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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. Hall + +*** END OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON STAFF MAKING *** + +***** This file should be named 20317.txt or 20317.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/0/3/1/20317/ + +Produced by Sigal Alon, Chris Curnow, Fox in the Stars and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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