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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:10:02 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:10:02 -0700 |
| commit | 968d5a00099759360b1055baa8d5bcc6636d5e2f (patch) | |
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diff --git a/23770-h/23770-h.htm b/23770-h/23770-h.htm new file mode 100644 index 0000000..cb64dfa --- /dev/null +++ b/23770-h/23770-h.htm @@ -0,0 +1,3295 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Mission Furniture, How To Make It, + Part I, by H.H. Windsor. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3 { + 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; + } + ul { list-style-type:none;} + .toc {margin-left: 10%; text-align: right} + + 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 */ + + .blockquot{margin-left: 5%; margin-right: 10%;} + + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 2px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center; margin-top: 3em;} + + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Mission Furniture, by H. H. Windsor + +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: Mission Furniture + How to Make It, Part I + +Author: H. H. Windsor + +Release Date: December 8, 2007 [EBook #23770] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK MISSION FURNITURE *** + + + + +Produced by K. Nordquist, Ross Wilburn and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + + + +<h1> +<span class="smcap">Mission Furniture</span></h1> + +<h2>HOW TO MAKE IT</h2> + +<h2>PART I</h2> + +<hr style="width: 25%;" /> +<h2>POPULAR MECHANICS HANDBOOKS</h2> + +<hr style="width: 25%;" /> +<h3>CHICAGO</h3> + + +<h3>POPULAR MECHANICS CO.</h3> + + + +<h3>Copyrighted, 1909,<br /> +by H.H. WINDSOR</h3> + +<hr style="width: 45%;" /> +<p>This book is one of the series of +Handbooks on industrial subjects +being published by the Popular +Mechanics Company.</p> + +<p>Like Popular Mechanics Magazine, +and like the other books in this series, +it is "written so you can understand it."</p> + +<p>The purpose of Popular Mechanics +Handbooks is to supply a growing +demand for high-class, up-to-date and +accurate text-books, suitable for home +study as well as for class use, on all +mechanical subjects.</p> + +<p>The text and illustrations, in each +instance, have been prepared expressly +for this series by well known experts, +and revised by the editor of Popular +Mechanics.</p> +<hr style="width: 65%;" /> +<h2>CONTENTS</h2> + +<ul class="TOC"> +<li><a href="#HOME-MADE_MISSION_CHAIR"><b>HOME-MADE MISSION CHAIR</b></a>, 5</li> +<li><a href="#HOW_TO_MAKE_A_LAMP_STAND_AND"><b>HOW TO MAKE A LAMP STAND AND</b></a>, 8</li> +<li><a href="#HOW_TO_MAKE_A_PORCH_CHAIR"><b>HOW TO MAKE A PORCH CHAIR</b></a>, 15</li> +<li><a href="#HOW_TO_MAKE_A_TABOURET"><b>HOW TO MAKE A TABOURET</b></a>, 17</li> +<li><a href="#HOW_TO_MAKE_A_MORRIS_CHAIR"><b>HOW TO MAKE A MORRIS CHAIR</b></a>, 22</li> +<li><a href="#HOME-MADE_MISSION_BOOK_RACK"><b>HOME-MADE MISSION BOOK RACK</b></a>, 27</li> +<li><a href="#HOW_TO_MAKE_A_MISSION_LIBRARY"><b>HOW TO MAKE A MISSION LIBRARY</b></a>, 29</li> +<li><a href="#HOME-MADE_MISSION_CANDLESTICK"><b>HOME-MADE MISSION CANDLESTICK</b></a>, 35</li> +<li><a href="#ANOTHER_STYLE_OF_MISSION_CHAIR"><b>ANOTHER STYLE OF MISSION CHAIR</b></a>, 36</li> +<li><a href="#HOW_TO_MAKE_AND_FINISH_A_MAGAZINE"><b>HOW TO MAKE AND FINISH A MAGAZINE</b></a>, 42</li> +<li><a href="#HOME-MADE_LAWN_SWING"><b>HOME-MADE LAWN SWING</b></a>, 47</li> +<li><a href="#HOW_TO_MAKE_A_PORTABLE_TABLE"><b>HOW TO MAKE A PORTABLE TABLE</b></a>, 50</li> +<li><a href="#HOW_TO_MAKE_A_COMBINATION_BILLIARD"><b>HOW TO MAKE A COMBINATION BILLIARD</b></a>, 51</li> +<li><a href="#EASILY_MADE_BOOK_SHELVES"><b>EASILY MADE BOOK SHELVES</b></a>, 56</li> +<li><a href="#A_BLACKING_CASE_TABOURET"><b>A BLACKING CASE TABOURET</b></a>, 57</li> +<li><a href="#HOW_TO_MAKE_A_ROLL_TOP_DESK"><b>HOW TO MAKE A ROLL TOP DESK</b></a>, 62</li> +<li><a href="#HOW_TO_MAKE_A_ROMAN_CHAIR"><b>HOW TO MAKE A ROMAN CHAIR</b></a>, 67</li> +<li><a href="#HOW_TO_MAKE_A_SETTEE"><b>HOW TO MAKE A SETTEE</b></a>, 70</li> +<li><a href="#HOW_TO_MAKE_A_PYROGRAPHERS_TABLE"><b>HOW TO MAKE A PYROGRAPHER'S TABLE</b></a>, 74</li> +<li><a href="#MISSION_STAINS"><b>MISSION STAINS</b></a>, 76</li> +<li><a href="#FILLING_OAK"><b>FILLING OAK</b></a>, 77</li> +<li><a href="#WAX_FINISHING"><b>WAX FINISHING</b></a>, 78</li> +<li><a href="#THE_FUMING_OF_OAK"><b>THE FUMING OF OAK</b></a>, 78</li> +<li><a href="#HOW_TO_MAKE_BLACK_WAX"><b>HOW TO MAKE BLACK WAX</b></a>, 78</li> +<li><a href="#THE_40_STYLES_OF_CHAIRS"><b>THE 40 STYLES OF CHAIRS</b></a>, 80</li> +<li><a href="#HOW_TO_MAKE_A_PIANO_BENCH"><b>HOW TO MAKE A PIANO BENCH</b></a>, 87</li> +<li><a href="#HOW_TO_MAKE_A_MISSION_SHAVING"><b>HOW TO MAKE A MISSION SHAVING</b></a>, 89</li> +<li><a href="#A_MISSION_WASTE-PAPER_BASKET"><b>A MISSION WASTE-PAPER BASKET</b></a>, 93</li> +<li><a href="#A_CELLARETTE_PEDESTAL"><b>A CELLARETTE PEDESTAL</b></a>, 96</li> +<li><a href="#A_DRESSER"><b>A DRESSER</b></a>, 100</li> +<li><a href="#A_MISSION_SIDEBOARD"><b>A MISSION SIDEBOARD</b></a>, 103</li> +<li><a href="#A_HALL_OR_WINDOW_SEAT"><b>A HALL OR WINDOW SEAT</b></a>, 107</li> +<li><a href="#A_MISSION_PLANT_STAND"><b>A MISSION PLANT STAND</b></a>, 109</li> +<li><a href="#A_BEDSIDE_MEDICINE_STAND"><b>A BEDSIDE MEDICINE STAND</b></a>, 112</li> +<li><a href="#A_MISSION_HALL_CHAIR"><b>A MISSION HALL CHAIR</b></a>, 115</li> +</ul> + +<hr style="width: 65%;" /> +<h2> LIST OF ILLUSTRATIONS</h2> +<ul> +<li><a href="images/i-004.jpg">Suitable for Dining Room Use,</a> 5</li> +<li><a href="images/i-006.jpg">Details of Chair Construction,</a> 6</li> +<li><a href="images/i-009.jpg">The Completed Lamp,</a> 9</li> +<li><a href="images/i-011.jpg">Construction of Shade,</a> 11</li> +<li><a href="images/i-012.jpg">Details of Construction of Library Lamp Stand,</a> 12</li> +<li><a href="images/i-014.jpg">Details of Home-Made Porch Seat,</a> 14</li> +<li><a href="images/i-016.jpg">Porch Chair Finished,</a> 16</li> +<li><a href="images/i-018.jpg">Details of Tabouret,</a> 18</li> +<li><a href="images/i-020.jpg">Tabouret as Completed,</a> 20</li> +<li><a href="images/i-023.jpg">Complete Morris Chair Without Cushion,</a> 23</li> +<li><a href="images/i-024.jpg">Details of a Morris Chair,</a> 24</li> +<li><a href="images/i-027.jpg">Light but Strong,</a> 27</li> +<li><a href="images/i-028.jpg">Details of Stand,</a> 28</li> +<li><a href="images/i-029.jpg">This Picture is from a Photograph of the Mission Table +Described in This Article,</a> 29</li> +<li><a href="images/i-030.jpg">Showing Dimensions of Table,</a> 30</li> +<li><a href="images/i-032.jpg">Details of Table Construction,</a> 32</li> +<li><a href="images/i-035a.jpg">Candlestick,</a> 35</li> +<li><a href="images/i-035b.jpg">Details of Candlestick,</a> 35</li> +<li><a href="images/i-037.jpg">Mission Chair Complete,</a> 37</li> +<li><a href="images/i-039.jpg">Details of Mission Chair Construction,</a> 39</li> +<li><a href="images/i-043.jpg">Completed Stand,</a> 43</li> +<li><a href="images/i-045.jpg">Details of the Magazine Stand,</a> 45</li> +<li><a href="images/i-047.jpg">The Completed Swing,</a> 47</li> +<li><a href="images/i-048.jpg">Details of Seat,</a> 48</li> +<li><a href="images/i-049.jpg">Showing Construction of Stand,</a> 49</li> +<li><a href="images/i-050.jpg">Table for Outdoor Use,</a> 50</li> +<li><a href="images/i-052.jpg">By Swinging the Top Back the Table is Transformed into the +Elegant Davenport Seen on the Opposite Page,</a> 52</li> +<li><a href="images/i-053.jpg">The Billiard Table as Converted into a Luxurious +Davenport—A Child Can Make the Change in a Moment,</a> 53</li> +<li><a href="images/i-054.jpg">Details Showing Dimensions of Parts,</a> 54</li> +<li><a href="images/i-056.jpg">Details of Shoe Rest,</a> 56</li> +<li><a href="images/i-057.jpg">Details of Tabouret Construction,</a> 57</li> +<li><a href="images/i-058.jpg">The Desk Complete,</a> 58</li> +<li><a href="images/i-059.jpg">Details of Tabouret Construction,</a> 59</li> +<li><a href="images/i-061.jpg">The Desk Complete,</a> 61</li> +<li><a href="images/i-062.jpg">Rolltop Details,</a> 62</li> +<li><a href="images/i-064.jpg">Details,</a> 64</li> +<li><a href="images/i-066.jpg">Detail of Pigeonholes,</a> 66</li> +<li><a href="images/i-067.jpg">The Roman Chair,</a> 67</li> +<li><a href="images/i-069.jpg">Details of Parts of Chair,</a> 69</li> +<li><a href="images/i-071.jpg">A Complete Two-Cushion Settee,</a> 71</li> +<li><a href="images/i-072.jpg">Details of a Mission Settee,</a> 72</li> +<li><a href="images/i-073.jpg">Details of the Cushion,</a> 73</li> +<li><a href="images/i-074.jpg">Convenient Pyrographer's Table,</a> 74</li> +<li><a href="images/i-075.jpg">Storage for Apparatus,</a> 75</li> +<li><a href="images/i-081.jpg">Chairs 1,</a> 81</li> +<li><a href="images/i-083.jpg">Chairs 2,</a> 83</li> +<li><a href="images/i-085.jpg">Chairs 3,</a> 85</li> +<li><a href="images/i-086.jpg">Chairs 4,</a> 86</li> +<li><a href="images/i-087.jpg">Piano Bench,</a> 87</li> +<li><a href="images/i-088.jpg">Piano Bench Details,</a> 88</li> +<li><a href="images/i-090.jpg">Shaving Stand Details,</a> 90</li> +<li><a href="images/i-091.jpg">Shaving Stand Complete,</a> 91</li> +<li><a href="images/i-092.jpg">Mirror Frame and Standards Details,</a> 92</li> +<li><a href="images/i-093.jpg">Waste-Paper Basket to Match Library Table,</a> 93</li> +<li><a href="images/i-094.jpg">Detail of Waste-Paper Basket,</a> 94</li> +<li><a href="images/i-097.jpg">Plain-Oak Cellarette Pedestal,</a> 97</li> +<li><a href="images/i-099.jpg">Detail of Cellarette Pedestal,</a> 99</li> +<li><a href="images/i-101.jpg">Dresser in Quarter-Sawed Oak,</a> 101</li> +<li><a href="images/i-102.jpg">Detail of the Dresser,</a> 102</li> +<li><a href="images/i-104.jpg">Detail of the Mission Sideboard,</a> 104</li> +<li><a href="images/i-105.jpg">Mission Sideboard in Quarter-Sawed Oak,</a> 105</li> +<li><a href="images/i-107.jpg">Seat Made of Quarter-Sawed Oak,</a> 107</li> +<li><a href="images/i-109.jpg">Detail of the Hall or Window Seat,</a> 109</li> +<li><a href="images/i-110.jpg">Detail of the Plant Stand,</a> 110</li> +<li><a href="images/i-111.jpg">Complete Plant Stand,</a> 111</li> +<li><a href="images/i-113.jpg">Medicine Stand in Quarter-Sawed Oak,</a> 113</li> +<li><a href="images/i-114.jpg">Detail of the Medicine Stand,</a> 114</li> +<li><a href="images/i-116.jpg">Detail of the Hall Chair,</a> 116</li> +<li><a href="images/i-117.jpg">Complete Hall Chair in Plain Oak,</a> 117</li> +</ul> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span></p> +<h2><a name="HOME-MADE_MISSION_CHAIR" id="HOME-MADE_MISSION_CHAIR"></a>HOME-MADE MISSION CHAIR</h2> + + +<div class="figcenter" style="width: 372px;"> +<img src="images/i-004.jpg" width="372" height="600" alt=""/> +<span class="caption">Suitable for Dining Room Use</span> +</div> +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span></p> +<div class="figcenter" style="width: 539px;"> +<img src="images/i-006.jpg" width="539" height="600" alt=""/> +<span class="caption">Details of Chair Construction</span> +</div> + +<p>A mission chair suitable for the dining room can be made from any one of +the furniture woods to match the other articles of furniture. The +materials can be secured from the planing mill dressed and sandpapered +ready to cut the tenons and mortises. The material list can be made up +from the dimensions given in the detail drawing. The front legs or +<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> posts, +as well as the back ones, are made from 1-3/4-in. square +stock, the back ones having a slope of 2 in. from the seat to the top. +All the slats are made from 7/8-in. material and of such widths as are +shown in the detail. The three upright slats in the back are 3/4-in. +material. The detail drawing shows the side and back, the front being +the same as the back from the seat down. All joints are mortised in the +posts, as shown. The joints, however, can be made with dowels if +desired. If making dowel joints they must be clamped very tight when +glued and put together. The seat can be made from one piece of 7/8-in. +material, fitted with notches around the posts. This is then upholstered +with leather without using springs. Leather must be selected as to color +to suit the kind of wood used in making the chair. The seat can also be +made with an open center for a cane bottom by making a square of four +pieces of 7/8-in. material about 4 in. wide. These pieces are fitted +neatly to the proper size and dowelled firmly together. After the cane +is put in the opening the cane is covered over and upholstered with +leather in the same manner as with a solid bottom.</p> + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_LAMP_STAND_AND" id="HOW_TO_MAKE_A_LAMP_STAND_AND"></a> +HOW TO MAKE A LAMP STAND AND SHADE</h2> + + +<p>A library light stand of pleasing design and easy construction is made +as follows: Square up a piece of white oak so that it shall have a width +and thickness of 1-3/4 in. with a length of 13 in. Square up two pieces +of the same kind of material to the same width and thickness, but with a +length of 12 in. each. Square up two pieces to a width and length of 3 +in. each with a thickness of 1-1/8 in.</p> + +<p>If a planing mill is near, time and patience will be saved by ordering +one piece 1-3/4 in. square and 40 in. long, two pieces 1-1/8 in. thick +and 3 in. square, all planed and sandpapered on all surfaces. The long +piece can then be cut at home to the lengths specified above.</p> + +<p>The 13-in. piece is for the upright and should have a 1/2-in. hole bored +the full length through the center. If the bit is not long enough to +reach entirely through, bore from each end, then use a red-hot iron to +finish. This hole is for the electric wire or gas pipe if gas is used.</p> + +<p>The two pieces for the base are alike except the groove of one is cut +from the top and of the other from the under side, as shown. Shape the +under sides first. This can best be done by placing the two pieces in a +vise, under sides together, and boring two holes with a 1-in. bit. The +center of each hole will be 2-1/2 in. from either end and in the crack +between the pieces. The pieces can then be taken out, lines gauged on +each side of each, and the wood between +<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> +the holes removed with turning saw and scraper steel.</p> + +<div class="figcenter" style="width: 418px;"> +<img src="images/i-009.jpg" width="418" height="600" alt=""/> +<span class="caption">The Completed Lamp</span> +</div> + +<p>The width of the grooves must be determined by laying one piece upon the +other; a try-square should be used to square the lines across the +pieces; however, gauge for depth, gauging both pieces from their top +surfaces. Chisel out the grooves and round off the corners as shown in +the sketch, using a 3/4-in. radius.</p> + +<p>These parts may be put together and fastened to the upright by means of +two long screws from the under side, placed to either side of the +1/2-in. hole. This hole must be continued through the pieces forming the +base.</p> + +<p>The braces are easiest made by taking the two pieces which were planed +to 1-1/8 in. thick and 3 in. square and drawing a diagonal on each. Find +the middle of this diagonal by drawing the central portion of the other +diagonal; at this point place the spur of the bit and bore a 1-in. hole +in each block.</p> + +<p>Saw the two blocks apart, sawing along a diagonal of each. Plane the +surfaces on the saw cut smooth and sandpaper the curve made by the bit. +Fasten the braces in place by means of roundhead blued screws.</p> + +<p>To make a shade such as is shown in the illustration is rather +difficult. The shade is made of wood glued up and has art glass fitted +in rabbets cut on the inner edges. Such shades can be purchased ready to +attach. The sketch shows one method of attaching. Four small pieces of +strap iron are bent to the shape shown and fastened to the four sides of +the upright. Electric globes—two, three or four may be attached as +shown.<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span></p> + +<div class="figcenter" style="width: 442px;"> +<img src="images/i-011.jpg" width="442" height="600" alt=""/> +<span class="caption">Construction of Shade</span> +</div> + +<p>The kind of wood finish for the stand will depend upon the finish +on the wooden shade, if shade is purchased. Brown Flemish is obtained +by first staining the wood with Flemish water stain diluted by the +addition of two parts water to one part stain. When this is dry, +sandpaper the "whiskers" which were raised by the water and fill with a +medium dark filler. Directions will be found on the filler cans. When +filler has hardened, apply two coats of wax. +<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-012.jpg" width="600" height="212" alt=""/> +<span class="caption">Details of Construction of Library Lamp Stand</span> +</div><p><span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span></p> + +<p>The metal shade as shown in the sketch is a "layout" for a copper or +brass shade of a size suitable for this particular lamp. Such shades are +frequently made from one piece of sheet metal and designs are pierced in +them as suggested in the "layout." This piercing is done by driving the +point of a nail through the metal from the under side before the parts +are soldered or riveted together. If the parts are to be riveted, enough +additional metal must be left on the last panel to allow for a lap. No +lap is needed when joints are soldered.</p> + +<p>A better way, and one which will permit the use of heavier metal, is to +cut each side of the shade separately and fasten them together by +riveting a piece of metal over each joint. The shape of this piece can +be made so as to accentuate the rivet heads and thus give a pleasing +effect.</p> + +<p>For art-glass the metal panels are cut out, the glass is inserted from +the under side and held in place by small clips soldered to the frame of +the shade.</p> + +<p>Pleasing effects are obtained by using one kind of metal, as brass, and +reinforcing and riveting with another metal, such as copper.</p> + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-014.jpg" width="600" height="370" alt=""/> +<span class="caption">Details of Home-Made Porch Seat</span> +</div> + +<p><span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_PORCH_CHAIR" id="HOW_TO_MAKE_A_PORCH_CHAIR"></a> +HOW TO MAKE A PORCH CHAIR</h2> + +<p>The illustration shows a very comfortable and attractive porch chair +that can be made with few tools and easily procured material. Most any +kind of wood will answer, says the American Carpenter and Builder, but +if open grained wood, such as oak or chestnut, is used, the parts should +be filled with a paste filler. If the natural color of the wood is not +desired, the wood may first be stained, the filler being colored +somewhat darker than the stain.</p> + +<p>Procure enough lumber to make all the pieces shown in the detail drawing +and finish to the dimensions shown, being careful to make the +corresponding pieces exactly alike in order to preserve the perfect +symmetry which is necessary in work of this kind. In boring the holes +care must be taken to keep both edges of the holes sharp and clean. The +holes should each be bored until the spur shows; the bit should then be +withdrawn and the rest of the boring be done from the other side. The +semicircular notches are made by placing the two pieces edge to edge in +the vise and placing the spur of the bit in the crack. The 1-in. bit is +used. As it will be difficult to finish the boring of these blocks from +the second side, the parts remaining may be cut out with the knife after +the pieces have been separated.</p> + +<p>Five 1/2-in. dowel rods are needed. It is possible to get these in one +long piece if you happen to live near a mill and then all you will have +to do is to saw off the desired lengths. However, if they cannot be got +easily you can make your own. Two +<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> +rods each 18-1/4 in. long; two rods +each 20-1/4 in. and one rod 22-1/4 in. give the exact lengths. It is +well to cut each piece a little longer than required so that the ends +which are imperfectly formed may be cut off. These rods should fit tight +and may be fastened in addition with a small screw or nail from the +under or back side.</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/i-016.jpg" width="550" height="600" alt=""/> +<span class="caption">Porch Chair Finished</span> +</div> + +<p><span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span></p> +<p>The hand rests should be nailed to the arms with small nails or brads +before the arms are bolted. The illustration of the assembled chair +shows the relative position.</p> + +<p>The bolts should be 1/4 in. and of the following lengths: 4 bolts 2-1/4 +in. long; 2 bolts 2 in. long; 2 bolts 3 in. long. Washers should be +placed between adjacent pieces of wood fastened together with bolts and +also at both ends of the bolts. This will require 26 washers in all. +While the size of the chair may be varied, it will be necessary to keep +the proportions if the parts are to fold properly.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="HOW_TO_MAKE_A_TABOURET" id="HOW_TO_MAKE_A_TABOURET"></a>HOW TO MAKE A TABOURET</h2> + + +<p>Secure from the planing mill the following pieces +and have them planed and sandpapered on two surfaces: +For the top, one piece 7/8 in. thick and 17 in. +square. For the legs, four pieces 7/8 in. thick, 4-3/4 in. +wide and 18-1/2 in. long. For the lower stretchers, +two pieces 7/8 in. thick, 2-3/4 in. wide and 15-3/4 in. +long. For the top stretchers, two pieces 7/8 in. thick, +2-1/4 in. wide and 13-1/4 in. long. No stock need be +ordered for the keys, as they can be made out of the +waste pieces remaining after the legs are shaped.</p> + +<p>Begin work on the four legs first. While both +sides of each leg slope, it will be necessary to plane +a joint edge on each leg from which to lay out the +mortises, grooves and to test the ends. It will be +necessary to have a bevel square to use in marking +off the slopes and for testing them. To get the setting +for the bevel square, make a full sized "lay +out" or drawing of the necessary lines in their +proper relation to one another and adjust the bevel +to those lines.<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a> +</span></p> + +<p>From the joint edge lay out the mortises, grooves and the slopes of +sides and ends of the legs. Cut the mortises and grooves first, +then shape up the sides. Saw the sides accurately and quite close +to the lines, finishing<br /> <span style="margin-left: 0.5em;"> +with</span><br /> the steel cabinet scraper.</p> + +<div class="figcenter" style="width: 376px;"> +<img src="images/i-018.jpg" width="376" height="600" alt=""/> +<span class="caption">Details of Tabouret</span> +</div> + +<p>Next make the bottom stretchers. In laying out the cross lap joint, the +working faces are both to be up when the joint is completed, therefore +lay off one groove on the face of one piece and on the side opposite the +face on the other. In gauging for depth, however, be careful to keep the +gauge block against the working face of each piece.</p> + +<p>In laying out the mortises for the keys, the opening +on the top surface is to be made 1/8 in. longer +<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span> +than on the under surface. The slope of the key will +therefore be 1/8 in. of slope to each 7/8 in. of length. +The drawing shows the mortise as 7/8 in. from the +shoulders of the tenon. This distance is the same as +the thickness of the leg and to insure the key's pulling +the shoulder up against the leg firmly, should +any of the legs happen to be a little less than 7/8 in., +it is well to make the mortise slightly nearer the +shoulder than 7/8 in.</p> + +<p>It is a good plan to lay out the mortise in the tenon at the same time +the shoulders of the tenons are laid out. Otherwise the joint edge being +cut off in making the tenon there is no convenient way to locate this +mortise accurately.</p> + +<p>Lay off the top stretchers according to the dimensions shown in the +drawing. Observe the same precautions about the cross lap joint as were +given for the lower stretchers, except that the joint edges are to be +placed up in this latter case. Make sure the grooves are laid out in the +middle before cutting. As a test, place the pieces side by side, examine +the markings, then turn one of them end for end and again examine.</p> + +<p>The grooves into which the legs pass are 1/8 in. deep and must be very +carefully cut. Their purpose is to give rigidity to the tabouret frame. +Bore two holes in each stretcher for the screws that are to fasten the +top in place.</p> + +<p>Make the keys, scrape all the parts and sandpaper those that were not so +treated at the mill. Use glue to fasten the tops of the legs to the top +stretchers and assemble these parts.</p> + +<p>The top is octagonal or eight-sided. To make it, +square up a piece to 16-1/2 by 16-1/2 in. Measure the +<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span> +diagonal, take one-half of it and measure from each +corner of the board each way along the edges to +locate the places at which to cut off the corners. +Connect these points, saw and plane the remaining +four sides. There is to be a 5/8-in. bevel on the under +side of the top. Scrape and sandpaper these edges +and secure the top to the stretchers with screws.</p> + +<div class="figcenter" style="width: 488px;"> +<img src="images/i-020.jpg" width="488" height="600" alt=""/> +<span class="caption">Tabouret as Completed</span> +</div> + +<p>Much time can be saved and a better result obtained +if the wood finishing is done before the parts +are put together. Especially is this true if stain and +filler are used.</p> + +<p>A very pretty finish and one easily put on even +<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> +after the parts are put together is obtained as follows: +Take a barrel and stuff up the cracks or +paste paper over them so as to make it as near airtight +as possible. In some out-of-the-way place put +a dish with about 2 oz. of strong ammonia. Set the +tabouret over this dish and quickly invert the barrel +over the tabouret. Allow the fumes to act on the +wood for at least 15 hours. Remove the barrel and +allow the fumes to escape. Polish with several coats +of wax such as is used upon floors. Directions for +waxing will be found on the cans that contain the +wax.. This produces the rich nut-brown finish so +popular in Arts and Crafts furniture and is known +as fumed oak.</p> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span></p> + +<h2><a name="HOW_TO_MAKE_A_MORRIS_CHAIR" id="HOW_TO_MAKE_A_MORRIS_CHAIR"></a> +HOW TO MAKE A MORRIS CHAIR</h2> + + +<p>The stock necessary to make a morris chair +of craftsman design as shown in the engraving can +be purchased mill-planed and sandpapered on four +sides as given in the following list:</p> + +<ul><li>4 posts 1-3/4 by 3 by 26 in.</li> +<li>2 front and back rails 7/8 by 5-1/2 by 24 in.</li> +<li>2 side rails 7/8 by 5-1/2 by 28 in.</li> +<li>2 arm pieces 7/8 by 5-1/2 by 37 in.</li> +<li>7 slats 3/8 by 2 by 24 in.</li> +<li>2 cleats 1 by 1 by 22-1/2 in.</li> +<li>2 back stiles 1 by 2-1/2 by 24-1/2 in.</li> +<li>2 back rails 1 by 2 by 17 in.</li> +<li>3 back slats 3/8 by 1-1/2 by 19 in.</li> +<li>1 back support 3/4 by 3/4 by 24 in.</li> +<li>2 support rests 1 by 1-1/2 by 8-1/2 in.</li> +<li>2 dowels 1/2 in. diameter, 6 in. long.</li></ul> + + +<p><span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span></p> + +<div class="figcenter" style="width: 515px;"> +<img src="images/i-023.jpg" width="515" height="600" alt=""/> +<span class="caption">Complete Morris Chair Without Cushion</span> </div> + +<p>First make and put together the sides of the chair. While the glue is +setting on these parts make and assemble the back. The front and back +rails may next be made and placed and the cleats and bottom slats +fastened. With the adjustment of the back the chair is ready for the +finish.</p> + +<p>The posts are to be tenoned on the upper ends. These tenons are to +project 3/16 in. above the arm and should be slightly beveled. The lower +ends of the posts, likewise, all other projecting ends, should be +beveled to avoid their splintering. All sharp corners, as on the arms, +should be sandpapered just enough to take their sharpness off, so as not +to injure the hand.</p> + +<p><span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-024.jpg" width="600" height="362" alt=""/> +<span class="caption">Details of a Morris Chair</span> +</div> + +<p>That the chair may be properly inclined, the rear posts are cut 1 in. +shorter than the forward ones. To get the correct slant on the bottoms +of these posts, lay a straightedge so that its edge touches the bottom +of the front post at its front surface, but <span class='pagenum'> +<a name="Page_25" id="Page_25">[25]</a></span> keep it 1 in. above +the bottom of the rear post. Mark with pencil along the straightedge +across both posts.</p> + +<p>At the rear ends of the arms are the notched +pieces that allow the back to be adjusted to different +angles. These pieces may be fastened in place +either by means of roundhead screws from above or +flatheads from underneath the arms. The notches +are to be cut 3/4 in. deep. If more than three adjustments +are wanted, the arms must be made correspondingly +longer.</p> + +<p>The dimensions for the tenons on all the larger pieces will be found on +the drawing. For the back, the tenons of the cross pieces, the rails, +should be 3/8 by 1-1/4-in. For the slats, the easiest way is to not +tenon them but to "let in" the whole end, making the mortises in the +rails 3/8 by 1-1/2 in. This will necessitate cutting the sides of the +mortises very accurately, but this extra care will be more than +compensated by not having to bother with the cutting of tenons on each +end of the three back slats.</p> + +<p>To finish the chair, put on a coat of water stain, first removing all +surplus glue and thoroughly scraping and sandpapering all the parts that +were not so treated at the mill. The color of the stain will depend upon +the finish desired, whether golden, mission, etc. Water stains cause the +grain of the wood to roughen, so it will be necessary to resandpaper the +surfaces after the stain has dried, using fine paper. Next apply a coat +of filler colored to match the stain. Directions for its application +will be found upon the cans in which the filler comes. After the filler +has hardened put on a very thin coat of shellac. +<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span></p> + +<p>What step is taken next will depend upon what kind of a surface is +desired. Several coats of polishing wax may be put on. This is easily +done—directions will be found on the cans—and makes the most +satisfactory finish for mission and craftsman furniture. It is the +easiest to apply. Several coats of shellac or of varnish might be put on +instead of wax. Each coat of the shellac should be rubbed when +thoroughly dried with curled hair or fine steel wool or fine oiled +sandpaper. Rub the first coats of varnish with hair-cloth or curled hair +and the last coats with pulverized pumice stone and crude oil or raw +linseed oil.</p> + +<p>Cushions for the chair can be made at home. They may be made of art +leather such as Spanish roan skin and the top and bottom parts fastened +together by lacing leather thongs through holes previously punched along +the edges of the parts. A very pretty effect is obtained by using thongs +of a different but harmonious color. The manner of lacing may be any one +of the various laces such as are used in lacing belts or as shoestrings. +These cushions may be filled with hair or cotton felt. Denim or burlap +may also be used as a covering and are much less expensive than the +leather. Lace one side and the two ends, then place filling and finish +lacing.</p> + +<p>Art leather cushions retail at from $16 to $20 a pair and the denim and +burlap at $6 to $9.</p> + +<p>The bottom cushion should be made the full size of the chair. The front +and back rails extend a little above the slats and thus hold it in +place. The back cushion will settle down a little and therefore may be +made nearly the full length from the slats to the top of the back.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span></p> +<h2><a name="HOME-MADE_MISSION_BOOK_RACK" id="HOME-MADE_MISSION_BOOK_RACK"></a> +HOME-MADE MISSION BOOK RACK</h2> + + +<div class="figcenter" style="width: 413px;"> +<img src="images/i-027.jpg" width="413" height="600" alt=""/> +<span class="caption">Light but Strong</span> +</div> + +<p>When making the book rack as shown in the accompanying photograph use +quarter-sawed oak if possible, as this wood is the most suitable for +finishing in the different mission stains. This piece of furniture is +very attractive and simple to construct. +<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> +The upper shelf can be used for vases or a plant of some kind, while the +lower shelves afford ample room for books and magazines.</p> + +<p>The slats and legs are fastened to the shelves with 2-in. round-headed +brass screws. These can be purchased from any hardware store. One screw +is used at each joint of a slat and shelf which calls for 32 screws in +all. Holes should be bored into the slats and legs in which to insert +the screws. This will keep the wood from splitting. The dimensions are +given in the diagram sketch, although these may be changed to suit the +requirement of the builder. If no glue is used on the joints when +setting up, the rack can easily be taken apart and put in a small bundle +for moving.</p> + +<div class="figcenter" style="width: 486px;"> +<img src="images/i-028.jpg" width="486" height="600" alt=""/> +<span class="caption">Details of Stand</span> +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_MISSION_LIBRARY" id="HOW_TO_MAKE_A_MISSION_LIBRARY"> +</a>HOW TO MAKE A MISSION LIBRARY TABLE</h2> + + +<p>The mission library table, the drawings for which are here given, has +been found well proportioned and of pleasing appearance. It can be made +of any of the several furniture woods in common use, such as selected, +quarter-sawed white oak which will be found exceptionally pleasing in +the effect produced.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-029.jpg" width="600" height="441" alt=""/> +<span class="caption">This Picture is from a Photograph of the Mission Table +Described in This Article</span> +</div> + +<p>If a planing mill is at hand the stock can be ordered in such a way as +to avoid the hard work of planing and sandpapering. Of course if +mill-planed stock cannot be had, the following dimensions must be +enlarged slightly to allow for "squaring up the rough."</p> + +<p><span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/i-030.jpg" width="600" height="246" alt=""/> +<br /><span class="caption">Showing Dimensions of Table</span> +</div> + +<p>For the top, order 1 piece 1-1/8 in. thick, 34 in. wide and 46 in. long. +Have it S-4-S (surface on four sides) and "squared" to length. Also +specify that it be sandpapered on the top surface, the edges and ends.</p> + +<p>For the shelf, order 1 piece 7/8 in. thick, 22 in. wide and 42 in. long, +with the four sides surfaced, squared and sandpapered the same as for +the top.</p> + +<p>For the side rails, order 2 pieces 7/8 in. thick, 6 in. wide and 37 in. +long, S-4-S and sanded on one side. For the end rails, 2 pieces 7/8 in. +thick, 6 in. wide and 25 in. long. Other specifications as for the side +rails.</p> + +<p>For the stretchers, into which the shelf tenons enter, 2 pieces 1-1/8 +in. thick, 3-3/4 in. wide and 25 in. long, surfaced and sanded on four +sides. For the slats, 10 pieces 5/8 in. thick, 1-1/2 in. wide and 17 in. +long, surfaced and sanded on four sides. For the keys, 4 pieces 3/4 in. +thick, 1-1/4 in. wide and 2-7/8 in. long, S-4-S. This width is a little +wide; it will allow the key to be shaped as desired.</p> + +<p>The drawings obviate any necessity for going into detail in the +description. Fig. 1 gives an assembly drawing showing the relation of +the parts. Fig. 2 gives the detail of an end. The tenons for the side +rails are laid off and the mortises placed in the post as are those on +the end. Care must be taken, however, not to cut any mortises on the +post below, as was done in cutting the stretcher mortises on the ends of +the table. A good plan is to set the posts upright in the positions they +are to occupy relative to one another and mark with pencil the +approximate positions of the mortises. The legs can then +<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> +be laid flat and the mortises accurately marked out with a fair degree of +assurance that they will not be cut where they are not wanted and that the +legs shall "pair" properly when effort is made to assemble the parts of the +table.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-032.jpg" width="600" height="385" alt=""/> +<span class="caption">Details of Table Construction</span></div> + +<p>The table ends should be glued up first and the glue allowed to harden, +after which the tenons of the shelf may be inserted and the side rails +placed.</p> + +<p>There is a reason for the shape, size and location of each tenon or +mortise. For illustration, the shape of the tenon on the top rails +permits the surface of the rail to extend almost flush with the surface +of the post at the same time permitting the mortise in the post to be +kept away from that surface. Again, the shape of the ends of the slats +is such that, though they may vary slightly in length, the fitting of +the joints will not be affected. Care must be taken in cutting the +mortises to keep their sides clean and sharp and to size.</p> + +<p>In making the mortises for the keyed tenons, the length of mortise must +be slightly in excess of the width of the tenon—about 1/8 in. of +play to each side of each tenon. With a shelf of the width specified for +this table, if such allowance is not made so that the tenons may move +sideways, the shrinkage would split the shelf.</p> + +<p>In cutting across the ends of the shelf, between the tenons, leave a +hole in the waste so that the turning saw or compass saw can be +inserted. Saw within one-sixteenth of the line, after which this margin +may be removed with chisel and mallet.</p> + +<p>In Fig. 3 is shown two views of the keyed tenon and the key. The mortise +for the key is to be placed in the middle of the tenon. It will be noted +that <span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> +this mortise is laid out 1-1/16 in. from the shoulder of the +tenon while the stretcher is 1-1/8 in. thick. This is to insure the +key's pulling the shelf tightly against the side of the stretcher.</p> + +<p>Keys may be made in a variety of shapes. The one shown is simple and +structurally good. Whatever shape is used, the important thing to keep +in mind is that the size of the key and the slant of its forward surface +where it passes through the tenon must be kept the same as the mortise +made for it in the tenon.</p> + +<p>The top is to be fastened to the rails by means either of wooden +buttons, Fig. 4, or small angle irons.</p> + +<p>There are a bewildering number of mission finishes upon the market. A +very satisfactory one is obtained by applying a coat of brown Flemish +water stain, diluted by the addition of water in the proportion of two +parts water to 1 part stain. When this has dried, sand with No. 00 +paper, being careful not to "cut through." Next, apply a coat of dark +brown filler; the directions for doing this will be found upon the can +in which the filler is bought. One coat usually suffices. However, if an +especially smooth surface is desired, a second coat may be applied in a +similar manner.</p> + +<p>After the filler has hardened, a very thin coat of shellac is to be put +on. When this has dried, it should be sanded lightly and then one or two +coats of wax should be properly applied and polished. Directions for +waxing are upon the cans in which the wax is bought. A beautiful dull +gloss so much sought by finishers of modern furniture will be the result +of carefully following these directions.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p> +<h2><a name="HOME-MADE_MISSION_CANDLESTICK" id="HOME-MADE_MISSION_CANDLESTICK"></a> +HOME-MADE MISSION CANDLESTICK</h2> + + +<p>There are many kinds of mission candlesticks, but few of them carry out +the mission design throughout. Herewith is illustrated a candlestick +which may be made from the various woods that will have the style and +lines of mission craft work. The base is made from 1-in. material, 4-1/2 +in. square. Two holes are bored and countersunk for screws to hold the +post and handle. The post is 2-1/4 in. high, bored in one end to fit the +size of a candle. The post is covered with a 3/8-in. thick cap, 2 in. +square. This, also, is bored to fit the candle. The handle is 3/8 in. +thick and 3 in. long with a 3/8-in. square mortise and is notched to fit +the base. The wood may be selected to match any other piece of furniture +and finished in any of the mission stains.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-035a.jpg" width="600" height="391" alt=""/> +<span class="caption">Candlestick</span> +</div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-035b.jpg" width="600" height="342" alt=""/> +<span class="caption">Details of Candlestick</span> +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span></p> +<h2><a name="ANOTHER_STYLE_OF_MISSION_CHAIR" id="ANOTHER_STYLE_OF_MISSION_CHAIR"></a> +ANOTHER STYLE OF MISSION CHAIR</h2> + + +<p>The material necessary to make a mission chair as shown in the +accompanying illustration may be secured from a planing mill with all +four surfaces squared and sandpapered. The mill can do this work quickly +and the expense will be nothing compared with the time it takes to do +the work by hand.</p> + +<p>The following is the stock list:</p> + + +<ul><li>4 legs, 2-1/2 by 2-1/2 by 32-1/2 in.</li> +<li>2 bottom end rails 7/8 by 5-3/4 by 23-1/2 in.</li> +<li>2 bottom side rails 7/8 by 5-3/4 by 28-1/2 in.</li> +<li>2 top end rails 7/8 by 4-1/2 by 23-1/2 in.</li> +<li>1 top back rail 7/8 by 4-1/2 by 28-1/2 in.</li> +<li>2 cleats 7/8 by 2-1/2 by 26-1/2 in.</li> +<li>7 slats 1/2 by 2 by 24 in.</li></ul> + + + +<p>This design was purposely made simple. If it is considered too severe +and the worker has had some experience in woodwork, it can easily be +modified by adding vertical slats in back and sides. These should be +made of 1/2-in. stock and their ends should be "let into" the rails by +means of mortises.</p> + +<p>Either plain red oak or quarter-sawed white oak will do. Begin by +squaring up one end of each leg, marking and cutting them to length and +planing up the second ends so that they shall be square. Both the top +and bottom of each leg should be beveled or rounded off about 1/4 in. so +that they may not splinter or cause injury to the hand.</p> + +<p>When all of the legs have been made of the same length, set them on end +in the positions they are to have relative to one another and mark with +pencil the approximate locations of the mortises. Next, place them on +the bench, side by side, even the ends +<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> +and square sharp lines across to indicate the ends of the mortises. The +drawing shows the dimensions to use. A sharp pencil should be used for +this marking and the lines should be carried entirely across the two +faces of each piece.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-037.jpg" width="600" height="565" alt=""/> +<br /><span class="caption">Mission Chair Complete</span> +</div> + +<p>Set the gauge for the side of the mortise nearest the face edge. With +this setting, mark all the mortises, then set for the second side of the +mortise and complete the gauging.</p> + +<p>There are two ways of cutting small mortises in common use. One is by +using a chisel of a width just equal to that of the mortise. The other +is by using a smaller chisel after the mortise has first been bored with +the brace and bit. In the first method the cutting is begun at the +middle of the mortise where a V-shaped opening is made the full depth of +the mortise that is to be. Continuing from the middle, vertical cuts are +taken first toward one end and then toward the other. The chips are +pried out as the cutting proceeds. In making the last cut this prying +must be omitted, otherwise the edge of the mortise would be ruined. It +will be necessary to stand so as to look along the opening in order to +get the sides plumb.</p> + +<p>This method of cutting, when once the "knack" has been attained, will be +found much easier, quicker and more accurate for small openings, such as +these, than the usual method. The second method, which is the usual one, +needs no description. +<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-039.jpg" width="600" height="499" alt=""/> +<span class="caption">Details of Mission Chair +Construction</span></div> + +<p>The rails should next have the tenons cut on their ends. It may not be +out of place to remind the amateur that the lengths of the various like +pieces can best be laid off by placing them on the bench, measuring off +the proper distances on one of them and then with try-square marking +across the edges of all of them at once. This not only saves time in +that but one set of measurements need be made, but it insures all the +pieces being similarly laid off. In measuring off for the shoulders of +the tenons, begin at the middle of the length of the rail and measure +half of the distance each way. By doing so, if there are any slight +differences in the lengths of the pieces this difference will be divided +between the two tenons and no harm will be done.</p> + +<p>In gauging the tenons take the precaution to mark a working face and +joint edge, even if all the surfaces were finish-planed at the mill. It +is very important that all tenon gauging be done from these faces. The +same is true of the legs or posts, and the slats if there are to be any.</p> + +<p>To avoid confusion it is well to number each tenon by means of the +chisel with a Roman numeral and its corresponding mortise with the same. +This will prevent the fitting of one tenon into more than one mortise.</p> + +<p>Put the parts together with warm glue if it can be had, otherwise use +the prepared cold glue. In cold weather the wood ought to be warmed +before the glue is applied. Put the ends of the chair together first. +When the glue has set on these put the other rails in place.</p> + +<p>When clamping up the second set of rails make sure the frame of the +chair is square. The best way to test for squareness is to measure the +diagonals with a stick. Spring the frame until they measure alike, using +a brace to hold the frame in position until the glue can harden.</p> + +<p>Before staining, scrape off any surplus glue, for +<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span> +stain will not adhere to glue and a white spot will be the result of +failing to remove it. Fasten cleats to the front and back rails with +screws. To these cleats fasten the slats as shown in the drawing. A +cushion of Spanish leather, such as is shown in the photograph, can be +bought at the furniture store or the upholsterer's. It can be made by +the amateur quite easily, however. The two parts are fastened together +with leather thongs and the filling is of hair or elastic felt. A +cushion for the back might well be provided.</p> + +<p>To finish the wood to match a brown leather proceed as follows: With a +cloth or brush, stain the wood with brown Flemish water stain diluted by +the addition of four parts of water. When this has dried, sandpaper +smooth, using No. 00 paper held on the tips of the fingers. Apply a dark +brown filler. When this has flatted, i. e., when the gloss has +disappeared, which will be in the course of ten or fifteen minutes, wipe +off clean with excelsior and then with waste or a cloth. Allow this to +dry over night, then apply two or three coats of wax. Polish each coat +with a flannel cloth by briskly rubbing it.</p> + +<p>A settle can be made after this design by using longer front and back +rails. Rails 42 in. between shoulders will make a good length for a +settle.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p> +<h2><a name="HOW_TO_MAKE_AND_FINISH_A_MAGAZINE" id="HOW_TO_MAKE_AND_FINISH_A_MAGAZINE"></a> +HOW TO MAKE AND FINISH A MAGAZINE STAND</h2> + + +<p>For the magazine stand shown herewith there +will be needed the following pieces:</p> + + +<ul><li>1 top, 7/8 in. by 15-1/2 in. by 16-1/2 in.</li> +<li>1 shelf, 7/8 in. by 11-1/2 in. by 12-1/2 in.</li> +<li>1 shelf, 7/8 in. by 12-1/2 in. by 14-3/4 in.</li> +<li>1 shelf, 7/8 in. by 13-1/2 in. by 16-1/2 in.</li> +<li>2 sides, 7/8 in. by 14-1/2 in. by 33-1/2 in.</li> +<li>1 brace, 7/8 in. by 3-1/4 in. by 17 in.</li> +<li>1 brace, 7/8 in. by 2-1/2 in. by 11-1/2 in.</li> +<li>6 braces, 7/8 in. by 2 in. by 2 in.</li></ul> + + + +<p>Order these pieces mill-planed on two surfaces +to the thickness specified above and also sandpapered. +Quarter-sawed white oak makes the best +appearance of all the woods that are comparatively +easy to obtain. Plain sawed red or white oak will +look well but are more liable to warp than the +quarter-sawed. This is quite an element in pieces as +wide as these.</p> + +<p>Begin work on the sides first. Plane a joint edge +on each and from this work the two ends. The ends +will be square to the joint edge but beveled to the +working face. A bevel square will be needed for +testing these beveled ends.</p> + +<p>To set the bevel make a drawing, full size or nearly +so, of the front view and place the bevel on the drawing, +adjusting its sides to the angle wanted. Work +from a center line in laying off the drawing.</p> + +<p>Having planed the ends, lay off the sides. This is +done by measuring from the joint edge along the +bottom 14 in., from the joint edge along the top +1-1/2 in. and from this 11 in. Connect the points by +means of a pencil and straightedge. +<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p> + +<div class="figcenter" style="width: 385px;"> +<img src="images/i-043.jpg" width="385" height="600" alt=""/> +<span class="caption">Completed Stand</span> +</div><p><span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span></p> + +<p>Before cutting off the joint edges of the pieces +measure off and square lines across to indicate the +locations of the shelves. Put both pieces together +and mark across both joint edges at once to insure +getting both laid off alike.</p> + +<p>The design at the bottom can be varied to suit +the fancy of the worker. For such a design as is +shown, draw on paper, full size, half of it; fold on +the center line and with scissors cut both sides of +the outline by cutting along the line just drawn. +Trace around this pattern on the wood, and saw out +with compass or turning saw.</p> + +<p>The shelves may now be made. The bevel of the +ends of the shelves will be the same as for the ends +of the side pieces. The lengths may be obtained by +measuring the drawing. Remember that length is +always measured along the grain and that the end +grain of the shelves must extend from side to side +in this stand. The widths may be obtained by measuring +the width of the sides at the points marked +out on them for the location of the shelf ends. It is +best not to have the shelves the full width of the +sides, since the edges of the shelves are to be faced +with leather. Make each shelf 1/2 in. less than the +width of the side, at the place that the shelf is to +be fastened.</p> + +<p>The top will be squared up in the usual manner, 15 in. wide by 16 in. +long.</p> + +<p>These parts may now be put together. They may be fastened in any one of +a variety of ways. Round-head blued screws may be placed at regular +intervals through the sides. Finishing nails may be used and the heads +set and covered with putty stained to match the wood. Finish nails may +be <span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span> +placed at regular intervals and fancy headed nails used to cover the +heads.</p> + +<div class="figcenter" style="width: 593px;"> +<img src="images/i-045.jpg" width="593" height="600" alt=""/> +<span class="caption">Details of the Magazine Stand</span> +</div> + +<p>The braces should be formed and fitted but not +fastened until the finish has been applied. Thoroughly +scrape and sandpaper all parts not already +so treated. Probably no other finish appeals to so +many people as golden oak. There is no fixed standard +of color for golden oak. Different manufacturers +have set standards in their part of the country, but +<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span> +the prevailing idea of golden oak is usually that of a +rich reddish brown.</p> + +<p>Proceed as follows: Egg shell gloss: 1.—One coat of golden oak +water stain, diluted with water if a light golden is desired. +2.—Allow time to dry, then sandpaper lightly with fine sandpaper. +This is to smooth the grain and to bring up the high lights by removing +the stain from the wood. Use No. 00 sandpaper and hold it on the finger +tips. 3.—Apply a second coat of the stain diluted about one-half +with water. This will throw the grain into still higher relief and thus +produce a still greater contrast. Apply this coat of stain very +sparingly, using a rag. Should this stain raise the grain, again rub +lightly with fine worn sandpaper, just enough to smooth. 4.—When +this has dried, put on a light coat of thin shellac. Shellac precedes +filling that it may prevent the high lights—the solid parts of the +wood—from being discolored by the stain in the filler, and thus +causing a muddy effect. The shellac being thin does not interfere with +the filler's entering the pores of the open grain. 5.—Sand lightly +with fine sandpaper. 6.—Fill with paste filler colored to match +the stain. 7.—Cover this with a coat of orange shellac. This coat +of shellac might be omitted, but another coat of varnish must be added. +8.—Sandpaper lightly. 9.—Apply two or three coats of +varnish. 10.—Rub the first coats with hair cloth or curled hair +and then with pulverized pumice stone, crude oil or linseed oil. Affix +the braces just after filling, using brads and puttying the holes with +putty colored to match the filler. The shelves may be faced with thin +leather harmonizing with the oak, ornamental headed tacks being used to +fasten it in place.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></p> +<h2><a name="HOME-MADE_LAWN_SWING" id="HOME-MADE_LAWN_SWING"></a>HOME-MADE LAWN SWING</h2> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-047.jpg" width="600" height="373" alt=""/> +<span class="caption">The Completed Swing</span> +</div> + +<p>The coming of spring and summer calls forth +various kinds of porch and lawn furniture. A porch +or lawn swing to accommodate two or more persons +is a thing desired by most people. The lawn swing +as shown in the picture is portable and does not need +stakes to hold it to the ground. While this swing +is substantial and rigid it can be moved from place +to place on the lawn, or the chains can be fastened +with heavy hooks to the ceiling of a porch instead +of using the stand. Either ropes or chains may be +used to hang the swing and should be of such length +that the seat will be about 20 in. from the ground or +floor.<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span></p> + +<p>The drawing giving the dimensions for constructing +the seat shows how the parts are put together. +The front and back apron pieces are mortised to +receive a 1-in. square tenon cut on the crosspieces +that support the slats. Each end of the apron pieces +extends 4 in., and a hole is bored at A into which the +hanging ropes or chains are fastened. If ropes are +used, bore the holes to fit the rope and when the +end of each rope is put through a hole it is tied in +a knot to keep from slipping out. Chains can be +fastened with eye bolts. Small carriage or stove +bolts are used to hold the slats on the framework +and cross pieces. The arm rests are fastened with +wood screws.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-048.jpg" width="600" height="442" alt=""/> +<span class="caption">Details of Seat</span> +</div> + +<p>The drawing for the stand gives all the dimensions for its construction. +Split the upright pieces or legs with a saw cut to the length as shown. +A bolt should be put through each piece edgewise at the end of the saw +cut, to keep the wood from splitting any farther when the ends are +spread to receive the bolts through the cross pieces at the top. The +upper ends of the ropes or chains are fastened close to and under the +bolt holding the inside forks of the uprights. This bolt can be long +enough<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span> +to fasten a clevis that will hang underneath for this purpose. The whole +swing can be painted with a forest green color which is very suitable for +summer outdoor furniture.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-049.jpg" width="600" height="552" alt=""/> +<span class="caption">Showing Construction of Stand</span> +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_PORTABLE_TABLE" id="HOW_TO_MAKE_A_PORTABLE_TABLE"></a> +HOW TO MAKE A PORTABLE TABLE</h2> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-050.jpg" width="600" height="382" alt=""/> +<span class="caption">Table for Outdoor Use</span> +</div> + +<p>A table for outdoor use that can be taken apart, stored or changed from +place to place may be made at small expense. Fasten cleats with screws, +as shown in Fig. 1, to the bottom of a board of suitable size. The legs +are built with a cross piece, A, Fig. 4, at the top which fits into slot +formed by the cleats, CC, and a crosspiece, B, that has two cleats, D, +making a place to receive the bottom end of the brace, E, Fig. 2. The +upper ends of the braces, EE, fit in between two pieces, F, fastened in +the middle of the board. The three pins fitting loosely in DD and F, +Fig. 2, are all that holds table together. The end view is shown in Fig. +3.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_COMBINATION_BILLIARD" +id="HOW_TO_MAKE_A_COMBINATION_BILLIARD"></a>HOW TO MAKE A COMBINATION BILLIARD +TABLE AND DAVENPORT</h2> + + +<p>A small size billiard table which can be converted quickly into a +davenport is made as follows: Secure clear, selected plain sawed white +oak in sizes as indicated by the drawing. Have these planed at the mill +to the widths and thicknesses specified.</p> + +<p>The lower part should be made first. Cut the four posts to length, +chamfering the ends somewhat so that they will not splinter when in use. +Lay out and cut the mortises which are to receive the rails. The lower +rails are to be 1-1/8 in. thick and the mortises are to be laid out in +the legs so as to bring their outer surfaces almost flush with those of +the posts. The upper rails are 2-1/4 in. wide. The slats are 3/4 in. +thick. Tenons should be thoroughly pinned to the sides of the mortises +as shown in the illustration. The braces are 1-3/4 in. thick and are +fastened to place with roundhead screws and glue.</p> + +<p>The seat may be made by putting in a solid bottom that shall rest upon +cleats fastened to the inner surfaces of the rails. The top of this +bottom should rest about 3/4 in. below the top edge of the rails. A well +filled leather cushion completes this part.</p> + +<p>A more satisfactory result is obtained by putting in springs and +upholstering the seat. Upon this the leather cushion can be placed.</p> + +<p><span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/i-052.jpg" width="600" height="307" alt=""/> +<span class="caption">By Swinging the Top Back the Table is Transformed +into the Elegant Davenport Seen on the Opposite Page</span></div> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-053.jpg" width="600" height="456" alt=""/> +<span class="caption">The Billiard Table as Converted into a Luxurious +Davenport—A Child Can Make the Change in a Moment</span></div> + +<p>The top or table is built upon and about a heavy +frame of well seasoned 1-3/4-in. by 5-3/4-in. white pine. +The parts to this frame are thoroughly mortised and +tenoned together. Middle stretchers, lengthwise and +<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span> +crosswise, give added strength and rigidity. Upon +this frame the slate bed is leveled by planing the +frame wherever necessary. Slats are fastened to +the bed by screws, the heads of which are countersunk +so that they may be covered over even with +plaster of paris.</p> + +<p><span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/i-054.jpg" width="600" height="287" alt=""/> +<span class="caption">Details Showing +Dimensions of Parts</span></div> + +<p>The top and side facings are built together, the angle being reinforced +with block and glue, as shown in detail. These facings, to which the +cushions are attached, are afterward made fast to the frame by +ornamental headed screws. The detail and photograph show the manner of +applying the under facing.</p> + +<p>Before attaching the top and side facings, the bed cloth should be +placed over the slate and fastened. The nap of the cloth should run from +the head toward the opposite end of the table. Draw the cloth as tight +as possible, taking care that there shall be no wrinkles.</p> + +<p>The billiard cushions can be bought ready to cover. The bumpers which +keep the top from striking the front posts can be obtained by making +proper selection from oak door bumpers carried in stock by hardware +dealers. The brass swing bars, most likely, can be obtained at the same +place.</p> + +<p>The upholstering on the under side of the top—the back of the +davenport—is to be built upon a stout frame made of some suitable +common wood, and the whole set in the recess formed as shown in the +detail drawing—the whole being fastened from the back before the +slate bed is put in position.</p> + +<p>Effort should be made to select leather of a color that will harmonize +with the wood finish which is to be applied.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span></p> +<h2><a name="EASILY_MADE_BOOK_SHELVES" id="EASILY_MADE_BOOK_SHELVES"></a> +EASILY MADE BOOK SHELVES</h2> + + +<p>Very cheap but useful and attractive book shelves are shown in the +accompanying drawing. The vertical strips, A, may be 3/4 in. by 2 in. +and are screwed to four shelves, B, each cut to the shape of a quarter +circle. The screws are all countersunk and as the heads all come on the +side next to the wall, they do not show. The design might be varied +somewhat to suit the fancy of the builder, although the appearance of +the shelves constructed as shown is very pleasing, especially so if the +workmanship is good and the wood carefully stained and varnished. The +total cost of construction was less than 75 cents.</p> + +<div class="figcenter" style="width: 324px;"> +<img src="images/i-056.jpg" width="324" height="595" alt="TABOURET" title="" /> +</div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></p> +<h2><a name="A_BLACKING_CASE_TABOURET" id="A_BLACKING_CASE_TABOURET"></a> +A BLACKING CASE TABOURET</h2> + + +<div class="figcenter" style="width: 503px;"> +<img src="images/i-057.jpg" width="503" height="600" alt="" title="" /> +</div> + +<p>A substantial piece of mission furniture which may +be used as a tabouret or plant stand as well as a +blacking case, in which there is a receptacle for +brushes, blacking and a shoe rest, is shown in the +illustration. The stock can be secured mill-planed, +sandpapered and in lengths almost ready to be assembled. +The stock list consists of the following +pieces:</p> + + +<ul><li>4 posts, 1-1/2 by 1-1/2 by 17 in.</li> +<li>4 side rails, 1 by 6-1/2 by 9-1/2 in.</li> +<li>2 top pieces, 1 by 8-1/4 by 16-1/2 in.</li> +<li>1 bottom, 1/4 by 9-1/2 by 9-1/2 in.</li> +<li>1 cleat, 1 by 1 by 18 in.</li></ul> + + + +<p>The posts and cleat are surfaced on four sides, while the other pieces +are surfaced on only two<span class='pagenum'><a name="Page_58" +id="Page_58">[58]</a></span> sides. The allowance of 1/2 in. on the +side rails, top and bottom, is for fitting the joints. Be sure the +surfaces of the pieces for the posts are square and the ends sawed +square off, making the posts exactly the same length when they come from +the mill.</p> + +<div class="figcenter" style="width: 434px;"> +<img src="images/i-058.jpg" width="434" height="589" alt=""/> +<span class="caption">Details of Shoe Rest</span> +</div> + +<p>Square up the four side rails to 6 by 9 in. Cut one end of each post +tapering with a chisel; face and sandpaper the posts and side rails +before making the joints. The side rails are attached to the posts with +three dowels to each joint. The place for each dowel is located by +making a line exactly in the middle lengthwise on each end of each side +rail. Three lines are made to intersect this middle line, as shown in +the detail. Drive a 1/2-in. brad in each intersection allowing a small +portion of each brad to project, and cut off +<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span> +the heads. Gauge a line in the middle of each post at the top where the +joints are to be made and press the end of a side rail containing the +brads against the post. This will mark the places to bore holes for the +dowels. Pull out the brads and bore holes for the dowel pins.</p> + +<div class="figcenter" style="width: 288px;"> +<img src="images/i-059.jpg" width="288" height="600" alt=""/> +<span class="caption">Details of Tabouret Construction</span></div> + +<p>When gluing up the side rails and posts, first put on a coat of glue on +the ends of the side rails and let it dry. This will fill up the pores +in the end grain of the wood which will +make a strong<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span> +joint when finally glued together. The dowel pins are made 3/8 in. +square with a slight taper at the ends. These can be easily forced into +the holes, when the ends of the side rails are coated with glue and +ready to be put together, by clamps pressing on the outside of the +posts.</p> + +<p>The bottom is held in position with narrow strips tacked on the lower +edge of the side rails. Square up the top pieces to 8 by 16 in. and +fasten one piece to the top with cleats and screws as shown in the +drawing. The other piece is hinged to the first one with two 2-in. +hinges.</p> + +<p>The shoe rest can be made from a block of wood and covered with sheet +tin, copper or brass, or a cast-iron rest can be purchased. The rest is +fastened to the under side of the hinged top. Stain the wood any dark +color and apply a very thin coat of shellac. Put on wax and you will +have a finish that can be renewed at any time by wiping with a little +turpentine and rewaxing.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_ROLL_TOP_DESK" id="HOW_TO_MAKE_A_ROLL_TOP_DESK"></a> +HOW TO MAKE A ROLL TOP DESK</h2> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-061.jpg" width="600" height="487" alt=""/> +<span class="caption">The Desk Complete</span> +</div> + +<p>The materials for this roll top desk can be purchased +from a mill dressed and sandpapered so +the hardest part of the work will be finished. The +wood must be selected to suit the builder and to +match other articles of furniture. The following list +of materials will be required:</p> + + +<ul><li>68 lineal ft. of 1 by 3 in. hardwood.</li> +<li>65 lineal ft. of 1 by 2 in. hardwood.</li> +<li>3 lineal ft. of 1/4 by 24 in. hardwood.</li> +<li>45 lineal ft. of 1/4 by 10-1/2 in. hardwood.</li> +<li>36 lineal ft. of 1 by 12 in. hardwood.</li> +<li>35 lineal ft. of 3/8 by 9 in. soft wood.</li> +<li>100 sq. ft. of 1/2 by 12 in. soft wood.</li> +<li>1 piece 34 in. wide and 54 in. long hardwood.</li> +<li>30 pieces 1 by 1 in. 48 in. long.</li></ul> + +<p><span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-062.jpg" width="600" height="344" alt=""/> +<span class="caption">Rolltop Details</span> +</div><p><span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span></p> + +<p>The upper and lower back panels are constructed +very similar, the only difference being in the height. +The inside edge of the 3-in. pieces is plowed with +a 1/4-in. plow 3/8 in. deep exactly in the center and +also both edges of each 2-in. piece. The 16-in. pieces +in the upper back panel and the 24-in. pieces in the +lower back panel must be cut 1/2 in. longer and a +1/4-in. tongue made on each end to fit into the plowed +groove and form a mortise joint.</p> + +<p>The upper back panel is filled in with four boards 9-1/2 in. wide and +16-1/2 in. long, while the four boards in the lower back panel are 9-1/2 +in. wide and 24-1/2 in. long cut from the 1/4-in. hard wood. When the +grooves are cut properly, the joints made perfect and the boards fitted +to the right size, these two panels can be assembled and pressed +together in cabinet clamps. This will make the outside dimensions as +given in the drawing.</p> + +<p>The end panels are made very similar to the lower back panel, the only +difference being in the width of the filling boards, which are 10-1/2 +in. for the outside end panels and 10 in. for the inside panels. One end +panel and one inside panel make the sides of one pedestal. As the end +panels are 1 in. wider than the inside panels they overlap the back +panel and cover up the rough ends of the boards. A 1-in. piece 2 in. +wide is fastened at the top and bottom of each end and inside panels as +shown by the dotted lines. The lower back panel is fastened on by +turning screws through the back and into the ends of these pieces. The +bottom pieces have 2-in. notches cut out, as shown, into which to fit +two crosspieces across the bottom of the pedestal for holding the +casters. The top end panels are made as shown in +<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span> the drawing, the +inside edge of the pieces being plowed out, making a groove the same +size as in the other pieces of the panels. The panel board is cut to the +proper shape from the 1/4-by 24-in. material. The length given in the +material list will be sufficient if the pointed ends are allowed to pass +each other when laying out the design.</p> + +<div class="figcenter" style="width: 457px;"> +<img src="images/i-064.jpg" width="457" height="600" alt=""/> +<span class="caption">Details</span> +</div> + +<p>Instead of cutting a groove for the roll top curtain, one is made by +fastening a 1/2-by 3/4-in. strip 7/8 in. down from the edge and on the +inside of the panel. A thin 1/4-by 1-3/4-in. strip is bent to form the +shape of the edge and fastened with round-headed brass screws. A 1-in. +piece is fastened at the back and a groove cut into it as shown by the +dotted line into which to slide a 1/4-in. back board. The top is a +12-in. board 54 in. long.</p> + +<p>As both pedestals are made alike, the detail of +<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span> +only one is shown. The partitions upon which the drawers slide are made +up from 1-in. square material with a 2-in. end fitted as shown. +Dimensions are given for the divisions of each drawer, but these can be +changed to suit the builder. The detail of one drawer is shown, giving +the length and width, the height being that of the top drawer. The roll +top curtain is made up from 1-in. pieces 3/4 in. thick and 48 in. long, +cut in an oval shape on the outside, tacked and glued to a piece of +strong canvas on the inside. The end piece is 2 in. wide, into which two +lift holes or grooves are cut and a lock attached in the middle of the +edge. A drawer lock can be made as shown and attached to the back panel +and operated by the back end of the roll top curtain when it is opened +and closed.</p> + +<p>The top board, which is 34 by 54 in., can be fitted with end pieces as +shown or left in one piece with the edges made rounding.</p> + +<p>At this point in the construction of the parts they can be put together. +The sides of each pedestal are fastened together by screws passed +through the 1-in. square pieces forming the partition and into the sides +of the panels. When each pedestal is put together the lower back panel +is fastened to them with screws turned into the pieces provided as +stated in making the end panels. The top board is now adjusted with +equal edges projecting and fastened in position with finishing nails. As +the top panels cover directly over where the nails are driven, the heads +will not show. The upper back panel is fastened to the curved ends and +the whole top held to the top board with cast corner brackets that can +be purchased at any hardware store. The top +<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span> +should not be drawn together too close before the 1/4-in. back board is +put in the grooves and the roll top curtain placed in position.</p> + +<div class="figcenter" style="width: 516px;"> +<img src="images/i-066.jpg" width="516" height="600" alt=""/> +<span class="caption">Detail of Pigeonholes</span> +</div> + +<p>The detail showing the pigeon holes gives sizes for 30 openings 3 by 4 +in., two book stalls at the ends, 3 in. wide, and two small drawers. +This frame is built up as shown from the 3/8-in. soft wood, and fastened +in the back part of the top with small brads.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_ROMAN_CHAIR" id="HOW_TO_MAKE_A_ROMAN_CHAIR"></a> +HOW TO MAKE A ROMAN CHAIR</h2> + + +<p>In making this roman chair, as well as other articles of mission +furniture, the materials can be ordered from the mill with much of the +hard work completed. Order the stock to make this chair as follows:</p> + +<ul><li>4 posts, 1-7/8 by 1-7/8 by 30 in.</li> +<li>2 top rails, 7/8 by 2-3/4 by 20 in.</li> +<li>2 bottom rails, 7/8 by 2-1/4 by 20 in.</li> +<li>2 rails, 7/8 by 4 by 16 in.</li> +<li>2 side rails, 7/8 by 4 by 28 in.</li> +<li>1 stretcher, 7/8 by 3 by 30 in.</li></ul> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-067.jpg" width="600" height="518" alt=""/> +<span class="caption">The Roman Chair</span> +</div> + +<p>Have all these pieces mill planed on the four sides straight and square, +also have them sandpapered on the four sides of each. Plain sawed +white<span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span> +or red oak finishes nicely and is easily obtained. The sizes +are specified exact as to thickness and width, but the lengths are +longer than is needed. This is to allow for cutting and fitting.</p> + +<p>Begin by squaring one end of each post; measure the length 28 in. and, +placing all of them side by side, square a line across the four, saw, +then plane these ends square. The top and bottom side rails are treated +in a similar manner, their length being 19-1/8 in. each. These pieces +extend right through the posts projecting 5/8 in. beyond the surface. +The mortises in the posts must be cut smoothly and of exact size. Wood +pins fasten these rails and posts together. The other rails have tenons +1/2 by 3 in. shouldered on the two edges and one side. The mortise in +the post is placed central. On the ends of the chair the shouldered side +is turned in (see <a href="images/i-067.jpg">photograph</a>), while on the +front and back they are turned out. Miter the ends of these tenons. These +tenons are to be glued and clamped—the ends of the chair being put +together first. When this is dry the sides are clamped. The stretcher +should have its ends shouldered on the two edges so as to make a 2-1/2-in. +tenon. Allow the tenons to extend 1-1/8 in. beyond the cross rail and cut +mortises in these tenons for the keys.</p> + +<p>All projecting tenons, as well as the tops and bottoms of the posts, +should be chamfered about 1/8 in. For the seat, screw cleats to the +insides of the rails and place a platform of thin boards so that its top +surface is 1/2 in. below the top of the rails.</p> + +<p>A cushion can be made, as shown in the photograph, by lacing with +leather thongs two pieces of Spanish leather cut to proper length and +width.<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span> +When nearly laced fill with any of the common upholsterer's fillings.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-069.jpg" width="600" height="360" alt=""/> +<span class="caption">Details of Parts of Chair</span> +</div> + +<p>For a brown stain, dissolve by boiling in 4 oz. of water, extract of +logwood the size of a walnut. Apply hot and repeat until the desired +color is obtained. Stains can be bought ready prepared, however, and are +quite satisfactory. Finish by applying several coats of wax.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_SETTEE" id="HOW_TO_MAKE_A_SETTEE"></a>HOW TO MAKE A SETTEE</h2> + + +<p>This handsome piece of mission furniture is designed to be made up in +three different pieces as desired, the only changes necessary being in +the length of the one front and the two back rails. The settee can be +made into a three-cushion length by adding the length of another cushion +to the dimensions of the one front and two back rails. A companion piece +chair can be made by using suitable length rails to admit only one +cushion. The following stock list of materials ordered mill-planed and +sandpapered will be sufficient to make up the settee as illustrated. Oak +is the most suitable wood which can be finished in either mission or a +dark golden oak.</p> + +<ul><li>3 rails 1 by 4 by 52-1/4 in.</li> +<li>4 end rails 1 by 4 by 24-1/4 in.</li> +<li>4 posts 2-1/4 in. square by 34-1/2 in.</li> +<li>13 slats 1/2 by 5 by 21-1/4 in.</li> +<li>2 cleats 1 in. square by 51 in.</li></ul> + + + +<p>All the rails are mortised into the posts for a depth of 5/8 in., also +the slats are mortised 5/8 in. into the rails. The material list gives +the exact dimensions for the rails and slats as they will not need to be +squared for entering the mortises, provided you are careful to get all +lengths cut to dimensions. When cutting the mortises take care to get +them square and clean. The posts have 1/2 in. extra added for squaring +up and cutting the corners sloping on the top ends.</p> + +<p>The joints are all put together with glue. Nails can be driven into the +posts intersecting the tenons of the rails on the inside, as they will +not show and will help to make the settee more solid.</p> + +<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/i-071.jpg" width="600" height="357" alt=""/> +<span class="caption">A Complete Two-Cushion Settee</span> +</div> + +<p><span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/i-072.jpg" width="600" height="241" alt=""/> +<span class="caption">Details of a Mission Settee</span> +</div> + +<p>The cushions can be made with or without springs as desired. If made +without springs, 15 slats must be provided in the material list 1/2 in. +thick, 2 in. wide and 24 in. long to be placed on the +cleats fastened to the inside of each bottom rail. The two cleats are +fastened one on each inside of the front and back rails with screws. The +location as to height of these cleats will depend upon the kind of +cushions used. The parts necessary to make the cushions with springs are +as follows:</p> + +<ul><li>4 pieces 1 by 2-1/2 by 26 in.</li> +<li>8 pieces 1 by 2-1/2 by 24 in.</li> +<li>4 pieces 1 by 2-1/2 by 22 in.</li> +<li>32 8-in. springs.</li> +<li>2 pieces leather about 29 by 31 in.</li></ul> + +<p><span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<img src="images/i-073.jpg" width="600" height="409" alt=""/> +<span class="caption">Details of the Cushion</span> +</div> + +<p>An open box is made from two 26-in. and two 22-in. pieces, and across +the bottom are mortised and set in four 24-in. pieces to form slats on +which to set the springs. The tops of the springs are tied or anchored +with stout cords running in both directions and fastened to the inside +of the pieces forming the open box. These should be tied in such manner +as to hold each spring so it cannot slip over and come in contact with +another spring.</p> + +<p>Roan or pebbled leather are very popular for cushions for this style of +furniture. The leather is drawn over the springs and tacked to the +outside of the open box frame. When complete the cushions are set in +loose on the cleats, which should, in this case, be placed about 1 in. +from the top of the rails.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_PYROGRAPHERS_TABLE" +id="HOW_TO_MAKE_A_PYROGRAPHERS_TABLE"></a>HOW TO MAKE A PYROGRAPHER'S TABLE</h2> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-074.jpg" width="600" height="398" alt=""/> +<span class="caption">Convenient +Pyrographer's Table</span></div> + +<p>Any pyrographer will appreciate the construction of the table and +cabinet as illustrated. Anyone doing burnt wood work will know the +annoyance of building up a steady support for the arm to the level of +the article on which the work is to be done. The size of this table may +be made to suit the surroundings and the space of the builder. Figure 1 +shows the table with a slot cut in the side support in which to place +the thumb screw of the bracket as shown on top of the table. It will be +noticed, Fig. 2, that while both drawer and cabinet are available for +storing the apparatus, they are not in the way of the operator +<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span> +while sitting at his work; the drawer +overhangs the knees and the cabinet is far enough back not to interfere +with sitting up close to the work. The bracket shelf slides in the slot +at the side of the table, and is fastened to any height by the thumb +screw There is also a smaller slide bracket on the shelf to clamp +irregular objects to the side of the table. The thumb screws, hinges and +drawer pulls can be purchased from any hardware store. When the table is +not in use for pyrography it can be used for a writing table or a round +top provided and attached on which to play games. When used for this +purpose the bracket, as well as the pyrographic outfit, is stowed away +in the cabinet as shown in Fig. 3.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-075.jpg" width="600" height="577" alt=""/> +<span class="caption">Storage for Apparatus</span> +</div> + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span></p> +<h2><a name="MISSION_STAINS" id="MISSION_STAINS"></a>MISSION STAINS</h2> + + + +<p>What is mission oak stain? There are many on the market, with hardly two +alike in tone. The true mission oak stain may be said to show a dull +gray, the flakes showing a reddish tint, while the grain of the wood +will be almost a dead black. To produce such a stain take 1 lb. of drop +black in oil and 1/2 oz, of rose pink in oil, adding a gill of best +japan drier, thinning with three half-pints of turpentine. This will +make about 1 qt. of stain. Use these proportions for a larger quantity +of stain. Strain it through cheese cloth. Japan colors will give a +quicker drying stain than that made with oil colors, and in this case +omit the japan and add a little varnish to bind it.</p> + +<p>One of the most popular of all the fancy oaks has been that known as +Flemish, and this in spite of its very somber color, says Wood Craft. +There are several ways of producing Flemish finish; you can fill the +wood with a paste filler strained with raw umber, and when dry apply a +stain of transparent flat raw umber, and for the darker shades of finish +use drop black with the umber. Varnish and rub down.</p> + +<p>According to a foreign technical journal, French workmen mahoganize +various kinds of woods by the following method: The surface of the wood +to be stained is made perfectly smooth. Then it is given a coating of +dilute nitric acid which is rubbed well into the wood fiber. Then it is +stained with a mixture made by dissolving 1-1/2 oz. of dragon's blood in +a pint of alcohol, this solution being filtered, and then there is added +to it one-third of its weight of sodium carbonate. Apply this mixture +with a brush, and repeat the coats at intervals until the<span class='pagenum'><a +name="Page_77" id="Page_77">[77]</a></span> surface has the appearance of polished +mahogany. In case the luster should fail it may be restored by rubbing +with a little raw linseed oil. The description of the process is meager, +and hence he who would try it will have to experiment a little.</p> + +<p>A good cheap mission effect for oak is to mix together equal parts of +boiled linseed oil and good asphaltum varnish, and apply this to the +wood with a brush; in a minute or so you may rub off surplus with a rag, +and when dry give a coat of varnish. A gallon of this stain will cover +about 600 sq. ft.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="FILLING_OAK" id="FILLING_OAK"></a>FILLING OAK</h2> + + +<p>A very good hardwood filler for oak, either for a natural or golden +effect, may be made from two parts of turpentine and one part of raw +linseed oil, with a small amount of good japan to dry in the usual time. +To this liquid add bolted gilder's whiting to form a suitable paste, it +may be made thin enough for use, if to be used at once, or into a stiff +paste for future use, when it can be thinned down for use, says +Woodworkers' Review. After applying a coat of filler, let stand until it +turns gray, which requires about 20 minutes, depending upon the amount +of japan in the filler, when it should be rubbed off with cotton waste +or whatever you use for the purpose. A filler must be rubbed well into +the wood, the surplus only being removed. The application of a coat of +burnt umber stain to the wood before filling is in order, which will +darken the wood to the proper depth if you rub off the surplus, showing +the grain and giving a golden oak effect. The filling should stand at +least a day and night before applying shellac and varnish.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></p> +<h2><a name="WAX_FINISHING" id="WAX_FINISHING"></a>WAX FINISHING</h2> + + +<p>In wax-finishing hardwoods, use a paste filler and shellac varnish to +get a good surface. Of course, the wax may also be rubbed into the +unfilled wood but that gives you quite a different effect from the +regular wax polish, says a correspondent of Wood Craft. With soft woods +you first apply a stain, then apply a liquid filler or shellac, +according to the quality of work to be done. The former for the cheaper +job. The usual proportion of wax and turpentine is two parts of the +former to one part of the latter, melting the wax first, then adding the +spirits of turpentine. For reviving or polishing furniture you can add +three or four times as much turpentine as wax, all these proportions to +be by weight. To produce the desired egg-shell gloss, rub vigorously +with a brush of stiff bristles or woolen rag.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_FUMING_OF_OAK" id="THE_FUMING_OF_OAK"></a>THE FUMING OF OAK</h2> + + +<p>Darkened oak always has a better appearance when fumed with ammonia. +This process is rather a difficult one, as it requires an airtight case, +but the description herewith given may be entered into with as large a +case as the builder cares to construct.</p> + +<p>Oak articles can be treated in a case made from a tin biscuit box, or +any other metal receptacle of good proportions, provided it is airtight. +The oak to be fumed is arranged in the box so the fumes will entirely +surround the piece; the article may be propped up with small sticks, or +suspended by a string. The chief point is to see that no part of the +wood is covered up and that all surfaces are exposed to the fumes. A +saucer of ammonia is placed<span class='pagenum'> +<a name="Page_79" id="Page_79">[79]</a></span> in the bottom of the box, the lid or +cover closed, and all joints sealed up by pasting heavy brown paper over +them. Any leakage will be detected if the nose is placed near the tin +and farther application of the paper will stop the holes. A hole may be +cut in the cover and a piece of glass fitted in, taking care to have all +the edges closed. The process may be watched through the glass and the +article removed when the oak is fumed to the desired shade. Wood stained +in this manner should not be French polished or varnished, but waxed.</p> + +<p>The process of waxing is simple: Cut some bees-wax into fine shreds and +place them in a small pot or jar. Pour in a little turpentine, and set +aside for half a day, giving it an occasional stir. The wax must be +thoroughly dissolved and then more turpentine added until the +preparation has the consistency of a thick cream. This can be applied to +the wood with a rag and afterward brushed up with a stiff brush.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="HOW_TO_MAKE_BLACK_WAX" id="HOW_TO_MAKE_BLACK_WAX"></a>HOW TO MAKE BLACK WAX</h2> + + +<p>When putting a wax finish on oak or any open-grained wood, the wax will +often show white streaks in the pores of the wood. These streaks cannot +be removed by rubbing or brushing. Prepared black wax can be purchased, +but if you do not have any on hand, ordinary floor wax can be colored +black. Melt the floor wax in a can placed in a bucket of hot water. When +the wax has become liquid mix thoroughly into it a little drop black or +lampblack. Allow the wax to cool and harden. This wax will not streak, +but will give a smooth, glossy finish.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span></p> +<h2><a name="THE_40_STYLES_OF_CHAIRS" id="THE_40_STYLES_OF_CHAIRS"></a> +THE 40 STYLES OF CHAIRS</h2> + + +<p>There are 40 distinct styles of chairs embracing the period from 3000 +B.C. to 1900 A.D.—nearly 7,000 years. Of all the millions of +chairs made during the centuries, each one can be classified under one +or more of the 40 general styles shown in the chart. This chart was +compiled by the editor of Decorative Furniture. The Colonial does not +appear on the chart because it classifies under the Jacobean and other +styles. A condensed key to the chart follows:</p> + +<div class="blockquot"><p><b>Egyptian.—3000 B.C. to 500 B.C.</b> +Seems to have been derived largely from the Early Asian. It influenced +Assyrian and Greek decorations, and was used as a motif in some French +Empire decoration. Not used in its entirety except for lodge rooms, etc.</p> + +<p><b>Grecian.—700 B.C. to 200 B.C.</b> Influenced by Egyptian and +Assyrian styles. It had a progressive growth through the Doric, Ionic +and Corinthian periods. It influenced the Roman style and the Pompeian, +and all the Renaissance styles, and all styles following the +Renaissance, and is still the most important factor in decorations +today.</p> + +<p><b>Roman.—750 B.C. to 450 A.D.</b> Rome took her art entirely from +Greece, and the Roman is purely a Greek development. The Roman +style "revived" in the Renaissance, and in this way is still a prominent +factor in modern decoration.</p> + +<p><b>Pompeian.—100 B.C. to 79 A.D.</b> Sometimes called the Grecian-Roman +style, which well describes its components. The style we know +as Greek was the Greek as used in public structures. The Pompeian +is our best idea of Greek domestic decoration. Pompeii was long +buried, but when rediscovered it promptly influenced all European +styles, including Louis XVI, and the various Georgian styles.</p> + +<p><b>Byzantine.—300 A.D. to 1450 A.D.</b> The "Eastern Roman" style, +originating in the removal of the capital of the Roman Empire to +Constantinople (then called Byzantium). It is a combination of Persian +and Roman. It influenced the various Moorish, Sacracenic and +other Mohammedan styles.</p> + +<p><b>Gothic.—1100 to 1550.</b> It had nothing to do with the Goths, but +was a local European outgrowth of the Romanesque. It spread all +over Europe, and reached its climax of development about 1550. It +was on the Gothic construction that the Northern European and +English Renaissance styles were grafted to form such styles as the +Elizabethan, etc.</p></div> +<p><span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span></p> + +<div class="figcenter" style="width: 386px;"> +<img src="images/i-081.jpg" width="386" height="600" alt=""/> +<span class="caption">Chairs 1</span> +</div> + + +<p><span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span></p> + +<div class="blockquot"><p><b>Moorish.—700 to 1600.</b> The various +Mohammedan styles can all be traced to the ancient Persian through the +Byzantine. The Moorish or Moresque was the form taken by the Mohammedans +in Spain.</p> + +<p><b>Indian.—2000 B.C. to 1906 A.D.</b> The East Indian style is almost +composite, as expected of one with a growth of nearly 4,000 years. +It has been influenced repeatedly by outside forces and various +religious invasions, and has, in turn, influenced other far Eastern +styles.</p> + +<p><b>Chinese.—3500 B.C. to 1906 A.D.</b> Another of the ancient styles. +It had a continuous growth up to 230 B.C., since when it has not +changed much. It has influenced Western styles, as in the Chippendale, +Queen Anne, etc.</p> + +<p><b>Japanese.—1200 B.C. to 1906 A.D.</b> A style probably springing +originally from China, but now absolutely distinct. It has influenced +recent art in Europe and America, especially the "New Art" styles.</p> + +<p><b>Italian Gothic.—1100 to 1500.</b> The Italian Gothic differs from +the European and English Gothic in clinging more closely to the +Romanesque-Byzantine originals.</p> + +<p><b>Tudor.—1485 to 1558.</b> The earliest entry of the Renaissance into +England. An application of Renaissance to the Gothic foundations. Its +growth was into the Elizabethan.</p> + +<p><b>Italian Renaissance, Fifteenth Century.—1400 to 1500.</b> The birth +century of the Renaissance. A seeking for revival of the old Roman +and Greek decorative and constructive forms.</p> + +<p><b>Italian Renaissance, Sixteenth Century.—1500 to 1600.</b> A period +of greater elaboration of detail and more freedom from actual Greek +and Roman models.</p> + +<p><b>Italian Renaissance, Seventeenth Century.—1600 to 1700.</b> The +period of great elaboration and beginning of reckless ornamentation.</p> + +<p><b>Spanish Renaissance.—1500 to 1700.</b> A variation of the +Renaissance spirit caused by the combination of three distinct +styles—the Renaissance as known in Italy, the Gothic and the Moorish. +In furniture the Spanish Renaissance is almost identical with the +Flemish, which it influenced.</p> + +<p><b>Dutch Renaissance.—1500 to 1700.</b> A style influenced alternately +by the French and the Spanish. This style and the Flemish had a +strong influence on the English William and Mary and Queen Anne +styles, and especially on the Jacobean.</p> + +<p><b>German Renaissance.—1550 to 1700.</b> A style introduced by Germans +who had gone to Italy to study. It was a heavy treatment of the +Renaissance spirit, and merged into the German Baroque about 1700.</p> + +<p><b>Francis I.—1515 to 1549.</b> The introductory period when the +Italian Renaissance found foothold in France. It is almost purely +Italian, and was the forerunner of the Henri II.</p> + +<p><b>Henri II.—1549 to 1610.</b> In this the French Renaissance became +differentiated from the Italian, assuming traits that were specifically +French and that were emphasized in the next period.</p> + +<p><b>Louis XIII.—1616 to 1643.</b> A typically French style, in which +but few traces of its derivation from the Italian remained. It was +followed by the Louis XIV.</p> + +<p><b>Elizabethan.—1558 to 1603.</b> A compound style containing traces +of the Gothic, much of the Tudor, some Dutch, Flemish and a little +Italian. Especially noted for its fine wood carving.</p> + +<p><b>Jacobean.—1603 to 1689.</b> The English period immediately following +the Elizabethan, and in most respects quite similar. The Dutch influence +was, however, more prominent. The Cromwellian, which is +included in this period, was identical with it.</p> + +<p><b>William and Mary.—1689 to 1702.</b> More Dutch influences. All +furniture lighter and better suited to domestic purposes.</p></div> + +<p><span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span></p> +<div class="figcenter" style="width: 384px;"> +<img src="images/i-083.jpg" width="384" height="600" alt=""/> +<span class="caption">Chairs 2</span> +</div> + +<p><span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span></p> + +<div class="blockquot"><p><b>Queen Anne.—1702 to 1714.</b> Increasing +Dutch influences. Jacobean influence finally discarded. Chinese +influence largely present.</p> + +<p><b>Louis XIV.—1643 to 1715.</b> The greatest French style. An entirely +French creation, marked by elegance and dignity. Toward the +end of the period it softened into the early Rococo.</p> + +<p><b>Georgian.—1714 to 1820.</b> A direct outgrowth of the Queen Anne, +tempered by the prevailing French styles. It includes Chippendale, +Hepplewhite and Sheraton, but these three great cabinetmakers were +sufficiently distinct from the average Georgian to be worthy separate +classification.</p> + +<p><b>Chippendale.—1754 to 1800.</b> The greatest English cabinet style. +Based on the Queen Anne, but drawing largely from the Rococo, +Chinese and Gothic, he produced three distinct types, viz.: French +Chippendale, Chinese Chippendale and Gothic Chippendale. The last +is a negligible quantity.</p> + +<p><b>Louis XV.—1715 to 1774.</b> The Rococo period. The result of the +efforts of French designers to enliven the Louis XIV, and to evolve +a new style out of one that had reached its logical climax.</p> + +<p><b>Hepplewhite.—1775 to 1800.</b> Succeeded Chippendale as the popular +English cabinetmaker. By many he is considered his superior. His +work is notable for a charming delicacy of line and design.</p> + +<p><b>Louis XVI.—1774 to 1793.</b> The French style based on a revival +of Greek forms, and influenced by the discovery of the ruins of +Pompeii.</p> + +<p><b>Sheraton.—1775 to 1800.</b> A fellow cabinetmaker, working at same +time as Hepplewhite. One of the Colonial styles (Georgian).</p> + +<p><b>R. & J. Adam.—1762 to 1800.</b> Fathers of an English classic +revival. Much like the French Louis XVI and Empire styles in many +respects.</p> + +<p><b>Empire.—1804 to 1814.</b> The style created during the Empire of +Napoleon I. Derived from classic Roman suggestions, with some +Greek and Egyptian influences.</p> + +<p><b>New Arts.—1900 to date.</b> These are various worthy attempts by +the designers of various nations to create a new style. Some of the +results are good, and they are apt to be like the "little girl who had +a little curl that hung in the middle of her forehead," in that "when +they are good they are very, very good, but when they are bad they +are horrid."<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span></p></div> + +<div class="figcenter" style="width: 380px;"> +<img src="images/i-085.jpg" width="380" height="600" alt=""/> +<span class="caption">Chairs 3</span> +</div> + +<p><span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span></p> + +<div class="figcenter" style="width: 380px;"> +<img src="images/i-086.jpg" width="380" height="317" alt=""/> +<span class="caption">Chairs 4</span> +</div> + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_PIANO_BENCH" id="HOW_TO_MAKE_A_PIANO_BENCH"></a> +HOW TO MAKE A PIANO BENCH</h2> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-087.jpg" width="600" height="321" alt=""/> +<span class="caption">Piano Bench</span> +</div> + +<p>All the material used in the making of this piano +bench is 1 in. thick, excepting the two rails, which +are 7/8 in. thick. The bench can be made from any +of the furniture woods, but the case may demand +one made from mahogany. If so, this wood can be +purchased from a piano factory. The following +stock list of materials may be ordered from a mill, +planed and sandpapered:</p> + +<ul><li>1 top, 1 by 16 by 36-1/2 in.</li> +<li>2 ends, 1 by 14 by 18 in.</li> +<li>1 stretcher, 1 by 4 by 31-1/2 in.</li> +<li>2 side rails, 7/8 by 4 by 29-1/2 in.</li> +<li>2 keys, 1 by 1 by 3-1/2 in.</li> +<li>6 cleats, 1 by 1 by 4 in.</li></ul> + + +<p>The dimensions given, with the exception of the +keys and cleats, are 1/2 in. longer than necessary for +squaring up the ends.</p> + +<p>The two rails are cut slanting from a point 1-1/2 +<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span> +in. from each end to the center, making them only +3 in. wide in the middle. The rails are "let into" +the edges of the ends so the outside of the rails and +end boards will be flush. The joints are put together +with glue and screws. The cleats are fastened +with screws to the inside of the rails and to +the top. The stretcher has a tenon cut on each +end which fits into a mortise cut in each end. The +tenons will have sufficient length to cut the small +mortise for the key.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-088.jpg" width="600" height="222" alt=""/> +<span class="caption">Piano Bench Details</span> +</div> + +<p>The kind of wood used will determine the color +of the stain for the finish. This also depends on +matching other pieces of furniture.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></p> +<h2><a name="HOW_TO_MAKE_A_MISSION_SHAVING" id="HOW_TO_MAKE_A_MISSION_SHAVING"></a> +HOW TO MAKE A MISSION SHAVING STAND</h2> + +<p>This attractive and useful piece of mission furniture will be +appreciated by the person that does his own shaving. The shaving stand +can be made at home by a handy man in his spare time as the stock can be +ordered from a mill ready for making the joints and attaching the few +pieces of hardware. The following is a stock list of materials:</p> + + +<ul><li>4 posts 1-1/2 in. square by 50-1/2 in.</li> +<li>4 slats 7/8 by 1 by 32-1/2 in.</li> +<li>2 cross rails 1 by 1-1/2 by 15 in.</li> +<li>2 end rails 1 by 1-1/2 by 13 in.</li> +<li>1 top 7/8 by 16-1/2 by 19-1/2 in.</li> +<li>1 bottom 7/8 by 15 by 17 in.</li> +<li>2 ends 7/8 by 12-1/2 in. square.</li> +<li>1 back 7/8 by 12-1/2 by 14-1/2 in.</li> +<li>1 door 7/8 by 6-1/2 by 12-1/2 in.</li> +<li>2 drawer ends 7/8 by 5-1/2 by 7-1/2 in.</li> +<li>1 partition 7/8 by 12 by 14 in.</li> +<li>1 partition 7/8 by 7 by 14 in.</li> +<li>7 pieces of soft wood 1/2 by 7-1/2 by 12 in.</li> +<li>2 posts 1 in. square by 10-1/2 in.</li> +<li>1 bottom piece 7/8 by 1-1/2 by 18-1/2 in.</li> +<li>4 mirror frame pieces 7/8 by 1-1/2 by 14-1/2 in.</li> +<li>2 sticks for pins.</li> +<li>2 hinges</li> +<li>1 lock</li> +<li>2 drawer pulls</li> +<li>1 beveled glass mirror 11-1/2 by 11-1/2 in.</li></ul> + + +<div class="figcenter" style="width: 536px;"> +<img src="images/i-090.jpg" width="536" height="600" alt=""/> +<span class="caption">Shaving Stand Details</span> +</div> + +<p>While this piece of furniture can be made in any +kind of wood, the novice will find that quarter-sawed +oak will work up and finish better than the other +woods. The stock list given has dimensions 1/2 in. +larger in some instances for dressing and squaring +where necessary.</p> + +<p>The tenons and mortises are first cut for the +crosspieces at the bottom of the posts, and, as it is +<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span> +best to use dowels at the top, holes are bored in the +bottom piece and also the ends of the slats for pins. +The bottom piece is also fastened to the posts with +dowels. The bottom must have a square piece cut +out from each corner almost the same size as the +posts. When setting the sides together the end +board and posts can be doweled and glued together +<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span> +and after drying well the posts can be spread apart +far enough to insert the bottom rail and two slats. +The rail and slats should be tried for a bit before +putting on any glue, which may save some trouble.</p> + +<p><span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span></p> +<div class="figcenter" style="width: 265px;"> +<img src="images/i-091.jpg" width="265" height="600" alt=""/> +<span class="caption">Shaving Stand Complete</span> +</div> + +<p>After the sides are put together, the back is put in and glued. The top +is then put on and fastened with cleats from the inside. The partitions +are put in as shown and the door fitted. Two drawers are made from the +ends and the soft wood material. The drawer ends may be supplied with +wood pulls of the same material or matched with metal the same as used +for the hinges.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-092.jpg" width="600" height="395" alt=""/> +<span class="caption">Mirror Frame and Standards +Details</span></div> + +<p>The pieces for the mirror frame must be rabbeted 1/2 in. deep to take +the glass, and the ends joined together with a miter at each corner. The +two short posts are tenoned and mortises cut in the bottom piece for +joints and these joints well glued together. The bottom piece is then +fastened to the top board of the stand. This will form the standards in +which to swing the mirror and its frame. This is done with two pins +inserted in holes bored through the standards and into the mirror frame.</p> + +<p>After the parts are all put together, cleaned and +sandpapered, the stand is ready for the finish.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span></p> +<h2><a name="A_MISSION_WASTE-PAPER_BASKET" id="A_MISSION_WASTE-PAPER_BASKET"></a> +A MISSION WASTE-PAPER BASKET</h2> + + +<div class="figcenter" style="width: 455px;"> +<img src="images/i-093.jpg" width="455" height="600" alt=""/> +<span class="caption">Waste-Paper +Basket to Match Library Table</span> +</div> + +<p>The basket shown in the accompanying sketch +is designed to be used with a library table having +slats in the ends and wooden handles on the drawers. +The finish is made to match that of the table +by fuming, when completely assembled, in a large-size +<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span> +size, clean garbage can, with fumes of concentrated +ammonia.</p> + +<p><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p> +<div class="figcenter" style="width: 252px;"> +<img src="images/i-094.jpg" width="252" height="600" alt=""/> +<span class="caption">Detail of Waste-Paper Basket</span> +</div> + +<p>The following quarter-sawed white-oak stock +should be procured in the exact dimensions given. +This may be had, planed and cut to lengths, from +a mill for a slight extra charge. It is advisable not +to have them sandpapered, as the very coarse sandpaper +generally used, gives a bad surface for finishing.</p> + + +<ul><li>4 posts, 1-1/4 by 1-1/4 by 16-1/2 in., S-4-S.</li> +<li>4 rails, 3/4 by 3 by 10-1/4 in., S-2-S.</li> +<li>4 rails, 3/4 by 2 by 10-1/4 in., S-2-S.</li> +<li>12 slats, 3/8 by 2-1/4 by 9-1/2 in., S-2-S.</li> +<li>4 handle pieces, 1 by 1 by 2-1/2 in., S-4-S.</li> +<li>2 handle pieces, 1/2 by 1/2 by 6 in., S-4-S.</li> +<li>1 bottom, 3/8 by 9-1/2 by 9-1/2 in., S-2-S.</li></ul> + +<p>See that the posts are absolutely square cross section. Mark with a +pencil—not gauge—the chamfers on the ends of the posts and +plane them off.</p> + +<p>Carefully mark the tenons on the ends of all the rails with a knife and +gauge lines. Be sure that the distance from the tenon shoulder at one +end of rail to the shoulder at the other end is exactly the same on each +rail. Cut the tenons, using a backsaw and chisel.</p> + +<p>Arrange the pieces as they are to stand in the finished basket, and +number each tenon and mortise. Mark all the mortises on the posts, being +sure to keep the distances between the top and lower rail the same on +each post. Cut each mortise to fit the correspondingly numbered tenon. +Next, mark the mortises for the slats in the rails, allowing the whole +slat to go in 1/4 in.</p> + +<p>The handles are next in order. The pieces going into the rail should be +fastened with a round +<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span> +1/2-in. tenon cut on one end and glued in place. The crosspiece should +be mortised all the way through these pieces and held in place by a brad +from the under side.</p> + +<p>Now put the whole basket together without gluing, in order that errors, +if any, may be detected.</p> + +<p>If everything fits perfectly, the basket is ready to be glued. For best +results hot glue should be used. First glue up two opposite sides with +the slats in place. Clamps must be used. When these have set for at +least 24 hours, the other rails and slats may be glued in place and +clamped. It is a good idea to pin the tenons in place with two 1-in. +brads driven from the inside.</p> + +<p>The handles are then glued in place, using hand screws to hold them +until the glue sets. The bottom should rest on thin cleats, without +being nailed to them, so that it may be removed when the basket is to be +emptied of small papers, etc.</p> + +<p>Before applying the stain, see that all glue spots are removed and all +surfaces sanded to perfect smoothness. If a fumed finish is not desired, +any good stain may be used, after which a thin coat of shellac and two +coats of wax should be applied. Allow plenty of time for drying between +the coats.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_CELLARETTE_PEDESTAL" id="A_CELLARETTE_PEDESTAL"></a> +A CELLARETTE PEDESTAL</h2> + +<div class="figcenter" style="width: 304px;"> +<img src="images/i-097.jpg" width="304" height="600" alt=""/><br /> +<span class="caption">Plain-Oak +Cellarette Pedestal</span></div> + +<p>The illustration shows a unique article for the +den. It serves as a pedestal and has one side which +opens on hinges allowing the inside to be used as a +smoker's cabinet or cellarette. All the lines are +straight and the corners square, making it easy to +<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span> +construct. White oak will make up best, although +ash, birch or southern pine may be used with good +effect.</p> + +<p><span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span> +Stock of the following sizes should be bought, +surfaced and cut to width and length:</p> + +<ul><li>2 top pieces, 7/8 by 12 by 12 in., S-2-S.</li> +<li>2 base pieces, 7/8 by 14 by 14 in., S-2-S.</li> +<li>2 sides, 7/8 by 8 by 35-5/8 in., S-2-S.</li> +<li>1 back, 7/8 by 6-1/4 by 35-5/8 in., S-2-S.</li> +<li>1 door, 7/8 by 6-1/4 by 34-3/4 in., S-2-S.</li> +<li>4 blocks, 7/8 by 4 by 4 in., S-2-S.</li> +<li>4 shelves, 7/8 by 6-1/4 by 6-1/4 in., S-2-S.</li> +<li>4 pieces, 7/8 by 1 by 10 in., S-4-S.</li></ul> + + +<p>Make the top and base of two pieces, glued and +screwed together with the grain crossed. This +method prevents warping. To keep the end grain +from showing, a strip of 3/8-in. lumber may be put +on all around as shown in the drawing.</p> + +<p>Have the sides, front and back squared up perfectly. +The sides are to overlap the back and to be +fastened to it with round-head brass or blue screws. +To the center of the top and base attach one of the +6-1/4-in. square pieces. Over these, fit the sides and +back and fasten them with screws or nails. The +four corner blocks are now put under the base.</p> + +<p>Two or more shelves may be set in as shown. +Brass or copper hinges will look well if a dark stain +is to be used.</p> + +<p>Around the sides and back a 1-in. strip should be +fastened to the base to give added strength.</p> + +<p>If a dull finish is desired, apply two coats of stain +and two of prepared wax. If a polished surface is +wanted, first fill the pores of the wood with any +standard filler, which can be purchased at a paint +store. After this has dried partly, rub off any surplus +filler, rubbing across the grain of the wood. +<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span> +When perfectly dry apply one coat of shellac and +as many coats of varnish as desired, rubbing down +each coat, except the last, with No. 00 sandpaper +and pumice stone.</p> + +<div class="figcenter" style="width: 468px;"> +<img src="images/i-099.jpg" width="468" height="600" alt=""/><br /> +<span class="caption">Detail of Cellarette +Pedestal</span></div> + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></p> +<h2><a name="A_DRESSER" id="A_DRESSER"></a>A DRESSER</h2> + + +<p>The dresser shown in the illustration was made +of quarter-sawed white oak and finished golden and +waxed. The mirror is of beveled glass and the following +is the stock bill:</p> + + +<ul><li>1 top, 3/4 by 19-1/2 by 33 in., S-2-S.</li> +<li>4 posts, 1-3/4 by 1-3/4 by 28 in., S-4-S.</li> +<li>4 end rails, 3/4 by 2-1/4 by 17 in., S-2-S.</li> +<li>4 stiles, 3/4 by 2-1/2 by 20 in., S-2-S.</li> +<li>2 panels, 3/16 by 12 by 18 in., S-2-S.</li> +<li>3 facings, 3/4 by 2-1/4 by 29 in., S-2-S.</li> +<li>2 top frame pieces, 3/4 by 2 by 32 in., S-2-S.</li> +<li>2 top frame pieces, 3/4 by 2 by 19 in., S-2-S.</li> +<li>2 mirror supports, 1 by 2 by 33 in., S-2-S.</li> +<li>1 mirror support, 3/4 by 2-1/2 by 33 in., S-2-S.</li> +<li>1 drawer front, 3/4 by 7-1/4 by 28 in., S-2-S.</li> +<li>1 drawer front, 3/4 by 6-1/4 by 28 in., S-2-S.</li> +<li>2 drawer fronts, 3/4 by 5-1/4 by 14 in., S-2-S.</li> +<li>1 partition, 3/4 by 1 by 6 in.</li> +<li>2 mirror-frame pieces, 3/4 by 2 by 40 in., S-2-S.</li> +<li>2 mirror-frame pieces, 3/4 by 2 by 20 in., S-2-S.</li></ul> + + + +<p>The following material list may be of common stock and not +quarter-sawed:</p> + + +<ul><li>Mirror-backing pieces equivalent to 1/4 by 18-1/2 by 36 in., S-2-S.</li> +<li>2 cleats, 3/4 by 2 by 10 in., S-4-S.</li> +<li>4 drawer-support frame pieces, 3/4 by 2 by 29 in.</li> +<li>7 drawer-support frame pieces, 3/4 by 2 by 15 in.</li> +<li>Slides taken from scrap stock, 3/4 by 1 by 15 in.</li> +<li>3 back pieces, 3/4 by 2-1/4 by 28 in., S-2-S.</li> +<li>2 back pieces, 1/4 by 8 by 28 in., S-2-S.</li> +<li>8 drawer sides, 1/2 by 7-1/4 by 17 in., S-2-S.</li> +<li>2 drawer backs, 3/8 by 7 by 27 in., S-2-S.</li> +<li>2 drawer backs, 3/8 by 7 by 13 in., S-2-S.</li> +<li>2 drawer bottoms, 3/8 by 15 by 27 in., S-2-S.</li> +<li>2 drawer bottoms, 3/8 by 15 by 13 in., S-2-S.</li></ul> + + + +<p>In working up the various parts proceed in the usual manner. If not +thoroughly familiar with the various tool processes involved, it will be +necessary to investigate pieces of near-by furniture and to read up some +good text dealing with the processes involved. +<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span></p> + +<div class="figcenter" style="width: 297px;"> +<img src="images/i-101.jpg" width="297" height="600" alt=""/> +<span class="caption">Dresser in Quarter-Sawed Oak</span> +</div><p><span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span></p> + +<p>The exact size of the mirror is 18 by 36 in. and +the frame should be rabbeted to correspond.</p> + +<div class="figcenter" style="width: 491px;"> +<img src="images/i-102.jpg" width="491" height="600" alt=""/> +<span class="caption">Detail of the Dresser</span> +</div> + +<p>For a finish, a coat of paste filler colored so as to <span class='pagenum'><a +name="Page_103" id="Page_103">[103]</a></span> give a rich golden brown should be +applied first. Allow this to harden, after rubbing and polishing it in +the usual manner, then apply a thin coat of shellac. Sand this lightly +when hard, and over this apply a coat of orange shellac. Over the +shellac put several coats of some good rubbing wax and polish each coat +well. If a striking contrast is wanted for the medullary rays of the +quartering, apply a golden-oak stain first. Sand this lightly, then +apply a second coat diluted one-half with solvent and sand again +lightly. Apply a thin coat of shellac, then, when dry, sand lightly and +apply paste, and proceed as before.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_MISSION_SIDEBOARD" id="A_MISSION_SIDEBOARD"></a>A MISSION SIDEBOARD</h2> + + +<p>Oak is the most suitable material for making this +sideboard and it should be first-class stock, planed +and cut to the dimensions given in the following +list:</p> + + +<ul><li>1 top, 7/8 by 22 by 48 in., S-2-S.</li> +<li>1 top shelf, 7/8 by 12 by 48 in., S-2-S.</li> +<li>1 bottom, 7/8 by 22 by 48 in., S-2-S.</li> +<li>2 back posts, 2 by 2 by 57 in., S-4-S.</li> +<li>2 front posts, 2 by 2 by 36 in., S-4-S.</li> +<li>2 standards, 2 by 2 by 20 in., S-4-S.</li> +<li>2 mirror rails, 7/8 by 2 by 47 in., S-2-S.</li> +<li>2 mirror rails, 7/8 by 2 by 20 in., S-2-S.</li> +<li>3 front and back rails, 7/8 by 3 by 46 in., S-2-S.</li> +<li>4 end rails, 7/8 by 3 by 20 in., S-2-S.</li> +<li>4 standard rails, 7/8 by 2 by 10 in., S-2-S.</li> +<li>2 vertical pieces, 7/8 by 19-1/2 by 22 in., S-2-S.</li> +<li>1 horizontal piece, 7/8 by 22 by 14-1/4 in., S-2-S.</li> +<li>1 drawer front, 7/8 by 6 by 14-1/4 in., S-2-S.</li> +<li>1 piece, 7/8 by 3 by 3 in.</li> +<li>4 vertical door pieces, 7/8 by 2 by 17 in., S-2-S.</li> +<li>4 horizontal door pieces, 7/8 by 2 by 15 in., S-2-S.</li> +<li>2 drawer sides, 7/8 by 5 by 14 in., S-2-S.</li> +<li>1 drawer bottom, 1/4 by 14 by 14-1/4 in., S-2-S.</li> +<li>1 back panel, 1/4 by 16-1/2 by 44-1/2 in., S-2-S.</li> +<li>2 door panels, 1/4 by 10-1/2 by 15-1/2 in., S-2-S.</li> +<li>2 side panels, 1/4 by 18-1/2 by 16-1/2 in., S-2-S.</li></ul> + +<p><span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span></p> + +<div class="figcenter" style="width: 531px;"> +<img src="images/i-104.jpg" width="531" height="600" alt=""/> +<span class="caption">Detail of the Mission Sideboard</span> +</div> + +<p>Begin work by cutting the posts to the length indicated in the detail +drawing. The top ends are tapered with a 1/2-in. slant. These posts are +cut in pairs and it is best to stand them up in the same<span class='pagenum'><a +name="Page_105" id="Page_105">[105]</a></span> position they will be in the +finished sideboard, and mark the sides to be mortised with a pencil. +Also cut the grooves into which the panels are to fit. These are to be +1/4 in. wide and a little over 1/4 in. deep.</p> + +<div class="figcenter" style="width: 486px;"> +<img src="images/i-105.jpg" width="486" height="600" alt=""/> +<span class="caption">Mission Sideboard in Quarter-Sawed Oak</span></div> + +<p><span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span> +The rails are cut with tenon ends to match the mortises, and also have +grooves to receive the panels.</p> + +<p>The bottom part of the back is closed with a panel and two rails, one at +the same height from the floor as the front bottom rail, and the top one +even with the under side of the top. The large panel is for the opening +thus formed.</p> + +<p>These parts are now put together, using plenty of good hot glue, and +spreading it well on the mortises and tenon ends.</p> + +<p>When drawing the frame together with the clamps, care must be taken to +get it square.</p> + +<p>After the glue is hard enough to remove the clamps, the top and bottom +are put in place. The corners of the top are notched out to fit around +the posts, while the bottom is cut to fit on the inside of the rails and +is held in place by putting screws in at an angle through the bottom +into the rails. The top is also fastened in this way, except that the +screws are run through the rails into the top.</p> + +<p>The two vertical pieces are now put in place. Drive nails through the +bottom and into these pieces. On the top end use screws driven at an +angle. Glue may be used if desired.</p> + +<p>The doors are made to match these openings. The corners are mitered and +the backs rabbeted to receive the panels. These panels may be made in +art glass if so desired.</p> + +<p>The horizontal piece for the drawer to rest upon is now put in place and +fastened by driving nails through the vertical pieces. The drawer is +made to fit this opening, and it should be lined with velvet +to keep the silverware in good condition. +<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span></p> + +<p>The standards and shelves are put on as shown +in the drawing. The mirror is put in a frame, which +is made to fit the back opening and has the corners +mitered and the back rabbeted to receive the mirror.</p> + +<p>Thoroughly scrape and sandpaper all parts that +are visible. The sideboard is now ready to be finished +as desired.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_HALL_OR_WINDOW_SEAT" id="A_HALL_OR_WINDOW_SEAT"></a>A HALL OR WINDOW SEAT</h2> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-107.jpg" width="600" height="467" alt=""/> +<span class="caption">Seat Made of Quarter-Sawed Oak</span> +</div> + +<p>A simple design for a hall or window seat is shown in the accompanying +sketch and detail drawing. Anyone who has a few sharp tools, and is at +all handy with them, can make this useful and attractive piece of +furniture in a few spare hours.<span class='pagenum'> +<a name="Page_108" id="Page_108">[108]</a></span> Quarter-sawed oak is the best wood +to use in its construction, as it looks best when finished and is easy +to procure. If the stock is ordered from the mill ready cut to length, +squared and sanded, much of the labor will be saved. The following is a +list of the material needed:</p> + + +<ul><li>4 corner posts, 1-1/2 by 1-1/2 by 28 in., S-4-S.</li> +<li>2 side rails, 3/4 by 2-1/2 by 36-1/2 in., S-4-S.</li> +<li>2 end rails, 3/4 by 4 by 14-1/2 in., S-4-S.</li> +<li>2 side braces, 1 by 1 by 36-1/2 in., S-4-S.</li> +<li>2 end braces, 1 by 1 by 14-1/2 in. S-4-S.</li> +<li>1 seat, 1 by 16 by 35-3/4 in., S-4-S.</li> +<li>2 top end braces, 3/4 by 2 by 14-1/2 in., S-4-S.</li> +<li>6 slats, 3/4 by 2 by 6-1/2 in., S-4-S.</li></ul> + + + +<p>Square up the four posts and lay out the mortises according to the +drawing. To do this, lay them on a flat surface with the ends square and +mark them with a try-square. The tenons on the end and side rails are +laid out in the same manner as the posts. The end rails should be marked +and mortises cut for the upright slats as shown in the detail drawing. +Fit the end and side braces with mortise and tenon joints.</p> + +<p>The two end frames can now be glued and clamped together and set away to +dry. Put all the parts together before gluing to see that they fit +square and tight.</p> + +<p>The seat should be made of one piece if possible, otherwise two or more +boards will have to be glued together. The corners should be cut out to +fit around the posts. It rests on the side rails and cleats fastened to +the inner side of the end rails.</p> + +<p>When the window seat is complete go over it carefully and scrape all the +surplus glue from about the joints, as the finish will not take where +there is any glue. Remove all rough spots with fine sandpaper,<span class='pagenum'><a +name="Page_109" id="Page_109">[109]</a></span> then apply the stain best liked, +which may be any one of the many mission stains supplied by the trade +for this purpose. If this window seat is well made and finished, it will +be an ornament to any home.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-109.jpg" width="600" height="306" alt=""/> +<span class="caption">Detail of the Hall or Window Seat</span> +</div> + + + +<hr style="width: 65%;" /> +<h2><a name="A_MISSION_PLANT_STAND" id="A_MISSION_PLANT_STAND"></a>A MISSION PLANT STAND</h2> + + +<p>For the mission plant stand shown in the illustration +secure the following list of quarter-sawed +white-oak stock, cut and finished to size:</p> + + +<ul><li>1 top, 3/4 by 15-1/2 by 15-1/2 in., S-2-S.</li> +<li>4 posts, 1-1/4 by 1-1/4 by 20 in., S-4-S.</li> +<li>4 rails, 3/4 by 3 by 11 in., S-2-S.</li> +<li>2 rails, 3/4 by 2 by 11 in., S-2-S.</li> +<li>1 shelf, 3/4 by 6 by 10 in., S-2-S.</li> +<li>4 slats, 1/4 by 2 by 12-1/4 in., S-2-S.</li> +<li>2 slats, 1/4 by 2 by 12-3/4 in., S-2-S.</li></ul> + + + +<p>Test all surfaces of the posts with a try-square to see that they are +square with each other. Lay out the tenons on the ends of the rails as +shown in the sketch and cut with a tenon saw and chisel. Arrange<span class='pagenum'><a +name="Page_110" id="Page_110">[110]</a></span> the posts and rails as they are to +stand and number each tenon and mortise. Lay out the mortises in the +legs, taking the measurements directly from the tenon which is to fit +that mortise. Cut the mortises, first having bored to the depth with a +1/4-in. bit.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-110.jpg" width="600" height="398" alt=""/> +<span class="caption">Detail of the Plant Stand</span> +</div> + +<p>The slats should now be made and mortised into +the top rail 1/4 in. They come outside of the lower +rail and are held to it with two small brads, fancy-headed +tacks, or round-head screws.</p> + +<p>In laying out the mortises for the lower rails, +care must be taken to have them set 1/8 in. farther +in than the upper rails so the slats may come +outside.</p> + +<p>Set up the stand without glue or screws to see +that all pieces fit accurately. Then glue up the sides +<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span> +with the slats first. After these have set for 24 +hours, fit in the other two rails and the shelf. Three +flat-head screws should be used to hold the shelf +in place. These must be placed so the slats will +cover them when they are attached.</p> + +<div class="figcenter" style="width: 501px;"> +<img src="images/i-111.jpg" width="501" height="600" alt=""/> +<br /><span class="caption">Complete Plant Stand</span> +</div> + +<p>When this work is completed it is ready for the top. A good method of +attaching the top is shown in the sketch. The screws used for fastening +should be 2-in. No. 10. Bore into the rail 1-1/2 in. with a bit 1/16 in. +larger than the head of the screw. Then bore through the rest of the way +with a bit a little <span class='pagenum'><a name="Page_112" +id="Page_112">[112]</a></span> larger than the shank of the screw. Thus a +little space is left for expansion and shrinkage of the top.</p> + +<p>Scrape and sandpaper thoroughly to remove all marks or glue spots. +Finish with two coats of weathered-oak stain, followed by two coats of +black wax.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_BEDSIDE_MEDICINE_STAND" id="A_BEDSIDE_MEDICINE_STAND"></a> +A BEDSIDE MEDICINE STAND</h2> + + +<p>The accompanying sketch and detail drawing +show a design of a bedside stand. This is a very +desirable piece of furniture and is simple and easy +to make. Quarter-sawed oak is the best wood to +use in its construction. The material should be +ordered from the mill ready cut to length, squared +and sanded. The following list of material will be +required:</p> + + +<ul><li>4 posts, 1-3/4 by 1-3/4 by 33 in., S-4-S.</li> +<li>1 top board, 1 by 19 by 19 in., S-4-S.</li> +<li>3 intermediate boards, 3/4 by 15-1/2 by 17 in., S-4-S.</li> +<li>2 side boards, 3/4 by 5 by 15-1/2 in., S-4-S.</li> +<li>1 back board, 3/4 by 4-1/4 by 14-1/2 in., S-4-S.</li> +<li>4 side rails, 3/4 by 2 by 16 in., S-4-S.</li> +<li>1 door, 3/4 by 9 by 14-1/2 in., S-4-S.</li> +<li>1 back board, 3/4 by 10-1/4 by 14-1/2 in., S-4-S.</li> +<li>2 panels, 3/8 by 9-1/2 by 15 in., S-4-S.</li> +<li>6 slats, 1/4 by 1 by 8-3/4 in., S-4-S.</li> +<li>1 drawer front, 3/4 by 4-1/4 by 14-1/2 in., S-4-S.</li> +<li>2 sides for drawer, 1/2 by 4-1/4 by 16 in., S-4-S.</li> +<li>1 back for drawer, 1/2 by 4-1/4 by 13-1/2 in., soft wood.</li> +<li>1 bottom for drawer, 1/2 by 13-1/2 by 15 in., soft wood.</li></ul> + + + +<div class="figcenter" style="width: 375px;"> +<img src="images/i-113.jpg" width="375" height="600" alt=""/> +<span class="caption">Medicine Stand in Quarter-Sawed Oak</span> +</div> + +<p>Start work on the four posts by rounding the top corners and shaping the +feet as shown. The four posts are identical and the mortises should be +laid out on all four at once so as to get them all alike. These should +be carefully cut with a sharp chisel. On the inner surface of each leg +cut a groove to <span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span> hold the side boards of the lower compartment. +Next prepare the two wide and the four narrow crosspieces, tenoning them +to fit the mortises already cut in the legs. The lower crosspieces +should also have grooves cut in them to hold the side boards of the +compartment. The two complete sides can now be glued and clamped +together and set away to dry. While they are drying the remaining parts +of the stand can be made. The three horizontal boards are now made by +notching out the corners to fit around the legs. They are supported by +fastening small cleats to the inner surface of each crosspiece.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i-114.jpg" width="600" height="482" alt=""/> +<span class="caption">Detail of the Medicine Stand</span></div> + +<p>The two ends can now be set up and connected. Notch out the corners of +the top board and fit it in place. The top is fastened down by means of +screws set in at an angle from below. The back boards can be of soft +wood and are fastened in place in the<span class='pagenum'> <a name="Page_115" id="Page_115">[115]</a></span> usual manner. The door +should be of one piece if possible and should have suitable hinges and a +catch.</p> + +<p>Make and fit the drawer in place, and the stand is ready for the finish. +First scrape all the surplus glue from about the points so the stain +will not be kept from the wood. Finish smooth with fine sandpaper, then +apply stain of the color desired.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_MISSION_HALL_CHAIR" id="A_MISSION_HALL_CHAIR"></a>A MISSION +HALL CHAIR</h2> + + +<p>This hall chair is designed to take up as little +room as possible. For its construction the following +stock will be needed:</p> + + +<ul><li>1 back, 7/8 by 14 by 44 in., S-2-S.</li> +<li>2 sides, 7/8 by 14 by 17 in., S-2-S.</li> +<li>1 seat, 7/8 by 14 by 14 in., S-2-S.</li> +<li>1 stretcher, 7/8 by 6 by 16 in., S-2-S.</li> +<li>1 brace, 7/8 by 5 by 11 in., S-2-S.</li> +<li>1 piece, 7/8 by 7/8 by 44 in., for cleats.</li></ul> + + + +<p>These dimensions are for finished pieces, therefore 1/4 in. should be +allowed for planing if the stock cannot be secured finished.</p> + +<p>Lay out and cut the design on the back, sides, and brace. To cut the +openings, first bore a hole near one corner to get the blade of a coping +saw through and proceed to saw to the lines. Smooth the edges after +sawing by taking a thin shaving with a sharp chisel. A file will not +leave a good surface.</p> + +<p>Mark the tenons on the ends of the stretcher and cut them with a backsaw +and make smooth with a chisel. From the tenons mark the mortises in the +sides through which they are to pass. +<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span></p> + +<div class="figcenter" style="width: 437px;"> +<img src="images/i-116.jpg" width="437" height="600" alt=""/> +<span class="caption">Detail of the Hall Chair</span> +</div><p><span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span></p> + +<div class="figcenter" style="width: 285px;"> +<img src="images/i-117.jpg" width="285" height="600" alt=""/> +<span class="caption">Complete Hall Chair in Plain Oak</span> +</div><p><span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></p> + +<p>To cut these mortises, first bore a row of holes with a 5/8 in. bit, +boring halfway from each side so as not to split off any pieces. Now +make of scrap material the two keys and from them mark the small +mortises in the tenons.</p> + +<p>Before putting the chair together, the cleats for holding the seat +should be fastened to the sides, back and brace. Use flat-head screws +for this purpose. Then put the sides and stretcher together, and fasten +the back to the sides with flat-head screws.</p> + +<p>The brace should be put in next, using three round-head screws in each +end. There only remains the top, which is held by screws through the +cleats from the under side.</p> + +<p>Stain with two coats of weathered or mission-oak stain, and then apply a +thin coat of "under-lac" or shellac and two coats of wax.</p> + +<div class="figcenter" style="width: 120px;"> +<img src="images/i-118.jpg" width="120" height="79" alt=""/> +</div> + + + + +<hr style="width: 95%;" /> +<h3>Transcriber's Notes:</h3> + +<ul> +<li>Folio 84: "Chipppendale" changed to Chippendale.</li> +<li>Folio 90: "2 drawer ends 7/8 x ? x 7-1/2" was changed to an assumed<br /> +5-1/2 from context of the illustration.</li> +<li>Table of Contents was moved to front of document.</li> +<li>A List of Illustrations was added.</li> +<li>Captions were added to illustrations for clarity at:</li> +<li>Folio 35, 62, 64, 66, 81, 83, 85, 86, 88, and 90.</li> +</ul> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Mission Furniture, by H. H. 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