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+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: ASCII
+
+*** 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
+
+
+
+
+
+
+
+
+MISSION FURNITURE
+
+HOW TO MAKE IT
+
+PART I
+
+
+POPULAR MECHANICS HANDBOOKS
+
+
+CHICAGO
+
+
+POPULAR MECHANICS CO.
+
+
+
+Copyrighted, 1909,
+by H.H. WINDSOR
+
+
+This book is one of the series of Handbooks on industrial subjects being
+published by the Popular Mechanics Company.
+
+Like Popular Mechanics Magazine, and like the other books in this
+series, it is "written so you can understand it."
+
+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.
+
+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.
+
+
+
+
+CONTENTS
+
+
+HOME-MADE MISSION CHAIR,    5
+
+HOW TO MAKE A LAMP STAND,   8
+
+HOW TO MAKE A PORCH CHAIR,   15
+
+HOW TO MAKE A TABOURET,   17
+
+HOW TO MAKE A MORRIS CHAIR,   22
+
+HOME-MADE MISSION BOOK RACK,   27
+
+HOW TO MAKE A MISSION LIBRARY,   29
+
+HOME-MADE MISSION CANDLESTICK,   35
+
+ANOTHER STYLE OF MISSION CHAIR,   36
+
+HOW TO MAKE AND FINISH A MAGAZINE STAND,   42
+
+HOME-MADE LAWN SWING,   47
+
+HOW TO MAKE A PORTABLE TABLE,   50
+
+HOW TO MAKE A COMBINATION BILLIARD TABLE AND DAVENPORT,   51
+
+EASILY MADE BOOK SHELVES,   56
+
+A BLACKING CASE TABOURET,   57
+
+HOW TO MAKE A ROLL TOP DESK,   62
+
+HOW TO MAKE A ROMAN CHAIR,   67
+
+HOW TO MAKE A SETTEE,   70
+
+HOW TO MAKE A PYROGRAPHER'S TABLE,   74
+
+MISSION STAINS,   76
+
+FILLING OAK,   77
+
+WAX FINISHING,   78
+
+FUMING OF OAK,   78
+
+HOW TO MAKE BLACK WAX,   79
+
+THE 40 STYLES OF CHAIRS,   80
+
+HOW TO MAKE A PIANO BENCH,   87
+
+HOW TO MAKE A MISSION SHAVING STAND,  89
+
+A MISSION WASTE-PAPER BASKET,   93
+
+A CELLARETTE PEDESTAL,   96
+
+A DRESSER,   100
+
+A MISSION SIDEBOARD,   103
+
+A HALL OR WINDOW SEAT,   107
+
+A MISSION PLANT STAND,   109
+
+A BEDSIDE MEDICINE STAND,   112
+
+A MISSION HALL CHAIR,   115
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  Suitable for Dining Room Use, 5
+  Details of Chair Construction, 6
+  The Completed Lamp, 9 Construction of Shade, 11
+  Details of Construction of Library Lamp Stand, 12
+  Details of Home-Made Porch Seat, 14
+  Porch Chair Finished, 16 Details of Tabouret, 18
+  Tabouret as Completed, 20
+  Complete Morris Chair Without Cushion, 23
+  Details of a Morris Chair, 24
+  Light but Strong, 27
+  Details of Stand, 28
+  This Picture is from a Photograph of the Mission Table Described in
+    This Article, 29
+  Showing Dimensions of Table, 30
+  Details of Table Construction, 32
+  Candlestick, 35
+  Details of Candlestick, 35
+  Mission Chair Complete, 37
+  Details of Mission Chair Construction, 39
+  Completed Stand, 43
+  Details of the Magazine Stand, 45
+  The Completed Swing, 47
+  Details of Seat, 48
+  Showing Construction of Stand, 49
+  Table for Outdoor Use, 50
+  By Swinging the Top Back the Table is Transformed into the Elegant
+    Davenport Seen on the Opposite Page, 52
+  The Billiard Table as Converted into a Luxurious Davenport--A Child
+    Can Make the Change in a Moment, 53
+  Details Showing Dimensions of Parts, 54
+  Details of Shoe Rest, 56
+  Details of Tabouret Construction, 57
+  The Desk Complete, 58
+  Details of Tabouret Construction, 59
+  The Desk Complete, 61
+  Rolltop Details, 62
+  Details, 64
+  Detail of Pigeonholes, 66
+  The Roman Chair, 67
+  Details of Parts of Chair, 69
+  A Complete Two-Cushion Settee, 71
+  Details of a Mission Settee, 72
+  Details of the Cushion, 73
+  Convenient Pyrographer's Table, 74
+  Storage for Apparatus, 75
+  Chairs 1, 81
+  Chairs 2, 83
+  Chairs 3, 85
+  Chairs 4, 86
+  Piano Bench, 87
+  Piano Bench Details, 88
+  Shaving Stand Details, 90
+  Shaving Stand Complete, 91
+  Mirror Frame and Standards Details, 92
+  Waste-Paper Basket to Match Library Table, 93
+  Detail of Waste-Paper Basket, 94
+  Plain-Oak Cellarette Pedestal, 97
+  Detail of Cellarette Pedestal, 99
+  Dresser in Quarter-Sawed Oak, 101
+  Detail of the Dresser, 102
+  Detail of the Mission Sideboard, 104
+  Mission Sideboard in Quarter-Sawed Oak, 105
+  Seat Made of Quarter-Sawed Oak, 107
+  Detail of the Hall or Window Seat, 109
+  Detail of the Plant Stand, 110
+  Complete Plant Stand, 111
+  Medicine Stand in Quarter-Sawed Oak, 113
+  Detail of the Medicine Stand, 114
+  Detail of the Hall Chair, 116
+  Complete Hall Chair in Plain Oak, 117
+
+
+
+
+HOME-MADE MISSION CHAIR
+
+
+[Illustration: Suitable for Dining Room Use]
+
+[Illustration: Details of Chair Construction]
+
+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
+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.
+
+
+
+
+HOW TO MAKE A LAMP STAND AND SHADE
+
+
+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.
+
+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.
+
+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.
+
+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 the holes removed with turning
+saw and scraper steel.
+
+[Illustration: The Completed Lamp]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+[Illustration: Construction of Shade]
+
+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.
+
+[Illustration: Details of Construction of Library Lamp Stand]
+
+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.
+
+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.
+
+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.
+
+Pleasing effects are obtained by using one kind of metal, as brass, and
+reinforcing and riveting with another metal, such as copper.
+
+[Illustration: Details of Home-Made Porch Seat]
+
+
+
+
+HOW TO MAKE A PORCH CHAIR
+
+
+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.
+
+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.
+
+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 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.
+
+[Illustration: Porch Chair Finished]
+
+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.
+
+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.
+
+
+
+
+HOW TO MAKE A TABOURET
+
+
+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.
+
+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.
+
+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 with the steel cabinet scraper.
+
+[Illustration: Details of Tabouret]
+
+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.
+
+In laying out the mortises for the keys, the opening on the top surface
+is to be made 1/8 in. longer 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+[Illustration: Tabouret as Completed]
+
+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.
+
+A very pretty finish and one easily put on even 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.
+
+
+
+
+HOW TO MAKE A MORRIS CHAIR
+
+
+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:
+
+  4 posts 1-3/4 by 3 by 26 in.
+  2 front and back rails 7/8 by 5-1/2 by 24 in.
+  2 side rails 7/8 by 5-1/2 by 28 in.
+  2 arm pieces 7/8 by 5-1/2 by 37 in.
+  7 slats 3/8 by 2 by 24 in.
+  2 cleats 1 by 1 by 22-1/2 in.
+  2 back stiles 1 by 2-1/2 by 24-1/2 in.
+  2 back rails 1 by 2 by 17 in.
+  3 back slats 3/8 by 1-1/2 by 19 in.
+  1 back support 3/4 by 3/4 by 24 in.
+  2 support rests 1 by 1-1/2 by 8-1/2 in.
+  2 dowels 1/2 in. diameter, 6 in. long.
+
+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.
+
+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.
+
+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 keep it 1 in. above the
+bottom of the rear post. Mark with pencil along the straightedge across
+both posts.
+
+[Illustration: Complete Morris Chair Without Cushion]
+
+[Illustration: Details of a Morris Chair]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Art leather cushions retail at from $16 to $20 a pair and the denim and
+burlap at $6 to $9.
+
+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.
+
+
+
+
+HOME-MADE MISSION BOOK RACK
+
+
+[Illustration: Light but Strong]
+
+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. 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.
+
+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.
+
+[Illustration: Details of Stand]
+
+
+
+
+HOW TO MAKE A MISSION LIBRARY TABLE
+
+
+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.
+
+[Illustration: This Picture is from a Photograph of the Mission Table
+Described in This Article]
+
+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."
+
+[Illustration: Showing Dimensions of Table]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+[Illustration: Details of Table Construction]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+The top is to be fastened to the rails by means either of wooden
+buttons, Fig. 4, or small angle irons.
+
+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.
+
+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.
+
+
+
+
+HOME-MADE MISSION CANDLESTICK
+
+
+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.
+
+[Illustration]
+
+[Illustration: Details of Candlestick]
+
+
+
+
+ANOTHER STYLE OF MISSION CHAIR
+
+
+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.
+
+The following is the stock list:
+
+  4 legs, 2-1/2 by 2-1/2 by 32-1/2 in.
+  2 bottom end rails 7/8 by 5-3/4 by 23-1/2 in.
+  2 bottom side rails 7/8 by 5-3/4 by 28-1/2 in.
+  2 top end rails 7/8 by 4-1/2 by 23-1/2 in.
+  1 top back rail 7/8 by 4-1/2 by 28-1/2 in.
+  2 cleats 7/8 by 2-1/2 by 26-1/2 in.
+  7 slats 1/2 by 2 by 24 in.
+
+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.
+
+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.
+
+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 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.
+
+[Illustration: Mission Chair Complete]
+
+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.
+
+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.
+
+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.
+
+[Illustration: Details of Mission Chair Construction]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Before staining, scrape off any surplus glue, for 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.
+
+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.
+
+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.
+
+
+
+
+HOW TO MAKE AND FINISH A MAGAZINE STAND
+
+
+For the magazine stand shown herewith there will be needed the following
+pieces:
+
+  1 top, 7/8 in. by 15-1/2 in. by 16-1/2 in.
+  1 shelf, 7/8 in. by 11-1/2 in. by 12-1/2 in.
+  1 shelf, 7/8 in. by 12-1/2 in. by 14-3/4 in.
+  1 shelf, 7/8 in. by 13-1/2 in. by 16-1/2 in.
+  2 sides, 7/8 in. by 14-1/2 in. by 33-1/2 in.
+  1 brace, 7/8 in. by 3-1/4 in. by 17 in.
+  1 brace, 7/8 in. by 2-1/2 in. by 11-1/2 in.
+  6 braces, 7/8 in. by 2 in. by 2 in.
+
+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.
+
+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.
+
+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.
+
+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.
+
+[Illustration: Completed Stand]
+
+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.
+
+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.
+
+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.
+
+The top will be squared up in the usual manner, 15 in. wide by 16 in.
+long.
+
+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 placed at regular intervals and fancy headed nails used to cover the
+heads.
+
+[Illustration: Details of the Magazine Stand]
+
+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 the
+prevailing idea of golden oak is usually that of a rich reddish brown.
+
+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.
+
+
+
+
+HOME-MADE LAWN SWING
+
+
+[Illustration: The Completed Swing]
+
+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.
+
+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.
+
+[Illustration: Details of Seat]
+
+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 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.
+
+[Illustration: Showing Construction of Stand]
+
+
+
+
+HOW TO MAKE A PORTABLE TABLE
+
+
+[Illustration: Table for Outdoor Use]
+
+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.
+
+
+
+
+HOW TO MAKE A COMBINATION BILLIARD TABLE AND DAVENPORT
+
+
+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.
+
+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.
+
+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.
+
+A more satisfactory result is obtained by putting in springs and
+upholstering the seat. Upon this the leather cushion can be placed.
+
+[Illustration: By Swinging the Top Back the Table is Transformed into
+the Elegant Davenport Seen on the Opposite Page]
+
+[Illustration: The Billiard Table as Converted into a Luxurious
+Davenport--A Child Can Make the Change in a Moment]
+
+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 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.
+
+[Illustration: Details Showing Dimensions of Parts]
+
+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.
+
+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.
+
+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.
+
+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.
+
+Effort should be made to select leather of a color that will harmonize
+with the wood finish which is to be applied.
+
+
+
+
+EASILY MADE BOOK SHELVES
+
+
+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.
+
+[Illustration]
+
+
+
+
+A BLACKING CASE TABOURET
+
+
+[Illustration]
+
+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:
+
+  4 posts, 1-1/2 by 1-1/2 by 17 in.
+  4 side rails, 1 by 6-1/2 by 9-1/2 in.
+  2 top pieces, 1 by 8-1/4 by 16-1/2 in.
+  1 bottom, 1/4 by 9-1/2 by 9-1/2 in.
+  1 cleat, 1 by 1 by 18 in.
+
+The posts and cleat are surfaced on four sides, while the other pieces
+are surfaced on only two 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.
+
+[Illustration: Details of Shoe Rest]
+
+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 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.
+
+[Illustration: Details of Tabouret Construction]
+
+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 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.
+
+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.
+
+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.
+
+
+
+
+HOW TO MAKE A ROLL TOP DESK
+
+
+[Illustration: The Desk Complete]
+
+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:
+
+   68 lineal ft. of 1 by 3 in. hardwood.
+   65 lineal ft. of 1 by 2 in. hardwood.
+    3 lineal ft. of 1/4 by 24 in. hardwood.
+   45 lineal ft. of 1/4 by 10-1/2 in. hardwood.
+   36 lineal ft. of 1 by 12 in. hardwood.
+   35 lineal ft. of 3/8 by 9 in. soft wood.
+  100 sq. ft. of 1/2 by 12 in. soft wood.
+    1 piece 34 in. wide and 54 in. long hardwood.
+   30 pieces 1 by 1 in. 48 in. long.
+
+[Illustration]
+
+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.
+
+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.
+
+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 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.
+
+[Illustration]
+
+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.
+
+As both pedestals are made alike, the detail of 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.
+
+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.
+
+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 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.
+
+[Illustration]
+
+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.
+
+
+
+
+HOW TO MAKE A ROMAN CHAIR
+
+
+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:
+
+  4 posts, 1-7/8 by 1-7/8 by 30 in.
+  2 top rails, 7/8 by 2-3/4 by 20 in.
+  2 bottom rails, 7/8 by 2-1/4 by 20 in.
+  2 rails, 7/8 by 4 by 16 in.
+  2 side rails, 7/8 by 4 by 28 in.
+  1 stretcher, 7/8 by 3 by 30 in.
+
+[Illustration: The Roman Chair]
+
+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
+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.
+
+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 photograph), 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.
+
+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.
+
+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. When nearly laced fill with any of the common upholsterer's
+fillings.
+
+[Illustration: Details of Parts of Chair]
+
+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.
+
+
+
+
+HOW TO MAKE A SETTEE
+
+
+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.
+
+   3 rails 1 by 4 by 52-1/4 in.
+   4 end rails 1 by 4 by 24-1/4 in.
+   4 posts 2-1/4 in. square by 34-1/2 in.
+  13 slats 1/2 by 5 by 21-1/4 in.
+   2 cleats 1 in. square by 51 in.
+
+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.
+
+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.
+
+[Illustration: A Complete Two-Cushion Settee]
+
+[Illustration: Details of a Mission Settee]
+
+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:
+
+   4 pieces 1 by 2-1/2 by 26 in.
+   8 pieces 1 by 2-1/2 by 24 in.
+   4 pieces 1 by 2-1/2 by 22 in.
+  32 8-in. springs.
+   2 pieces leather about 29 by 31 in.
+
+[Illustration: Details of the Cushion]
+
+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.
+
+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.
+
+
+
+
+HOW TO MAKE A PYROGRAPHER'S TABLE
+
+
+[Illustration: Convenient Pyrographer's Table]
+
+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 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.
+
+[Illustration: Storage for Apparatus]
+
+
+
+
+MISSION STAINS
+
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+
+
+
+FILLING OAK
+
+
+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.
+
+
+
+
+WAX FINISHING
+
+
+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.
+
+
+
+
+THE FUMING OF OAK
+
+
+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.
+
+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 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.
+
+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.
+
+
+
+
+HOW TO MAKE BLACK WAX
+
+
+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.
+
+
+
+
+THE 40 STYLES OF CHAIRS
+
+
+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:
+
+     $Egyptian.--3000 B.C. to 500 B.C.$ 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.
+
+     $Grecian.--700 B.C. to 200 B.C.$ 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.
+
+     $Roman.--750 B.C. to 450 A.D.$ 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.
+
+     $Pompeian.--100 B.C. to 79 A.D.$ 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.
+
+     $Byzantine.--300 A.D. to 1450 A.D.$ 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.
+
+     $Gothic.--1100 to 1550.$ 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.
+
+
+[Illustration]
+
+     $Moorish.--700 to 1600.$ 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.
+
+     $Indian.--2000 B.C. to 1906 A.D.$ 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.
+
+     $Chinese.--3500 B.C. to 1906 A.D.$ 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.
+
+     $Japanese.--1200 B.C. to 1906 A.D.$ 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.
+
+     $Italian Gothic.--1100 to 1500.$ The Italian Gothic differs from
+     the European and English Gothic in clinging more closely to the
+     Romanesque-Byzantine originals.
+
+     $Tudor.--1485 to 1558.$ The earliest entry of the Renaissance into
+     England. An application of Renaissance to the Gothic foundations.
+     Its growth was into the Elizabethan.
+
+     $Italian Renaissance, Fifteenth Century.--1400 to 1500.$ The birth
+     century of the Renaissance. A seeking for revival of the old Roman
+     and Greek decorative and constructive forms.
+
+     $Italian Renaissance, Sixteenth Century.--1500 to 1600.$ A period
+     of greater elaboration of detail and more freedom from actual Greek
+     and Roman models.
+
+     $Italian Renaissance, Seventeenth Century.--1600 to 1700.$ The
+     period of great elaboration and beginning of reckless
+     ornamentation.
+
+     $Spanish Renaissance.--1500 to 1700.$ 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.
+
+     $Dutch Renaissance.--1500 to 1700.$ 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.
+
+     $German Renaissance.--1550 to 1700.$ 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.
+
+     $Francis I.--1515 to 1549.$ The introductory period when the
+     Italian Renaissance found foothold in France. It is almost purely
+     Italian, and was the forerunner of the Henri II.
+
+     $Henri II.--1549 to 1610.$ In this the French Renaissance became
+     differentiated from the Italian, assuming traits that were
+     specifically French and that were emphasized in the next period.
+
+     $Louis XIII.--1616 to 1643.$ A typically French style, in which but
+     few traces of its derivation from the Italian remained. It was
+     followed by the Louis XIV.
+
+     $Elizabethan.--1558 to 1603.$ 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.
+
+     $Jacobean.--1603 to 1689.$ 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.
+
+     $William and Mary.--1689 to 1702.$ More Dutch influences. All
+     furniture lighter and better suited to domestic purposes.
+
+
+[Illustration]
+
+
+     $Queen Anne.--1702 to 1714.$ Increasing Dutch influences. Jacobean
+     influence finally discarded. Chinese influence largely present.
+
+     $Louis XIV.--1643 to 1715.$ 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.
+
+     $Georgian.--1714 to 1820.$ 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.
+
+     $Chippendale.--1754 to 1800.$ 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.
+
+     $Louis XV.--1715 to 1774.$ 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.
+
+     $Hepplewhite.--1775 to 1800.$ 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.
+
+     $Louis XVI.--1774 to 1793.$ The French style based on a revival of
+     Greek forms, and influenced by the discovery of the ruins of
+     Pompeii.
+
+     $Sheraton.--1775 to 1800.$ A fellow cabinetmaker, working at same
+     time as Hepplewhite. One of the Colonial styles (Georgian).
+
+     $R. & J. Adam.--1762 to 1800.$ Fathers of an English classic
+     revival. Much like the French Louis XVI and Empire styles in many
+     respects.
+
+     $Empire.--1804 to 1814.$ The style created during the Empire of
+     Napoleon I. Derived from classic Roman suggestions, with some Greek
+     and Egyptian influences.
+
+     $New Arts.--1900 to date.$ 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."
+
+[Illustration]
+
+
+[Illustration]
+
+
+
+
+HOW TO MAKE A PIANO BENCH
+
+
+[Illustration]
+
+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:
+
+  1 top, 1 by 16 by 36-1/2 in.
+  2 ends, 1 by 14 by 18 in.
+  1 stretcher, 1 by 4 by 31-1/2 in.
+  2 side rails, 7/8 by 4 by 29-1/2 in.
+  2 keys, 1 by 1 by 3-1/2 in.
+  6 cleats, 1 by 1 by 4 in.
+
+The dimensions given, with the exception of the keys and cleats, are 1/2
+in. longer than necessary for squaring up the ends.
+
+The two rails are cut slanting from a point 1-1/2 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.
+
+[Illustration]
+
+The kind of wood used will determine the color of the stain for the
+finish. This also depends on matching other pieces of furniture.
+
+
+
+
+HOW TO MAKE A MISSION SHAVING STAND
+
+
+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:
+
+  4 posts 1-1/2 in. square by 50-1/2 in.
+  4 slats 7/8 by 1 by 32-1/2 in.
+  2 cross rails 1 by 1-1/2 by 15 in.
+  2 end rails 1 by 1-1/2 by 13 in.
+  1 top 7/8 by 16-1/2 by 19-1/2 in.
+  1 bottom 7/8 by 15 by 17 in.
+  2 ends 7/8 by 12-1/2 in. square.
+  1 back 7/8 by 12-1/2 by 14-1/2 in.
+  1 door 7/8 by 6-1/2 by 12-1/2 in.
+  2 drawer ends 7/8 by 5-1/2 by 7-1/2 in.
+  1 partition 7/8 by 12 by 14 in.
+  1 partition 7/8 by 7 by 14 in.
+  7 pieces of soft wood 1/2 by 7-1/2 by 12 in.
+  2 posts 1 in. square by 10-1/2 in.
+  1 bottom piece 7/8 by 1-1/2 by 18-1/2 in.
+  4 mirror frame pieces 7/8 by 1-1/2 by 14-1/2 in.
+  2 sticks for pins.
+  2 hinges
+  1 lock
+  2 drawer pulls
+  1 beveled glass mirror 11-1/2 by 11-1/2 in.
+
+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.
+
+[Illustration]
+
+The tenons and mortises are first cut for the crosspieces at the bottom
+of the posts, and, as it is 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 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.
+
+[Illustration: Shaving Stand Complete]
+
+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.
+
+[Illustration: Mirror Frame and Standards Details]
+
+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.
+
+After the parts are all put together, cleaned and sandpapered, the stand
+is ready for the finish.
+
+
+
+
+A MISSION WASTE-PAPER BASKET
+
+
+[Illustration: Waste-Paper Basket to Match Library Table]
+
+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 size, clean garbage can, with
+fumes of concentrated ammonia.
+
+[Illustration: Detail of Waste-Paper Basket]
+
+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.
+
+   4 posts, 1-1/4 by 1-1/4 by 16-1/2 in., S-4-S.
+   4 rails, 3/4 by 3 by 10-1/4 in., S-2-S.
+   4 rails, 3/4 by 2 by 10-1/4 in., S-2-S.
+  12 slats, 3/8 by 2-1/4 by 9-1/2 in., S-2-S.
+   4 handle pieces, 1 by 1 by 2-1/2 in., S-4-S.
+   2 handle pieces, 1/2 by 1/2 by 6 in., S-4-S.
+   1 bottom, 3/8 by 9-1/2 by 9-1/2 in., S-2-S.
+
+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.
+
+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.
+
+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.
+
+The handles are next in order. The pieces going into the rail should be
+fastened with a round 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.
+
+Now put the whole basket together without gluing, in order that errors,
+if any, may be detected.
+
+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.
+
+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.
+
+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.
+
+
+
+
+A CELLARETTE PEDESTAL
+
+
+[Illustration: Plain-Oak Cellarette Pedestal]
+
+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 construct. White oak will
+make up best, although ash, birch or southern pine may be used with good
+effect.
+
+Stock of the following sizes should be bought, surfaced and cut to width
+and length:
+
+  2 top pieces, 7/8 by 12 by 12 in., S-2-S.
+  2 base pieces, 7/8 by 14 by 14 in., S-2-S.
+  2 sides, 7/8 by 8 by 35-5/8 in., S-2-S.
+  1 back, 7/8 by 6-1/4 by 35-5/8 in., S-2-S.
+  1 door, 7/8 by 6-1/4 by 34-3/4 in., S-2-S.
+  4 blocks, 7/8 by 4 by 4 in., S-2-S.
+  4 shelves, 7/8 by 6-1/4 by 6-1/4 in., S-2-S.
+  4 pieces, 7/8 by 1 by 10 in., S-4-S.
+
+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.
+
+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.
+
+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.
+
+Around the sides and back a 1-in. strip should be fastened to the base
+to give added strength.
+
+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. 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.
+
+[Illustration: Detail of Cellarette Pedestal]
+
+
+
+
+A DRESSER
+
+
+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:
+
+  1 top, 3/4 by 19-1/2 by 33 in., S-2-S.
+  4 posts, 1-3/4 by 1-3/4 by 28 in., S-4-S.
+  4 end rails, 3/4 by 2-1/4 by 17 in., S-2-S.
+  4 stiles, 3/4 by 2-1/2 by 20 in., S-2-S.
+  2 panels, 3/16 by 12 by 18 in., S-2-S.
+  3 facings, 3/4 by 2-1/4 by 29 in., S-2-S.
+  2 top frame pieces, 3/4 by 2 by 32 in., S-2-S.
+  2 top frame pieces, 3/4 by 2 by 19 in., S-2-S.
+  2 mirror supports, 1 by 2 by 33 in., S-2-S.
+  1 mirror support, 3/4 by 2-1/2 by 33 in., S-2-S.
+  1 drawer front, 3/4 by 7-1/4 by 28 in., S-2-S.
+  1 drawer front, 3/4 by 6-1/4 by 28 in., S-2-S.
+  2 drawer fronts, 3/4 by 5-1/4 by 14 in., S-2-S.
+  1 partition, 3/4 by 1 by 6 in.
+  2 mirror-frame pieces, 3/4 by 2 by 40 in., S-2-S.
+  2 mirror-frame pieces, 3/4 by 2 by 20 in., S-2-S.
+
+The following material list may be of common stock and not
+quarter-sawed:
+
+  Mirror-backing pieces equivalent to 1/4 by 18-1/2 by 36 in., S-2-S.
+  2 cleats, 3/4 by 2 by 10 in., S-4-S.
+  4 drawer-support frame pieces, 3/4 by 2 by 29 in.
+  7 drawer-support frame pieces, 3/4 by 2 by 15 in.
+  Slides taken from scrap stock, 3/4 by 1 by 15 in.
+  3 back pieces, 3/4 by 2-1/4 by 28 in., S-2-S.
+  2 back pieces, 1/4 by 8 by 28 in., S-2-S.
+  8 drawer sides, 1/2 by 7-1/4 by 17 in., S-2-S.
+  2 drawer backs, 3/8 by 7 by 27 in., S-2-S.
+  2 drawer backs, 3/8 by 7 by 13 in., S-2-S.
+  2 drawer bottoms, 3/8 by 15 by 27 in., S-2-S.
+  2 drawer bottoms, 3/8 by 15 by 13 in., S-2-S.
+
+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.
+
+[Illustration: Dresser in Quarter-Sawed Oak]
+
+The exact size of the mirror is 18 by 36 in. and the frame should be
+rabbeted to correspond.
+
+[Illustration: Detail of the Dresser]
+
+For a finish, a coat of paste filler colored so as to 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.
+
+
+
+
+A MISSION SIDEBOARD
+
+
+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:
+
+  1 top, 7/8 by 22 by 48 in., S-2-S.
+  1 top shelf, 7/8 by 12 by 48 in., S-2-S.
+  1 bottom, 7/8 by 22 by 48 in., S-2-S.
+  2 back posts, 2 by 2 by 57 in., S-4-S.
+  2 front posts, 2 by 2 by 36 in., S-4-S.
+  2 standards, 2 by 2 by 20 in., S-4-S.
+  2 mirror rails, 7/8 by 2 by 47 in., S-2-S.
+  2 mirror rails, 7/8 by 2 by 20 in., S-2-S.
+  3 front and back rails, 7/8 by 3 by 46 in., S-2-S.
+  4 end rails, 7/8 by 3 by 20 in., S-2-S.
+  4 standard rails, 7/8 by 2 by 10 in., S-2-S.
+  2 vertical pieces, 7/8 by 19-1/2 by 22 in., S-2-S.
+  1 horizontal piece, 7/8 by 22 by 14-1/4 in., S-2-S.
+  1 drawer front, 7/8 by 6 by 14-1/4 in., S-2-S.
+  1 piece, 7/8 by 3 by 3 in.
+  4 vertical door pieces, 7/8 by 2 by 17 in., S-2-S.
+  4 horizontal door pieces, 7/8 by 2 by 15 in., S-2-S.
+  2 drawer sides, 7/8 by 5 by 14 in., S-2-S.
+  1 drawer bottom, 1/4 by 14 by 14-1/4 in., S-2-S.
+  1 back panel, 1/4 by 16-1/2 by 44-1/2 in., S-2-S.
+  2 door panels, 1/4 by 10-1/2 by 15-1/2 in., S-2-S.
+  2 side panels, 1/4 by 18-1/2 by 16-1/2 in., S-2-S.
+
+[Illustration: Detail of the Mission Sideboard]
+
+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 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.
+
+[Illustration: Mission Sideboard in Quarter-Sawed Oak]
+
+The rails are cut with tenon ends to match the mortises, and also have
+grooves to receive the panels.
+
+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.
+
+These parts are now put together, using plenty of good hot glue, and
+spreading it well on the mortises and tenon ends.
+
+When drawing the frame together with the clamps, care must be taken to
+get it square.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Thoroughly scrape and sandpaper all parts that are visible. The
+sideboard is now ready to be finished as desired.
+
+
+
+
+A HALL OR WINDOW SEAT
+
+
+[Illustration: Seat Made of Quarter-Sawed Oak]
+
+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. 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:
+
+  4 corner posts, 1-1/2 by 1-1/2 by 28 in., S-4-S.
+  2 side rails, 3/4 by 2-1/2 by 36-1/2 in., S-4-S.
+  2 end rails, 3/4 by 4 by 14-1/2 in., S-4-S.
+  2 side braces, 1 by 1 by 36-1/2 in., S-4-S.
+  2 end braces, 1 by 1 by 14-1/2 in. S-4-S.
+  1 seat, 1 by 16 by 35-3/4 in., S-4-S.
+  2 top end braces, 3/4 by 2 by 14-1/2 in., S-4-S.
+  6 slats, 3/4 by 2 by 6-1/2 in., S-4-S.
+
+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.
+
+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.
+
+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.
+
+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, 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.
+
+[Illustration: Detail of the Hall or Window Seat]
+
+
+
+
+A MISSION PLANT STAND
+
+
+For the mission plant stand shown in the illustration secure the
+following list of quarter-sawed white-oak stock, cut and finished to
+size:
+
+  1 top, 3/4 by 15-1/2 by 15-1/2 in., S-2-S.
+  4 posts, 1-1/4 by 1-1/4 by 20 in., S-4-S.
+  4 rails, 3/4 by 3 by 11 in., S-2-S.
+  2 rails, 3/4 by 2 by 11 in., S-2-S.
+  1 shelf, 3/4 by 6 by 10 in., S-2-S.
+  4 slats, 1/4 by 2 by 12-1/4 in., S-2-S.
+  2 slats, 1/4 by 2 by 12-3/4 in., S-2-S.
+
+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 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.
+
+[Illustration: Detail of the Plant Stand]
+
+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.
+
+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.
+
+Set up the stand without glue or screws to see that all pieces fit
+accurately. Then glue up the sides 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.
+
+[Illustration: Complete Plant Stand]
+
+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 larger than the shank of the screw. Thus a little
+space is left for expansion and shrinkage of the top.
+
+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.
+
+
+
+
+A BEDSIDE MEDICINE STAND
+
+
+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:
+
+  4 posts, 1-3/4 by 1-3/4 by 33 in., S-4-S.
+  1 top board, 1 by 19 by 19 in., S-4-S.
+  3 intermediate boards, 3/4 by 15-1/2 by 17 in., S-4-S.
+  2 side boards, 3/4 by 5 by 15-1/2 in., S-4-S.
+  1 back board, 3/4 by 4-1/4 by 14-1/2 in., S-4-S.
+  4 side rails, 3/4 by 2 by 16 in., S-4-S.
+  1 door, 3/4 by 9 by 14-1/2 in., S-4-S.
+  1 back board, 3/4 by 10-1/4 by 14-1/2 in., S-4-S.
+  2 panels, 3/8 by 9-1/2 by 15 in., S-4-S.
+  6 slats, 1/4 by 1 by 8-3/4 in., S-4-S.
+  1 drawer front, 3/4 by 4-1/4 by 14-1/2 in., S-4-S.
+  2 sides for drawer, 1/2 by 4-1/4 by 16 in., S-4-S.
+  1 back for drawer, 1/2 by 4-1/4 by 13-1/2 in., soft wood.
+  1 bottom for drawer, 1/2 by 13-1/2 by 15 in., soft wood.
+
+[Illustration: Medicine Stand in Quarter-Sawed Oak]
+
+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 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.
+
+[Illustration: Detail of the Medicine Stand]
+
+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 usual manner. The door should be
+of one piece if possible and should have suitable hinges and a catch.
+
+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.
+
+
+
+
+A MISSION HALL CHAIR
+
+
+This hall chair is designed to take up as little room as possible. For
+its construction the following stock will be needed:
+
+  1 back, 7/8 by 14 by 44 in., S-2-S.
+  2 sides, 7/8 by 14 by 17 in., S-2-S.
+  1 seat, 7/8 by 14 by 14 in., S-2-S.
+  1 stretcher, 7/8 by 6 by 16 in., S-2-S.
+  1 brace, 7/8 by 5 by 11 in., S-2-S.
+  1 piece, 7/8 by 7/8 by 44 in., for cleats.
+
+These dimensions are for finished pieces, therefore 1/4 in. should be
+allowed for planing if the stock cannot be secured finished.
+
+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.
+
+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.
+
+[Illustration: Detail of the Hall Chair]
+
+[Illustration: Complete Hall Chair in Plain Oak]
+
+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.
+
+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.
+
+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.
+
+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.
+
+[Illustration]
+
+
+
+
+
+
+       *     *     *     *     *
+
+Transcriber's Notes:
+
+Table of Contents was moved to the front of the doument
+Bold text in the original manuscript is indicated with "$...$"
+Folio 84: "Chipppendale" changed to "Chippendale".
+Folio 90: "2 drawer ends 7/8 x ? x 7-1/2" was changed to an assumed
+  5-1/2 from context of the illustration.
+A table of contents was added to the front of the text.
+A list of illustrations was added to the front of the text.
+
+
+
+
+
+End of the Project Gutenberg EBook of Mission Furniture, by H. H. Windsor
+
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