it will penetrate the hardest steel, but care must be exercised with such +a drill because the mercury makes it not only very hard but very brittle. +_C_, Fig. 24, shows a drill after it has been finished on the Arkansas +stone. This shape of drill will withstand the pressure necessary to drill +into hard steel. Many watchmakers reduce the temper of every staff before +drilling. This, I think, is quite unnecessary. There are very few cases +in which it is necessary to reduce the temper of the staff, and even then +it should only be reduced as far as it is to be drilled, and then not in +excess of a good spring temper. + +[Illustration: _Fig. 24._] + +[Illustration: _Fig. 25._] + +The centering of a staff in wax has been thoroughly described and in +pivoting the proceeding is the same as in staffing. After accurately +centering your work, make a small cut in the center for the reception of +the drill and make this mark deep enough to take the entire cutting head +of the drill. Keep the drill firmly pressed into this center and kept wet +constantly with turpentine. Do not revolve the work all one way, but give +the lathe an alternating motion. At first give but a third or a half +revolution each way, until the drill begins to bite into the staff, when +you can then safely give it a full revolution each way. Care must be +exercised, however, not to give the work too rapid a motion, for if you +do the friction is apt to draw down the temper of your drill. Many +watchmakers find that their drills cut well for a certain distance and +then refuse to work altogether, and one of the chief reasons is that they +are in too great a hurry with their drilling. + +If you find it absolutely necessary to reduce the hardness of your staff +before drilling, do so by drilling a hole in the end of a small piece of +copper wire that will just fit over the part to be softened, and apply +the heat to this copper wire, say one-fourth of an inch from the staff. +The heat will run down the copper wire and heat the staff just where you +wish to draw the temper. Be careful and do not draw the temper too much, +nor let it extend down the staff too far. + +The plug for the new pivot should be carefully made, perfectly round, +with a very little taper, and should be draw-filed before being driven +in. Some workmen dip the plug in acid before driving in, as they declare +that the pivot is less liable to be loosened while turning, if so +treated. The acid simply rusts the pivot and the hole, but I cannot see +that this will hold it any more firmly in place while finishing. If the +taper is a gradual one and the pivot a good close fit, there will be +little danger of it loosening while dressing to shape. If too great a +taper is given to the plug, there is danger of splitting the end of the +staff, and this involves the making of an entire new staff. + +The turning up of a new pivot does not differ in any way from the +instructions given for turning pivots on a new staff. With a little care +both in turning and finishing, a new pivot can be put in so nicely that +only the initiated can tell it, and then only with the aid of a strong +glass. + +In pivoting cylinders there is some danger of breaking them. To avoid +this, select a piece of joint wire, the opening of which is slightly +larger than the diameter of the cylinder at the lower end, and cut off a +piece the length of the cylinder proper, leaving the pivot projecting. +Now fill the cylinder with lathe wax, and while the wax is warm, slip on +the joint wire. You can now proceed to true up the pivot in the usual +manner, and when the wax is quite cold, proceed to turn and polish the +pivot before removing from the lathe. If the joint wire is properly +cemented on the cylinder, it is almost impossible to break it. After all +the work is done, the wax can be dissolved in alcohol. In pivoting +pinions to cylinder escape-wheels and third wheels, it is not necessary +to remove the wheels, but great care should be used in handling. In the +latter case use plenty of wax. Do all your centering by the outside of +the pinion. Perfect centering and sharp tools are requisite to good +pivoting. Do not try to rush your work, especially while drilling. +Proceed deliberately with your work and aim to restore the watch to the +condition it was in originally, and you will find staffing and pivoting +is not half as hard as some workmen would have you believe. + +[Footnote A: POISING THE BALANCE, by J. L. Finn, Geo. K. Hazlitt & Co., +publishers, Chicago.] + + + + + +End of the Project Gutenberg EBook of A Treatise on Staff Making and Pivoting, by +Eugene E. 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