40 files changed, 6694 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/37447-8.txt b/37447-8.txt
new file mode 100644
index 0000000..369b5ee
--- /dev/null
+++ b/37447-8.txt
@@ -0,0 +1,1965 @@
+The Project Gutenberg EBook of Hand-Craft, by John D. Sutcliffe
+
+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: Hand-Craft
+       The Most Reliable Basis of Technical Education in Schools and Classes
+
+Author: John D. Sutcliffe
+
+Release Date: September 16, 2011 [EBook #37447]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HAND-CRAFT ***
+
+
+
+
+Produced by Jonathan Ingram, Harry Lamé and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+  +--------------------------------------------------------------------+
+  |                        TRANSCRIBER'S NOTES                         |
+  |                                                                    |
+  | * Minor typographical errors have been corrected silently.         |
+  |                                                                    |
+  | * Inconsistencies in spelling (including hyphenation) and          |
+  |   formatting have not been corrected, except that sandpaper has    |
+  |   been changed to sand-paper.                                      |
+  |                                                                    |
+  | * Special characters and formatting:                               |
+  |   * A V-shaped symbol is represented as [V];                       |
+  |   * Text printed in italics and bold face in the original work are |
+  |     represented here as _text_ and =text=, respectively;           |
+  |   * Small capitals in the original work are represented by all-    |
+  |     capitals;                                                      |
+  |   * Superscript characters in the original work are represented    |
+  |     here as regular characters.                                    |
+  |   * Asterisms are represented as [***];                            |
+  |   * In-line illustrations are represented as [Figure];             |
+  |   * In the multi-page table the repeated headings and 'carry       |
+  |     forward' / 'carried forward' have been removed.                |
+  +--------------------------------------------------------------------+
+
+
+
+
+  HAND-CRAFT.
+
+
+
+
+     DRAWING BOOKS.
+
+     Kindergarten Drawing Book. Part I. Compiled by T. G. Rooper.
+
+     Two Hundred Blackboard Drawing Exercises for Infants' Classes.
+     Small quarto, cloth, price 1s. 6d.
+
+     Kindergarten Drawing Book. Part II. Compiled by T. G. Rooper.
+     (Curved lines.) Small quarto, cloth, price 1s.
+
+
+     INFANTS' DRAWING BOOKS.
+
+     _A Varied Occupation._
+
+     Book I. Vertical and Horizontal Lines of varying lengths in
+     combination.
+
+     Book II. Vertical and Horizontal Lines, with Oblique Lines drawn
+     at Angles of 45 Degrees.
+
+     Book III. Vertical and Horizontal Lines, with Oblique Lines drawn
+     at various Angles.
+
+     PRICE TWOPENCE EACH.
+
+     _Recommended by the Science and Art Department for Beginning in
+     Elementary Day Schools._
+
+
+     JUNIOR DRAWING BOOKS.
+
+     =Three Books. PRICE TWOPENCE EACH.=
+
+
+     DRAWING BOOKS.
+
+     _To meet the requirements of the New Class Subject--Drawing--and
+     forming a complete course of Instruction in Freehand and
+     Geometry, with full directions and space for working._
+
+
+     FREEHAND.
+
+     Book I. Lines, Angles, Parallels. Simple Right-lined Forms.
+
+     Book II. Simple Right-lined Forms.
+
+     Book III. Simple Combinations of Straight and Curved Lines,
+     forming familiar Symmetrical Figures.
+
+     Book IV. More Advanced Combinations of Straight and Curved Lines,
+     forming Symmetrical Figures.
+
+     Books V. & VI. Familiar Symmetrical Objects of the Home.
+
+     Books VII. & VIII. Stage II. of the Science and Art Department.
+
+     Books IX. & X. Common Objects in Light and Shade.
+
+     _11 inches by 7-1/2 inches, paper covers, Twopence each._
+
+     _BOOKS I.-VIII. have SIXTEEN PAGES. BOOKS IX. and X. EIGHT
+     PAGES._
+
+
+     GEOMETRY.
+
+     Book I. Lines, Parallels, Angles and Triangles drawn with Rulers.
+
+     Book II. Quadrilaterals and Simple Geometrical Figures drawn with
+     Rulers.
+
+     Book III. Lines and Angles.
+
+     Book IV. Drawing to Scale.
+
+     Book V. Triangles, Quadrilaterals, Circles and Tangents.
+
+     Book VI. Polygons, Ellipses, Inscribed and Described Figures.
+
+     Book VII. Inscribed and Described Figures.
+
+     Book VIII. Proportionals and Areas.
+
+     Book IX. Simple Scales, Projection of Rectangular Solids, and
+     Plane Figures.
+
+     Book X. Ditto (more advanced), and with Sections.
+
+     Book XI. Projection of Circular Solids and Sections.
+
+     _BOOKS I.-VIII., 11 inches by 7-1/4 inches, paper covers,
+     Twopence each._
+
+     _BOOKS IX.-XI., 14 inches by 10-3/4 inches, paper covers,
+     Threepence each._
+
+     [***] _A Book of Specimen Pages of this Series will be forwarded
+     free to Head-Teachers on application. Single Copies of any of the
+     Books are sent post-free on receipt of the published price._
+
+
+     STUDIES IN MACHINE DESIGN.
+
+     By C. F. ARCHER, Certificated Teacher, Subject II.
+
+
+     ELEMENTARY STAGE.
+
+     1. Hexagon and Square-headed Bolts and Nuts.
+
+     2. Flange Coupling of Shafts of different diameter.
+
+     3. Hydraulic Pipe Joint.
+
+     4. Steam Piston.
+
+     5. Cylinder Cover and Stuffing Box.
+
+     6. Full Way Stop Valve.
+
+     _On Separate Sheets, 13-1/2 inches by 9-1/2 inches, the Six in a
+     Packet_, =Sixpence=.
+
+
+     ADVANCED STAGE.
+
+     1. Launch Engine.
+
+     2. Details of Crank Shaft and Columns.
+
+     3. Details of Slide Valve and Link Motion.
+
+     4. Details of Piston, Crosshead, and Connecting Rod.
+
+     5. Launch Engine Cylinder.
+
+     6. Details of Bed-plate.
+
+     _On Separate Sheets, 13-1/2 inches by 9-1/2 inches, the Six in a
+     Packet_, =Sixpence=.
+
+
+     GRIFFITH, FARRAN, OKEDEN & WELSH, LONDON.
+
+
+
+
+  HAND-CRAFT:
+
+  _THE MOST RELIABLE BASIS OF TECHNICAL EDUCATION
+  IN SCHOOLS AND CLASSES._
+
+  A TEXT BOOK
+
+  EMBODYING A SYSTEM OF PURE MECHANICAL ART, WITHOUT THE AID OF
+  MACHINERY; BEING AN ENGLISH EXPOSITION OF
+
+  SLÖJD
+
+  AS CULTIVATED IN SWEDEN, AND GENERALLY ADOPTED BY ALL
+  SCANDINAVIAN PEOPLES, TO THEIR GREAT ADVANTAGE.
+
+  _EXPLAINED AND ILLUSTRATED_
+
+  BY
+  JOHN D. SUTCLIFFE,
+  OF THE MANCHESTER RECREATIVE EVENING CLASSES.
+
+  WITH AN INTRODUCTION BY
+  T. C. HORSFALL, J.P.
+
+  NEW YORK
+  CHARLES E. MERRILL & CO.
+  52 & 54 LAFAYETTE PLACE
+  1890
+
+
+
+
+INTRODUCTION.
+
+
+It is surprising that so few efforts have hitherto been made in this
+country to introduce manual training into Elementary Schools. Adequate
+reason for making such training part of the national system of education
+exists in the fact, that a large proportion of the people have to earn
+their livelihood by industries for the attainment of a high degree of
+skill in which early training of hand and eye is as necessary as it is
+for success in the use of musical instruments. There can be no doubt
+that if, in 1870, a system, resembling that of Sloyd, had been generally
+introduced into English Elementary Schools, the joiners, metal-workers,
+and most other craftsmen of to-day, would possess more skill in their
+own work, and more interest in all kinds of manual work, than they do
+now possess, and that English workpeople, finding that their children
+received at school kinds of training obviously well fitted to increase
+wage-earning power, would less commonly than now be careless with regard
+to their children's attendance at school.
+
+This reason for desiring the introduction of manual training into
+Elementary Schools might have been expected to suggest itself to all
+persons who are acquainted with the conditions under which the mass of
+English people live; but experience gained in Sweden and other countries
+where the Sloyd system has been largely used, proves that there are also
+strong educational reasons for desiring that Sloyd shall be introduced
+into all English Elementary Schools as soon as possible. It has been
+found that this admirably graduated system of training not only fosters
+deftness of hand and correctness of eye, as it might be expected to do,
+but also has distinctly moral and intellectual effects, as it promotes
+patient attention, steady application, and interest in work, to a very
+high degree.
+
+Its effect on many of the large class of children who, though not
+dullards, show lack of interest in, and deficiency in the power to
+understand, the subjects comprised in the ordinary school-curriculum,
+has been most beneficial. In their Sloyd-lessons many of these children
+have found themselves the equals, some more than the equals, of
+companions far their superiors at book-work, and have by this gained a
+confidence in their own ability which has often reacted on their power
+and their will to conquer their other lessons. Thus many children who,
+when they first began Sloyd, were distinctly below the average in
+intelligence, have become under its influence completely "normal." On
+nearly all children the effect of this kind of training has been so
+vivifying that, at least, as much progress has been made with other
+subjects, when several hours weekly have been given to Sloyd, as had
+been made previously when all the school-time was given to them. The
+general educational value of Sloyd has, indeed, been found to be so
+great, that in some schools in Swedish towns as many as eight hours are
+given to it each week.
+
+All persons who know how badly prepared are the majority of the children
+who now leave our Elementary Schools for gaining rapidly skill in the
+work by which they have to live, or for taking an intelligent interest
+in their own work or in the best handiwork of others, most strongly
+desire that the educational authorities in this country will no longer
+delay the introduction of a system, the great usefulness of which has
+been so fully ascertained in other lands, and for which many
+well-trained English teachers can now be obtained. Mr Sutcliffe brought
+to the careful study of Sloyd, knowledge of the methods of wood-carving;
+and his treatise will doubtless be found to be helpful to all teachers
+of the new system.
+
+  T. C. HORSFALL, J.P.
+
+  SWANSCOE PARK,
+
+  near MACCLESFIELD.
+
+       *       *       *       *       *
+
+
+NOTE BY THE AUTHOR.
+
+Some friends have advised that elementary suggestions should have been
+given as guidance for the use of the tools. Everything of the kind has
+been omitted, because it is vain to rely upon book knowledge in such
+matters. How to handle and use the tools can only be well imparted by a
+competent teacher in practice. The author avails himself of two more
+lines, wherein to acknowledge the valuable literary assistance he has
+received from his friend, Mr Richard Russell, of Ashbourne House, Herne
+Hill, London.
+
+  J. D. S.
+
+  PENDLETON, MANCHESTER,
+
+  _March 1890._
+
+
+
+
+HAND-CRAFT.
+
+
+For some generations there has been cultivated in Sweden, and amongst
+Scandinavian and kindred peoples, a course of training in personal
+ingenuity, unknown in most other countries. It does not seem to have
+ever been persevered in after the manner of trading industry, but as a
+means of promoting throughout the community a taste and skill for the
+performance of highly-finished productions in mechanical art, proceeding
+from the simple to the complex, and resulting in a widely-diffused
+facility for all kinds of constructive occupations.
+
+Such course or system of training is called Sloyd, and written Slöjd.
+For the majority of English people such a word cannot have a meaning,
+and cannot appeal with adequate force to popular appreciation. The
+nearest equivalent in English to the Swedish word Slöjd would seem to be
+Hand-Craft, or mechanical training for the hand, undertaken voluntarily
+for the satisfaction of acquiring manual skill in general, as
+distinguished from a handicraft of limited application, pursued of
+necessity from day to day, rather by routine than by skill.
+
+Hand-Craft is therefore adopted as synonymous in England with the word
+Slöjd in Sweden.
+
+As cultivated in Sweden, it involves all kinds of manual training, and
+is applicable to highly finished productions in leather, metal, and
+various other substances, but it suffices, for educational purposes, to
+limit teaching and exercise to objects made of wood.
+
+It must always be borne in mind that Hand-Craft is mainly educational,
+and is valuable, not for what it produces, but for the training which
+the production involves; just as the letters of the alphabet, and their
+accurate use, are the essential preliminaries to literary attainments.
+It imparts and cultivates mechanical dexterity, just as learning to read
+and write spontaneously developes mental capacity. Therefore, whoever
+masters a course of Hand-Craft acquires an aptitude for all kinds of
+material processes. Such an aptitude, while useful and gratifying to the
+individual, is of the greatest consequence amongst people so deeply
+interested as the English are in manufacturing pursuits.
+
+Hand-Craft also has strong claims to be cultivated as a recreation, and
+experience proves that it may be so regarded, with every prospect of
+becoming popular as such.
+
+Touching this matter of recreation, and those who have not the faculty
+for viewing the subject in that light, reference may be made to familiar
+facts with reference to chess. Perhaps there is nothing that, to the
+uninitiated, appears more stupid, insipid, and purposeless than the
+progress of that game. Yet there are thousands, who have so regarded it,
+who, after being well initiated, have become interested and absorbed by
+it, to an extent exceeding the possibilities of their original belief.
+
+So it is with Hand-Craft, with this difference, that Hand-Craft, while
+supplying an incentive to wholesome perseverance, developing into a
+fascinating recreation, is suggestive at every turn of life-long
+utility, with reference to an infinite variety of probable subsequent
+experience. It promotes a delightful consciousness of the merits of
+neat, natty tastefulness and judgment with reference to every material
+thing, and trains the mind and the eye, as well as the hand, to perceive
+and appreciate excellence of design and finish, proportion, beauty, and
+adaptability of the most familiar appliances.
+
+Training of this kind has, in recent years, been much stimulated by the
+establishment of an Institute or Seminary for its teaching and
+cultivation at Nääs in Sweden, where very generous accommodation and
+facilities are provided for the instruction of teachers from all parts
+of Sweden and the rest of the world. The subsequent mission of each of
+those teachers is to diffuse the taste and knowledge he has thus
+acquired amongst his own people on his return to them, or amongst other
+people where he may find encouragement to settle for that purpose.
+
+Thus have the foundations been laid for this genial drawing out and
+exercise of latent mechanical genius amongst the people of England. With
+the object of widening those foundations, these pages have been
+prepared; primarily as forming a Text Book for Teachers, but also as an
+incentive to parents, educationists, and statesmen to fortify the rising
+generation of England against the opprobrium so justly alleged against
+the English of the present day, that they are behind the rest of the
+industrial world in those elements of mechanical taste and skill, which
+are becoming more and more essential to the maintenance of manufacturing
+and commercial prosperity.
+
+An earnest determination to promote amendment in these respects cannot
+be better carried into effect than by insisting that Hand-Craft shall be
+regarded as an essential branch of the Technical Education that is now
+struggling to assert itself usefully. If such a branch be left out, the
+mere teaching of routine trade processes will inevitably fail. Such
+routine processes are many of them in heavy-handed, rough disregard of
+the nicety, accuracy, finish, and judgment which intelligent exercise in
+Hand-Craft can alone impart; which is the only reliable basis for the
+superior mechanical results so much needed.
+
+Hand-Craft in wood is distinguished from carpentry or joinery in many
+important respects.
+
+There is no division of labour.
+
+Everything produced is the entire work of one operator, for the defects
+of which he is solely responsible.
+
+This directness of responsibility is one of the great merits of
+Hand-Craft, being calculated to promote wholesome pride in the
+excellence of complete work; a sentiment that is apt to be very weak, or
+totally wanting, where division of labour is much relied upon.
+
+The intellectual faculties are brought into unison with the hand, by
+knowledge and experience developing together with increasing dexterity.
+
+Genuine respect and sympathy are developed for manual toil by
+familiarity with its application.
+
+Love of work in general is developed, and a taste for it instilled by
+practical experience of its utility.
+
+Habits of attention, perseverance, industry, and discipline are formed,
+cultivated, and unconsciously grafted upon the pupil, by the application
+necessary to excel.
+
+Independence, order, and cleanliness spontaneously grow and become part
+of the nature of the operator.
+
+Manual dexterity being thoroughly established, the operator is endowed
+with the consequent acquired ability for dealing with the practical
+business of life.
+
+Education being the object that should be constantly kept in view, in
+the teaching and practice of Hand-Craft, it should be thoroughly
+appreciated that it is adapted for forming and shaping the entire bent
+of all the faculties.
+
+The objects recommended to work upon are all small, and are therefore
+within the capacity of the very young, and of both sexes.
+
+For the same reason, the eye, the hand, and the judgment are trained to
+precise form and finish in the minutest details. This is important, for,
+though it is generally easier to make something large and rough than
+small and smooth, no one who is incapable of making a small model well
+can make a large one any better. Small objects are invariably the best
+training to work upon, as being certain to inspire appreciation for
+neatness, exactness, and accuracy.
+
+
+BASIS OF TEACHING.
+
+Practical teaching of Hand-Craft is based upon models for imitation.
+
+
+These models, distinguished by numbering from 1A and 1B to 25, are
+represented by the drawings accompanying these pages, and the
+instructions hereafter subjoined are explained by reference to the
+drawings.
+
+The following is a
+
+
+LIST OF THE MODELS.
+
+[***] The second column indicates the kind of wood required--B.
+signifying Beech or Birch, and F. signifying Fir, commonly called Deal
+or Pine; the class of wood usually distinguished as Pine being
+preferable to the rougher-grained wood generally classed as Deal.
+
+  No.   Wood.          Names of Models.
+
+   1A.   B.        Kindergarten Pointer.
+   1B.   B.        Another variety of the same.
+   2.    B.        Parcel-Pin or Carrier.
+   3.    F.        Flower-Stick.
+   4.    B.        Envelope Opener.
+   5.    F.        Rectangular Flower-Stick.
+   6.    F.        Pencil Holder.
+   7.    F.        Key Label.
+   8.    B.        Thread-Winder.
+   9.    F.        Dibble for the Garden.
+  10.    B.        Pen-Rest.
+  11.    F.        Flower-pot Stand.
+  12.    B.        Paper-Knife.
+  13.    B.        Knife-Rest.
+  14.    B.        Bowl, for Toilette, &c.
+  15.    B.        Hammer Handle.
+  16.    B.        Handle for Chisel or File.
+  17.    B.        Spoon.
+  18.    F.        Chopping-Board.
+  19.    B.        Measure (Half-yard).
+  20.    B.        Scoop for Flour, Sugar, &c.
+  21.    F.        Hanging-Pegs.
+  22.    F.        Stand for Flower-Pot, &c.
+  23.    F.        Footstool.
+  24.    F. & B.   Book Carrier.
+  25.    B.        Ladle.
+
+
+TOOLS AND APPLIANCES.
+
+The following is a List of Tools and Appliances necessary for producing
+the models before enumerated, with the cost of each, both Swedish and
+English.
+
+  Descriptions of Articles.                 Best Swedish.  Best English.
+                                             _s._  _d._    _s._  _d._
+
+  Carpenter's Bench in Pine, 6 ft. long       11     3      13     0
+  Knife (resembling a Shoemaker's)             0     4       0     8
+  Two Frame Saws, blades 3/8 and 1-1/4 wide    2     7[1]   10     6
+  Tenon or Dovetail Saw (small)                2     0       3     0
+  Jack Plane                                   1     8       4     9
+  Smooth Plane                                 1     1       3     9
+  Three Furmer Chisels, 3/8, 3/4, and 1-1/4
+    wide                                       1     2       2     4
+  Three Outside Gouges, 1/2, 7/8, and 1-1/8
+    wide                                       1     4       2     8
+  Two-foot Rule                                0     6       0     6
+  Square (6 in.)                               1     6       1    10
+  Bevel (6 in.)                                0     8       2     3
+  Marking Gauge                                0     6       0     6
+  Compasses                                    1     0       1     8
+  Hammer (small)                               0     8       0     8
+  Mallet                                       0     6       1     0
+  Oilstone                                     0     7       1     0
+  Scraper, with round end                      0     2       0     5
+  Two Files (half round), one rough, the other
+    smooth                                     1     0       3     0
+  Chopper or Axe                               1    10       1     6
+  Spokeshave (iron)                            0     5       1     0
+  Screw-driver                                 0     3       0     7
+  Glue-Pot and Brush                           1     6       0    10
+  Pincers                                      0     7       0     9
+  Two Brad-Awls                                0     2       0     4
+  Brace and twenty-four Bits                   4     0       6     9
+  Sand-paper No. 1A
+  Pencil
+                                          ---------------------------
+                                           [2]37     3      65     3
+                                          ===========================
+
+  [1] Nothing exactly like this Swedish Saw is made in England.
+
+  [2] Exclusive of carriage from Gothenburg.
+
+Although the prices of the English tools are so much higher than the
+Swedish (with few exceptions), they are cheaper in the end. They are
+more carefully made; the wood is drier and better selected; and Swedish
+steel is not to be compared with English. At the same time, the Swedish
+tools are good enough to put into the hands of school boys and girls,
+and they have also the advantage of being considerably lighter in
+weight.
+
+
+THE BENCH.
+
+A drawing of the Bench is annexed, to show the difference between one
+adapted for Sloyd or Hand-Craft and the kind in common use by
+carpenters. The Sloyd Bench is usually about 7 ft. long, 2 ft. wide, and
+3 ft. 3 in. high. As shown in the drawing, it has an extra Bench Screw
+at the end, which enables the student to fix a piece of level wood
+rigidly on the top of the Bench, by placing the end against a Stop, as
+shown in the drawing, and bringing the pressure of the End Screw to bear
+on the other end. The numerous holes (shown in the drawing) on the Bench
+Top, are so arranged that the Stop can be fixed in any of them. For
+school work the Benches are often made double--that is, with a Screw on
+each side and on each end of the Bench. This arrangement economises
+space, and answers all practical purposes; enabling two students to work
+at one bench. The Sloyder will find it an advantage to fix a small
+drawer under the bench top. In this he should keep his sand-paper and
+files, as nothing is so detrimental to the edges of the sharp tools as
+these two articles.
+
+[Illustration]
+
+
+TOOL EXERCISES.
+
+The making of the models involves training in the exercises enumerated
+in the following list, the numbering being for subsequent reference.
+
+   1. Long Cut (with grain).
+   2. End Cut (across grain).
+   3. Oblique Cut.
+   4. Bevel Cut.
+   5. Sawing off.
+   6. Convex Cut.
+   7. Long Sawing.
+   8. Edge Planing.
+   9. Squaring with Set Square.
+  10. Gauging.
+  11. Drilling with Brace and Shell-Bit.
+  12. Flat Planing.
+  13. Filing.
+  14. Drilling with Brace and Centre-Bit.
+  15. Curved Sawing.
+  16. Concave Cut.
+  17. Bevelled Planing.
+  18. Shaping with Plane.
+  19. Chopping.
+  20. Cross-Sawing.
+  21. Mortising with Knife.
+  22. Wave-Sawing.
+  23. Plane Surface-Cut with Knife.
+  24. Scraping.
+  25. Obstacle-Planing.
+  26. Perpendicular Chiselling.
+  27. Concave Chiselling or Gouging.
+  28. Gouging with Spoon-Iron.
+  29. Oblique Chiselling.
+  30. Smoothing with Spokeshave.
+  31. Shaping with Spokeshave.
+  32. Oblique Sawing.
+  33. Oblique Planing.
+  34. End Planing.
+  35. Exercises with Smoothing Plane.
+  36. Work in Hard Wood.
+  37. Dowelling or Round Mortising.
+  38. Bevelling Edge with Plane Oblique.
+  39. Gluing.
+  40. Sinking in of Iron Plates.
+  41. Nailing.
+  42. Sinking of Nails.
+  43. Bevelling with Shaping Knife.
+  44. Perpendicular Gouging.
+  45. Point Planing.
+  46. Oblique Grooving.
+  47. Circular Sawing.
+  48. Fixing with Screws.
+  49. Modelling with Knife.
+
+
+
+
+MAKING OF THE MODELS.
+
+
+The following are the descriptions of how to apply the Exercises to the
+making of the Models.
+
+
+NO. 1A. KINDERGARTEN POINTER.
+
+(Requiring Exercises 1 and 2.)
+
+Commence with a piece of Beech, rather more than 5 in. long, and not
+less than 3/4 in. thick. It is all the better, for this and other
+exercises, if it is split from a larger piece, and has no side either
+square or straight. With the knife, make one side level and smooth, to a
+width rather exceeding 3/8 in. When that is done perfectly, make another
+straight side at right angles to the first. Trim the ends; then mark
+with the pencil at each end a 3/8-in. square, with the two straight
+sides as bases. Then cut two additional straight sides in unison with
+those squares. This will produce a stem a shade more than 5 in. long and
+3/8 in. square. Mark each end with a diagram thus [Figure]; then draw
+corresponding lines along each side. Then, letting one end remain the
+same size; reduce the other end to 1/8 in. square (as shown in centre of
+diagram) by tapering each side symmetrically throughout. This will
+result in the stem being 3/8 in. square at one end and 1/8 in. square at
+the other end. Then, guided by the diagram at the thicker end, take off
+the four corners symmetrically throughout, thus producing a tapered
+octagonal stem. Then, in like manner, take off the eight corners with
+great precision, so as to maintain uniform symmetry, and the result will
+be a tapered stem, approximately round throughout and pointed at one
+end.
+
+The Long Cut having, thus far, been solely resorted to, measure from the
+point, and make a mark at 4 in.; then cut off at the mark, thus
+exercising the Cross Cut. Then, by judiciously applying sand-paper, the
+pointer may be made perfectly smooth and almost perfectly round, as it
+should be throughout.
+
+
+NO. 1B. KINDERGARTEN POINTER.
+
+(Requiring Exercises 1, 2, and 3.)
+
+Proceed as for the previous model until the round pointer is produced.
+Then apply Exercise 3 to the two Oblique Cuts shown from _A_ to _a_ in
+the figures 1, 2, and 3, of drawings No. 1B. These Oblique Cuts demand
+great care and precision, as the Cuts should be precisely opposite each
+other, perfectly level and symmetrical.
+
+
+NO. 2. PARCEL-PIN OR CARRIER.
+
+(Requiring Exercises 1, 2, and 4.)
+
+Commence with a piece of Beech rather more than 3 in. long and 5/8 in.
+thick. Reduce it in like manner as previously described to a stem 3 in.
+long and 3/8 in. square throughout. Then apply Exercise 4, and so bevel
+the sides and ends as to make chamfers, as shown in Figs. 1, 2, and 3 of
+drawings No. 2. Then draw a line across the centre of one side, and
+there cut a [V]-shaped notch as shown in Figs. 1 and 2, so as to provide
+for a string. Then finish with a piece of sand-paper laid upon a flat
+surface, upon which first rub the sides, then the chamfers, and lastly
+the ends.
+
+
+NO. 3. FLOWER-STICK.
+
+(Requiring Exercises 5, 1, 2, and 6.)
+
+This is the first model made in soft wood, and introduces Exercise 5,
+Sawing Off. From the edge of a 3/4-in. board saw off a piece the same
+width as the thickness, and about 14 in. long. Proceed as for No. 1A
+until a rod is produced 1/2 in. square throughout. Then, by a cross made
+from corner to corner [Figure] find the centre of one end. Then take off
+the corners throughout until an octagonal rod is produced; then take off
+the eight corners so as to make the rod round and the same thickness
+throughout. Then apply Exercise 6, the Convex Cut, and point the end
+where the centre is marked. Then measure from the point and mark at 12
+in., and there cut off at right angles. Then apply sand-paper, and the
+result will be a tapered symmetrical round rod, pointed at one end, as
+shown in drawings No. 3.
+
+[Illustration: _No. 1A._
+
+_Kindergarten Pointer_]
+
+[Illustration: _No. 1B._
+
+_Kindergarten Pointer_]
+
+[Illustration: _No. 2._
+
+_Parcel Carrier_]
+
+[Illustration: _No. 3._
+
+_Round Plant Stick_]
+
+
+
+NO. 4. ENVELOPE OPENER.
+
+(Requiring Exercises 5, 1, 2, and 6.)
+
+Saw from Beech, a piece about 8 in. long, 3/4 in. wide and 1/2 in.
+thick. With the knife, make one of the flat sides perfectly level and
+smooth throughout, and cut one end across at right angles. With a fine
+pencil, draw on the level side the outline of Fig 1 of drawings No. 4,
+and also, with compasses, describe on the end the semicircle shown by
+Fig 3 of drawings No. 4, with the flat edge for the base. Apply the long
+cut to the edges at right angles to the flat side. Then, on each of the
+edges thus flattened, draw a line showing the course of the tapering
+illustration on the first side of Fig. 2 of drawings No. 4. Apply the
+long cut to each of those lines, at right angles to the edges. This will
+produce a rod, flat on one side, and presenting a tapered half square on
+the other. Then shave off the corners of that square, so as to produce
+half a tapered octagon; then shave off the corners of that octagon,
+being careful that the work is in unison with the semicircle previously
+described on the thick end. When so far done to satisfaction, round both
+ends symmetrically, as shown in Figs. 1 and 2 of drawings No. 4, and
+finish with sand-paper.
+
+
+NO. 5. RECTANGULAR FLOWER-STICK, WITH CHAMFERED OR BEVELLED CORNERS.
+
+(Requiring Exercises 5, 7, 8, 9, 6, and 3.)
+
+In this model the Jack Plane and the Try Square are used for the first
+time. Saw off from Pine a piece about 16 in. long and 3/4 in. square.
+Plane one side straight and true, and one of the other sides at right
+angles. Cut each end across at right angles, and on each end, using the
+planed edges as basis, mark Fig. 2 of drawings No. 5. Then plane the
+other two sides at right angles, so as to produce a square rod, which,
+at every part throughout its length, should fit the try square. Then,
+with the plane, take about two shavings off each corner, in unison with
+the figures at the ends. Then, with the knife, cut the point from _a_ to
+_a_ as shown in Fig. 1 of drawings No. 5. Then measure from the
+long-pointed end, mark the exact length, cut across at the mark, and cut
+the other end to a point with eight sides as shown in Figs. 1 and 2.
+Finish with sand-paper at the long-pointed end only.
+
+[Illustration: _No. 4._
+
+_Envelope Opener_]
+
+[Illustration: _No. 5._
+
+_Plant Stick_]
+
+[Illustration: _No. 6._
+
+_Pencil Holder_]
+
+
+NO. 6. PENCIL HOLDER.
+
+(Requiring Exercises 5, 1, 11, 6, and 2.)
+
+This model for the first time introduces the Brace and Bit. Saw off from
+Pine a piece 10 in. long, and 3/4 in. square. With the knife, cut one
+end across at right angles, and make it smooth. Find the centre of the
+end as for model No. 1. Fix the stem vertically in the Bench Screw, with
+the smooth end upwards. Fit a 3/16-Shell-Bit into the Brace, and bore a
+centre hole in the end of the stem as shown in Fig. 2 of drawings No. 6,
+and to the depth dotted in Fig. 1. Great care must be taken in drilling,
+so that the hole may be clean and perpendicular. With the knife, pare
+down each side so as to leave a 1/2-in. square, with the drilled hole in
+the centre. Find the centre in the opposite end. Mark a line about 2-1/4
+in. from the drilled end, as shown in Fig. 1. From that line, shave each
+side down to the centre last found. Then take off the corners so as to
+make a tapered octagon. Then take off the corners of the octagon, so as
+to produce a round tapered rod. Measure from the thick end and mark the
+exact length, and, at the mark, cut across. Then round the end as shown
+in Fig. 1, and finish with sand-paper.
+
+NOTE.--This is a repetition to a considerable extent of Model 1 on a
+larger scale. The student may be tempted to proceed without going
+through the processes described, but the temptation should be
+rigorously resisted, as a satisfactory result cannot be obtained except
+by adhering to all the details prescribed.
+
+
+NO. 7. KEY LABEL.
+
+(Requiring Exercises 5, 12, 8, 9, 10, 11, 6, 2, and 13.)
+
+This is mainly intended for an exercise in planing, and it is better to
+get out a piece of Pine sufficient for two models--that is, about 9 in.
+long, 1-3/4 in. wide, and 1 in. thick.
+
+Plane one side, and then one edge, perfectly straight and square to each
+other. Then set the gauge to 1-1/2 in. to fit Fig. 1 of drawings No. 7.
+Apply the gauge to the straightened edge and mark off the width along
+the smooth side. Then plane that edge down to the line so made, using
+the try-square to keep the edge at right angles with the straightened
+side. Next find the centre 3/4 in. from the top end, as shown in Fig. 1.
+From that centre describe with the compasses a semicircle. Then fit a
+3/16-Shell-bit into the Brace, and bore a hole, at the centre of the
+semicircle, right through. Then set the gauge to 5/16 in. for the
+thickness, as shown by Fig. 2. Apply the gauge to the straightened side,
+and mark the line for thickness along each edge. Then plane the rough
+side down to those lines. Then, with the knife, cut round precisely to
+the semicircle, using the try-square frequently.
+
+[If a double length is commenced with, as before recommended, the
+centering, marking, drilling, and rounding must be done at both ends.]
+
+Measure from the rounded end, and rule with the square, the length of
+4-1/4 in. Then, with Tenon or Dovetail Saw, cut off just outside the
+line. Then, with the knife, pare down to the line, and with a file,
+smooth that end as well as the rounded end, finishing throughout with
+sand-paper.
+
+
+NO. 8. THREAD-WINDER.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 14, 15, 1, 6, 16, and 13.)
+
+Beech is required, about 7 in. long, 3 in. wide, and 1/2 in. thick.
+Plane one side and one edge. Draw the centre line _A_ to _B_ in Fig. 1
+of drawings No. 8. With square and compasses draw all the other lines
+shown in the same Fig. Then fit a 3/4 in. Centre-bit to the Brace, and
+bore two holes, one at _A_ and the other at _B_. Then, with the smaller
+turning saw, cut the two outside curved edges as shown in Fig. 1. With
+the knife, trim to the lines, making the edges square, as shown in Fig.
+3. Then shave and slightly round each semicircle, as shown in Figs. 1
+and 2, smoothing the edges with the file. Then set the Marking Gauge to
+1/4 in., and, with the smooth side for a base, mark gauge lines on each
+edge for thickness, and plane the rough side down to those lines. Then
+set the plane very fine and take a shaving off the face side so as to
+remove the pencil and compass marks. Then finish with sand-paper.
+
+
+NO. 9. DIBBLE FOR GARDEN.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 17, 18, 6, 2, and 13.)
+
+Saw out from Fir a piece 14 in. long and 1-1/4 in. square. Plane one
+side straight and another side at right angles. Set the Marking Gauge to
+1 in., and with the planed side as base, mark lines for thickness along
+each planed side. Then plane the rough sides down to those lines, using
+the Try Square frequently. Then, at each end find the centre thus
+[Figure] with additional lines showing octagons thus [Figure]. With the
+Marking Gauge draw lines from end to end of each side corresponding with
+the corners of each octagon. Plane the corners of the square down to
+those octagon lines, thus producing an octagonal rod, and completing the
+first exercise in bevel planing. Plane off the corners of the octagon
+throughout, thus producing a rod approximately round, shown in Fig. 2 of
+drawings No. 9, and so completing the first exercise in shaping with
+plane. Measure from one end for the point as shown in Fig. 1, and, with
+the knife, cut the point as roundly and symmetrically as possible,
+referring to the centre marked at the end as a guide for the precise
+place of the point. Then measure from the point and mark at 12 in. Cut
+across at that mark, and round the blunt end thus made, as shown at top
+of Fig. 1. With the file, dress the end and stray angles throughout, and
+finish with sand-paper.
+
+[Illustration: _No. 7._
+
+_Key Label_]
+
+[Illustration: _No. 8._
+
+_Pack Thread Winder_]
+
+[Illustration: _No. 9._
+
+_Garden Dibble_]
+
+
+NO. 10. PEN REST.
+
+(Requiring Exercises 5, 8, 9, 10, 20, 1, 2, 18, and 13.)
+
+Cut from Beech a piece 5 in. long, 1 in. wide, and 3/4 in. thick. Plane
+one side and one edge at right angles, then gauge and plane to thickness
+and height, as shown in Fig. 2 of drawings No. 10, but flat on all
+sides. Saw across both ends at right angles, so as to reduce the length
+to 3-1/2 in. Select one edge as the top, and, with the square, rule a
+central line from _e_ to _e_, and a line across at each of the places
+marked _a_, _b_, _c_, and _d_ in Fig. 1, continuing each line down both
+sides. Then, at each end, mark the central place represented by the dot
+in Fig. 2. From each of those central places describe the semicircle
+shown at top of Fig. 2. Then mark a line from end to end on each side
+half way between the top and the bottom.
+
+Then, with the knife, and working to the semicircle at each end, take
+off the corners of the top, so making half an octagon, and, by taking
+off the corners of the half octagon, produce a top corresponding to the
+semicircle at each end, as shown in Fig. 2, taking care that the top of
+the semicircle throughout centres to the line previously drawn from _e_
+to _e_. Then, with the tenon saw, at each of the places marked _a_, _b_,
+_c_, and _d_, saw across a right angle slit 3/16 in. deep. Then, with
+the knife or a chisel, cut out the space shown in Fig. 1 from _a_ to _b_
+and from _c_ to _d_, taking care that the side of each space is true
+and square. Then, with the file, round each base as shown at the top of
+the shaded section in Fig. 2. Then smooth with the file where required,
+and finish with sand-paper.
+
+
+NO. 11. FLOWER-POT STAND.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 2, 1, 6, 13, and 21.)
+
+This consists of two pieces, as shown in Figs. 1 and 2 of drawings No.
+11, each piece so made as to cross and fit the other at the centre,
+hence called a Flower-Pot Cross, the whole being a test of exactness and
+good work, surpassing any preceding model.
+
+Cut from Pine a piece 12 in. long, 1-1/4 in. wide, and 1/2 in. thick.
+Plane one side and one edge at right angles; then gauge for height and
+thickness, and plane the other side and edge as shown by the section
+represented in Fig. 3. Saw across the middle so as to make two pieces,
+and, from the end of each so cut, measure off and saw both to the equal
+length of 5-1/4 in. each, taking care that both ends of each are
+accurate right angles. Then place them on their sides and draw the
+centre line indicated by _A B_, continuing the line all round each
+piece. From the centre, mark off the places indicated by _e f_ and _g
+h_. At _c_ and _d_ of each, with the compasses, describe the quarter
+circle shown at each top corner of the figures, striking the segments
+from the respective dots shown for the purpose near each top corner.
+Then, with the bottom edge for a base, draw a gauge line on each side
+of both pieces to the depth represented by _i j_, and with the tenon
+saw, make a slit at _e_ and _f_ to the depth of such gauge line. Then,
+with the knife or chisel, cut out the openings between _e_ and _f_ to
+the depth of the gauge line, taking care to finish the opening perfectly
+level and true. Then, at the bottom of one piece and the top of the
+other, as shown in Figs. 1 and 2, gauge, saw, and cut out the spaces
+from _g_ to _h_ in the same manner as for the spaces before mentioned.
+The openings from _g_ to _h_, if well done, will fit accurately in all
+directions, and, when put together, will form a firm cross. Then, with
+the knife, round the corners of each piece, at _c_ and _d_. Then smooth
+with file where required, and finish with sand-paper.
+
+
+NO. 13. KNIFE REST.[3]
+
+  [3] No. 12 (Paper Knife) appears, for convenience of illustration, on
+  page 41, but it should be proceeded with before No. 13.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 20, 18, 26, 1, 2, 27, 13, and 24.)
+
+Cut from Beech a piece about 5 in. long, 1 in. wide, and 7/8 in. thick.
+Plane one side and one edge at right angles. Then saw across one end at
+right angles, and, measuring from that end, mark off the length at 4-1/4
+in., and saw off that end at the mark, taking care to maintain right
+angles. Then gauge and plane the rough side and rough edge to a width of
+7/8 in. and a thickness of 5/8 in. Then choose one edge for the top,
+and, along the centre of that edge, draw a line from _c_ to _c_, as
+shown in Fig. 1 of drawings No. 13, and continue the line to the
+extremities of both ends. Then, in manner described for No. 10, gauge,
+slit, and cut out with chisel the spaces shown in the same Fig. 1 of
+drawings No. 13, from _a_ to _a_ and _b_ to _b_. Then, with compasses,
+as indicated in the same Fig., describe on both sides of each top
+corner, the segment of a circle represented in each case from _c_ to
+_d_. Then, for the first time, resort to Concave Chiselling, and with a
+broad chisel cut away the corners down to the segments previously
+described. This process requires great care and judgment. Fix one end of
+the work upwards in the bench screw, with the top side nearest to the
+operator, and, after taking off the corner to a considerable extent,
+with the bevelled side of the chisel towards the wood, shave small
+pieces away until the segment marks are reached, taking care to keep the
+whole curve at right angles to the sides throughout. Then, turn the
+work, and dress the corner at the other end in like manner. Then file
+judiciously where required, and finish with sand-paper.
+
+[Illustration: _No. 10._
+
+_Pen Rest._]
+
+[Illustration: _No. 11._
+
+_Flower Pot Cross._]
+
+[Illustration: _No. 13._
+
+_Knife Rest._]
+
+
+NO. 12. PAPER-KNIFE.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 22, 16, 6, 23, 13, and 24.)
+
+Cut from Beech a very straight-grained piece, 14 in. long, 2 in. wide,
+and 3/8 in. thick. Plane one side and one edge at right angles. Then, on
+the planed side, to the size and shape indicated, draw the whole of Fig.
+1 of drawings No. 12, letting the straight edge serve as the line from
+_A_ to _B_. With the smaller turning saw cut round all the curved parts,
+carefully adhering to the drawn figure. Then gauge all round for
+thickness, as shown in Fig. 2, plane the rough side down to the gauge
+lines, and with the knife trim the curved edges where required. With the
+set gauge, mark the centre of the straight edge from _A_ to _B_, and
+guided by that centre, pare down each corner of the straight edge, so as
+to make a straight chamfer on each side about 1/8 in. wide, terminating
+with a sharp edge at the place where the gauge line was drawn, as shown
+in Fig. 2. Pare down the corners of both chamfers, and pare each side
+symmetrically, so as to produce a blade gradually diminishing throughout
+from a back 3/16 in. thick to a sharp edge. Then pare down the end of
+the back to a lancet-shaped point, as shown in Fig. 2. Round the corners
+of both edges of the handle, so as to make them symmetrical throughout,
+and also pare the corners of the back of the blade so as to round it on
+both sides very slightly. File judiciously with a light hand where
+required, and then, for the first time using the scraper, complete the
+blade with great care by scraping, finishing as usual with sand-paper.
+
+
+NO. 14. BOWL FOR TOILETTE, &C.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 15, 26, 13, 28, 29, 6, and 24.)
+
+This model is shown in the perspective Fig. 1 of drawings No. 14.
+Commence for it by cutting from Beech a piece about 5 in. long, 3 in.
+wide, and 1-1/4 in. thick. Plane one side and one edge at right angles.
+Then gauge for a thickness of 1 in. and plane the rough side to the
+gauge lines. Determine by choice which side shall be the bottom of the
+bowl and which the top. Find the centre of the bottom side by drawing
+the lines from _A_ to _B_ and from _C_ to _D_ as shown in Fig. 2. Repeat
+these lines on the edges and top side, using the try square. Then, on
+the bottom side, with compasses and square, draw the whole of the
+figures constituting the entire diagram shown by Fig. 2, and on the top
+side draw freehand the larger oval or ellipse diagram shown by Fig. 3,
+being guided by the points of the guide-lines first drawn for the
+purpose.
+
+Then, with the turning saw, cut round by the line of the ellipse on the
+top side, and finish the edge square with chisel and file. Then, with
+finger and pencil, mark a line about 1/8 in. inside the outer edge all
+round the larger ellipse. With a 7/8-in. gouge cut out the centre so as
+to form the inside of the bowl, the depth and shape being shown by the
+dotted lines of Fig 4. Having so symmetrically shaped the inside and
+made it as smooth as the gouge is capable of, with the round end of the
+scraper dress as smoothly as possible, and finish with sand-paper,
+before proceeding with the bottom side.
+
+[Illustration: _No. 12._
+
+_Paper Knife_]
+
+[Illustration: _No. 14._
+
+_Bowl for toilette or writing table_]
+
+To complete the bottom side, leave the ellipse in the centre untouched,
+and from its outline to the outer edge of the lip of the bowl, shave
+with the knife so as to produce in all directions a curve corresponding
+to those at each end of Fig. 4. Take a shaving off the flat bottom with
+the smoothing plane, so as to remove the compass marks. Then file
+judiciously and lightly where required, scrape perfectly smooth, and
+finish with sand-paper.
+
+[***] This No. 14 is a very interesting study and a keen test of
+application, care, and skill, anything like carelessness being sure to
+leave its tell-tale marks.
+
+
+NO. 15. HAMMER-HANDLE.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 22, 30, 4, 31, 2, 13, and 24.)
+
+This study exercises ability in the mastery of elliptical lines, and in
+the use of the spokeshave in Exercises 30 and 31.
+
+Cut from Beech a piece about 13 in. long, 1-1/2 in. wide, and 1-1/4 in.
+thick. Plane one side and one edge at right angles. On the smooth side
+thus produced, with the pencil sketch throughout the whole of Fig. 1 of
+drawings No. 15. Then, with the turning saw, cut at right angles to the
+curved lines on both edges throughout, and finish the shaping with the
+spokeshave, taking care to maintain right angles. Then, on one of the
+edges, with pencil, sketch throughout the whole of Fig. 2, and, with saw
+and spokeshave, shape both sides in unison with that sketch, still
+carefully maintaining right angles throughout. Then, with the knife,
+shave off the corners so as to make four symmetrical chamfers
+throughout. Then, with the spokeshave, remove the corners of the
+chamfers, and proceed with the paring down until the required
+symmetrical elliptical shape is arrived at, as shown by Figs. 1, 2, and
+3. Saw across at right angles at each end to the exact length, and
+finish with file, scraper, and sand-paper.
+
+
+NO. 16. HANDLE FOR CHISEL OR FILE.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 11, 33, 18, 6, 2, 13, and 24.)
+
+From Beech cut a piece 6 in. long, 2 in. wide, and 1-1/4 in. thick.
+Plane one side and one edge at right angles. Gauge for greatest width
+shown from _A_ to _B_ in Fig. 1 of drawings No. 16, and also for
+greatest thickness shown by _A_ to _B_ in Fig. 2. Plane the rough side
+and edge down to the respective gauge lines, thus producing a piece of
+equal thickness throughout, with the sides and edges at right angles.
+Saw across one end at right angles. On the face thus produced on that
+end sketch Fig. 3 complete. Fit a 1/4-in. Bit to the Brace and bore a
+hole in the centre of the same end to the depth shown by the dotted
+lines in the upper part of Fig. 1. Plane from _A_ to _C_ and from _B_ to
+_D_, thus slightly tapering the sides and edges, but maintaining right
+angles throughout. Measure from the thin flat end and mark the length of
+5 in. Then, from the centre of the line _A_ to _B_ of Fig. 1, describe a
+semicircle on each side as shown at bottom of Fig. 1. With turning saw
+and chisel, shape each side of that end to the semicircle. Then plane
+off the angles so far as to make the shape in unison throughout with
+Fig. 3, presenting sides corresponding to Fig. 1, and edges
+corresponding to Fig. 2. Then complete the shape of the thick end with
+knife, as shown in Fig. 2, and finish with file, scraper, and
+sand-paper.
+
+[Illustration: _No. 15._
+
+_Hammer Handle_]
+
+[Illustration: _No. 16._
+
+_Chisel Handle_]
+
+
+NO. 17. SPOON.
+
+(Requiring Exercises 5, 19, 12, 8, 9, 10, 32, 22, 29, 14, 15, 26, 13, 2,
+8, 6, 24, 16, and 1.)
+
+From very carefully selected Beech cut a piece 10 in. long, 2-1/2 in.
+wide, and 1-3/4 in. thick. Plane one side and one edge at right angles.
+Sketch on the flat edge the complete outline of Fig. 1 of drawings No.
+17. With the turning saw, cut to the outline at right angles on the
+upper side only, completing with chisel and file. On the shaped side
+thus produced, make a centre line as shown in Fig. 2, then the cross
+lines. Then, with compasses as guides and checks, mark the outlines of
+the handle shown in Fig. 2, and, with freehand, sketch the ellipse. With
+bits and brace drill a 7/8-in. hole right through at each centre marked
+_b_, and a 5/8-in. hole at each centre marked _c_. Then, with the
+turning saw, cut to the outline at right angles throughout, completing
+the process with gouge, knife, and file. Then, in the manner described
+for making the inside of No. 14, make the inside of the Spoon in unison
+with the dotted curve of Fig. 1.
+
+The inside of the Spoon being thus completed, proceed with the outside.
+Mark on the edge the outline _d d d d d_ for the under side of the
+spoon. With the turning saw, cut out to that outline, and round with the
+knife, as shown in the sections of Figs. 3, 4, and 5. Take care to keep
+carefully outside the lines when cutting with the knife, and apply the
+file, scraper, and sand-paper for finishing.
+
+[***] The under part of the spoon is a capital exercise in modelling
+with the knife, and, if one process is completed before the next is
+commenced, requires no more than ordinary application and care.
+
+
+NO. 18. CHOPPING-BOARD.
+
+(Requiring Exercises 5, 12, 8, 9, 10, 14, 15, 26, 34, 13, 25, and 24.)
+
+[Illustration: _No. 17._
+
+_Spoon._]
+
+This especially involves straight and square planing. Cut from Deal a
+piece 20 in. long, 6-1/2 in. wide, and 1 in. thick. Plane one side
+perfectly level and one edge perfectly straight at right angles. Gauge
+and mark for width at 5-3/4 in. Find and mark the centre line _A_ to _B_
+in Fig. 1 of drawings No. 18. Set the compasses to a radius from _A_ to
+_B_, and describe, with _A_ for the centre, the semicircle shown at the
+top of the Fig. Fit a 1-in. Centre-bit to the Brace, and drill a hole
+with _A_ for the centre, taking care that it goes vertically through at
+right angles, and that there is no splitting when the bit is nearly
+through. With the small turning saw, cut round the semicircle at right
+angles, and, with the chisel, shave off and round the two corners that
+spring from the semicircle, also at right angles. Then, measuring from
+the centre of the rounded end at _B_, mark the entire length at 16-7/8
+in., and, with the tenon saw, cut off at the mark at right angles. Then
+shave and round at right angles the two bottom corners. Plane the bottom
+edge smooth, and file the edges where necessary. Set the gauge at 3/4
+in., mark with it the edge all round for thickness, and plane the rough
+side down to the mark, perfectly level throughout. Then, with the
+smoothing plane, take a thin shaving from the first side, merely enough
+to remove the marks, taking care to maintain an accurate level. Finish
+throughout with sand-paper.
+
+[***] The object of deferring the planing of the second side until so
+late a period, is that, at the same time, minute chipping and roughness
+of edge on that side, almost certain to result from the boring and
+sawing, are at the same time disposed of.
+
+
+NO. 19. HALF-YARD MEASURE.
+
+(In the original Sloyd model this is a half-metre measure.)
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 25, 30, 15, 16, 6, 2, 13, and
+24.)
+
+Select from Beech an exceptionally straight-grained piece 24 in. long,
+1-1/4 in. wide, and 3/4 in. thick. Plane one side and one edge at right
+angles, both scrupulously straight and even; then gauge, mark to a
+nicety for 1-1/8 in. wide and 1/2 in. thick, and plane to the gauge
+marks with great exactitude, thus producing a four-cornered rod of
+uniform size throughout. Saw across one end at right angles. Measure
+from that cut end, mark the length of 18 in., and saw across at the
+mark. Then set the gauge precisely at 7/8 in., and, passing it along
+each edge, mark on both sides for the lines _a_ to _b_ in Fig. 1 of
+drawings No. 19, continuing the lines from end to end of the entire rod.
+Then, with the square, mark across the place for _a a_, and there saw a
+slit on each side down to the gauge line. Then proceed to the first
+exercise in Obstacle Planing (No. 25.) Thus, pass the smooth plane along
+each edge from _b_ to _a_, as far as the obstacle of the corner will
+allow. Of course the planing cannot be continued into the corners, but,
+whatever is left by the plane must be got out by the chisel and file.
+Then, on each side, sketch for the handle, as shown in Fig. 1, the gauge
+line, previously there, forming part of the sketch. Then, with the
+turning-saw, cut out to the sketch and gauge lines. With the knife, make
+the chamfers shown in Figs. 1 and 2. Then shave the corners and round
+the end of the handle, as shown in Fig. 1. File and scrape lightly where
+required, and finish with sand-paper.
+
+[Illustration: _No. 18._
+
+_Knife or Chopping Board._]
+
+[Illustration: _No. 19._
+
+_Yard Measure._]
+
+
+NO. 20. SCOOP.
+
+(Requiring Exercises 5, 19, 12, 9, 14, 7, 15, 26, 32, 33, 29, 28, 13,
+18, 6, 16, 2, and 24.)
+
+Cut from Beech a carefully-selected piece 11 in. long, 3 in. wide, and 3
+in. thick. Plane one side and one edge at right angles, with exceptional
+care. Then, on the smooth edge sketch the outline of the upper side _a_
+to _a_ of Fig. 1 of drawings No. 20. Saw to the outline at right angles
+throughout, afterwards correcting inaccuracies with chisel and plane. On
+the smooth shaped side thus produced, sketch the outline of Fig. 2. With
+1-1/2-in. centre bit drill the holes indicated by _b b_, right through.
+Saw to the outline all round, carefully maintaining right angles
+throughout and, as before, correcting inaccuracies with chisel and
+plane.
+
+Then, at the upper edge of the invisible end at the bottom of Fig. 2,
+find the centre represented by _c_ in Fig. 3. Fix compasses to a radius
+from _c_ to _d_, and, from the centre before found, describe a
+semicircle, and from the same centre another semicircle with a radius
+about 1/8 in. longer. The centre of the inner of those semicircles
+represents the bottom of the inside of the Scoop at _f_ of Fig. 1, and
+the outer one represents the bottom of the outside at the same point.
+
+Next, with 1/8-in. gouge, make a furrow just inside the outline of the
+face of the scoop, as previously recommended for Model No. 17. Then,
+from that furrow as a starting-point, in all directions, with 7/8-gouge,
+scoop out from back to front, to the depth indicated by the dotted line
+of Fig. 1, and to the width at front of the semicircle previously drawn
+on the end, but gradually diminishing the inner capacity so as to make
+it smallest near the handle, in about the same proportion as indicated
+for the bottom by the dotted line in Fig. 1. Then file and scrape inside
+where required, and finish so far with sand-paper.
+
+Then, upon each edge, draw the outline of the bottom of the Scoop, shown
+in Fig. 1. Saw throughout that outline at right angles. Then from _e_ to
+_f_ plane all round to the semicircle indicated by the outer line of
+Fig. 3 previously described on the end. Then, with the knife, cut the
+handle to the section indicated by Fig. 4, and continue the shaping to
+_e_ as indicated by the shaded lines of Fig. 1. File the handle and
+outside of Scoop where required, and finish with sand-paper.
+
+[***] The most difficult part of this model is that shaded in Fig. 1,
+which requires special attention and care.
+
+[Illustration: _No. 20._
+
+_Scoop._]
+
+
+NO. 21. HANGING PEGS OR RACK.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 14, 15, 26, 13, 18, 4, 26, 37,
+29, 35, 39, 40, and 42.)
+
+From Deal cut out two pieces, one 18 in. long, 3-1/2 in. wide, and 7/8
+in. thick; the other 15 in. long, 1 in. wide, and 7/8 in. thick.
+
+Commencing with the larger piece, plane one side and one edge at right
+angles. Then gauge-mark to a width of 3 in., and plane the rough edge
+down to that mark. At the centre of the width draw a line from end, as
+shown in Fig. 1, _f_ to _f_. On that line, with compasses, mark the
+points indicated by _a_, _b_, _c_, of Fig. 1 of the drawings No. 21. At
+each point drill a 5/8 in. hole right through, taking great care to
+drill vertically. With the square, draw the cross lines at _d d_, the
+intersections with the central line forming additional central points.
+Set compasses to a radius of 7/8 in., and, from each of those central
+points, describe a semicircle as shown in the Fig.; then from each of
+the same central points describe an outer semicircle as also shown in
+the Fig. With tenon saw make a nick at each of the four points _g_, in
+each case reaching to the outer of the semicircles, each nick being
+strictly at right angles. Then, with turning saw, follow the line of
+each of the outer semicircles. Then dress the edges all round with
+chisel and file as required. Then gauge-mark all round for a thickness
+of 3/4 in., and plane the rough side down to the mark, evenly
+throughout. Gauge-mark all round for the chamfer, in the proportion
+shown in Fig. 1, and chamfer to the mark accordingly, using the plane
+for the sides and the knife for the curves and corners. File throughout
+where necessary, and finish with sand-paper.
+
+The smaller piece of Deal being to make the pegs with, plane it on one
+side and one edge at right angles, then gauge-mark for a width of 3/4
+in. and for a thickness of 5/8 in., as illustrated in section by Fig. 4.
+Saw across into three lengths of 5 in. each. Place them together on
+their sides, and sketch one side of each as shown from _j_ to _k_ and
+_l_ in Fig. 3, leaving the space from _j_ to _m_ untouched. With the try
+square repeat the lines of this sketch on both sides of each. With saw
+and knife cut each peg to the sketch, finishing the whole, excepting the
+circular plug. Then at the inner end, find the centre as denoted in Fig.
+4, and, using the same centre-bit as for Fig. 1, describe a circle mark
+as dotted in Fig. 4. Then, with the tenon saw, cut by the "shoulder" to
+a depth of 1/8 in., and pare the circle with the knife to the shoulder
+_j_, so making a round plug, a little too large to go into the holes of
+Fig. 1. Then, with the file, carefully reduce the size of each plug so
+as to very accurately and tightly fit one hole at a time in Fig 1, where
+wedging must not be tolerated. The perfection of this part of the work
+is to be tested by ascertaining that the pegs are precisely in a line,
+and that each one fits all round to the face of the board into which it
+is inserted.
+
+[Illustration: _No. 21._
+
+_Clothes Rack._]
+
+Having thus fitted each plug to its own hole, and marked it for
+identification, the pegs may be completed. Cut down each one, with the
+tenon saw, from _k_ to _x_, and, with the chisel, pare down from _j_ to
+_k_, first making it square and afterwards slightly rounding it, as
+shown in section of Fig. 4. With a sharp chisel cut round to the outside
+of the semicircle for the top of the peg. File this round and then cut
+the chamfer with the knife. File as required, and finish with
+sand-paper.
+
+The pegs being thus made ready for fixing, clean the face of the board
+(Fig. 1) with the smooth plane, and the edges and chamfers with
+sand-paper. Then glue in each plug, using the try square to make sure
+that they project at right angles. Then put the whole away for not less
+than six hours, to allow the glue to set well. Then, as each plug has
+been purposely made slightly too long, saw off each projection at the
+back, and smooth the whole of the back with the plane, so effecting the
+finishing touches.
+
+To avoid the necessity for nailing to the wall, get two pieces of
+hoop-iron about 1-1/2 in. long and 1/2 in. wide. To adapt each piece for
+its purpose, cut one end round and punch in a nail hole and two smaller
+screw holes, as shown in Fig. 1. With a chisel cut a neat recess for
+each iron so that it can be sunk flush with the back, as shown in Fig.
+2, and, inserting the screws, the work will be complete.
+
+
+NO. 22. FLOWER-POT STAND.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 34, 20, 2, 1, 13, 41, 42, and
+35.)
+
+This is an especially good subject for straight sawing, straight
+planing, and nailing.
+
+Cut from Deal a piece about 22 in. long, 6 in. wide, and 1 in. thick.
+With the jack-plane face one side and one edge perfectly straight and
+true at right angles. Gauge-mark for 13/16 in. thick, and plane the
+rough side down to the gauge-line. Square one end with the plane, mark
+to length shown in Fig. 1 of drawings No. 22, cut with tenon saw to
+mark, and square the end with smooth plane. Then gauge-mark for
+thickness of lath shown in Fig. 4, and saw off a shade inside the
+gauge-lines. In like manner cut five laths, and plane each to the gauge
+line.
+
+The laths being thus made, sufficient wood will be left for the
+supports. Make the width of the supports the same as that of the laths.
+After gauging and planing the supports to depth as Fig. 4, saw off to
+the 6-in. length. Square the ends with a chisel and set out on each the
+distance _a a_, Fig. 3. Gauge to _b b_, Fig. 4, and with the tenon saw,
+cut to the gauge-line at _a a_, and with the knife remove the piece
+between _a_ and _a_. Then mark on each lath the distance the supports
+are from each end of the laths, and nail on the laths--the outside laths
+first, then the centre one, and finally the other two.
+
+[Illustration: _No. 22._
+
+_Flower Pot Stand._]
+
+
+NO. 23. FOOT-STOOL.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 3, 4, 15, 44, 32, 29, 14, 13,
+3, 5, 41, and 42.)
+
+Cut from Deal two pieces, one 12 in. long, 6 in. wide, and 1-1/4 in.
+thick; the other 18 in. long, 3-1/4 in. wide, and 1 in. thick.
+
+The former piece is for the laths, and it must be prepared and cut as in
+No. 22, making each lath to finish 1 in. wide, 1/2 in. thick, and 10-3/4
+in. long.
+
+The wood for the support must now be proceeded with. Plane one side and
+one edge at right angles, and gauge-mark for width of 3 in. and
+thickness of 1-7/8 in. Plane the rough side and edge down to the
+gauge-marks. Then saw through the centre so as to make two pieces of 7/8
+in. thickness each. Place the pieces side by side, and nail them
+together with two 1-1/2-in. wrought nails, so that both pieces can be
+operated upon together. Then draw on one outer side the diagram shown on
+the unshaded part of Fig. 1 of drawings No. 23, and, with the aid of
+try-square and compasses, repeat the diagram on the other outer side.
+Then cut off each end nearly to the end lines of the diagrams, and, with
+the smoothing plane, finish at perfect right angles. Then, with a
+5/8-in. centre-bit, drill at the spots marked _a a_ on each diagram,
+penetrating on one side a little more than an inch, and finishing by
+drilling from the other side in precise unison. The drilling throughout
+must be exactly vertical. Then proceed with the arch shown in Fig. 1,
+with the turning saw cutting out the three semicircles, which finish
+with gouge and file, taking care to maintain right angles at every
+point. Then separate the pieces, smooth each face with the smoothing
+plane, and the circular parts with file and sand-paper.
+
+The respective parts being now complete, mark on each lath the distance
+the supports are from the ends shown in Fig. 2. Then nail on the laths,
+_b b_ first, _c_ next, and the others afterwards. Then, having first
+taken care to punch down all the nails sufficiently, plane a few
+shavings off the tops of the laths to make them clean and level.
+
+[***] If the laths are well and truly nailed on, their ends should be in
+perfect line. Any defect in that respect must be remedied by carefully
+and judiciously planing; but the perfection of work is when no such
+planing is necessary.
+
+
+NO. 24. BOOK-CARRIER.
+
+(Requiring Exercises 5, 12, 8, 9, 10, 3, 4, 15, 44, 32, 29, 14, 13, 3,
+5, 41, and 42.)
+
+This is made partly in hard and partly in soft wood.
+
+[Illustration: _No. 23._
+
+_Foot Stool._]
+
+[Illustration: _No. 24._
+
+_Book Carrier_]
+
+For the handle, cut from Beech a piece 8 in. long, 2 in. wide, and 7/8
+in. thick. Plane one side and one edge. Then gauge-mark for 1-1/2 in.
+wide and 3/4 in. thick, and plane the rough side and edge down to each
+gauge-mark. Then draw on one side the diagram of the handle shown in
+Fig. 1 of drawings No. 24. With the turning saw, cut to the inner and
+outer lines of the diagram. With the plane, round the top of the handle,
+as shown in Fig. 1, and, with the knife, round and smooth the other
+parts, taking care that all the right angles are strictly maintained.
+Then, with an 1/8-in. centre-bit, drill a hole for each screw, as shown
+in the Fig., and, with the knife, counter-sink for the heads of the
+screws. With the knife, make the chamfers at the corners of the curves,
+as shown in Fig. 2, and finish completely with scraper and sand-paper.
+
+The handle being thus finished, cut from Deal a piece 24 in. long, 6-1/2
+in. wide, and 5/8 in. thick, and plane one side and one edge at right
+angles. Gauge-mark for 6 in. wide, and 1/2 in. thick, and plane the
+rough side and edge down to the gauge-marks. Square one end, measuring
+from that end, saw off at 9 in. On the larger piece remaining, draw the
+lines _a b_ and _a b_ in the positions shown in Fig. 2; then, with the
+compasses, set off the spaces from _a_ to _c_ and from _a_ to _c_, _b_
+to _c_ and _b_ to _c_, _a_ to _d_ and _a_ to _d_, _b_ to _d_ and _b_ to
+_d_. Then set the gauge to half the thickness, and with it mark the
+edges on the four places indicated in each case from _c_ to _d_. Set the
+bevel to the oblique line at each side of the dovetails, and transfer
+this bevelled line to each side at points _c c c c_ and _d d d d_. Then,
+with tenon saw, cut down each line _c d_ to the depth of the gauge line,
+and, with a small chisel, remove the whole of the pieces between the
+nicks made by the saw. This will result in two grooves for dovetailed
+tongues, as shown above, _a a_ in Fig. 1, designed to strengthen and
+prevent from warping the upper half of the holder.
+
+The grooves having been thus made ready, the dovetails must be prepared.
+From Deal cut two pieces, each 9 in. long, 2-1/2 in. wide, and 3/4 in.
+thick. Plane one side of each and bevel one edge to the pitch the bevel
+was previously set for. Then, on the planed side, mark 2-1/4 in. at one
+end, 1-1/4 in. at the other end, and take to that width, afterwards
+bevelling the edge as before. Then fit each of the tongues provided,
+driving them tight into their places. When they fit exactly, glue the
+planed side and the edges, and drive them to their positions, being
+careful not to split off the ends. Then allow time for the glue to set,
+and cut off the projecting ends of the tongues and plane them and the
+face of the board to a level. Cut off to exact length, measuring from
+the lines _a b_. Then smooth both boards with the plane, nail them
+together with two small nails, and square the ends. Then gauge and nick
+with the saw for the recesses _e e_, removing the wood from each recess
+with the knife, so making grooves for a strap to pass round. Then screw
+on the handle in the manner indicated by both Figs., and finish as
+required with sand-paper.
+
+
+NO. 25. LADLE.
+
+(Requiring Exercises 5, 19, 12, 9, 10, 32, 15, 33, 29, 14, 26, 28, 22,
+49, 31, 1, 6, 16, 13, and 24.)
+
+[Illustration: _No. 25._
+
+_Ladle._]
+
+Cut from Beech a piece 16 in. long, 4 in. wide, and 4 in. thick. The
+manner of proceeding resembles that required for No. 17. Plane one side
+and one edge at right angles, and draw on the planed side the diagram
+shown in Fig. 2 of drawings No. 25. With a 1-1/4-in. centre-bit, drill
+two holes right through, as indicated by the dotted circles. Saw round
+the outside lines of the diagram, taking care not to obliterate the
+lines. Trim exactly to the lines with a chisel, gouge, and file. Then
+mark on each edge the upper curved line of Fig. 1. Saw to that line
+without obliterating it, finishing with spokeshave, plane, chisel, and
+file. Then cut out the bowl of the ladle, using a small gouge for the
+edge, and a larger one for obtaining the depth, which must be governed
+by the white section shown in Fig. 3, and finished with file, scraper,
+and sand-paper before proceeding with the under side. When the bowl is
+thus finished, mark on each side the curve for the under side shown in
+Fig. 1. Saw just outside the line, and proceed to shape the under
+side--the bowl to the shaded section of Fig. 3, and the handle to the
+section of Fig. 4. For finishing the bowl, fix the handle in the bench
+screw, and pare with a wide chisel, afterwards applying the knife for
+completing the bowl and handle. For the finishing touches use the file,
+scraper, and sand-paper.
+
+
+END.
+
+
+TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
+
+
+
+
+
+End of the Project Gutenberg EBook of Hand-Craft, by John D. Sutcliffe
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HAND-CRAFT ***
+
+***** This file should be named 37447-8.txt or 37447-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/7/4/4/37447/
+
+Produced by Jonathan Ingram, Harry Lamé and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/37447-8.zip b/37447-8.zip
new file mode 100644
index 0000000..770d87c
--- /dev/null
+++ b/37447-8.zip
diff --git a/37447-h.zip b/37447-h.zip
new file mode 100644
index 0000000..92d74aa
--- /dev/null
+++ b/37447-h.zip
diff --git a/37447-h/37447-h.htm b/37447-h/37447-h.htm
new file mode 100644
index 0000000..1fd1e63
--- /dev/null
+++ b/37447-h/37447-h.htm
@@ -0,0 +1,2748 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Hand-Craft: The Most Reliable Basis of Technical Education in Schools and Classes, by T. G. Rooper.
+    </title>
+    <style type="text/css">
+
+    .bb         {border-bottom: solid 1px;}
+    .bb2        {border-bottom: double;}
+    .bbox       {border: solid 2px;}
+    body        {margin-left: 10%; margin-right: 10%;}
+    .br         {border-right: solid 1px;}
+    .center     {text-align: center;}
+    .expon      {vertical-align: top; font-size: .7em;}
+    .exponlarge {vertical-align: 20%; font-size: .8em; font-weight: bold;}
+    .figcenter  {margin: auto; text-align: center;}
+    .fnanchor   {vertical-align: super; font-size: .8em; text-decoration: none;}
+    .footnote   {margin-left: 10%; margin-right: 10%; font-size: 0.8em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fsize80    {font-size: .8em;}
+    .fsize110   {font-size: 1.1em;}
+    .fsize125   {font-size: 1.25em;}
+    .fsize150   {font-size: 1.5em;}
+    .gesp       {letter-spacing: .3em;}
+    h1,h2,h3    {text-align: center; clear: both;}
+    hr          {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;}
+    hr.c10      {width: 10%;}
+    hr.c25      {width: 25%;}
+    .index      {vertical-align: bottom; font-size: .7em;}
+    .indexlarge {vertical-align: -20%; font-size: .8em; font-weight: bold;}
+    left        {text-align: left;}
+    .lettsymb   {font-family: "Arial","Sans-serif"; font-weight: bold;}
+    p           {margin-top: .75em; text-align: justify; margin-bottom: .75em;}
+    p.chapcap:first-letter {font-size: 3em; text-align: left; font-weight: bold; float: left; padding: 0 .1em 0 0;}
+    .pagenum    {position: absolute; left: 92%; font-size: smaller; text-align: right; color: gray;}
+    .right      {text-align: right;}
+    .smcap      {font-variant: small-caps;}
+    .ssfont     {font-family: "Arial","Sans-serif"; font-size: .9em;}
+    .subj       {font-size: 1.5em; font-weight: bold; text-align: center;}
+    table       {margin-left: auto; margin-right: auto; border-collapse: collapse;}
+    td.lcol     {border-right: solid 1px; padding: 0 1em 0 2em; vertical-align: top; text-indent: -1em; text-align: justify;}
+    td.padl1    {padding-left: .5em;}
+    td.padr1    {padding-right: .5em;}
+    td.padl2    {padding-left: 1em;}
+    td.padr2    {padding-right: 1em;}
+    td.padr3    {padding-right: 1.5em;}
+    td.rcol     {padding: 0 1em 0 2em; vertical-align: top; text-indent: -1em; text-align: justify}
+    .tnbox      {border: solid 2px; background: #999966; margin-right: 10%; margin-left: 10%; padding: 1em;}
+
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Hand-Craft, by John D. Sutcliffe
+
+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: Hand-Craft
+       The Most Reliable Basis of Technical Education in Schools and Classes
+
+Author: John D. Sutcliffe
+
+Release Date: September 16, 2011 [EBook #37447]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HAND-CRAFT ***
+
+
+
+
+Produced by Jonathan Ingram, Harry Lamé and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+<div class="tnbox">
+<p class="center" style="padding-bottom: 1em;">Transcriber's Notes:</p>
+<p>Some minor typographical errors have been corrected.</p>
+<p>Inconsistencies in spelling (including hyphenation) and formatting have not been corrected,
+except that sand-paper has been changed to sandpaper.</p>
+<p>In the multi-page table, repeated headings and <i>carry forward</i> / <i>carried forward</i> have been removed.</p>
+<p>Illustrations have been moved to the paragraph where they are described. Some illustrations have been rotated so that most
+of the text is displayed horizontally.</p>
+</div>
+
+<hr class="c25" />
+<h1>HAND-CRAFT.</h1>
+<hr class="c25" />
+
+<div class="bbox" style="padding: 2em;">
+<table summary="Advertisements">
+
+<tr>
+<td colspan="2" class="subj"><span class="gesp">DRAWING BOOK</span>S.</td>
+</tr>
+
+<tr>
+<td class="lcol" style="width: 50%;">Kindergarten Drawing Book. Part I. Compiled by T. G. Rooper.</td>
+<td rowspan="2" class="rcol" style="width: 50%;">Kindergarten Drawing Book. Part II. Compiled by T. G. Rooper. (Curved lines.)
+Small quarto, cloth, price 1s.</td>
+</tr>
+
+<tr>
+<td class="lcol">Two Hundred Blackboard Drawing Exercises
+for Infants&#8217; Classes. Small quarto, cloth,
+price 1s. 6d.</td>
+</tr>
+
+<tr>
+<td colspan="2">&nbsp;</td>
+</tr>
+
+<tr>
+<td colspan="2" class="subj"><span class="gesp">INFANT</span>S&#8217;&nbsp;<span class="gesp">DRAWING BOOK</span>S.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="ssfont fsize110 center"><i>A Varied Occupation.</i></td>
+</tr>
+
+<tr>
+<td class="lcol">Book I. Vertical and Horizontal Lines of varying
+lengths in combination.</td>
+<td rowspan="2" class="rcol">Book III. Vertical and Horizontal Lines, with
+Oblique Lines drawn at various Angles.</td>
+</tr>
+
+<tr>
+<td class="lcol">Book II. Vertical and Horizontal Lines, with
+Oblique Lines drawn at Angles of 45 Degrees.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><b>PRICE TWOPENCE EACH.</b></td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><i>Recommended by the Science and Art Department for Beginning in Elementary Day Schools.</i></td>
+</tr>
+
+<tr>
+<td colspan="2">&nbsp;</td>
+</tr>
+
+<tr>
+<td colspan="2" class="subj"><span class="gesp">JUNIOR DRAWING BOOK</span>S.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><b>Three Books.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;PRICE TWOPENCE EACH.</b></td>
+</tr>
+
+<tr>
+<td colspan="2">&nbsp;</td>
+</tr>
+
+<tr>
+<td colspan="2" class="subj"><span class="gesp">DRAWING BOOK</span>S.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center ssfont"><i>To meet the requirements of the New Class Subject&mdash;Drawing&mdash;and forming a
+complete course of Instruction in Freehand and Geometry, with full directions and space for working.</i></td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><b>FREEHAND.</b></td>
+</tr>
+
+<tr>
+<td class="lcol">Book I. Lines, Angles, Parallels. Simple Right-lined
+Forms.</td>
+<td class="rcol" style="text-indent: 1em;">forming Symmetrical Figures.</td>
+</tr>
+
+<tr>
+<td class="lcol">Book II. Simple Right-lined Forms.</td>
+<td class="rcol">Books V. &amp; VI. Familiar Symmetrical Objects
+of the Home.</td>
+</tr>
+
+<tr>
+<td rowspan="2" class="lcol">Book III. Simple Combinations of Straight
+and Curved Lines, forming familiar Symmetrical Figures.</td>
+<td class="rcol">Books VII. &amp; VIII. Stage II. of the Science and
+Art Department.</td>
+</tr>
+
+<tr>
+<td class="rcol">Books IX. &amp; X. Common Objects in Light and
+Shade.</td>
+</tr>
+
+<tr>
+<td class="lcol">Book IV. More Advanced Combinations of
+Straight and Curved Lines,</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><i>11 inches by 7<span class="expon">1</span>&#8260;<span class="index">2</span> inches, paper covers, Twopence each.</i></td>
+</tr>
+
+<tr>
+<td colspan="2" class="center ssfont"><i>BOOKS I.-VIII. have SIXTEEN PAGES. BOOKS IX. and X. EIGHT PAGES.</i></td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><b>GEOMETRY.</b></td>
+</tr>
+
+<tr>
+<td class="lcol">Book I. Lines, Parallels, Angles and Triangles
+drawn with Rulers.</td>
+<td class="rcol">Book VII. Inscribed and Described Figures.</td>
+</tr>
+
+<tr>
+<td rowspan="2" class="lcol">Book II. Quadrilaterals and Simple Geometrical
+Figures drawn with Rulers.</td>
+<td class="rcol">Book VIII. Proportionals and Areas.</td>
+</tr>
+
+<tr>
+<td rowspan="2" class="rcol">Book IX. Simple Scales, Projection of Rectangular
+Solids, and Plane Figures.</td>
+</tr>
+
+<tr>
+<td class="lcol">Book III. Lines and Angles.</td>
+</tr>
+
+<tr>
+<td class="lcol">Book IV. Drawing to Scale.</td>
+<td class="rcol">Book X. Ditto (more advanced), and with
+Sections.</td>
+</tr>
+
+<tr>
+<td class="lcol">Book V. Triangles, Quadrilaterals, Circles and
+Tangents.</td>
+<td class="rcol">Book XI. Projection of Circular Solids and
+Sections.</td>
+</tr>
+
+<tr>
+<td class="lcol">Book VI. Polygons, Ellipses, Inscribed and
+Described Figures.</td>
+<td>&nbsp;</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center ssfont"><i>BOOKS I.-VIII., 11 inches by 7<span class="expon">1</span>&#8260;<span class="index">4</span> inches, paper covers, Twopence each.</i></td>
+</tr>
+
+<tr>
+<td colspan="2" class="center ssfont"><i>BOOKS IX.-XI., 14 inches by 10<span class="expon">3</span>&#8260;<span class="index">4</span> inches, paper covers, Threepence each.</i></td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><span class="exponlarge">*</span><span class="indexlarge">*</span><span class="exponlarge">*</span>
+<i>A Book of Specimen Pages of this Series will be forwarded free to Head-Teachers on
+application. Single Copies of any of the Books are sent post-free on receipt of the published price.</i></td>
+</tr>
+
+<tr>
+<td colspan="2">&nbsp;</td>
+</tr>
+
+<tr>
+<td colspan="2" class="subj"><span class="gesp">STUDIES IN MACHINE DESIG</span>N.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center">By C. F. ARCHER, Certificated Teacher, Subject II.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><b>ELEMENTARY STAGE.</b></td>
+</tr>
+
+<tr>
+<td class="lcol">1. Hexagon and Square-headed Bolts and
+Nuts.</td>
+<td class="rcol">4. Steam Piston.</td>
+</tr>
+
+<tr>
+<td class="lcol">2. Flange Coupling of Shafts of different
+diameter.</td>
+<td class="rcol">5. Cylinder Cover and Stuffing Box.</td>
+</tr>
+
+<tr>
+<td class="lcol">3. Hydraulic Pipe Joint.</td>
+<td class="rcol">6. Full Way Stop Valve.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><i>On Separate Sheets, 13<span class="expon">1</span>&#8260;<span class="index">2</span>
+inches by 9<span class="expon">1</span>&#8260;<span class="index">2</span> inches, the Six in a Packet</i>, <b>Sixpence</b>.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><b>ADVANCED STAGE.</b></td>
+</tr>
+
+<tr>
+<td class="lcol">1. Launch Engine.</td>
+<td class="rcol">4. Details of Piston, Crosshead, and Connecting
+Rod.</td>
+</tr>
+
+<tr>
+<td class="lcol">2. Details of Crank Shaft and Columns.</td>
+<td class="rcol">5. Launch Engine Cylinder.</td>
+</tr>
+
+<tr>
+<td class="lcol">3. Details of Slide Valve and Link Motion.</td>
+<td class="rcol">6. Details of Bed-plate.</td>
+</tr>
+
+<tr>
+<td colspan="2" class="center"><i>On Separate Sheets, 13<span class="expon">1</span>&#8260;<span class="index">2</span>
+inches by 9<span class="expon">1</span>&#8260;<span class="index">2</span> inches, the Six in a Packet</i>, <b>Sixpence</b>.</td>
+</tr>
+
+<tr>
+<td colspan="2"><hr class="c10" /></td>
+</tr>
+
+<tr>
+<td colspan="2" class="center fsize125">GRIFFITH, FARRAN, OKEDEN &amp; WELSH, LONDON.</td>
+</tr>
+
+</table>
+</div>
+
+<hr class="c25" />
+
+<h1>HAND-CRAFT:</h1>
+
+<p class="center"><i>THE MOST RELIABLE BASIS OF TECHNICAL EDUCATION<br />
+IN SCHOOLS AND CLASSES.</i></p>
+
+<p class="center fsize150">A TEXT BOOK</p>
+
+<p class="center">EMBODYING A SYSTEM OF PURE MECHANICAL ART, WITHOUT THE AID OF<br />
+MACHINERY; BEING AN ENGLISH EXPOSITION OF</p>
+
+<p class="center fsize150 gesp">SL&Ouml;JD</p>
+
+<p class="center">AS CULTIVATED IN SWEDEN, AND GENERALLY ADOPTED BY ALL<br />
+SCANDINAVIAN PEOPLES, TO THEIR GREAT ADVANTAGE.</p>
+
+<p class="center gesp"><i>EXPLAINED AND ILLUSTRATED</i></p>
+
+<p class="center fsize80">BY</p>
+
+<p class="center">JOHN D. SUTCLIFFE,<br />
+<span class="fsize80">OF THE MANCHESTER RECREATIVE EVENING CLASSES.</span></p>
+
+<p class="center">WITH AN INTRODUCTION BY</p>
+<p class="center"><span class="gesp">T. C. HORSFALL, J.</span>P.</p>
+
+<p class="center" style="margin-top: 2em;"><span class="gesp">NEW YORK<br />
+CHARLES E. MERRILL &amp; CO.<br />
+52 &amp; 54 LAFAYETTE PLACE</span><br />
+1890</p>
+
+<hr class="c25" />
+<p class='pagenum'><a name="Page_5" id="Page_5">[5]</a></p>
+<h2>INTRODUCTION.</h2>
+
+<p class="chapcap">It is surprising that so few efforts have hitherto been made in this country to
+introduce manual training into Elementary Schools. Adequate reason for
+making such training part of the national system of education exists in the fact,
+that a large proportion of the people have to earn their livelihood by industries
+for the attainment of a high degree of skill in which early training of hand and
+eye is as necessary as it is for success in the use of musical instruments. There
+can be no doubt that if, in 1870, a system, resembling that of Sloyd, had been
+generally introduced into English Elementary Schools, the joiners, metal-workers,
+and most other craftsmen of to-day, would possess more skill in their own work,
+and more interest in all kinds of manual work, than they do now possess, and
+that English workpeople, finding that their children received at school kinds of
+training obviously well fitted to increase wage-earning power, would less commonly
+than now be careless with regard to their children&#8217;s attendance at school.</p>
+
+<p>This reason for desiring the introduction of manual training into Elementary
+Schools might have been expected to suggest itself to all persons who are acquainted
+with the conditions under which the mass of English people live; but
+experience gained in Sweden and other countries where the Sloyd system has
+been largely used, proves that there are also strong educational reasons for desiring
+that Sloyd shall be introduced into all English Elementary Schools as soon as
+possible. It has been found that this admirably graduated system of training not
+only fosters deftness of hand and correctness of eye, as it might be expected to
+do, but also has distinctly moral and intellectual effects, as it promotes patient
+attention, steady application, and interest in work, to a very high degree.</p>
+
+<p>Its effect on many of the large class of children who, though not dullards,
+show lack of interest in, and deficiency in the power to understand, the subjects
+comprised in the ordinary school-curriculum, has been most beneficial. In their
+Sloyd-lessons many of these children have found themselves the equals, some
+more<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>
+than the equals, of companions far their superiors at book-work, and have by this
+gained a confidence in their own ability which has often reacted on their power
+and their will to conquer their other lessons. Thus many children who, when
+they first began Sloyd, were distinctly below the average in intelligence, have
+become under its influence completely &#8220;normal.&#8221; On nearly all children the effect
+of this kind of training has been so vivifying that, at least, as much progress has
+been made with other subjects, when several hours weekly have been given to Sloyd,
+as had been made previously when all the school-time was given to them. The
+general educational value of Sloyd has, indeed, been found to be so great, that in
+some schools in Swedish towns as many as eight hours are given to it each week.</p>
+
+<p>All persons who know how badly prepared are the majority of the children
+who now leave our Elementary Schools for gaining rapidly skill in the work by
+which they have to live, or for taking an intelligent interest in their own work or
+in the best handiwork of others, most strongly desire that the educational authorities
+in this country will no longer delay the introduction of a system, the great usefulness
+of which has been so fully ascertained in other lands, and for which many
+well-trained English teachers can now be obtained. Mr Sutcliffe brought to the
+careful study of Sloyd, knowledge of the methods of wood-carving; and his treatise
+will doubtless be found to be helpful to all teachers of the new system.</p>
+
+<p style="text-align: right; margin-right: 10%;">T. C. HORSFALL, J.P.</p>
+
+<p style="margin-left: 10%;"><span class="smcap">Swanscoe Park</span>,</p>
+<p style="margin-left: 15%;">near <span class="smcap">Macclesfield</span>.</p>
+
+<hr class="c10" />
+
+<h3>NOTE BY THE AUTHOR.</h3>
+
+<p>Some friends have advised that elementary suggestions should have been given
+as guidance for the use of the tools. Everything of the kind has been omitted,
+because it is vain to rely upon book knowledge in such matters. How to handle
+and use the tools can only be well imparted by a competent teacher in practice.
+The author avails himself of two more lines, wherein to acknowledge the valuable
+literary assistance he has received from his friend, Mr Richard Russell, of
+Ashbourne House, Herne Hill, London.</p>
+
+<p style="text-align: right; margin-right: 10%;">J. D. S.</p>
+
+<p style="margin-left: 10%;"><span class="smcap">Pendleton, Manchester</span>,</p>
+
+<p style="margin-left: 15%;"><i>March 1890.</i></p>
+
+
+<hr class="c25" />
+<p class='pagenum'><a name="Page_7" id="Page_7">[7]</a></p>
+<h2>HAND-CRAFT.</h2>
+
+
+<p class="chapcap">For some generations there has been cultivated in Sweden,
+and amongst Scandinavian and kindred peoples, a course of
+training in personal ingenuity, unknown in most other countries.
+It does not seem to have ever been persevered in after the
+manner of trading industry, but as a means of promoting throughout
+the community a taste and skill for the performance of highly-finished
+productions in mechanical art, proceeding from the simple
+to the complex, and resulting in a widely-diffused facility for all
+kinds of constructive occupations.</p>
+
+<p>Such course or system of training is called Sloyd, and written
+Sl&ouml;jd. For the majority of English people such a word cannot
+have a meaning, and cannot appeal with adequate force to popular
+appreciation. The nearest equivalent in English to the Swedish
+word Sl&ouml;jd would seem to be Hand-Craft, or mechanical training
+for the hand, undertaken voluntarily for the satisfaction of acquiring
+manual skill in general, as distinguished from a handicraft of
+limited application, pursued of necessity from day to day, rather
+by routine than by skill.</p>
+
+<p>Hand-Craft is therefore adopted as synonymous in England
+with the word Sl&ouml;jd in Sweden.</p>
+
+<p>As cultivated in Sweden, it involves all kinds of manual<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>
+training, and is applicable to highly finished productions in leather,
+metal, and various other substances, but it suffices, for educational
+purposes, to limit teaching and exercise to objects made of wood.</p>
+
+<p>It must always be borne in mind that Hand-Craft is mainly
+educational, and is valuable, not for what it produces, but for the
+training which the production involves; just as the letters of the
+alphabet, and their accurate use, are the essential preliminaries
+to literary attainments. It imparts and cultivates mechanical
+dexterity, just as learning to read and write spontaneously
+developes mental capacity. Therefore, whoever masters a course
+of Hand-Craft acquires an aptitude for all kinds of material processes.
+Such an aptitude, while useful and gratifying to the
+individual, is of the greatest consequence amongst people so
+deeply interested as the English are in manufacturing pursuits.</p>
+
+<p>Hand-Craft also has strong claims to be cultivated as a
+recreation, and experience proves that it may be so regarded, with
+every prospect of becoming popular as such.</p>
+
+<p>Touching this matter of recreation, and those who have not
+the faculty for viewing the subject in that light, reference may be
+made to familiar facts with reference to chess. Perhaps there is
+nothing that, to the uninitiated, appears more stupid, insipid, and
+purposeless than the progress of that game. Yet there are
+thousands, who have so regarded it, who, after being well initiated,
+have become interested and absorbed by it, to an extent exceeding
+the possibilities of their original belief.</p>
+
+<p><span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>So it is with Hand-Craft, with this difference, that Hand-Craft,
+while supplying an incentive to wholesome perseverance, developing
+into a fascinating recreation, is suggestive at every turn of
+life-long utility, with reference to an infinite variety of probable
+subsequent experience. It promotes a delightful consciousness of
+the merits of neat, natty tastefulness and judgment with reference
+to every material thing, and trains the mind and the eye, as well as
+the hand, to perceive and appreciate excellence of design and
+finish, proportion, beauty, and adaptability of the most familiar
+appliances.</p>
+
+<p>Training of this kind has, in recent years, been much stimulated
+by the establishment of an Institute or Seminary for its
+teaching and cultivation at N&auml;&auml;s in Sweden, where very generous
+accommodation and facilities are provided for the instruction
+of teachers from all parts of Sweden and the rest of the world.
+The subsequent mission of each of those teachers is to diffuse the
+taste and knowledge he has thus acquired amongst his own people
+on his return to them, or amongst other people where he may find
+encouragement to settle for that purpose.</p>
+
+<p>Thus have the foundations been laid for this genial drawing
+out and exercise of latent mechanical genius amongst the people of
+England. With the object of widening those foundations, these
+pages have been prepared; primarily as forming a Text Book for
+Teachers, but also as an incentive to parents, educationists, and
+statesmen to fortify the rising generation of England against the<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>
+opprobrium so justly alleged against the English of the present day,
+that they are behind the rest of the industrial world in those
+elements of mechanical taste and skill, which are becoming more
+and more essential to the maintenance of manufacturing and
+commercial prosperity.</p>
+
+<p>An earnest determination to promote amendment in these
+respects cannot be better carried into effect than by insisting that
+Hand-Craft shall be regarded as an essential branch of the Technical
+Education that is now struggling to assert itself usefully. If
+such a branch be left out, the mere teaching of routine trade
+processes will inevitably fail. Such routine processes are many of
+them in heavy-handed, rough disregard of the nicety, accuracy,
+finish, and judgment which intelligent exercise in Hand-Craft can
+alone impart; which is the only reliable basis for the superior
+mechanical results so much needed.</p>
+
+<p>Hand-Craft in wood is distinguished from carpentry or joinery
+in many important respects.</p>
+
+<p>There is no division of labour.</p>
+
+<p>Everything produced is the entire work of one operator, for
+the defects of which he is solely responsible.</p>
+
+<p>This directness of responsibility is one of the great merits of
+Hand-Craft, being calculated to promote wholesome pride in the
+excellence of complete work; a sentiment that is apt to be very weak,
+or totally wanting, where division of labour is much relied upon.</p>
+
+<p>The intellectual faculties are brought into unison with the<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>
+hand, by knowledge and experience developing together with
+increasing dexterity.</p>
+
+<p>Genuine respect and sympathy are developed for manual toil
+by familiarity with its application.</p>
+
+<p>Love of work in general is developed, and a taste for it instilled
+by practical experience of its utility.</p>
+
+<p>Habits of attention, perseverance, industry, and discipline are
+formed, cultivated, and unconsciously grafted upon the pupil, by
+the application necessary to excel.</p>
+
+<p>Independence, order, and cleanliness spontaneously grow and
+become part of the nature of the operator.</p>
+
+<p>Manual dexterity being thoroughly established, the operator
+is endowed with the consequent acquired ability for dealing with
+the practical business of life.</p>
+
+<p>Education being the object that should be constantly kept in
+view, in the teaching and practice of Hand-Craft, it should be
+thoroughly appreciated that it is adapted for forming and shaping
+the entire bent of all the faculties.</p>
+
+<p>The objects recommended to work upon are all small, and are
+therefore within the capacity of the very young, and of both sexes.</p>
+
+<p>For the same reason, the eye, the hand, and the judgment are
+trained to precise form and finish in the minutest details. This is
+important, for, though it is generally easier to make something large
+and rough than small and smooth, no one who is incapable of
+making a small model well can make a large one any better.<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>
+Small objects are invariably the best training to work upon, as
+being certain to inspire appreciation for neatness, exactness, and
+accuracy.</p>
+
+
+<h3>BASIS OF TEACHING.</h3>
+
+<p>Practical teaching of Hand-Craft is based upon models for
+imitation.</p>
+
+<p>These models, distinguished by numbering from 1A and 1B
+to 25, are represented by the drawings accompanying these
+pages, and the instructions hereafter subjoined are explained by
+reference to the drawings.</p>
+
+<p>The following is a</p>
+
+
+<h3>LIST OF THE MODELS.</h3>
+
+<p><span class="exponlarge">*</span><span class="indexlarge">*</span><span class="exponlarge">*</span> The
+second column indicates the kind of wood required&mdash;B. signifying Beech or Birch, and F. signifying Fir, commonly
+called Deal or Pine; the class of wood usually distinguished as
+Pine being preferable to the rougher-grained wood generally
+classed as Deal.</p>
+
+<table summary="Models">
+
+<tr class="fsize80">
+<td colspan="2" class="center">No.</td>
+<td class="center">Wood.</td>
+<td class="center">Names of Models.</td>
+</tr>
+
+<tr>
+<td class="right">1</td>
+<td class="left"><span class="smcap">a</span>.</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod1A">Kindergarten Pointer.</a></td>
+</tr>
+
+<tr>
+<td class="right">1</td>
+<td class="left"><span class="smcap">b</span>.</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod1B">Another variety of the same.</a></td>
+</tr>
+
+<tr>
+<td class="right">2.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod2">Parcel-Pin or Carrier.</a></td>
+</tr>
+
+<tr>
+<td class="right">3.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod3">Flower-Stick.</a></td>
+</tr>
+
+<tr>
+<td class="right">4.<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span></td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod4">Envelope Opener.</a></td>
+</tr>
+
+<tr>
+<td class="right">5.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod5">Rectangular Flower-Stick.</a></td>
+</tr>
+
+<tr>
+<td class="right">6.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod6">Pencil Holder.</a></td>
+</tr>
+
+<tr>
+<td class="right">7.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod7">Key Label.</a></td>
+</tr>
+
+<tr>
+<td class="right">8.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod8">Thread-Winder.</a></td>
+</tr>
+
+<tr>
+<td class="right">9.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod9">Dibble for the Garden.</a></td>
+</tr>
+
+<tr>
+<td class="right">10.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod10">Pen-Rest.</a></td>
+</tr>
+
+<tr>
+<td class="right">11.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod11">Flower-pot Stand.</a></td>
+</tr>
+
+<tr>
+<td class="right">12.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod12">Paper-Knife.</a></td>
+</tr>
+
+<tr>
+<td class="right">13.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod13">Knife-Rest.</a></td>
+</tr>
+
+<tr>
+<td class="right">14.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod14">Bowl, for Toilette, &amp;c.</a></td>
+</tr>
+
+<tr>
+<td class="right">15.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod15">Hammer Handle.</a></td>
+</tr>
+
+<tr>
+<td class="right">16.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod16">Handle for Chisel or File.</a></td>
+</tr>
+
+<tr>
+<td class="right">17.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod17">Spoon.</a></td>
+</tr>
+
+<tr>
+<td class="right">18.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod18">Chopping-Board.</a></td>
+</tr>
+
+<tr>
+<td class="right">19.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod19">Measure (Half-yard).</a></td>
+</tr>
+
+<tr>
+<td class="right">20.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod20">Scoop for Flour, Sugar, &amp;c.</a></td>
+</tr>
+
+<tr>
+<td class="right">21.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod21">Hanging-Pegs.</a></td>
+</tr>
+
+<tr>
+<td class="right">22.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod22">Stand for Flower-Pot, &amp;c.</a></td>
+</tr>
+
+<tr>
+<td class="right">23.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F.</td>
+<td class="left padl2"><a href="#Mod23">Footstool.</a></td>
+</tr>
+
+<tr>
+<td class="right">24.</td>
+<td>&nbsp;</td>
+<td class="left padl2">F. &amp; B.</td>
+<td class="left padl2"><a href="#Mod24">Book Carrier.</a></td>
+</tr>
+
+<tr>
+<td class="right">25.</td>
+<td>&nbsp;</td>
+<td class="left padl2">B.</td>
+<td class="left padl2"><a href="#Mod25">Ladle.</a></td>
+</tr>
+
+</table>
+
+<p class='pagenum'><a name="Page_14" id="Page_14">[14]</a></p>
+<h3>TOOLS AND APPLIANCES.</h3>
+
+<p>The following is a List of Tools and Appliances necessary
+for producing the models before enumerated, with the cost of each,
+both Swedish and English.</p>
+
+<table summary="Articles">
+
+<tr class="fsize80">
+<td class="center">Descriptions of Articles.</td>
+<td colspan="3" class="center padr2 padl2">&nbsp;Best&nbsp;Swedish.&nbsp;</td>
+<td colspan="2" class="center padr2 padl2">&nbsp;Best&nbsp;English.&nbsp;</td>
+</tr>
+
+<tr class="fsize80">
+<td>&nbsp;</td>
+<td class="right padr3"><i>s.</i></td>
+<td colspan="2" class="right" style="padding-right: 3em; padding-left: 2em;"><i>d.</i></td>
+<td class="right padr3"><i>s.</i></td>
+<td class="right padr3"><i>d.</i></td>
+</tr>
+
+<tr>
+<td class="left">Carpenter&#8217;s Bench in Pine, 6 ft. long</td>
+<td class="right padr2">11</td>
+<td class="right">3</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">13</td>
+<td class="right padr2">0</td>
+</tr>
+
+<tr>
+<td class="left">Knife (resembling a Shoemaker&#8217;s)</td>
+<td class="right padr2">0</td>
+<td class="right">4</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">8</td>
+</tr>
+
+<tr>
+<td class="left">Two Frame Saws, blades <span class="expon">3</span>&#8260;<span
+class="index">8</span> and 1<span class="expon">1</span>&#8260;<span class="index">4</span> wide</td>
+<td class="right padr2">2</td>
+<td class="right">7</td>
+<td class="left"><a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></td>
+<td class="right padr2">10</td>
+<td class="right padr2">6</td>
+</tr>
+
+<tr>
+<td class="left">Tenon or Dovetail Saw (small)</td>
+<td class="right padr2">2</td>
+<td class="right">0</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">3</td>
+<td class="right padr2">0</td>
+</tr>
+
+<tr>
+<td class="left">Jack Plane</td>
+<td class="right padr2">1</td>
+<td class="right">8</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">4</td>
+<td class="right padr2">9</td>
+</tr>
+
+<tr>
+<td class="left">Smooth Plane</td>
+<td class="right padr2">1</td>
+<td class="right">1</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">3</td>
+<td class="right padr2">9</td>
+</tr>
+
+<tr>
+<td class="left">Three Furmer Chisels, <span class="expon">3</span>&#8260;<span
+class="index">8</span>, <span class="expon">3</span>&#8260;<span class="index">4</span>,
+and 1<span class="expon">1</span>&#8260;<span class="index">4</span> wide</td>
+<td class="right padr2">1</td>
+<td class="right">2</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">2</td>
+<td class="right padr2">4</td>
+</tr>
+
+<tr>
+<td class="left">Three Outside Gouges, <span class="expon">1</span>&#8260;<span
+class="index">2</span>, <span class="expon">7</span>&#8260;<span
+class="index">8</span>, and 1<span class="expon">1</span>&#8260;<span class="index">8</span> wide</td>
+<td class="right padr2">1</td>
+<td class="right">4</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">2</td>
+<td class="right padr2">8</td>
+</tr>
+
+<tr>
+<td class="left">Two-foot Rule</td>
+<td class="right padr2">0</td>
+<td class="right">6</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">6</td>
+</tr>
+
+<tr>
+<td class="left">Square (6 in.)</td>
+<td class="right padr2">1</td>
+<td class="right">6</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">1</td>
+<td class="right padr2">10</td>
+</tr>
+
+<tr>
+<td class="left">Bevel (6 in.)</td>
+<td class="right padr2">0</td>
+<td class="right">8</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">2</td>
+<td class="right padr2">3</td>
+</tr>
+
+<tr>
+<td class="left">Marking Gauge</td>
+<td class="right padr2">0</td>
+<td class="right">6</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">6</td>
+</tr>
+
+<tr>
+<td class="left">Compasses</td>
+<td class="right padr2">1</td>
+<td class="right">0</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">1</td>
+<td class="right padr2">8</td>
+</tr>
+
+<tr>
+<td class="left">Hammer (small)</td>
+<td class="right padr2">0</td>
+<td class="right">8</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">8</td>
+</tr>
+
+<tr>
+<td class="left">Mallet</td>
+<td class="right padr2">0</td>
+<td class="right">6</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">1</td>
+<td class="right padr2">0</td>
+</tr>
+
+<tr>
+<td class="left">Oilstone<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></td>
+<td class="right padr2">0</td>
+<td class="right">7</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">1</td>
+<td class="right padr2">0</td>
+</tr>
+
+<tr>
+<td class="left">Scraper, with round end</td>
+<td class="right padr2">0</td>
+<td class="right">2</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">5</td>
+</tr>
+
+<tr>
+<td class="left padr2">Two Files (half round), one rough, the other smooth</td>
+<td class="right padr2">1</td>
+<td class="right">0</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">3</td>
+<td class="right padr2">0</td>
+</tr>
+
+<tr>
+<td class="left">Chopper or Axe</td>
+<td class="right padr2">1</td>
+<td class="right">10</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">1</td>
+<td class="right padr2">6</td>
+</tr>
+
+<tr>
+<td class="left">Spokeshave (iron)</td>
+<td class="right padr2">0</td>
+<td class="right">5</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">1</td>
+<td class="right padr2">0</td>
+</tr>
+
+<tr>
+<td class="left">Screw-driver</td>
+<td class="right padr2">0</td>
+<td class="right">3</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">7</td>
+</tr>
+
+<tr>
+<td class="left">Glue-Pot and Brush</td>
+<td class="right padr2">1</td>
+<td class="right">6</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">10</td>
+</tr>
+
+<tr>
+<td class="left">Pincers</td>
+<td class="right padr2">0</td>
+<td class="right">7</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">9</td>
+</tr>
+
+<tr>
+<td class="left">Two Brad-Awls</td>
+<td class="right padr2">0</td>
+<td class="right">2</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">0</td>
+<td class="right padr2">4</td>
+</tr>
+
+<tr>
+<td class="left">Brace and twenty-four Bits</td>
+<td class="right padr2">4</td>
+<td class="right">0</td>
+<td class="padr2">&nbsp;</td>
+<td class="right padr2">6</td>
+<td class="right padr2">9</td>
+</tr>
+
+<tr>
+<td class="left">Sand-paper No. 1<span class="smcap">a</span></td>
+<td colspan="5">&nbsp;</td>
+</tr>
+
+<tr>
+<td class="left">Pencil</td>
+<td colspan="5" class="bb">&nbsp;</td>
+</tr>
+
+<tr>
+<td>&nbsp;</td>
+<td class="left padr2 bb2"><a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>37</td>
+<td class="right bb2">3</td>
+<td class="bb2">&nbsp;</td>
+<td class="right padr2 bb2">65</td>
+<td class="right padr2 bb2">3</td>
+</tr>
+
+</table>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a
+href="#FNanchor_1_1"><span class="label">[1]</span></a> Nothing exactly like this Swedish Saw is made in England.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a
+href="#FNanchor_2_2"><span class="label">[2]</span></a> Exclusive of carriage from Gothenburg.</p></div>
+
+<p>Although the prices of the English tools are so much higher
+than the Swedish (with few exceptions), they are cheaper in the
+end. They are more carefully made; the wood is drier and better
+selected; and Swedish steel is not to be compared with English.
+At the same time, the Swedish tools are good enough to put
+into the hands of school boys and girls, and they have also
+the advantage of being considerably lighter in weight.<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span></p>
+
+
+<h3>THE BENCH.</h3>
+
+<p>A <a href="#Fig0">drawing</a> of the Bench is annexed, to show the difference
+between one adapted for Sloyd or Hand-Craft and the kind in
+common use by carpenters. The Sloyd Bench is usually
+about 7 ft. long, 2 ft. wide, and 3 ft. 3 in. high. As shown
+in the drawing, it has an extra Bench Screw at the end, which
+enables the student to fix a piece of level wood rigidly on the top
+of the Bench, by placing the end against a Stop, as shown in the
+drawing, and bringing the pressure of the End Screw to bear on
+the other end. The numerous holes (shown in the drawing) on
+the Bench Top, are so arranged that the Stop can be fixed in any
+of them. For school work the Benches are often made double&mdash;that
+is, with a Screw on each side and on each end of the Bench.
+This arrangement economises space, and answers all practical
+purposes; enabling two students to work at one bench. The
+Sloyder will find it an advantage to fix a small drawer under the
+bench top. In this he should keep his sand-paper and files, as
+nothing is so detrimental to the edges of the sharp tools as these
+two articles.</p>
+
+<p class='pagenum'><a name="Page_17" id="Page_17">[17]</a></p>
+
+<div class="figcenter"><a name="Fig0" id="Fig0"></a>
+<img src="images/illo17.png" alt="Workbench" width="500" height="343" />
+</div>
+
+<p class='pagenum'><a name="Page_18" id="Page_18"></a></p>
+<p class='pagenum'><a name="Page_19" id="Page_19">[19]</a></p>
+
+<h3><a name="ExList" id="ExList"></a>TOOL EXERCISES.</h3>
+
+<p>The making of the models involves training in the exercises
+enumerated in the following list, the numbering being for subsequent
+reference.</p>
+
+<table summary="Exercises">
+
+<tr>
+<td class="right padr1">1.</td>
+<td class="left br">Long Cut (with grain).</td>
+<td class="right padr1 padl1">26.</td>
+<td class="left">Perpendicular Chiselling.</td>
+</tr>
+
+<tr>
+<td class="right padr1">2.</td>
+<td class="left br">End Cut (across grain).</td>
+<td class="right padr1">27.</td>
+<td class="left">Concave Chiselling or Gouging.</td>
+</tr>
+
+<tr>
+<td class="right padr1">3.</td>
+<td class="left br">Oblique Cut.</td>
+<td class="right padr1">28.</td>
+<td class="left">Gouging with Spoon-Iron.</td>
+</tr>
+
+<tr>
+<td class="right padr1">4.</td>
+<td class="left br">Bevel Cut.</td>
+<td class="right padr1">29.</td>
+<td class="left">Oblique Chiselling.</td>
+</tr>
+
+<tr>
+<td class="right padr1">5.</td>
+<td class="left br">Sawing off.</td>
+<td class="right padr1">30.</td>
+<td class="left">Smoothing with Spokeshave.</td>
+</tr>
+
+<tr>
+<td class="right padr1">6.</td>
+<td class="left br">Convex Cut.</td>
+<td class="right padr1">31.</td>
+<td class="left">Shaping with Spokeshave.</td>
+</tr>
+
+<tr>
+<td class="right padr1">7.</td>
+<td class="left br">Long Sawing.</td>
+<td class="right padr1">32.</td>
+<td class="left">Oblique Sawing.</td>
+</tr>
+
+<tr>
+<td class="right padr1">8.</td>
+<td class="left br">Edge Planing.</td>
+<td class="right padr1">33.</td>
+<td class="left">Oblique Planing.</td>
+</tr>
+
+<tr>
+<td class="right padr1">9.</td>
+<td class="left br">Squaring with Set Square.</td>
+<td class="right padr1">34.</td>
+<td class="left">End Planing.</td>
+</tr>
+
+<tr>
+<td class="right padr1">10.</td>
+<td class="left br">Gauging.</td>
+<td class="right padr1">35.</td>
+<td class="left">Exercises with Smoothing Plane.<span
+class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span></td>
+</tr>
+
+<tr>
+<td class="right padr1">11.</td>
+<td class="left br">Drilling with Brace and Shell-Bit.</td>
+<td class="right padr1">36.</td>
+<td class="left">Work in Hard Wood.</td>
+</tr>
+
+<tr>
+<td class="right padr1">12.</td>
+<td class="left br">Flat Planing.</td>
+<td class="right padr1">37.</td>
+<td class="left">Dowelling or Round Mortising.</td>
+</tr>
+
+<tr>
+<td class="right padr1">13.</td>
+<td class="left br">Filing.</td>
+<td class="right padr1">38.</td>
+<td class="left">Bevelling Edge with Plane Oblique.</td>
+</tr>
+
+<tr>
+<td class="right padr1">14.</td>
+<td class="left br padr2">Drilling with Brace and Centre-Bit.</td>
+<td class="right padr1">39.</td>
+<td class="left">Gluing.</td>
+</tr>
+
+<tr>
+<td class="right padr1">15.</td>
+<td class="left br">Curved Sawing.</td>
+<td class="right padr1">40.</td>
+<td class="left">Sinking in of Iron Plates.</td>
+</tr>
+
+<tr>
+<td class="right padr1">16.</td>
+<td class="left br">Concave Cut.</td>
+<td class="right padr1">41.</td>
+<td class="left">Nailing.</td>
+</tr>
+
+<tr>
+<td class="right padr1">17.</td>
+<td class="left br">Bevelled Planing.</td>
+<td class="right padr1">42.</td>
+<td class="left">Sinking of Nails.</td>
+</tr>
+
+<tr>
+<td class="right padr1">18.</td>
+<td class="left br">Shaping with Plane.</td>
+<td class="right padr1">43.</td>
+<td class="left">Bevelling with Shaping Knife.</td>
+</tr>
+
+<tr>
+<td class="right padr1">19.</td>
+<td class="left br">Chopping.</td>
+<td class="right padr1">44.</td>
+<td class="left">Perpendicular Gouging.</td>
+</tr>
+
+<tr>
+<td class="right padr1">20.</td>
+<td class="left br">Cross-Sawing.</td>
+<td class="right padr1">45.</td>
+<td class="left">Point Planing.</td>
+</tr>
+
+<tr>
+<td class="right padr1">21.</td>
+<td class="left br">Mortising with Knife.</td>
+<td class="right padr1">46.</td>
+<td class="left">Oblique Grooving.</td>
+</tr>
+
+<tr>
+<td class="right padr1">22.</td>
+<td class="left br">Wave-Sawing.</td>
+<td class="right padr1">47.</td>
+<td class="left">Circular Sawing.</td>
+</tr>
+
+<tr>
+<td class="right padr1">23.</td>
+<td class="left br">Plane Surface-Cut with Knife.</td>
+<td class="right padr1">48.</td>
+<td class="left">Fixing with Screws.</td>
+</tr>
+
+<tr>
+<td class="right padr1">24.</td>
+<td class="left br">Scraping.</td>
+<td class="right padr1">49.</td>
+<td class="left">Modelling with Knife.</td>
+</tr>
+
+<tr>
+<td class="right padr1">25.</td>
+<td class="left br">Obstacle-Planing.</td>
+<td>&nbsp;</td>
+<td>&nbsp;</td>
+</tr>
+
+</table>
+
+<p>The following are the descriptions of how to apply the Exercises
+to the making of the Models.</p>
+
+
+<h3><span class="smcap"><a name="Mod1A" id="Mod1A"></a>No. 1a. Kindergarten Pointer.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 1 and 2.)</p>
+
+<p>Commence with a piece of Beech, rather more than 5 in. long,
+and not less than <span class="expon">3</span>&#8260;<span class="index">4</span> in. thick. It is all the better, for this and other
+exercises, if it is split from a larger piece, and has no side either
+square or straight. With the knife, make one side level and
+smooth, to a width rather exceeding <span class="expon">3</span>&#8260;<span class="index">8</span> in. When that is done
+perfectly, make another straight side at right angles to the first.
+Trim the ends; then mark with the pencil at each end a <span class="expon">3</span>&#8260;<span
+class="index">8</span>-in.<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>
+square, with the two straight sides as bases. Then cut two
+additional straight sides in unison with those squares. This will
+produce a stem a shade more than 5 in. long and <span class="expon">3</span>&#8260;<span class="index">8</span> in. square.
+Mark each end with a diagram thus <img src="images/illo21.png" alt="Mark" width="20" height="20" />&nbsp;; then draw corresponding
+lines along each side. Then, letting one end remain the same size;
+reduce the other end to <span class="expon">1</span>&#8260;<span class="index">8</span> in. square (as shown in centre of diagram)
+by tapering each side symmetrically throughout. This will result
+in the stem being <span class="expon">3</span>&#8260;<span class="index">8</span> in.
+square at one end and <span class="expon">1</span>&#8260;<span class="index">8</span> in. square at the
+other end. Then, guided by the diagram at the thicker end, take
+off the four corners symmetrically throughout, thus producing a
+tapered octagonal stem. Then, in like manner, take off the eight
+corners with great precision, so as to maintain uniform symmetry,
+and the result will be a tapered stem, approximately round throughout
+and pointed at one end.</p>
+
+<div class="figcenter"><a name="Fig1A" id="Fig1A"></a>
+<img src="images/illo23a.png" alt="Kindergarten Pointer A" width="500" height="109" /></div>
+
+<p>The Long Cut having, thus far, been solely resorted to,
+measure from the point, and make a mark at 4 in.; then cut off at
+the mark, thus exercising the Cross Cut. Then, by judiciously
+applying sand-paper, the pointer may be made perfectly smooth
+and almost perfectly round, as it should be throughout.</p>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod1B" id="Mod1B"></a>No. 1b. Kindergarten Pointer.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 1, 2, and 3.)</p>
+
+<p>Proceed as for the <a href="#Mod1A">previous model</a> until the round pointer is
+produced. Then apply <a href="#ExList">Exercise 3</a> to the two Oblique Cuts
+shown<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>
+from <i>A</i> to <i>a</i> in the figures 1, 2, and 3, of <a href="#Fig1B">drawings No. 1<span class="smcap">b</span></a>. These
+Oblique Cuts demand great care and precision, as the Cuts should
+be precisely opposite each other, perfectly level and symmetrical.</p>
+
+<div class="figcenter"><a name="Fig1B" id="Fig1B"></a>
+<img src="images/illo23b.png" alt="Kindergarten Pointer B" width="500" height="166" /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod2" id="Mod2"></a>No. 2. Parcel-Pin or Carrier.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 1, 2, and 4.)</p>
+
+<p>Commence with a piece of Beech rather more than 3 in. long
+and <span class="expon">5</span>&#8260;<span class="index">8</span> in. thick. Reduce it in like manner
+as <a href="#Mod1A">previously described</a>
+to a stem 3 in. long and <span class="expon">3</span>&#8260;<span class="index">8</span> in. square throughout. Then apply
+Exercise 4, and so bevel the sides and ends as to make chamfers,
+as shown in Figs. 1, 2, and 3 of <a href="#Fig2">drawings No. 2</a>. Then draw a
+line across the centre of one side, and there cut a <span class="lettsymb">V</span>-shaped notch
+as shown in Figs. 1 and 2, so as to provide for a string. Then
+finish with a piece of sand-paper laid upon a flat surface, upon
+which first rub the sides, then the chamfers, and lastly the ends.</p>
+
+<div class="figcenter"><a name="Fig2" id="Fig2"></a>
+<img src="images/illo23c.png" alt="Parcel-Carrier" width="500" height="260" /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod3" id="Mod3"></a>No. 3. Flower-Stick.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 1, 2, and 6.)</p>
+
+<p>This is the first model made in soft wood, and introduces
+<a href="#ExList">Exercise 5</a>, Sawing Off. From the edge of a
+<span class="expon">3</span>&#8260;<span class="index">4</span>-in. board saw off a
+piece the same width as the thickness, and about 14 in. long.
+Proceed as for No. 1<span class="smcap">a</span> until a rod is produced
+<span class="expon">1</span>&#8260;<span class="index">2</span> in. square throughout.
+Then, by a cross made from corner to corner <img src="images/illo22.png" alt="Cross" width="19" height="20" /> find
+the centre of one end. Then take off the corners throughout
+until an octagonal rod is produced; then take off the eight
+corners so as to make the rod round and the same thickness
+throughout. Then apply <a href="#ExList">Exercise 6</a>, the Convex Cut, and point
+the end where the centre is marked. Then measure from the
+point and mark at 12 in., and there cut off at right angles.
+Then apply sand-paper, and the result will be a tapered symmetrical
+round rod, pointed at one end, as shown in <a href="#Fig3">drawings No. 3</a>.</p>
+
+<p class='pagenum'><a name="Page_23" id="Page_23">[23]</a></p>
+
+<div class="figcenter"><a name="Fig3" id="Fig3"></a>
+<img src="images/illo23d.png" alt="Plant Stick" width="500" height="74" /></div>
+
+<p class='pagenum'><a name="Page_24" id="Page_24"></a></p>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_25" id="Page_25">[25]</a></p>
+<h3><span class="smcap"><a name="Mod4" id="Mod4"></a>No. 4. Envelope Opener.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 1, 2, and 6.)</p>
+
+<p>Saw from Beech, a piece about 8 in. long, <span class="expon">3</span>&#8260;<span
+class="index">4</span> in. wide and <span class="expon">1</span>&#8260;<span class="index">2</span> in.
+thick. With the knife, make one of the flat sides perfectly level
+and smooth throughout, and cut one end across at right angles.
+With a fine pencil, draw on the level side the outline of Fig 1 of
+<a href="#Fig4">drawings No. 4</a>, and also, with compasses, describe on the end the
+semicircle shown by Fig 3 of <a href="#Fig4">drawings No. 4</a>, with the flat edge
+for the base. Apply the long cut to the edges at right angles to
+the flat side. Then, on each of the edges thus flattened, draw a
+line showing the course of the tapering illustration on the first side
+of Fig. 2 of <a href="#Fig4">drawings No. 4</a>. Apply the long cut to each of those
+lines, at right angles to the edges. This will produce a rod, flat
+on one side, and presenting a tapered half square on the other.
+Then shave off the corners of that square, so as to produce half a<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>
+tapered octagon; then shave off the corners of that octagon, being
+careful that the work is in unison with the semicircle previously
+described on the thick end. When so far done to satisfaction,
+round both ends symmetrically, as shown in Figs. 1 and 2 of
+<a href="#Fig4">drawings No. 4</a>, and finish with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig4" id="Fig4"></a>
+<img src="images/illo27a.png" alt="Envelope Opener" width="600" height="142" /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod5" id="Mod5"></a>No. 5. Rectangular Flower-Stick, with Chamfered or
+Bevelled Corners.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 8, 9, 6, and 3.)</p>
+
+<p>In this model the Jack Plane and the Try Square are used for
+the first time. Saw off from Pine a piece about 16 in. long and <span class="expon">3</span>&#8260;<span class="index">4</span>
+in. square. Plane one side straight and true, and one of the other
+sides at right angles. Cut each end across at right angles, and on
+each end, using the planed edges as basis, mark Fig. 2 of <a href="#Fig5">drawings
+No. 5</a>. Then plane the other two sides at right angles, so as to
+produce a square rod, which, at every part throughout its length,
+should fit the try square. Then, with the plane, take about two
+shavings off each corner, in unison with the figures at the ends.
+Then, with the knife, cut the point from <i>a</i> to <i>a</i> as shown in Fig. 1
+of <a href="#Fig5">drawings No. 5</a>. Then measure from the long-pointed end,
+mark the exact length, cut across at the mark, and cut the other
+end to a point with eight sides as shown in Figs. 1 and 2.
+Finish with sand-paper at the long-pointed end only.<span class='pagenum'><a name="Page_27" id="Page_27"></a></span></p>
+
+<div class="figcenter"><a name="Fig5" id="Fig5"></a>
+<img src="images/illo27b.png" alt="Flower Stick" width="600" height="75" /></div>
+
+<p class='pagenum'><a name="Page_28" id="Page_28"></a></p>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_29" id="Page_29">[29]</a></p>
+<h3><span class="smcap"><a name="Mod6" id="Mod6"></a>No. 6. Pencil Holder.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 1, 11, 6, and 2.)</p>
+
+<p>This model for the first time introduces the Brace and Bit.
+Saw off from Pine a piece 10 in. long, and <span class="expon">3</span>&#8260;<span class="index">4</span> in. square. With the
+knife, cut one end across at right angles, and make it smooth.
+Find the centre of the end as for <a href="#Mod1A">model No. 1</a>. Fix the stem
+vertically in the Bench Screw, with the smooth end upwards. Fit
+a <span class="expon">3</span>&#8260;<span class="index">16</span>-Shell-Bit into the Brace, and bore a centre hole in the end of
+the stem as shown in Fig. 2 of <a href="#Fig6">drawings No. 6</a>, and to the depth
+dotted in Fig. 1. Great care must be taken in drilling, so that
+the hole may be clean and perpendicular. With the knife, pare
+down each side so as to leave a <span class="expon">1</span>&#8260;<span class="index">2</span>-in. square, with the drilled hole
+in the centre. Find the centre in the opposite end. Mark a line
+about 2<span class="expon">1</span>&#8260;<span class="index">4</span> in. from the drilled end, as shown in Fig. 1. From that
+line, shave each side down to the centre last found. Then take
+off the corners so as to make a tapered octagon. Then take off
+the corners of the octagon, so as to produce a round tapered rod.
+Measure from the thick end and mark the exact length, and, at the
+mark, cut across. Then round the end as shown in Fig. 1, and
+finish with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig6" id="Fig6"></a>
+<img src="images/illo27c.png" alt="Pencil Holder" width="600" height="92" /></div>
+
+<p><span class="smcap">Note.</span>&mdash;This is a repetition to a considerable extent of <a href="#Mod1A">Model
+1</a> on a larger scale. The student may be tempted to proceed
+without going through the processes described, but the temptation<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>
+should be rigorously resisted, as a satisfactory result cannot be
+obtained except by adhering to all the details prescribed.</p>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod7" id="Mod7"></a>No. 7. Key Label.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 12, 8, 9, 10, 11, 6, 2, and 13.)</p>
+
+<p>This is mainly intended for an exercise in planing, and it is
+better to get out a piece of Pine sufficient for two models&mdash;that is,
+about 9 in. long, 1<span class="expon">3</span>&#8260;<span class="index">4</span> in. wide, and 1 in. thick.</p>
+
+<p>Plane one side, and then one edge, perfectly straight and
+square to each other. Then set the gauge to 1<span class="expon">1</span>&#8260;<span class="index">2</span> in. to fit Fig. 1 of
+<a href="#Fig7">drawings No. 7</a>. Apply the gauge to the straightened edge and
+mark off the width along the smooth side. Then plane that edge
+down to the line so made, using the try-square to keep the edge at
+right angles with the straightened side. Next find the centre <span class="expon">3</span>&#8260;<span class="index">4</span> in.
+from the top end, as shown in Fig. 1. From that centre describe
+with the compasses a semicircle. Then fit a <span class="expon">3</span>&#8260;<span class="index">16</span>-Shell-bit into the
+Brace, and bore a hole, at the centre of the semicircle, right
+through. Then set the gauge to <span class="expon">5</span>&#8260;<span class="index">16</span> in. for the thickness, as shown
+by Fig. 2. Apply the gauge to the straightened side, and mark
+the line for thickness along each edge. Then plane the rough side
+down to those lines. Then, with the knife, cut round precisely to
+the semicircle, using the try-square frequently.</p>
+
+<div class="figcenter"><a name="Fig7" id="Fig7"></a>
+<img src="images/illo33a.png" alt="Key Label" width="400" height="222" /></div>
+
+<p>[If a double length is commenced with, as before recommended,<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>
+the centering, marking, drilling, and rounding must be done at
+both ends.]</p>
+
+<p>Measure from the rounded end, and rule with the square, the
+length of 4<span class="expon">1</span>&#8260;<span class="index">4</span> in. Then, with Tenon or Dovetail Saw, cut off just
+outside the line. Then, with the knife, pare down to the line, and
+with a file, smooth that end as well as the rounded end, finishing
+throughout with sand-paper.</p>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod8" id="Mod8"></a>No. 8. Thread-Winder.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 10, 14, 15, 1, 6, 16, and 13.)</p>
+
+<p>Beech is required, about 7 in. long, 3 in. wide, and <span class="expon">1</span>&#8260;<span class="index">2</span> in. thick.
+Plane one side and one edge. Draw the centre line <i>A</i> to <i>B</i> in Fig.
+1 of <a href="#Fig8">drawings No. 8</a>. With square and compasses draw all the other
+lines shown in the same Fig. Then fit a <span class="expon">3</span>&#8260;<span class="index">4</span> in. Centre-bit to the
+Brace, and bore two holes, one at <i>A</i> and the other at <i>B</i>. Then,
+with the smaller turning saw, cut the two outside curved edges as
+shown in Fig. 1. With the knife, trim to the lines, making the
+edges square, as shown in Fig. 3. Then shave and slightly round
+each semicircle, as shown in Figs. 1 and 2, smoothing the edges
+with the file. Then set the Marking Gauge to <span class="expon">1</span>&#8260;<span class="index">4</span> in., and, with the
+smooth side for a base, mark gauge lines on each edge for thickness,
+and plane the rough side down to those lines. Then set the
+plane very fine and take a shaving off the face side so as to remove
+the pencil and compass marks. Then finish with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig8" id="Fig8"></a>
+<img src="images/illo33b.png" alt="Thread-Winder" width="500" height="243"  /></div>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_32" id="Page_32">[32]</a></p>
+<h3><span class="smcap"><a name="Mod9" id="Mod9"></a>No. 9. Dibble for Garden.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 8, 9, 10, 17, 18, 6, 2, and 13.)</p>
+
+<p>Saw out from Fir a piece 14 in. long and 1<span class="expon">1</span>&#8260;<span class="index">4</span> in. square. Plane
+one side straight and another side at right angles. Set the Marking
+Gauge to 1 in., and with the planed side as base, mark lines
+for thickness along each planed side. Then plane the rough sides
+down to those lines, using the Try Square frequently. Then, at
+each end find the centre thus <img src="images/illo32a.png" alt="Marker"
+style="vertical-align: middle;" width="20" height="20" /> with additional lines showing
+octagons thus <img src="images/illo32b.png" alt="Octagon"
+style="vertical-align: middle;" width="20" height="20" />. With the Marking Gauge draw
+lines from end to end of each side corresponding with
+the corners of each octagon. Plane the corners of the square
+down to those octagon lines, thus producing an octagonal rod, and
+completing the first exercise in bevel planing. Plane off the
+corners of the octagon throughout, thus producing a rod approximately
+round, shown in Fig. 2 of <a href="#Fig9">drawings No. 9</a>, and so completing
+the first exercise in shaping with plane. Measure from one
+end for the point as shown in Fig. 1, and, with the knife, cut the
+point as roundly and symmetrically as possible, referring to the
+centre marked at the end as a guide for the precise place of the
+point. Then measure from the point and mark at 12 in. Cut
+across at that mark, and round the blunt end thus made, as shown
+at top of Fig. 1. With the file, dress the end and stray angles
+throughout, and finish with sand-paper.</p>
+
+<p class='pagenum'><a name="Page_33" id="Page_33">[33]</a></p>
+
+<div class="figcenter"><a name="Fig9" id="Fig9"></a>
+<img src="images/illo33c.png" alt="Garden Dibble" width="500" height="116" /></div>
+
+<p class='pagenum'><a name="Page_34" id="Page_34"></a></p>
+<p class='pagenum'><a name="Page_35" id="Page_35">[35]</a></p>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod10" id="Mod10"></a>No. 10. Pen Rest.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 8, 9, 10, 20, 1, 2, 18, and 13.)</p>
+
+<p>Cut from Beech a piece 5 in. long, 1 in. wide, and <span class="expon">3</span>&#8260;<span class="index">4</span> in. thick.
+Plane one side and one edge at right angles, then gauge and plane
+to thickness and height, as shown in Fig. 2 of <a href="#Fig10">drawings No. 10</a>,
+but flat on all sides. Saw across both ends at right angles, so as
+to reduce the length to 3<span class="expon">1</span>&#8260;<span class="index">2</span> in. Select one edge as the top, and,
+with the square, rule a central line from <i>e</i> to <i>e</i>, and a line across at
+each of the places marked <i>a</i>, <i>b</i>, <i>c</i>, and <i>d</i> in Fig. 1, continuing each
+line down both sides. Then, at each end, mark the central place
+represented by the dot in Fig. 2. From each of those central
+places describe the semicircle shown at top of Fig. 2. Then mark
+a line from end to end on each side half way between the top and
+the bottom.</p>
+
+<p>Then, with the knife, and working to the semicircle at each
+end, take off the corners of the top, so making half an octagon, and,
+by taking off the corners of the half octagon, produce a top corresponding
+to the semicircle at each end, as shown in Fig. 2, taking
+care that the top of the semicircle throughout centres to the line
+previously drawn from <i>e</i> to <i>e</i>. Then, with the tenon saw, at each
+of the places marked <i>a</i>, <i>b</i>, <i>c</i>, and <i>d</i>, saw across a right angle slit
+<span class="expon">3</span>&#8260;<span class="index">16</span> in. deep. Then, with the knife or a chisel, cut out the space
+shown in Fig. 1 from <i>a</i> to <i>b</i> and from <i>c</i> to <i>d</i>,
+taking care that the<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>
+side of each space is true and square. Then, with the file, round
+each base as shown at the top of the shaded section in Fig. 2.
+Then smooth with the file where required, and finish with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig10" id="Fig10"></a>
+<img src="images/illo39a.png" alt="Pen Rest" width="600" height="209"  /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod11" id="Mod11"></a>No. 11. Flower-Pot Stand.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 8, 9, 10, 2, 1, 6, 13, and 21.)</p>
+
+<p>This consists of two pieces, as shown in Figs. 1 and 2 of
+<a href="#Fig11">drawings No. 11</a>, each piece so made as to cross and fit the other
+at the centre, hence called a Flower-Pot Cross, the whole being a
+test of exactness and good work, surpassing any preceding model.</p>
+
+<p>Cut from Pine a piece 12 in. long, 1<span class="expon">1</span>&#8260;<span class="index">4</span>
+in. wide, and <span class="expon">1</span>&#8260;<span class="index">2</span> in. thick.
+Plane one side and one edge at right angles; then gauge for
+height and thickness, and plane the other side and edge as shown
+by the section represented in Fig. 3. Saw across the middle so as
+to make two pieces, and, from the end of each so cut, measure off
+and saw both to the equal length of 5<span class="expon">1</span>&#8260;<span class="index">4</span> in. each, taking care that
+both ends of each are accurate right angles. Then place them on
+their sides and draw the centre line indicated by <i>A B</i>, continuing
+the line all round each piece. From the centre, mark off the
+places indicated by <i>e f</i> and <i>g h</i>. At <i>c</i> and <i>d</i> of each, with the
+compasses, describe the quarter circle shown at each top corner
+of the figures, striking the segments from the respective dots shown
+for the purpose near each top corner. Then, with the bottom edge<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>
+for a base, draw a gauge line on each side of both pieces to the
+depth represented by <i>i j</i>, and with the tenon saw, make a slit at <i>e</i>
+and <i>f</i> to the depth of such gauge line. Then, with the knife or
+chisel, cut out the openings between <i>e</i> and <i>f</i> to the depth of the
+gauge line, taking care to finish the opening perfectly level and
+true. Then, at the bottom of one piece and the top of the other,
+as shown in Figs. 1 and 2, gauge, saw, and cut out the spaces from
+<i>g</i> to <i>h</i> in the same manner as for the spaces before mentioned.
+The openings from <i>g</i> to <i>h</i>, if well done, will fit accurately in all
+directions, and, when put together, will form a firm cross. Then,
+with the knife, round the corners of each piece, at <i>c</i> and <i>d</i>. Then
+smooth with file where required, and finish with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig11" id="Fig11"></a>
+<img src="images/illo39b.png" alt="Flower-Pot Stand" width="500" height="398" /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod13" id="Mod13"></a>No. 13. Knife Rest.</span><a name="FNanchor_3_3"
+id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor" style="font-size: .7em; font-weight: normal;">[3]</a></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 8, 9, 10, 20, 18, 26, 1, 2, 27, 13, and 24.)</p>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span
+class="label">[3]</span></a> No. 12 (Paper Knife) appears, for convenience of illustration, on <a href="#Page_41">page 41</a>, but
+it should be proceeded with before No. 13.</p></div>
+
+<p>Cut from Beech a piece about 5 in. long, 1 in. wide, and <span class="expon">7</span>&#8260;<span class="index">8</span> in.
+thick. Plane one side and one edge at right angles. Then
+saw across one end at right angles, and, measuring from
+that end, mark off the length at 4<span class="expon">1</span>&#8260;<span class="index">4</span> in., and saw off that end at
+the mark, taking care to maintain right angles. Then gauge
+and plane the rough side and rough edge to a width of <span class="expon">7</span>&#8260;<span class="index">8</span> in.
+and a thickness of <span class="expon">5</span>&#8260;<span class="index">8</span>
+in. Then choose one edge for the top, and,<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>
+along the centre of that edge, draw a line from <i>c</i> to <i>c</i>, as shown in
+Fig. 1 of <a href="#Fig13">drawings No. 13</a>, and continue the line to the extremities
+of both ends. Then, in manner described for No. 10, gauge, slit,
+and cut out with chisel the spaces shown in the same Fig. 1 of
+<a href="#Fig13">drawings No. 13</a>, from <i>a</i> to <i>a</i> and <i>b</i> to <i>b</i>. Then, with compasses,
+as indicated in the same Fig., describe on both sides of each top
+corner, the segment of a circle represented in each case from <i>c</i> to <i>d</i>.
+Then, for the first time, resort to Concave Chiselling, and with a
+broad chisel cut away the corners down to the segments previously
+described. This process requires great care and judgment. Fix
+one end of the work upwards in the bench screw, with the top side
+nearest to the operator, and, after taking off the corner to a considerable
+extent, with the bevelled side of the chisel towards the
+wood, shave small pieces away until the segment marks are
+reached, taking care to keep the whole curve at right angles to the
+sides throughout. Then, turn the work, and dress the corner at
+the other end in like manner. Then file judiciously where required,
+and finish with sand-paper.</p>
+
+<p class='pagenum'><a name="Page_39" id="Page_39">[39]</a></p>
+<div class="figcenter"><a name="Fig13" id="Fig13"></a>
+<img src="images/illo39c.png" alt="Knife Rest" width="600" height="181"  /></div>
+
+<p class='pagenum'><a name="Page_40" id="Page_40"></a></p>
+<hr class="c10" />
+<p class='pagenum'><a name="Page_41" id="Page_41">[41]</a></p>
+<h3><span class="smcap"><a name="Mod12" id="Mod12"></a>No. 12. Paper-Knife.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 10, 22, 16, 6, 23, 13, and 24.)</p>
+
+<p>Cut from Beech a very straight-grained piece, 14 in. long, 2
+in. wide, and <span class="expon">3</span>&#8260;<span class="index">8</span> in. thick. Plane one side and one edge at right
+angles. Then, on the planed side, to the size and shape indicated,
+draw the whole of Fig. 1 of <a href="#Fig12">drawings No. 12</a>, letting the straight
+edge serve as the line from <i>A</i> to <i>B</i>. With the smaller turning
+saw cut round all the curved parts, carefully adhering to the drawn
+figure. Then gauge all round for thickness, as shown in Fig. 2,
+plane the rough side down to the gauge lines, and with the knife
+trim the curved edges where required. With the set gauge,
+mark the centre of the straight edge from <i>A</i> to <i>B</i>, and guided by
+that centre, pare down each corner of the straight edge, so as to make
+a straight chamfer on each side about <span class="expon">1</span>&#8260;<span class="index">8</span> in. wide, terminating with
+a sharp edge at the place where the gauge line was drawn, as
+shown in Fig. 2. Pare down the corners of both chamfers, and
+pare each side symmetrically, so as to produce a blade gradually
+diminishing throughout from a back <span class="expon">3</span>&#8260;<span class="index">16</span> in. thick to a sharp edge.
+Then pare down the end of the back to a lancet-shaped point, as
+shown in Fig. 2. Round the corners of both edges of the handle,
+so as to make them symmetrical throughout, and also pare the
+corners of the back of the blade so as to round it on both sides
+very slightly. File judiciously with a light hand where required,
+and then, for the first time using the scraper, complete the blade
+with great care by scraping, finishing as usual with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig12" id="Fig12"></a>
+<img src="images/illo43a.png" alt="Paper-Knife" width="166" height="600" /></div>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_42" id="Page_42">[42]</a></p>
+<h3><span class="smcap"><a name="Mod14" id="Mod14"></a>No. 14. Bowl for Toilette, &amp;c.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 10, 15, 26, 13, 28, 29,
+6, and 24.)</p>
+
+<p>This model is shown in the perspective Fig. 1 of <a href="#Fig14">drawings
+No. 14</a>. Commence for it by cutting from Beech a piece about 5
+in. long, 3 in. wide, and 1<span class="expon">1</span>&#8260;<span class="index">4</span> in. thick. Plane one side and one
+edge at right angles. Then gauge for a thickness of 1 in. and
+plane the rough side to the gauge lines. Determine by choice
+which side shall be the bottom of the bowl and which the top.
+Find the centre of the bottom side by drawing the lines from <i>A</i>
+to <i>B</i> and from <i>C</i> to <i>D</i> as shown in Fig. 2. Repeat these lines on
+the edges and top side, using the try square. Then, on the bottom
+side, with compasses and square, draw the whole of the figures
+constituting the entire diagram shown by Fig. 2, and on the top
+side draw freehand the larger oval or ellipse diagram shown by
+Fig. 3, being guided by the points of the guide-lines first drawn
+for the purpose.</p>
+
+<p class='pagenum'><a name="Page_43" id="Page_43">[43]</a></p>
+<p class='pagenum'><a name="Page_44" id="Page_44"></a></p>
+<div class="figcenter"><a name="Fig14" id="Fig14"></a>
+<img src="images/illo43b.png" alt="Bowl" width="323" height="550" /></div>
+
+<p>Then, with the turning saw, cut round by the line of the
+ellipse on the top side, and finish the edge square with chisel and
+file. Then, with finger and pencil, mark a line about <span class="expon">1</span>&#8260;<span class="index">8</span> in. inside
+the outer edge all round the larger ellipse. With a <span class="expon">7</span>&#8260;<span class="index">8</span>-in. gouge
+cut out the centre so as to form the inside of the bowl, the
+depth and shape being shown by the dotted lines of Fig 4.<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span>
+Having so symmetrically shaped the inside and made it as smooth
+as the gouge is capable of, with the round end of the scraper
+dress as smoothly as possible, and finish with sand-paper, before
+proceeding with the bottom side.</p>
+
+<p>To complete the bottom side, leave the ellipse in the centre
+untouched, and from its outline to the outer edge of the lip of the
+bowl, shave with the knife so as to produce in all directions a
+curve corresponding to those at each end of Fig. 4. Take a
+shaving off the flat bottom with the smoothing plane, so as to
+remove the compass marks. Then file judiciously and lightly
+where required, scrape perfectly smooth, and finish with sand-paper.</p>
+
+<p><span class="exponlarge">*</span><span class="indexlarge">*</span><span class="exponlarge">*</span>
+This No. 14 is a very interesting study and a keen test of
+application, care, and skill, anything like carelessness being sure to
+leave its tell-tale marks.</p>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod15" id="Mod15"></a>No. 15. Hammer-Handle.</span></h3>
+
+<p>(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 22, 30, 4, 31, 2, 13, and 24.)</p>
+
+<p>This study exercises ability in the mastery of elliptical lines,
+and in the use of the spokeshave in <a href="#ExList">Exercises</a> 30 and 31.</p>
+
+<p>Cut from Beech a piece about 13 in. long, 1<span class="expon">1</span>&#8260;<span
+class="index">2</span> in. wide, and 1<span class="expon">1</span>&#8260;<span class="index">4</span>
+in. thick. Plane one side and one edge at right angles. On the
+smooth side thus produced, with the pencil sketch throughout the
+whole of Fig. 1 of <a href="#Fig15">drawings No. 15</a>. Then, with the
+turning saw,<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>
+cut at right angles to the curved lines on both edges throughout,
+and finish the shaping with the spokeshave, taking care to maintain
+right angles. Then, on one of the edges, with pencil, sketch
+throughout the whole of Fig. 2, and, with saw and spokeshave,
+shape both sides in unison with that sketch, still carefully
+maintaining right angles throughout. Then, with the knife, shave
+off the corners so as to make four symmetrical chamfers throughout.
+Then, with the spokeshave, remove the corners of the
+chamfers, and proceed with the paring down until the required
+symmetrical elliptical shape is arrived at, as shown by Figs. 1, 2,
+and 3. Saw across at right angles at each end to the exact length,
+and finish with file, scraper, and sand-paper.</p>
+
+<div class="figcenter"><a name="Fig15" id="Fig15"></a>
+<img src="images/illo47a.png" alt="Hammer-Handle" width="157" height="600" /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod16" id="Mod16"></a>No. 16. Handle for Chisel or File.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 8, 9, 10, 11, 33, 18, 6, 2, 13, and 24.)</p>
+
+<p>From Beech cut a piece 6 in. long, 2 in. wide, and 1<span class="expon">1</span>&#8260;<span class="index">4</span> in. thick.
+Plane one side and one edge at right angles. Gauge for greatest
+width shown from <i>A</i> to <i>B</i> in Fig. 1 of <a href="#Fig16">drawings No. 16</a>, and also
+for greatest thickness shown by <i>A</i> to <i>B</i> in Fig. 2. Plane the
+rough side and edge down to the respective gauge lines, thus
+producing a piece of equal thickness throughout, with the sides
+and edges at right angles. Saw across one end at right angles.
+On the face thus produced on that end sketch Fig. 3 complete.
+Fit a <span class="expon">1</span>&#8260;<span class="index">4</span>-in. Bit to the Brace and bore a hole in the centre of the same
+end to the depth shown by the dotted lines in the upper part of
+Fig. 1. Plane from <i>A</i> to <i>C</i> and from <i>B</i> to <i>D</i>, thus slightly
+tapering the sides and edges, but maintaining right angles throughout.
+Measure from the thin flat end and mark the length of 5 in.
+Then, from the centre of the line <i>A</i> to <i>B</i> of Fig. 1, describe a
+semicircle on each side as shown at bottom of Fig. 1. With
+turning saw and chisel, shape each side of that end to the semicircle.
+Then plane off the angles so far as to make the shape in
+unison throughout with Fig. 3, presenting sides corresponding to
+Fig. 1, and edges corresponding to Fig. 2. Then complete the
+shape of the thick end with knife, as shown in Fig. 2, and
+finish with file, scraper, and sand-paper.</p>
+
+<p class='pagenum'><a name="Page_47" id="Page_47">[47]</a></p>
+<div class="figcenter"><a name="Fig16" id="Fig16"></a>
+<img src="images/illo47b.png" alt="File or Chisel Handle" width="227" height="500" /></div>
+
+<p class='pagenum'><a name="Page_48" id="Page_48"></a></p>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_49" id="Page_49">[49]</a></p>
+<h3><span class="smcap"><a name="Mod17" id="Mod17"></a>No. 17. Spoon.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 19, 12, 8, 9, 10, 32, 22, 29, 14, 15, 26, 13,
+2, 8, 6, 24, 16, and 1.)</p>
+
+<p>From very carefully selected Beech cut a piece 10 in. long,
+2<span class="expon">1</span>&#8260;<span class="index">2</span> in.
+wide, and 1<span class="expon">3</span>&#8260;<span class="index">4</span> in. thick. Plane one side and one edge at
+right angles. Sketch on the flat edge the complete outline of Fig.
+1 of <a href="#Fig17">drawings No. 17</a>. With the turning saw, cut to the outline
+at right angles on the upper side only, completing with chisel and
+file. On the shaped side thus produced, make a centre line as<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>
+shown in Fig. 2, then the cross lines. Then, with compasses as
+guides and checks, mark the outlines of the handle shown in Fig. 2,
+and, with freehand, sketch the ellipse. With bits and brace drill a
+<span class="expon">7</span>&#8260;<span class="index">8</span>-in.
+hole right through at each centre marked <i>b</i>, and a <span class="expon">5</span>&#8260;<span class="index">8</span>-in. hole
+at each centre marked <i>c</i>. Then, with the turning saw, cut to the
+outline at right angles throughout, completing the process with
+gouge, knife, and file. Then, in the manner described for making
+the inside of <a href="#Mod14">No. 14</a>, make the inside of the Spoon in unison with
+the dotted curve of Fig. 1.</p>
+
+<p>The inside of the Spoon being thus completed, proceed with
+the outside. Mark on the edge the outline <i>d d d d d</i> for the under
+side of the spoon. With the turning saw, cut out to that outline,
+and round with the knife, as shown in the sections of Figs. 3, 4, and
+5. Take care to keep carefully outside the lines when cutting with
+the knife, and apply the file, scraper, and sand-paper for finishing.</p>
+
+<p><span class="exponlarge">*</span><span class="indexlarge">*</span><span class="exponlarge">*</span>
+The under part of the spoon is a capital exercise in modelling
+with the knife, and, if one process is completed before the next
+is commenced, requires no more than ordinary application and care.</p>
+
+<div class="figcenter"><a name="Fig17" id="Fig17"></a>
+<img src="images/illo51.png" alt="Spoon" width="321" height="550" /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod18" id="Mod18"></a>No. 18. Chopping-Board.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 12, 8, 9, 10, 14, 15, 26, 34, 13, 25, and 24.)</p>
+
+<p>This especially involves straight and square planing. Cut
+from Deal a piece 20 in. long, 6<span class="expon">1</span>&#8260;<span class="index">2</span>
+in. wide, and 1 in. thick. Plane<span class='pagenum'><a name="Page_51" id="Page_51"></a></span><span
+class='pagenum'><a name="Page_52" id="Page_52"></a></span>
+<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>one side perfectly level and one edge perfectly straight at right
+angles. Gauge and mark for width at 5<span class="expon">3</span>&#8260;<span class="index">4</span> in. Find and mark the
+centre line <i>A</i> to <i>B</i> in Fig. 1 of <a href="#Fig18">drawings No. 18</a>. Set the compasses
+to a radius from <i>A</i> to <i>B</i>, and describe, with <i>A</i> for the centre,
+the semicircle shown at the top of the Fig. Fit a 1-in. Centre-bit
+to the Brace, and drill a hole with <i>A</i> for the centre, taking care
+that it goes vertically through at right angles, and that there is no
+splitting when the bit is nearly through. With the small turning
+saw, cut round the semicircle at right angles, and, with the chisel,
+shave off and round the two corners that spring from the semicircle,
+also at right angles. Then, measuring from the centre of
+the rounded end at <i>B</i>, mark the entire length at 16<span class="expon">7</span>&#8260;<span class="index">8</span> in., and, with
+the tenon saw, cut off at the mark at right angles. Then shave
+and round at right angles the two bottom corners. Plane
+the bottom edge smooth, and file the edges where necessary.
+Set the gauge at <span class="expon">3</span>&#8260;<span class="index">4</span> in., mark with it the edge all round for thickness,
+and plane the rough side down to the mark, perfectly level
+throughout. Then, with the smoothing plane, take a thin shaving
+from the first side, merely enough to remove the marks, taking
+care to maintain an accurate level. Finish throughout with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig18" id="Fig18"></a>
+<img src="images/illo55a.png" alt="Chopping-Board" width="223" height="550" /></div>
+
+<p><span class="exponlarge">*</span><span class="indexlarge">*</span><span class="exponlarge">*</span>
+The object of deferring the planing of the second side
+until so late a period, is that, at the same time, minute chipping
+and roughness of edge on that side, almost certain to result from
+the boring and sawing, are at the same time disposed of.</p>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_54" id="Page_54">[54]</a></p>
+<h3><span class="smcap"><a name="Mod19" id="Mod19"></a>No. 19. Half-Yard Measure.</span></h3>
+
+<p class="center fsize80">(In the original Sloyd model this is a half-metre measure.)</p>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 10, 25, 30, 15, 16, 6, 2, 13,
+and 24.)</p>
+
+<p>Select from Beech an exceptionally straight-grained piece 24
+in. long, 1<span class="expon">1</span>&#8260;<span class="index">4</span>
+in. wide, and <span class="expon">3</span>&#8260;<span class="index">4</span> in. thick. Plane one side and one edge
+at right angles, both scrupulously straight and even; then gauge,
+mark to a nicety for 1<span class="expon">1</span>&#8260;<span
+class="index">8</span> in. wide and <span class="expon">1</span>&#8260;<span class="index">2</span> in. thick, and plane to the gauge
+marks with great exactitude, thus producing a four-cornered rod of
+uniform size throughout. Saw across one end at right angles.
+Measure from that cut end, mark the length of 18 in., and saw across
+at the mark. Then set the gauge precisely at <span class="expon">7</span>&#8260;<span class="index">8</span> in., and, passing it
+along each edge, mark on both sides for the lines <i>a</i> to <i>b</i> in Fig. 1
+of <a href="#Fig19">drawings No. 19</a>, continuing the lines from end to end of the
+entire rod. Then, with the square, mark across the place for <i>a a</i>,
+and there saw a slit on each side down to the gauge line. Then
+proceed to the first exercise in Obstacle Planing (No. 25.) Thus,
+pass the smooth plane along each edge from <i>b</i> to <i>a</i>, as far as the
+obstacle of the corner will allow. Of course the planing cannot
+be continued into the corners, but, whatever is left by the plane
+must be got out by the chisel and file. Then, on each side, sketch
+for the handle, as shown in Fig. 1, the gauge line, previously there,
+forming part of the sketch. Then, with the turning-saw, cut out<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span>
+to the sketch and gauge lines. With the knife, make the
+chamfers shown in Figs. 1 and 2. Then shave the corners and
+round the end of the handle, as shown in Fig. 1. File and scrape
+lightly where required, and finish with sand-paper.<span class='pagenum'><a name="Page_55" id="Page_55"></a></span></p>
+
+<p class='pagenum'><a name="Page_56" id="Page_56"></a></p>
+
+<div class="figcenter"><a name="Fig19" id="Fig19"></a>
+<img src="images/illo55b.png" alt="Half-Yard Measure" width="600" height="90" /></div>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod20" id="Mod20"></a>No. 20. Scoop.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 19, 12, 9, 14, 7, 15, 26, 32, 33, 29,
+28, 13, 18, 6, 16, 2, and 24.)</p>
+
+<p>Cut from Beech a carefully-selected piece 11 in. long, 3 in. wide,
+and 3 in. thick. Plane one side and one edge at right angles, with
+exceptional care. Then, on the smooth edge sketch the outline of
+the upper side <i>a</i> to <i>a</i> of Fig. 1 of <a href="#Fig20">drawings No. 20</a>. Saw to
+the outline at right angles throughout, afterwards correcting inaccuracies
+with chisel and plane. On the smooth shaped side
+thus produced, sketch the outline of Fig. 2. With 1<span class="expon">1</span>&#8260;<span class="index">2</span>-in. centre bit
+drill the holes indicated by <i>b b</i>, right through. Saw to the outline
+all round, carefully maintaining right angles throughout and, as
+before, correcting inaccuracies with chisel and plane.</p>
+
+<p>Then, at the upper edge of the invisible end at the bottom of
+Fig. 2, find the centre represented by <i>c</i> in Fig. 3. Fix compasses
+to a radius from <i>c</i> to <i>d</i>, and, from the centre before found, describe
+a semicircle, and from the same centre another semicircle with a
+radius about <span class="expon">1</span>&#8260;<span class="index">8</span>
+in. longer. The centre of the inner of those semicircles<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span>
+represents the bottom of the inside of the Scoop at <i>f</i> of Fig.
+1, and the outer one represents the bottom of the outside at the
+same point.</p>
+
+<p>Next, with <span class="expon">1</span>&#8260;<span class="index">8</span>-in. gouge, make a furrow just inside the outline
+of the face of the scoop, as previously recommended for <a href="#Mod17">Model
+No. 17</a>. Then, from that furrow as a starting-point, in all directions,
+with <span class="expon">7</span>&#8260;<span class="index">8</span>-gouge, scoop out from back to front, to the depth indicated
+by the dotted line of Fig. 1, and to the width at front of
+the semicircle previously drawn on the end, but gradually diminishing
+the inner capacity so as to make it smallest near the handle, in
+about the same proportion as indicated for the bottom by the
+dotted line in Fig. 1. Then file and scrape inside where required,
+and finish so far with sand-paper.</p>
+
+<p>Then, upon each edge, draw the outline of the bottom of
+the Scoop, shown in Fig. 1. Saw throughout that outline at right
+angles. Then from <i>e</i> to <i>f</i> plane all round to the semicircle
+indicated by the outer line of Fig. 3 previously described on the
+end. Then, with the knife, cut the handle to the section indicated
+by Fig. 4, and continue the shaping to <i>e</i> as indicated by the
+shaded lines of Fig. 1. File the handle and outside of Scoop
+where required, and finish with sand-paper.</p>
+
+<div class="figcenter"><a name="Fig20" id="Fig20"></a>
+<img src="images/illo59.png" alt="Scoop" width="334" height="550" /></div>
+
+<p><span class="exponlarge">*</span><span class="indexlarge">*</span><span class="exponlarge">*</span>
+The most difficult part of this model is that shaded in
+Fig. 1, which requires special attention and care.<span class='pagenum'><a name="Page_59" id="Page_59"></a></span></p>
+
+<p class='pagenum'><a name="Page_60" id="Page_60"></a></p>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_61" id="Page_61">[61]</a></p>
+<h3><span class="smcap"><a name="Mod21" id="Mod21"></a>No. 21. Hanging Pegs or Rack.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 10, 14, 15, 26, 13, 18, 4, 26, 37,
+29, 35, 39, 40, and 42.)</p>
+
+<p>From Deal cut out two pieces, one 18 in. long, 3<span class="expon">1</span>&#8260;<span class="index">2</span> in. wide,
+and <span class="expon">7</span>&#8260;<span class="index">8</span> in. thick; the other 15
+in. long, 1 in. wide, and <span class="expon">7</span>&#8260;<span class="index">8</span> in. thick.</p>
+
+<p>Commencing with the larger piece, plane one side and one
+edge at right angles. Then gauge-mark to a width of 3 in., and
+plane the rough edge down to that mark. At the centre of the
+width draw a line from end, as shown in Fig. 1, <i>f</i> to <i>f</i>. On that
+line, with compasses, mark the points indicated by <i>a</i>, <i>b</i>, <i>c</i>, of Fig.
+1 of the <a href="#Fig21">drawings No. 21</a>. At each point drill a
+<span class="expon">5</span>&#8260;<span class="index">8</span> in. hole
+right through, taking great care to drill vertically. With the
+square, draw the cross lines at <i>d d</i>, the intersections with the
+central line forming additional central points. Set compasses
+to a radius of <span class="expon">7</span>&#8260;<span class="index">8</span> in., and, from each of those central points,
+describe a semicircle as shown in the Fig.; then from each
+of the same central points describe an outer semicircle as also
+shown in the Fig. With tenon saw make a nick at each of the
+four points <i>g</i>, in each case reaching to the outer of the semicircles,
+each nick being strictly at right angles. Then, with turning saw,
+follow the line of each of the outer semicircles. Then dress the edges
+all round with chisel and file as required. Then gauge-mark all
+round for a thickness of <span class="expon">3</span>&#8260;<span class="index">4</span>
+in., and plane the rough side down to the<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>
+mark, evenly throughout. Gauge-mark all round for the chamfer,
+in the proportion shown in Fig. 1, and chamfer to the mark accordingly,
+using the plane for the sides and the knife for the curves and
+corners. File throughout where necessary, and finish with sand-paper.</p>
+
+<p>The smaller piece of Deal being to make the pegs with, plane
+it on one side and one edge at right angles, then gauge-mark for
+a width of <span class="expon">3</span>&#8260;<span class="index">4</span>
+in. and for a thickness of <span class="expon">5</span>&#8260;<span class="index">8</span> in., as illustrated in section
+by Fig. 4. Saw across into three lengths of 5 in. each. Place
+them together on their sides, and sketch one side of each as shown
+from <i>j</i> to <i>k</i> and <i>l</i> in Fig. 3, leaving the space from <i>j</i> to <i>m</i>
+untouched. With the try square repeat the lines of this sketch on
+both sides of each. With saw and knife cut each peg to the
+sketch, finishing the whole, excepting the circular plug. Then at
+the inner end, find the centre as denoted in Fig. 4, and, using the
+same centre-bit as for Fig. 1, describe a circle mark as dotted in Fig.
+4. Then, with the tenon saw, cut by the &#8220;shoulder&#8221; to a depth
+of <span class="expon">1</span>&#8260;<span class="index">8</span> in., and pare the circle with the knife to the shoulder <i>j</i>, so
+making a round plug, a little too large to go into the holes of Fig. 1.
+Then, with the file, carefully reduce the size of each plug so as to
+very accurately and tightly fit one hole at a time in Fig 1, where
+wedging must not be tolerated. The perfection of this part of the
+work is to be tested by ascertaining that the pegs are precisely in
+a line, and that each one fits all round to the face of the board into
+which it is inserted.</p>
+
+<p class='pagenum'><a name="Page_63" id="Page_63">[63]</a></p>
+<div class="figcenter"><a name="Fig21" id="Fig21"></a>
+<img src="images/illo63.png" alt="Clothes Rack" width="391" height="550" /></div>
+
+<p class='pagenum'><a name="Page_64" id="Page_64"></a></p>
+
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span>Having thus fitted each plug to its own hole, and marked it
+for identification, the pegs may be completed. Cut down each
+one, with the tenon saw, from <i>k</i> to <i>x</i>, and, with the chisel, pare
+down from <i>j</i> to <i>k</i>, first making it square and afterwards slightly
+rounding it, as shown in section of Fig. 4. With a sharp chisel
+cut round to the outside of the semicircle for the top of the peg.
+File this round and then cut the chamfer with the knife. File as
+required, and finish with sand-paper.</p>
+
+<p>The pegs being thus made ready for fixing, clean the face of
+the board (Fig. 1) with the smooth plane, and the edges and
+chamfers with sand-paper. Then glue in each plug, using the try
+square to make sure that they project at right angles. Then put
+the whole away for not less than six hours, to allow the glue to
+set well. Then, as each plug has been purposely made slightly
+too long, saw off each projection at the back, and smooth the
+whole of the back with the plane, so effecting the finishing
+touches.</p>
+
+<p>To avoid the necessity for nailing to the wall, get two pieces
+of hoop-iron about 1<span class="expon">1</span>&#8260;<span class="index">2</span>
+in. long and <span class="expon">1</span>&#8260;<span class="index">2</span> in. wide. To adapt each
+piece for its purpose, cut one end round and punch in a nail hole
+and two smaller screw holes, as shown in Fig. 1. With a chisel
+cut a neat recess for each iron so that it can be sunk flush with the
+back, as shown in Fig. 2, and, inserting the screws, the work will
+be complete.</p>
+
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_66" id="Page_66">[66]</a></p>
+<h3><span class="smcap"><a name="Mod22" id="Mod22"></a>No. 22. Flower-Pot Stand.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 10, 34, 20, 2, 1, 13, 41,
+42, and 35.)</p>
+
+<p>This is an especially good subject for straight sawing, straight
+planing, and nailing.</p>
+
+<p>Cut from Deal a piece about 22 in. long, 6 in. wide, and 1 in.
+thick. With the jack-plane face one side and one edge perfectly
+straight and true at right angles. Gauge-mark for <span class="expon">13</span>&#8260;<span class="index">16</span> in. thick,
+and plane the rough side down to the gauge-line. Square one
+end with the plane, mark to length shown in Fig. 1 of <a href="#Fig22">drawings
+No. 22</a>, cut with tenon saw to mark, and square the end with
+smooth plane. Then gauge-mark for thickness of lath shown in
+Fig. 4, and saw off a shade inside the gauge-lines. In like manner
+cut five laths, and plane each to the gauge line.</p>
+
+<p>The laths being thus made, sufficient wood will be left for the
+supports. Make the width of the supports the same as that of the
+laths. After gauging and planing the supports to depth as Fig. 4,
+saw off to the 6-in. length. Square the ends with a chisel and set
+out on each the distance <i>a a</i>, Fig. 3. Gauge to <i>b b</i>, Fig. 4, and
+with the tenon saw, cut to the gauge-line at <i>a a</i>, and with the
+knife remove the piece between <i>a</i> and <i>a</i>. Then mark on each
+lath the distance the supports are from each end of the laths,
+and nail on the laths&mdash;the outside laths first, then the centre
+one, and finally the other two.</p>
+
+<p class='pagenum'><a name="Page_67" id="Page_67">[67]</a></p>
+<div class="figcenter"><a name="Fig22" id="Fig22"></a>
+<img src="images/illo67.png" alt="Flower-Pot Stand" width="600" height="447" /></div>
+
+<p class='pagenum'><a name="Page_68" id="Page_68"></a></p>
+
+<hr class="c10" />
+<p class='pagenum'><a name="Page_69" id="Page_69">[69]</a></p>
+<h3><span class="smcap"><a name="Mod23" id="Mod23"></a>No. 23. Foot-Stool.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 7, 12, 8, 9, 10, 3, 4, 15, 44, 32, 29, 14, 13,
+3, 5, 41, and 42.)</p>
+
+<p>Cut from Deal two pieces, one 12 in. long, 6 in. wide, and
+1<span class="expon">1</span>&#8260;<span class="index">4</span> in.
+thick; the other 18 in. long, 3<span class="expon">1</span>&#8260;<span class="index">4</span> in. wide, and 1 in. thick.</p>
+
+<p>The former piece is for the laths, and it must be prepared and
+cut as in No. 22, making each lath to finish 1 in. wide, <span class="expon">1</span>&#8260;<span class="index">2</span> in. thick,
+and 10<span class="expon">3</span>&#8260;<span class="index">4</span> in. long.</p>
+
+<p>The wood for the support must now be proceeded with.
+Plane one side and one edge at right angles, and gauge-mark for
+width of 3 in. and thickness of 1<span class="expon">7</span>&#8260;<span class="index">8</span> in. Plane the rough side and
+edge down to the gauge-marks. Then saw through the centre so
+as to make two pieces of <span class="expon">7</span>&#8260;<span class="index">8</span> in. thickness each. Place the pieces
+side by side, and nail them together with two 1<span class="expon">1</span>&#8260;<span class="index">2</span>-in. wrought nails,
+so that both pieces can be operated upon together. Then draw on
+one outer side the diagram shown on the unshaded part of Fig. 1
+of <a href="#Fig23">drawings No. 23</a>, and, with the aid of try-square and compasses,
+repeat the diagram on the other outer side. Then cut off each
+end nearly to the end lines of the diagrams, and, with the smoothing
+plane, finish at perfect right angles. Then, with a <span class="expon">5</span>&#8260;<span class="index">8</span>-in. centre-bit,
+drill at the spots marked <i>a a</i> on each diagram, penetrating on
+one side a little more than an inch, and finishing by drilling from
+the other side in precise unison. The drilling throughout must be<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span>
+exactly vertical. Then proceed with the arch shown in Fig. 1,
+with the turning saw cutting out the three semicircles, which
+finish with gouge and file, taking care to maintain right angles at
+every point. Then separate the pieces, smooth each face with the
+smoothing plane, and the circular parts with file and sand-paper.</p>
+
+<p>The respective parts being now complete, mark on each lath
+the distance the supports are from the ends shown in Fig. 2.
+Then nail on the laths, <i>b b</i> first, <i>c</i> next, and the others afterwards.
+Then, having first taken care to punch down all the nails sufficiently,
+plane a few shavings off the tops of the laths to make them
+clean and level.</p>
+
+<div class="figcenter"><a name="Fig23" id="Fig23"></a>
+<img src="images/illo71.png" alt="Foot Stool" width="416" height="600" /></div>
+
+<p><span class="exponlarge">*</span><span class="indexlarge">*</span><span class="exponlarge">*</span>
+If the laths are well and truly nailed on, their ends should
+be in perfect line. Any defect in that respect must be remedied
+by carefully and judiciously planing; but the perfection of work
+is when no such planing is necessary.</p>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod24" id="Mod24"></a>No. 24. Book-Carrier.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 12, 8, 9, 10, 3, 4, 15, 44, 32, 29, 14, 13, 3,
+5, 41, and 42.)</p>
+
+<p>This is made partly in hard and partly in soft wood.<span class='pagenum'><a name="Page_71" id="Page_71"></a></span></p>
+
+<p class='pagenum'><a name="Page_72" id="Page_72"></a></p>
+<p class='pagenum'><a name="Page_73" id="Page_73">[73]</a></p>
+<div class="figcenter"><a name="Fig24" id="Fig24"></a>
+<img src="images/illo73.png" alt="Book-Carrier" width="450" height="574" /></div>
+<p class='pagenum'><a name="Page_74" id="Page_74"></a></p>
+
+<p>For the handle, cut from Beech a piece 8 in. long, 2 in. wide,
+and <span class="expon">7</span>&#8260;<span class="index">8</span> in. thick. Plane one side and one edge. Then gauge-mark
+for 1<span class="expon">1</span>&#8260;<span class="index">2</span> in.
+wide and <span class="expon">3</span>&#8260;<span class="index">4</span> in. thick, and plane the rough side and
+edge down to each gauge-mark. Then draw on one side the
+diagram of the handle shown in Fig. 1 of <a href="#Fig24">drawings
+No. 24</a>. With<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span>
+the turning saw, cut to the inner and outer lines of the diagram.
+With the plane, round the top of the handle, as shown in Fig. 1,
+and, with the knife, round and smooth the other parts, taking care
+that all the right angles are strictly maintained. Then, with an <span class="expon">1</span>&#8260;<span class="index">8</span>-in.
+centre-bit, drill a hole for each screw, as shown in the Fig.,
+and, with the knife, counter-sink for the heads of the screws.
+With the knife, make the chamfers at the corners of the curves,
+as shown in Fig. 2, and finish completely with scraper and sand-paper.</p>
+
+<p>The handle being thus finished, cut from Deal a piece 24 in.
+long, 6<span class="expon">1</span>&#8260;<span class="index">2</span> in.
+wide, and <span class="expon">5</span>&#8260;<span class="index">8</span> in. thick, and plane one side and one edge
+at right angles. Gauge-mark for 6 in. wide, and <span class="expon">1</span>&#8260;<span class="index">2</span> in. thick, and
+plane the rough side and edge down to the gauge-marks. Square
+one end, measuring from that end, saw off at 9 in. On the larger piece
+remaining, draw the lines <i>a b</i> and <i>a b</i> in the positions shown in Fig.
+2; then, with the compasses, set off the spaces from <i>a</i> to <i>c</i> and
+from <i>a</i> to <i>c</i>, <i>b</i> to <i>c</i> and <i>b</i> to
+<i>c</i>, <i>a</i> to <i>d</i> and <i>a</i> to <i>d</i>, <i>b</i> to <i>d</i> and <i>b</i> to <i>d</i>.
+Then set the gauge to half the thickness, and with it mark the
+edges on the four places indicated in each case from <i>c</i> to <i>d</i>. Set
+the bevel to the oblique line at each side of the dovetails, and
+transfer this bevelled line to each side at points <i>c c c c</i> and <i>d d d d</i>.
+Then, with tenon saw, cut down each line <i>c d</i> to the depth of the
+gauge line, and, with a small chisel, remove the whole of the pieces
+between the nicks made by the saw. This will result in two grooves
+for dovetailed tongues, as shown above, <i>a a</i> in Fig. 1, designed to
+strengthen and prevent from warping the upper half of the holder.</p>
+
+<p><span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span>The grooves having been thus made ready, the dovetails
+must be prepared. From Deal cut two pieces, each 9 in. long, 2<span class="expon">1</span>&#8260;<span class="index">2</span>
+in. wide, and <span class="expon">3</span>&#8260;<span class="index">4</span> in. thick. Plane one side of each and bevel one
+edge to the pitch the bevel was previously set for. Then, on the
+planed side, mark 2<span class="expon">1</span>&#8260;<span class="index">4</span>
+in. at one end, 1<span class="expon">1</span>&#8260;<span class="index">4</span> in. at the other end, and
+take to that width, afterwards bevelling the edge as before. Then
+fit each of the tongues provided, driving them tight into their
+places. When they fit exactly, glue the planed side and the edges,
+and drive them to their positions, being careful not to split off the
+ends. Then allow time for the glue to set, and cut off the projecting
+ends of the tongues and plane them and the face of the board
+to a level. Cut off to exact length, measuring from the lines <i>a b</i>.
+Then smooth both boards with the plane, nail them together with
+two small nails, and square the ends. Then gauge and nick with
+the saw for the recesses <i>e e</i>, removing the wood from each recess with
+the knife, so making grooves for a strap to pass round. Then
+screw on the handle in the manner indicated by both Figs., and
+finish as required with sand-paper.</p>
+
+<hr class="c10" />
+<h3><span class="smcap"><a name="Mod25" id="Mod25"></a>No. 25. Ladle.</span></h3>
+
+<p class="center">(Requiring <a href="#ExList">Exercises</a> 5, 19, 12, 9, 10, 32, 15, 33, 29, 14, 26, 28, 22,
+49, 31, 1, 6, 16, 13, and 24.)</p>
+
+<p class='pagenum'><a name="Page_77" id="Page_77">[77]</a></p>
+<div class="figcenter"><a name="Fig25" id="Fig25"></a>
+<img src="images/illo77.png" alt="Ladle" width="334" height="600" /></div>
+<p class='pagenum'><a name="Page_78" id="Page_78"></a></p>
+
+<p>Cut from Beech a piece 16 in. long, 4 in. wide, and 4 in. thick.
+The manner of proceeding resembles that required for No. 17.
+Plane one side and one edge at right angles, and draw on the planed<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span>
+side the diagram shown in Fig. 2 of <a href="#Fig25">drawings No. 25</a>.
+With a 1<span class="expon">1</span>&#8260;<span class="index">4</span>-in.
+centre-bit, drill two holes right through, as indicated by the
+dotted circles. Saw round the outside lines of the diagram, taking
+care not to obliterate the lines. Trim exactly to the lines with a
+chisel, gouge, and file. Then mark on each edge the upper curved
+line of Fig. 1. Saw to that line without obliterating it, finishing
+with spokeshave, plane, chisel, and file. Then cut out the bowl of
+the ladle, using a small gouge for the edge, and a larger one for
+obtaining the depth, which must be governed by the white section
+shown in Fig. 3, and finished with file, scraper, and sand-paper
+before proceeding with the under side. When the bowl is thus
+finished, mark on each side the curve for the under side shown in
+Fig. 1. Saw just outside the line, and proceed to shape the under
+side&mdash;the bowl to the shaded section of Fig. 3, and the handle to
+the section of Fig. 4. For finishing the bowl, fix the handle in the
+bench screw, and pare with a wide chisel, afterwards applying the
+knife for completing the bowl and handle. For the finishing
+touches use the file, scraper, and sand-paper.</p>
+
+
+<p class="center" style="line-height: 3em;">END.</p>
+
+
+<p class="center fsize80">TURNBULL AND SPEARS, PRINTERS, EDINBURGH.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Hand-Craft, by John D. Sutcliffe
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HAND-CRAFT ***
+
+***** This file should be named 37447-h.htm or 37447-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/7/4/4/37447/
+
+Produced by Jonathan Ingram, Harry Lamé and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/37447-h/images/illo17.png b/37447-h/images/illo17.png
new file mode 100644
index 0000000..f562b47
--- /dev/null
+++ b/37447-h/images/illo17.png
diff --git a/37447-h/images/illo21.png b/37447-h/images/illo21.png
new file mode 100644
index 0000000..9ffabb6
--- /dev/null
+++ b/37447-h/images/illo21.png
diff --git a/37447-h/images/illo22.png b/37447-h/images/illo22.png
new file mode 100644
index 0000000..5d10468
--- /dev/null
+++ b/37447-h/images/illo22.png
diff --git a/37447-h/images/illo23a.png b/37447-h/images/illo23a.png
new file mode 100644
index 0000000..e095c66
--- /dev/null
+++ b/37447-h/images/illo23a.png
diff --git a/37447-h/images/illo23b.png b/37447-h/images/illo23b.png
new file mode 100644
index 0000000..824c443
--- /dev/null
+++ b/37447-h/images/illo23b.png
diff --git a/37447-h/images/illo23c.png b/37447-h/images/illo23c.png
new file mode 100644
index 0000000..5cccf38
--- /dev/null
+++ b/37447-h/images/illo23c.png
diff --git a/37447-h/images/illo23d.png b/37447-h/images/illo23d.png
new file mode 100644
index 0000000..9c99ff2
--- /dev/null
+++ b/37447-h/images/illo23d.png
diff --git a/37447-h/images/illo27a.png b/37447-h/images/illo27a.png
new file mode 100644
index 0000000..a936a4d
--- /dev/null
+++ b/37447-h/images/illo27a.png
diff --git a/37447-h/images/illo27b.png b/37447-h/images/illo27b.png
new file mode 100644
index 0000000..303702a
--- /dev/null
+++ b/37447-h/images/illo27b.png
diff --git a/37447-h/images/illo27c.png b/37447-h/images/illo27c.png
new file mode 100644
index 0000000..b418900
--- /dev/null
+++ b/37447-h/images/illo27c.png
diff --git a/37447-h/images/illo32a.png b/37447-h/images/illo32a.png
new file mode 100644
index 0000000..1bf5040
--- /dev/null
+++ b/37447-h/images/illo32a.png
diff --git a/37447-h/images/illo32b.png b/37447-h/images/illo32b.png
new file mode 100644
index 0000000..d1b2f6e
--- /dev/null
+++ b/37447-h/images/illo32b.png
diff --git a/37447-h/images/illo33a.png b/37447-h/images/illo33a.png
new file mode 100644
index 0000000..8cfd6b9
--- /dev/null
+++ b/37447-h/images/illo33a.png
diff --git a/37447-h/images/illo33b.png b/37447-h/images/illo33b.png
new file mode 100644
index 0000000..79ed94c
--- /dev/null
+++ b/37447-h/images/illo33b.png
diff --git a/37447-h/images/illo33c.png b/37447-h/images/illo33c.png
new file mode 100644
index 0000000..0555e57
--- /dev/null
+++ b/37447-h/images/illo33c.png
diff --git a/37447-h/images/illo39a.png b/37447-h/images/illo39a.png
new file mode 100644
index 0000000..0d980b2
--- /dev/null
+++ b/37447-h/images/illo39a.png
diff --git a/37447-h/images/illo39b.png b/37447-h/images/illo39b.png
new file mode 100644
index 0000000..ccb8db9
--- /dev/null
+++ b/37447-h/images/illo39b.png
diff --git a/37447-h/images/illo39c.png b/37447-h/images/illo39c.png
new file mode 100644
index 0000000..8a40b40
--- /dev/null
+++ b/37447-h/images/illo39c.png
diff --git a/37447-h/images/illo43a.png b/37447-h/images/illo43a.png
new file mode 100644
index 0000000..5976dad
--- /dev/null
+++ b/37447-h/images/illo43a.png
diff --git a/37447-h/images/illo43b.png b/37447-h/images/illo43b.png
new file mode 100644
index 0000000..d30b081
--- /dev/null
+++ b/37447-h/images/illo43b.png
diff --git a/37447-h/images/illo47a.png b/37447-h/images/illo47a.png
new file mode 100644
index 0000000..22ff827
--- /dev/null
+++ b/37447-h/images/illo47a.png
diff --git a/37447-h/images/illo47b.png b/37447-h/images/illo47b.png
new file mode 100644
index 0000000..ca1bc09
--- /dev/null
+++ b/37447-h/images/illo47b.png
diff --git a/37447-h/images/illo51.png b/37447-h/images/illo51.png
new file mode 100644
index 0000000..5bb5a71
--- /dev/null
+++ b/37447-h/images/illo51.png
diff --git a/37447-h/images/illo55a.png b/37447-h/images/illo55a.png
new file mode 100644
index 0000000..2729160
--- /dev/null
+++ b/37447-h/images/illo55a.png
diff --git a/37447-h/images/illo55b.png b/37447-h/images/illo55b.png
new file mode 100644
index 0000000..1dc4d1d
--- /dev/null
+++ b/37447-h/images/illo55b.png
diff --git a/37447-h/images/illo59.png b/37447-h/images/illo59.png
new file mode 100644
index 0000000..cc83010
--- /dev/null
+++ b/37447-h/images/illo59.png
diff --git a/37447-h/images/illo63.png b/37447-h/images/illo63.png
new file mode 100644
index 0000000..89d7258
--- /dev/null
+++ b/37447-h/images/illo63.png
diff --git a/37447-h/images/illo67.png b/37447-h/images/illo67.png
new file mode 100644
index 0000000..5c6694e
--- /dev/null
+++ b/37447-h/images/illo67.png
diff --git a/37447-h/images/illo71.png b/37447-h/images/illo71.png
new file mode 100644
index 0000000..ea13832
--- /dev/null
+++ b/37447-h/images/illo71.png
diff --git a/37447-h/images/illo73.png b/37447-h/images/illo73.png
new file mode 100644
index 0000000..9a8fdc4
--- /dev/null
+++ b/37447-h/images/illo73.png
diff --git a/37447-h/images/illo77.png b/37447-h/images/illo77.png
new file mode 100644
index 0000000..981cb43
--- /dev/null
+++ b/37447-h/images/illo77.png
diff --git a/37447.txt b/37447.txt
new file mode 100644
index 0000000..9441e1a
--- /dev/null
+++ b/37447.txt
@@ -0,0 +1,1965 @@
+The Project Gutenberg EBook of Hand-Craft, by John D. Sutcliffe
+
+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: Hand-Craft
+       The Most Reliable Basis of Technical Education in Schools and Classes
+
+Author: John D. Sutcliffe
+
+Release Date: September 16, 2011 [EBook #37447]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK HAND-CRAFT ***
+
+
+
+
+Produced by Jonathan Ingram, Harry Lame and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+  +--------------------------------------------------------------------+
+  |                        TRANSCRIBER'S NOTES                         |
+  |                                                                    |
+  | * Minor typographical errors have been corrected silently.         |
+  |                                                                    |
+  | * Inconsistencies in spelling (including hyphenation) and          |
+  |   formatting have not been corrected, except that sandpaper has    |
+  |   been changed to sand-paper.                                      |
+  |                                                                    |
+  | * Special characters and formatting:                               |
+  |   * A V-shaped symbol is represented as [V];                       |
+  |   * Text printed in italics and bold face in the original work are |
+  |     represented here as _text_ and =text=, respectively;           |
+  |   * Small capitals in the original work are represented by all-    |
+  |     capitals;                                                      |
+  |   * Superscript characters in the original work are represented    |
+  |     here as regular characters.                                    |
+  |   * Asterisms are represented as [***];                            |
+  |   * In-line illustrations are represented as [Figure];             |
+  |   * In the multi-page table the repeated headings and 'carry       |
+  |     forward' / 'carried forward' have been removed.                |
+  +--------------------------------------------------------------------+
+
+
+
+
+  HAND-CRAFT.
+
+
+
+
+     DRAWING BOOKS.
+
+     Kindergarten Drawing Book. Part I. Compiled by T. G. Rooper.
+
+     Two Hundred Blackboard Drawing Exercises for Infants' Classes.
+     Small quarto, cloth, price 1s. 6d.
+
+     Kindergarten Drawing Book. Part II. Compiled by T. G. Rooper.
+     (Curved lines.) Small quarto, cloth, price 1s.
+
+
+     INFANTS' DRAWING BOOKS.
+
+     _A Varied Occupation._
+
+     Book I. Vertical and Horizontal Lines of varying lengths in
+     combination.
+
+     Book II. Vertical and Horizontal Lines, with Oblique Lines drawn
+     at Angles of 45 Degrees.
+
+     Book III. Vertical and Horizontal Lines, with Oblique Lines drawn
+     at various Angles.
+
+     PRICE TWOPENCE EACH.
+
+     _Recommended by the Science and Art Department for Beginning in
+     Elementary Day Schools._
+
+
+     JUNIOR DRAWING BOOKS.
+
+     =Three Books. PRICE TWOPENCE EACH.=
+
+
+     DRAWING BOOKS.
+
+     _To meet the requirements of the New Class Subject--Drawing--and
+     forming a complete course of Instruction in Freehand and
+     Geometry, with full directions and space for working._
+
+
+     FREEHAND.
+
+     Book I. Lines, Angles, Parallels. Simple Right-lined Forms.
+
+     Book II. Simple Right-lined Forms.
+
+     Book III. Simple Combinations of Straight and Curved Lines,
+     forming familiar Symmetrical Figures.
+
+     Book IV. More Advanced Combinations of Straight and Curved Lines,
+     forming Symmetrical Figures.
+
+     Books V. & VI. Familiar Symmetrical Objects of the Home.
+
+     Books VII. & VIII. Stage II. of the Science and Art Department.
+
+     Books IX. & X. Common Objects in Light and Shade.
+
+     _11 inches by 7-1/2 inches, paper covers, Twopence each._
+
+     _BOOKS I.-VIII. have SIXTEEN PAGES. BOOKS IX. and X. EIGHT
+     PAGES._
+
+
+     GEOMETRY.
+
+     Book I. Lines, Parallels, Angles and Triangles drawn with Rulers.
+
+     Book II. Quadrilaterals and Simple Geometrical Figures drawn with
+     Rulers.
+
+     Book III. Lines and Angles.
+
+     Book IV. Drawing to Scale.
+
+     Book V. Triangles, Quadrilaterals, Circles and Tangents.
+
+     Book VI. Polygons, Ellipses, Inscribed and Described Figures.
+
+     Book VII. Inscribed and Described Figures.
+
+     Book VIII. Proportionals and Areas.
+
+     Book IX. Simple Scales, Projection of Rectangular Solids, and
+     Plane Figures.
+
+     Book X. Ditto (more advanced), and with Sections.
+
+     Book XI. Projection of Circular Solids and Sections.
+
+     _BOOKS I.-VIII., 11 inches by 7-1/4 inches, paper covers,
+     Twopence each._
+
+     _BOOKS IX.-XI., 14 inches by 10-3/4 inches, paper covers,
+     Threepence each._
+
+     [***] _A Book of Specimen Pages of this Series will be forwarded
+     free to Head-Teachers on application. Single Copies of any of the
+     Books are sent post-free on receipt of the published price._
+
+
+     STUDIES IN MACHINE DESIGN.
+
+     By C. F. ARCHER, Certificated Teacher, Subject II.
+
+
+     ELEMENTARY STAGE.
+
+     1. Hexagon and Square-headed Bolts and Nuts.
+
+     2. Flange Coupling of Shafts of different diameter.
+
+     3. Hydraulic Pipe Joint.
+
+     4. Steam Piston.
+
+     5. Cylinder Cover and Stuffing Box.
+
+     6. Full Way Stop Valve.
+
+     _On Separate Sheets, 13-1/2 inches by 9-1/2 inches, the Six in a
+     Packet_, =Sixpence=.
+
+
+     ADVANCED STAGE.
+
+     1. Launch Engine.
+
+     2. Details of Crank Shaft and Columns.
+
+     3. Details of Slide Valve and Link Motion.
+
+     4. Details of Piston, Crosshead, and Connecting Rod.
+
+     5. Launch Engine Cylinder.
+
+     6. Details of Bed-plate.
+
+     _On Separate Sheets, 13-1/2 inches by 9-1/2 inches, the Six in a
+     Packet_, =Sixpence=.
+
+
+     GRIFFITH, FARRAN, OKEDEN & WELSH, LONDON.
+
+
+
+
+  HAND-CRAFT:
+
+  _THE MOST RELIABLE BASIS OF TECHNICAL EDUCATION
+  IN SCHOOLS AND CLASSES._
+
+  A TEXT BOOK
+
+  EMBODYING A SYSTEM OF PURE MECHANICAL ART, WITHOUT THE AID OF
+  MACHINERY; BEING AN ENGLISH EXPOSITION OF
+
+  SLOeJD
+
+  AS CULTIVATED IN SWEDEN, AND GENERALLY ADOPTED BY ALL
+  SCANDINAVIAN PEOPLES, TO THEIR GREAT ADVANTAGE.
+
+  _EXPLAINED AND ILLUSTRATED_
+
+  BY
+  JOHN D. SUTCLIFFE,
+  OF THE MANCHESTER RECREATIVE EVENING CLASSES.
+
+  WITH AN INTRODUCTION BY
+  T. C. HORSFALL, J.P.
+
+  NEW YORK
+  CHARLES E. MERRILL & CO.
+  52 & 54 LAFAYETTE PLACE
+  1890
+
+
+
+
+INTRODUCTION.
+
+
+It is surprising that so few efforts have hitherto been made in this
+country to introduce manual training into Elementary Schools. Adequate
+reason for making such training part of the national system of education
+exists in the fact, that a large proportion of the people have to earn
+their livelihood by industries for the attainment of a high degree of
+skill in which early training of hand and eye is as necessary as it is
+for success in the use of musical instruments. There can be no doubt
+that if, in 1870, a system, resembling that of Sloyd, had been generally
+introduced into English Elementary Schools, the joiners, metal-workers,
+and most other craftsmen of to-day, would possess more skill in their
+own work, and more interest in all kinds of manual work, than they do
+now possess, and that English workpeople, finding that their children
+received at school kinds of training obviously well fitted to increase
+wage-earning power, would less commonly than now be careless with regard
+to their children's attendance at school.
+
+This reason for desiring the introduction of manual training into
+Elementary Schools might have been expected to suggest itself to all
+persons who are acquainted with the conditions under which the mass of
+English people live; but experience gained in Sweden and other countries
+where the Sloyd system has been largely used, proves that there are also
+strong educational reasons for desiring that Sloyd shall be introduced
+into all English Elementary Schools as soon as possible. It has been
+found that this admirably graduated system of training not only fosters
+deftness of hand and correctness of eye, as it might be expected to do,
+but also has distinctly moral and intellectual effects, as it promotes
+patient attention, steady application, and interest in work, to a very
+high degree.
+
+Its effect on many of the large class of children who, though not
+dullards, show lack of interest in, and deficiency in the power to
+understand, the subjects comprised in the ordinary school-curriculum,
+has been most beneficial. In their Sloyd-lessons many of these children
+have found themselves the equals, some more than the equals, of
+companions far their superiors at book-work, and have by this gained a
+confidence in their own ability which has often reacted on their power
+and their will to conquer their other lessons. Thus many children who,
+when they first began Sloyd, were distinctly below the average in
+intelligence, have become under its influence completely "normal." On
+nearly all children the effect of this kind of training has been so
+vivifying that, at least, as much progress has been made with other
+subjects, when several hours weekly have been given to Sloyd, as had
+been made previously when all the school-time was given to them. The
+general educational value of Sloyd has, indeed, been found to be so
+great, that in some schools in Swedish towns as many as eight hours are
+given to it each week.
+
+All persons who know how badly prepared are the majority of the children
+who now leave our Elementary Schools for gaining rapidly skill in the
+work by which they have to live, or for taking an intelligent interest
+in their own work or in the best handiwork of others, most strongly
+desire that the educational authorities in this country will no longer
+delay the introduction of a system, the great usefulness of which has
+been so fully ascertained in other lands, and for which many
+well-trained English teachers can now be obtained. Mr Sutcliffe brought
+to the careful study of Sloyd, knowledge of the methods of wood-carving;
+and his treatise will doubtless be found to be helpful to all teachers
+of the new system.
+
+  T. C. HORSFALL, J.P.
+
+  SWANSCOE PARK,
+
+  near MACCLESFIELD.
+
+       *       *       *       *       *
+
+
+NOTE BY THE AUTHOR.
+
+Some friends have advised that elementary suggestions should have been
+given as guidance for the use of the tools. Everything of the kind has
+been omitted, because it is vain to rely upon book knowledge in such
+matters. How to handle and use the tools can only be well imparted by a
+competent teacher in practice. The author avails himself of two more
+lines, wherein to acknowledge the valuable literary assistance he has
+received from his friend, Mr Richard Russell, of Ashbourne House, Herne
+Hill, London.
+
+  J. D. S.
+
+  PENDLETON, MANCHESTER,
+
+  _March 1890._
+
+
+
+
+HAND-CRAFT.
+
+
+For some generations there has been cultivated in Sweden, and amongst
+Scandinavian and kindred peoples, a course of training in personal
+ingenuity, unknown in most other countries. It does not seem to have
+ever been persevered in after the manner of trading industry, but as a
+means of promoting throughout the community a taste and skill for the
+performance of highly-finished productions in mechanical art, proceeding
+from the simple to the complex, and resulting in a widely-diffused
+facility for all kinds of constructive occupations.
+
+Such course or system of training is called Sloyd, and written Sloejd.
+For the majority of English people such a word cannot have a meaning,
+and cannot appeal with adequate force to popular appreciation. The
+nearest equivalent in English to the Swedish word Sloejd would seem to be
+Hand-Craft, or mechanical training for the hand, undertaken voluntarily
+for the satisfaction of acquiring manual skill in general, as
+distinguished from a handicraft of limited application, pursued of
+necessity from day to day, rather by routine than by skill.
+
+Hand-Craft is therefore adopted as synonymous in England with the word
+Sloejd in Sweden.
+
+As cultivated in Sweden, it involves all kinds of manual training, and
+is applicable to highly finished productions in leather, metal, and
+various other substances, but it suffices, for educational purposes, to
+limit teaching and exercise to objects made of wood.
+
+It must always be borne in mind that Hand-Craft is mainly educational,
+and is valuable, not for what it produces, but for the training which
+the production involves; just as the letters of the alphabet, and their
+accurate use, are the essential preliminaries to literary attainments.
+It imparts and cultivates mechanical dexterity, just as learning to read
+and write spontaneously developes mental capacity. Therefore, whoever
+masters a course of Hand-Craft acquires an aptitude for all kinds of
+material processes. Such an aptitude, while useful and gratifying to the
+individual, is of the greatest consequence amongst people so deeply
+interested as the English are in manufacturing pursuits.
+
+Hand-Craft also has strong claims to be cultivated as a recreation, and
+experience proves that it may be so regarded, with every prospect of
+becoming popular as such.
+
+Touching this matter of recreation, and those who have not the faculty
+for viewing the subject in that light, reference may be made to familiar
+facts with reference to chess. Perhaps there is nothing that, to the
+uninitiated, appears more stupid, insipid, and purposeless than the
+progress of that game. Yet there are thousands, who have so regarded it,
+who, after being well initiated, have become interested and absorbed by
+it, to an extent exceeding the possibilities of their original belief.
+
+So it is with Hand-Craft, with this difference, that Hand-Craft, while
+supplying an incentive to wholesome perseverance, developing into a
+fascinating recreation, is suggestive at every turn of life-long
+utility, with reference to an infinite variety of probable subsequent
+experience. It promotes a delightful consciousness of the merits of
+neat, natty tastefulness and judgment with reference to every material
+thing, and trains the mind and the eye, as well as the hand, to perceive
+and appreciate excellence of design and finish, proportion, beauty, and
+adaptability of the most familiar appliances.
+
+Training of this kind has, in recent years, been much stimulated by the
+establishment of an Institute or Seminary for its teaching and
+cultivation at Naeaes in Sweden, where very generous accommodation and
+facilities are provided for the instruction of teachers from all parts
+of Sweden and the rest of the world. The subsequent mission of each of
+those teachers is to diffuse the taste and knowledge he has thus
+acquired amongst his own people on his return to them, or amongst other
+people where he may find encouragement to settle for that purpose.
+
+Thus have the foundations been laid for this genial drawing out and
+exercise of latent mechanical genius amongst the people of England. With
+the object of widening those foundations, these pages have been
+prepared; primarily as forming a Text Book for Teachers, but also as an
+incentive to parents, educationists, and statesmen to fortify the rising
+generation of England against the opprobrium so justly alleged against
+the English of the present day, that they are behind the rest of the
+industrial world in those elements of mechanical taste and skill, which
+are becoming more and more essential to the maintenance of manufacturing
+and commercial prosperity.
+
+An earnest determination to promote amendment in these respects cannot
+be better carried into effect than by insisting that Hand-Craft shall be
+regarded as an essential branch of the Technical Education that is now
+struggling to assert itself usefully. If such a branch be left out, the
+mere teaching of routine trade processes will inevitably fail. Such
+routine processes are many of them in heavy-handed, rough disregard of
+the nicety, accuracy, finish, and judgment which intelligent exercise in
+Hand-Craft can alone impart; which is the only reliable basis for the
+superior mechanical results so much needed.
+
+Hand-Craft in wood is distinguished from carpentry or joinery in many
+important respects.
+
+There is no division of labour.
+
+Everything produced is the entire work of one operator, for the defects
+of which he is solely responsible.
+
+This directness of responsibility is one of the great merits of
+Hand-Craft, being calculated to promote wholesome pride in the
+excellence of complete work; a sentiment that is apt to be very weak, or
+totally wanting, where division of labour is much relied upon.
+
+The intellectual faculties are brought into unison with the hand, by
+knowledge and experience developing together with increasing dexterity.
+
+Genuine respect and sympathy are developed for manual toil by
+familiarity with its application.
+
+Love of work in general is developed, and a taste for it instilled by
+practical experience of its utility.
+
+Habits of attention, perseverance, industry, and discipline are formed,
+cultivated, and unconsciously grafted upon the pupil, by the application
+necessary to excel.
+
+Independence, order, and cleanliness spontaneously grow and become part
+of the nature of the operator.
+
+Manual dexterity being thoroughly established, the operator is endowed
+with the consequent acquired ability for dealing with the practical
+business of life.
+
+Education being the object that should be constantly kept in view, in
+the teaching and practice of Hand-Craft, it should be thoroughly
+appreciated that it is adapted for forming and shaping the entire bent
+of all the faculties.
+
+The objects recommended to work upon are all small, and are therefore
+within the capacity of the very young, and of both sexes.
+
+For the same reason, the eye, the hand, and the judgment are trained to
+precise form and finish in the minutest details. This is important, for,
+though it is generally easier to make something large and rough than
+small and smooth, no one who is incapable of making a small model well
+can make a large one any better. Small objects are invariably the best
+training to work upon, as being certain to inspire appreciation for
+neatness, exactness, and accuracy.
+
+
+BASIS OF TEACHING.
+
+Practical teaching of Hand-Craft is based upon models for imitation.
+
+
+These models, distinguished by numbering from 1A and 1B to 25, are
+represented by the drawings accompanying these pages, and the
+instructions hereafter subjoined are explained by reference to the
+drawings.
+
+The following is a
+
+
+LIST OF THE MODELS.
+
+[***] The second column indicates the kind of wood required--B.
+signifying Beech or Birch, and F. signifying Fir, commonly called Deal
+or Pine; the class of wood usually distinguished as Pine being
+preferable to the rougher-grained wood generally classed as Deal.
+
+  No.   Wood.          Names of Models.
+
+   1A.   B.        Kindergarten Pointer.
+   1B.   B.        Another variety of the same.
+   2.    B.        Parcel-Pin or Carrier.
+   3.    F.        Flower-Stick.
+   4.    B.        Envelope Opener.
+   5.    F.        Rectangular Flower-Stick.
+   6.    F.        Pencil Holder.
+   7.    F.        Key Label.
+   8.    B.        Thread-Winder.
+   9.    F.        Dibble for the Garden.
+  10.    B.        Pen-Rest.
+  11.    F.        Flower-pot Stand.
+  12.    B.        Paper-Knife.
+  13.    B.        Knife-Rest.
+  14.    B.        Bowl, for Toilette, &c.
+  15.    B.        Hammer Handle.
+  16.    B.        Handle for Chisel or File.
+  17.    B.        Spoon.
+  18.    F.        Chopping-Board.
+  19.    B.        Measure (Half-yard).
+  20.    B.        Scoop for Flour, Sugar, &c.
+  21.    F.        Hanging-Pegs.
+  22.    F.        Stand for Flower-Pot, &c.
+  23.    F.        Footstool.
+  24.    F. & B.   Book Carrier.
+  25.    B.        Ladle.
+
+
+TOOLS AND APPLIANCES.
+
+The following is a List of Tools and Appliances necessary for producing
+the models before enumerated, with the cost of each, both Swedish and
+English.
+
+  Descriptions of Articles.                 Best Swedish.  Best English.
+                                             _s._  _d._    _s._  _d._
+
+  Carpenter's Bench in Pine, 6 ft. long       11     3      13     0
+  Knife (resembling a Shoemaker's)             0     4       0     8
+  Two Frame Saws, blades 3/8 and 1-1/4 wide    2     7[1]   10     6
+  Tenon or Dovetail Saw (small)                2     0       3     0
+  Jack Plane                                   1     8       4     9
+  Smooth Plane                                 1     1       3     9
+  Three Furmer Chisels, 3/8, 3/4, and 1-1/4
+    wide                                       1     2       2     4
+  Three Outside Gouges, 1/2, 7/8, and 1-1/8
+    wide                                       1     4       2     8
+  Two-foot Rule                                0     6       0     6
+  Square (6 in.)                               1     6       1    10
+  Bevel (6 in.)                                0     8       2     3
+  Marking Gauge                                0     6       0     6
+  Compasses                                    1     0       1     8
+  Hammer (small)                               0     8       0     8
+  Mallet                                       0     6       1     0
+  Oilstone                                     0     7       1     0
+  Scraper, with round end                      0     2       0     5
+  Two Files (half round), one rough, the other
+    smooth                                     1     0       3     0
+  Chopper or Axe                               1    10       1     6
+  Spokeshave (iron)                            0     5       1     0
+  Screw-driver                                 0     3       0     7
+  Glue-Pot and Brush                           1     6       0    10
+  Pincers                                      0     7       0     9
+  Two Brad-Awls                                0     2       0     4
+  Brace and twenty-four Bits                   4     0       6     9
+  Sand-paper No. 1A
+  Pencil
+                                          ---------------------------
+                                           [2]37     3      65     3
+                                          ===========================
+
+  [1] Nothing exactly like this Swedish Saw is made in England.
+
+  [2] Exclusive of carriage from Gothenburg.
+
+Although the prices of the English tools are so much higher than the
+Swedish (with few exceptions), they are cheaper in the end. They are
+more carefully made; the wood is drier and better selected; and Swedish
+steel is not to be compared with English. At the same time, the Swedish
+tools are good enough to put into the hands of school boys and girls,
+and they have also the advantage of being considerably lighter in
+weight.
+
+
+THE BENCH.
+
+A drawing of the Bench is annexed, to show the difference between one
+adapted for Sloyd or Hand-Craft and the kind in common use by
+carpenters. The Sloyd Bench is usually about 7 ft. long, 2 ft. wide, and
+3 ft. 3 in. high. As shown in the drawing, it has an extra Bench Screw
+at the end, which enables the student to fix a piece of level wood
+rigidly on the top of the Bench, by placing the end against a Stop, as
+shown in the drawing, and bringing the pressure of the End Screw to bear
+on the other end. The numerous holes (shown in the drawing) on the Bench
+Top, are so arranged that the Stop can be fixed in any of them. For
+school work the Benches are often made double--that is, with a Screw on
+each side and on each end of the Bench. This arrangement economises
+space, and answers all practical purposes; enabling two students to work
+at one bench. The Sloyder will find it an advantage to fix a small
+drawer under the bench top. In this he should keep his sand-paper and
+files, as nothing is so detrimental to the edges of the sharp tools as
+these two articles.
+
+[Illustration]
+
+
+TOOL EXERCISES.
+
+The making of the models involves training in the exercises enumerated
+in the following list, the numbering being for subsequent reference.
+
+   1. Long Cut (with grain).
+   2. End Cut (across grain).
+   3. Oblique Cut.
+   4. Bevel Cut.
+   5. Sawing off.
+   6. Convex Cut.
+   7. Long Sawing.
+   8. Edge Planing.
+   9. Squaring with Set Square.
+  10. Gauging.
+  11. Drilling with Brace and Shell-Bit.
+  12. Flat Planing.
+  13. Filing.
+  14. Drilling with Brace and Centre-Bit.
+  15. Curved Sawing.
+  16. Concave Cut.
+  17. Bevelled Planing.
+  18. Shaping with Plane.
+  19. Chopping.
+  20. Cross-Sawing.
+  21. Mortising with Knife.
+  22. Wave-Sawing.
+  23. Plane Surface-Cut with Knife.
+  24. Scraping.
+  25. Obstacle-Planing.
+  26. Perpendicular Chiselling.
+  27. Concave Chiselling or Gouging.
+  28. Gouging with Spoon-Iron.
+  29. Oblique Chiselling.
+  30. Smoothing with Spokeshave.
+  31. Shaping with Spokeshave.
+  32. Oblique Sawing.
+  33. Oblique Planing.
+  34. End Planing.
+  35. Exercises with Smoothing Plane.
+  36. Work in Hard Wood.
+  37. Dowelling or Round Mortising.
+  38. Bevelling Edge with Plane Oblique.
+  39. Gluing.
+  40. Sinking in of Iron Plates.
+  41. Nailing.
+  42. Sinking of Nails.
+  43. Bevelling with Shaping Knife.
+  44. Perpendicular Gouging.
+  45. Point Planing.
+  46. Oblique Grooving.
+  47. Circular Sawing.
+  48. Fixing with Screws.
+  49. Modelling with Knife.
+
+
+
+
+MAKING OF THE MODELS.
+
+
+The following are the descriptions of how to apply the Exercises to the
+making of the Models.
+
+
+NO. 1A. KINDERGARTEN POINTER.
+
+(Requiring Exercises 1 and 2.)
+
+Commence with a piece of Beech, rather more than 5 in. long, and not
+less than 3/4 in. thick. It is all the better, for this and other
+exercises, if it is split from a larger piece, and has no side either
+square or straight. With the knife, make one side level and smooth, to a
+width rather exceeding 3/8 in. When that is done perfectly, make another
+straight side at right angles to the first. Trim the ends; then mark
+with the pencil at each end a 3/8-in. square, with the two straight
+sides as bases. Then cut two additional straight sides in unison with
+those squares. This will produce a stem a shade more than 5 in. long and
+3/8 in. square. Mark each end with a diagram thus [Figure]; then draw
+corresponding lines along each side. Then, letting one end remain the
+same size; reduce the other end to 1/8 in. square (as shown in centre of
+diagram) by tapering each side symmetrically throughout. This will
+result in the stem being 3/8 in. square at one end and 1/8 in. square at
+the other end. Then, guided by the diagram at the thicker end, take off
+the four corners symmetrically throughout, thus producing a tapered
+octagonal stem. Then, in like manner, take off the eight corners with
+great precision, so as to maintain uniform symmetry, and the result will
+be a tapered stem, approximately round throughout and pointed at one
+end.
+
+The Long Cut having, thus far, been solely resorted to, measure from the
+point, and make a mark at 4 in.; then cut off at the mark, thus
+exercising the Cross Cut. Then, by judiciously applying sand-paper, the
+pointer may be made perfectly smooth and almost perfectly round, as it
+should be throughout.
+
+
+NO. 1B. KINDERGARTEN POINTER.
+
+(Requiring Exercises 1, 2, and 3.)
+
+Proceed as for the previous model until the round pointer is produced.
+Then apply Exercise 3 to the two Oblique Cuts shown from _A_ to _a_ in
+the figures 1, 2, and 3, of drawings No. 1B. These Oblique Cuts demand
+great care and precision, as the Cuts should be precisely opposite each
+other, perfectly level and symmetrical.
+
+
+NO. 2. PARCEL-PIN OR CARRIER.
+
+(Requiring Exercises 1, 2, and 4.)
+
+Commence with a piece of Beech rather more than 3 in. long and 5/8 in.
+thick. Reduce it in like manner as previously described to a stem 3 in.
+long and 3/8 in. square throughout. Then apply Exercise 4, and so bevel
+the sides and ends as to make chamfers, as shown in Figs. 1, 2, and 3 of
+drawings No. 2. Then draw a line across the centre of one side, and
+there cut a [V]-shaped notch as shown in Figs. 1 and 2, so as to provide
+for a string. Then finish with a piece of sand-paper laid upon a flat
+surface, upon which first rub the sides, then the chamfers, and lastly
+the ends.
+
+
+NO. 3. FLOWER-STICK.
+
+(Requiring Exercises 5, 1, 2, and 6.)
+
+This is the first model made in soft wood, and introduces Exercise 5,
+Sawing Off. From the edge of a 3/4-in. board saw off a piece the same
+width as the thickness, and about 14 in. long. Proceed as for No. 1A
+until a rod is produced 1/2 in. square throughout. Then, by a cross made
+from corner to corner [Figure] find the centre of one end. Then take off
+the corners throughout until an octagonal rod is produced; then take off
+the eight corners so as to make the rod round and the same thickness
+throughout. Then apply Exercise 6, the Convex Cut, and point the end
+where the centre is marked. Then measure from the point and mark at 12
+in., and there cut off at right angles. Then apply sand-paper, and the
+result will be a tapered symmetrical round rod, pointed at one end, as
+shown in drawings No. 3.
+
+[Illustration: _No. 1A._
+
+_Kindergarten Pointer_]
+
+[Illustration: _No. 1B._
+
+_Kindergarten Pointer_]
+
+[Illustration: _No. 2._
+
+_Parcel Carrier_]
+
+[Illustration: _No. 3._
+
+_Round Plant Stick_]
+
+
+
+NO. 4. ENVELOPE OPENER.
+
+(Requiring Exercises 5, 1, 2, and 6.)
+
+Saw from Beech, a piece about 8 in. long, 3/4 in. wide and 1/2 in.
+thick. With the knife, make one of the flat sides perfectly level and
+smooth throughout, and cut one end across at right angles. With a fine
+pencil, draw on the level side the outline of Fig 1 of drawings No. 4,
+and also, with compasses, describe on the end the semicircle shown by
+Fig 3 of drawings No. 4, with the flat edge for the base. Apply the long
+cut to the edges at right angles to the flat side. Then, on each of the
+edges thus flattened, draw a line showing the course of the tapering
+illustration on the first side of Fig. 2 of drawings No. 4. Apply the
+long cut to each of those lines, at right angles to the edges. This will
+produce a rod, flat on one side, and presenting a tapered half square on
+the other. Then shave off the corners of that square, so as to produce
+half a tapered octagon; then shave off the corners of that octagon,
+being careful that the work is in unison with the semicircle previously
+described on the thick end. When so far done to satisfaction, round both
+ends symmetrically, as shown in Figs. 1 and 2 of drawings No. 4, and
+finish with sand-paper.
+
+
+NO. 5. RECTANGULAR FLOWER-STICK, WITH CHAMFERED OR BEVELLED CORNERS.
+
+(Requiring Exercises 5, 7, 8, 9, 6, and 3.)
+
+In this model the Jack Plane and the Try Square are used for the first
+time. Saw off from Pine a piece about 16 in. long and 3/4 in. square.
+Plane one side straight and true, and one of the other sides at right
+angles. Cut each end across at right angles, and on each end, using the
+planed edges as basis, mark Fig. 2 of drawings No. 5. Then plane the
+other two sides at right angles, so as to produce a square rod, which,
+at every part throughout its length, should fit the try square. Then,
+with the plane, take about two shavings off each corner, in unison with
+the figures at the ends. Then, with the knife, cut the point from _a_ to
+_a_ as shown in Fig. 1 of drawings No. 5. Then measure from the
+long-pointed end, mark the exact length, cut across at the mark, and cut
+the other end to a point with eight sides as shown in Figs. 1 and 2.
+Finish with sand-paper at the long-pointed end only.
+
+[Illustration: _No. 4._
+
+_Envelope Opener_]
+
+[Illustration: _No. 5._
+
+_Plant Stick_]
+
+[Illustration: _No. 6._
+
+_Pencil Holder_]
+
+
+NO. 6. PENCIL HOLDER.
+
+(Requiring Exercises 5, 1, 11, 6, and 2.)
+
+This model for the first time introduces the Brace and Bit. Saw off from
+Pine a piece 10 in. long, and 3/4 in. square. With the knife, cut one
+end across at right angles, and make it smooth. Find the centre of the
+end as for model No. 1. Fix the stem vertically in the Bench Screw, with
+the smooth end upwards. Fit a 3/16-Shell-Bit into the Brace, and bore a
+centre hole in the end of the stem as shown in Fig. 2 of drawings No. 6,
+and to the depth dotted in Fig. 1. Great care must be taken in drilling,
+so that the hole may be clean and perpendicular. With the knife, pare
+down each side so as to leave a 1/2-in. square, with the drilled hole in
+the centre. Find the centre in the opposite end. Mark a line about 2-1/4
+in. from the drilled end, as shown in Fig. 1. From that line, shave each
+side down to the centre last found. Then take off the corners so as to
+make a tapered octagon. Then take off the corners of the octagon, so as
+to produce a round tapered rod. Measure from the thick end and mark the
+exact length, and, at the mark, cut across. Then round the end as shown
+in Fig. 1, and finish with sand-paper.
+
+NOTE.--This is a repetition to a considerable extent of Model 1 on a
+larger scale. The student may be tempted to proceed without going
+through the processes described, but the temptation should be
+rigorously resisted, as a satisfactory result cannot be obtained except
+by adhering to all the details prescribed.
+
+
+NO. 7. KEY LABEL.
+
+(Requiring Exercises 5, 12, 8, 9, 10, 11, 6, 2, and 13.)
+
+This is mainly intended for an exercise in planing, and it is better to
+get out a piece of Pine sufficient for two models--that is, about 9 in.
+long, 1-3/4 in. wide, and 1 in. thick.
+
+Plane one side, and then one edge, perfectly straight and square to each
+other. Then set the gauge to 1-1/2 in. to fit Fig. 1 of drawings No. 7.
+Apply the gauge to the straightened edge and mark off the width along
+the smooth side. Then plane that edge down to the line so made, using
+the try-square to keep the edge at right angles with the straightened
+side. Next find the centre 3/4 in. from the top end, as shown in Fig. 1.
+From that centre describe with the compasses a semicircle. Then fit a
+3/16-Shell-bit into the Brace, and bore a hole, at the centre of the
+semicircle, right through. Then set the gauge to 5/16 in. for the
+thickness, as shown by Fig. 2. Apply the gauge to the straightened side,
+and mark the line for thickness along each edge. Then plane the rough
+side down to those lines. Then, with the knife, cut round precisely to
+the semicircle, using the try-square frequently.
+
+[If a double length is commenced with, as before recommended, the
+centering, marking, drilling, and rounding must be done at both ends.]
+
+Measure from the rounded end, and rule with the square, the length of
+4-1/4 in. Then, with Tenon or Dovetail Saw, cut off just outside the
+line. Then, with the knife, pare down to the line, and with a file,
+smooth that end as well as the rounded end, finishing throughout with
+sand-paper.
+
+
+NO. 8. THREAD-WINDER.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 14, 15, 1, 6, 16, and 13.)
+
+Beech is required, about 7 in. long, 3 in. wide, and 1/2 in. thick.
+Plane one side and one edge. Draw the centre line _A_ to _B_ in Fig. 1
+of drawings No. 8. With square and compasses draw all the other lines
+shown in the same Fig. Then fit a 3/4 in. Centre-bit to the Brace, and
+bore two holes, one at _A_ and the other at _B_. Then, with the smaller
+turning saw, cut the two outside curved edges as shown in Fig. 1. With
+the knife, trim to the lines, making the edges square, as shown in Fig.
+3. Then shave and slightly round each semicircle, as shown in Figs. 1
+and 2, smoothing the edges with the file. Then set the Marking Gauge to
+1/4 in., and, with the smooth side for a base, mark gauge lines on each
+edge for thickness, and plane the rough side down to those lines. Then
+set the plane very fine and take a shaving off the face side so as to
+remove the pencil and compass marks. Then finish with sand-paper.
+
+
+NO. 9. DIBBLE FOR GARDEN.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 17, 18, 6, 2, and 13.)
+
+Saw out from Fir a piece 14 in. long and 1-1/4 in. square. Plane one
+side straight and another side at right angles. Set the Marking Gauge to
+1 in., and with the planed side as base, mark lines for thickness along
+each planed side. Then plane the rough sides down to those lines, using
+the Try Square frequently. Then, at each end find the centre thus
+[Figure] with additional lines showing octagons thus [Figure]. With the
+Marking Gauge draw lines from end to end of each side corresponding with
+the corners of each octagon. Plane the corners of the square down to
+those octagon lines, thus producing an octagonal rod, and completing the
+first exercise in bevel planing. Plane off the corners of the octagon
+throughout, thus producing a rod approximately round, shown in Fig. 2 of
+drawings No. 9, and so completing the first exercise in shaping with
+plane. Measure from one end for the point as shown in Fig. 1, and, with
+the knife, cut the point as roundly and symmetrically as possible,
+referring to the centre marked at the end as a guide for the precise
+place of the point. Then measure from the point and mark at 12 in. Cut
+across at that mark, and round the blunt end thus made, as shown at top
+of Fig. 1. With the file, dress the end and stray angles throughout, and
+finish with sand-paper.
+
+[Illustration: _No. 7._
+
+_Key Label_]
+
+[Illustration: _No. 8._
+
+_Pack Thread Winder_]
+
+[Illustration: _No. 9._
+
+_Garden Dibble_]
+
+
+NO. 10. PEN REST.
+
+(Requiring Exercises 5, 8, 9, 10, 20, 1, 2, 18, and 13.)
+
+Cut from Beech a piece 5 in. long, 1 in. wide, and 3/4 in. thick. Plane
+one side and one edge at right angles, then gauge and plane to thickness
+and height, as shown in Fig. 2 of drawings No. 10, but flat on all
+sides. Saw across both ends at right angles, so as to reduce the length
+to 3-1/2 in. Select one edge as the top, and, with the square, rule a
+central line from _e_ to _e_, and a line across at each of the places
+marked _a_, _b_, _c_, and _d_ in Fig. 1, continuing each line down both
+sides. Then, at each end, mark the central place represented by the dot
+in Fig. 2. From each of those central places describe the semicircle
+shown at top of Fig. 2. Then mark a line from end to end on each side
+half way between the top and the bottom.
+
+Then, with the knife, and working to the semicircle at each end, take
+off the corners of the top, so making half an octagon, and, by taking
+off the corners of the half octagon, produce a top corresponding to the
+semicircle at each end, as shown in Fig. 2, taking care that the top of
+the semicircle throughout centres to the line previously drawn from _e_
+to _e_. Then, with the tenon saw, at each of the places marked _a_, _b_,
+_c_, and _d_, saw across a right angle slit 3/16 in. deep. Then, with
+the knife or a chisel, cut out the space shown in Fig. 1 from _a_ to _b_
+and from _c_ to _d_, taking care that the side of each space is true
+and square. Then, with the file, round each base as shown at the top of
+the shaded section in Fig. 2. Then smooth with the file where required,
+and finish with sand-paper.
+
+
+NO. 11. FLOWER-POT STAND.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 2, 1, 6, 13, and 21.)
+
+This consists of two pieces, as shown in Figs. 1 and 2 of drawings No.
+11, each piece so made as to cross and fit the other at the centre,
+hence called a Flower-Pot Cross, the whole being a test of exactness and
+good work, surpassing any preceding model.
+
+Cut from Pine a piece 12 in. long, 1-1/4 in. wide, and 1/2 in. thick.
+Plane one side and one edge at right angles; then gauge for height and
+thickness, and plane the other side and edge as shown by the section
+represented in Fig. 3. Saw across the middle so as to make two pieces,
+and, from the end of each so cut, measure off and saw both to the equal
+length of 5-1/4 in. each, taking care that both ends of each are
+accurate right angles. Then place them on their sides and draw the
+centre line indicated by _A B_, continuing the line all round each
+piece. From the centre, mark off the places indicated by _e f_ and _g
+h_. At _c_ and _d_ of each, with the compasses, describe the quarter
+circle shown at each top corner of the figures, striking the segments
+from the respective dots shown for the purpose near each top corner.
+Then, with the bottom edge for a base, draw a gauge line on each side
+of both pieces to the depth represented by _i j_, and with the tenon
+saw, make a slit at _e_ and _f_ to the depth of such gauge line. Then,
+with the knife or chisel, cut out the openings between _e_ and _f_ to
+the depth of the gauge line, taking care to finish the opening perfectly
+level and true. Then, at the bottom of one piece and the top of the
+other, as shown in Figs. 1 and 2, gauge, saw, and cut out the spaces
+from _g_ to _h_ in the same manner as for the spaces before mentioned.
+The openings from _g_ to _h_, if well done, will fit accurately in all
+directions, and, when put together, will form a firm cross. Then, with
+the knife, round the corners of each piece, at _c_ and _d_. Then smooth
+with file where required, and finish with sand-paper.
+
+
+NO. 13. KNIFE REST.[3]
+
+  [3] No. 12 (Paper Knife) appears, for convenience of illustration, on
+  page 41, but it should be proceeded with before No. 13.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 20, 18, 26, 1, 2, 27, 13, and 24.)
+
+Cut from Beech a piece about 5 in. long, 1 in. wide, and 7/8 in. thick.
+Plane one side and one edge at right angles. Then saw across one end at
+right angles, and, measuring from that end, mark off the length at 4-1/4
+in., and saw off that end at the mark, taking care to maintain right
+angles. Then gauge and plane the rough side and rough edge to a width of
+7/8 in. and a thickness of 5/8 in. Then choose one edge for the top,
+and, along the centre of that edge, draw a line from _c_ to _c_, as
+shown in Fig. 1 of drawings No. 13, and continue the line to the
+extremities of both ends. Then, in manner described for No. 10, gauge,
+slit, and cut out with chisel the spaces shown in the same Fig. 1 of
+drawings No. 13, from _a_ to _a_ and _b_ to _b_. Then, with compasses,
+as indicated in the same Fig., describe on both sides of each top
+corner, the segment of a circle represented in each case from _c_ to
+_d_. Then, for the first time, resort to Concave Chiselling, and with a
+broad chisel cut away the corners down to the segments previously
+described. This process requires great care and judgment. Fix one end of
+the work upwards in the bench screw, with the top side nearest to the
+operator, and, after taking off the corner to a considerable extent,
+with the bevelled side of the chisel towards the wood, shave small
+pieces away until the segment marks are reached, taking care to keep the
+whole curve at right angles to the sides throughout. Then, turn the
+work, and dress the corner at the other end in like manner. Then file
+judiciously where required, and finish with sand-paper.
+
+[Illustration: _No. 10._
+
+_Pen Rest._]
+
+[Illustration: _No. 11._
+
+_Flower Pot Cross._]
+
+[Illustration: _No. 13._
+
+_Knife Rest._]
+
+
+NO. 12. PAPER-KNIFE.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 22, 16, 6, 23, 13, and 24.)
+
+Cut from Beech a very straight-grained piece, 14 in. long, 2 in. wide,
+and 3/8 in. thick. Plane one side and one edge at right angles. Then, on
+the planed side, to the size and shape indicated, draw the whole of Fig.
+1 of drawings No. 12, letting the straight edge serve as the line from
+_A_ to _B_. With the smaller turning saw cut round all the curved parts,
+carefully adhering to the drawn figure. Then gauge all round for
+thickness, as shown in Fig. 2, plane the rough side down to the gauge
+lines, and with the knife trim the curved edges where required. With the
+set gauge, mark the centre of the straight edge from _A_ to _B_, and
+guided by that centre, pare down each corner of the straight edge, so as
+to make a straight chamfer on each side about 1/8 in. wide, terminating
+with a sharp edge at the place where the gauge line was drawn, as shown
+in Fig. 2. Pare down the corners of both chamfers, and pare each side
+symmetrically, so as to produce a blade gradually diminishing throughout
+from a back 3/16 in. thick to a sharp edge. Then pare down the end of
+the back to a lancet-shaped point, as shown in Fig. 2. Round the corners
+of both edges of the handle, so as to make them symmetrical throughout,
+and also pare the corners of the back of the blade so as to round it on
+both sides very slightly. File judiciously with a light hand where
+required, and then, for the first time using the scraper, complete the
+blade with great care by scraping, finishing as usual with sand-paper.
+
+
+NO. 14. BOWL FOR TOILETTE, &C.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 15, 26, 13, 28, 29, 6, and 24.)
+
+This model is shown in the perspective Fig. 1 of drawings No. 14.
+Commence for it by cutting from Beech a piece about 5 in. long, 3 in.
+wide, and 1-1/4 in. thick. Plane one side and one edge at right angles.
+Then gauge for a thickness of 1 in. and plane the rough side to the
+gauge lines. Determine by choice which side shall be the bottom of the
+bowl and which the top. Find the centre of the bottom side by drawing
+the lines from _A_ to _B_ and from _C_ to _D_ as shown in Fig. 2. Repeat
+these lines on the edges and top side, using the try square. Then, on
+the bottom side, with compasses and square, draw the whole of the
+figures constituting the entire diagram shown by Fig. 2, and on the top
+side draw freehand the larger oval or ellipse diagram shown by Fig. 3,
+being guided by the points of the guide-lines first drawn for the
+purpose.
+
+Then, with the turning saw, cut round by the line of the ellipse on the
+top side, and finish the edge square with chisel and file. Then, with
+finger and pencil, mark a line about 1/8 in. inside the outer edge all
+round the larger ellipse. With a 7/8-in. gouge cut out the centre so as
+to form the inside of the bowl, the depth and shape being shown by the
+dotted lines of Fig 4. Having so symmetrically shaped the inside and
+made it as smooth as the gouge is capable of, with the round end of the
+scraper dress as smoothly as possible, and finish with sand-paper,
+before proceeding with the bottom side.
+
+[Illustration: _No. 12._
+
+_Paper Knife_]
+
+[Illustration: _No. 14._
+
+_Bowl for toilette or writing table_]
+
+To complete the bottom side, leave the ellipse in the centre untouched,
+and from its outline to the outer edge of the lip of the bowl, shave
+with the knife so as to produce in all directions a curve corresponding
+to those at each end of Fig. 4. Take a shaving off the flat bottom with
+the smoothing plane, so as to remove the compass marks. Then file
+judiciously and lightly where required, scrape perfectly smooth, and
+finish with sand-paper.
+
+[***] This No. 14 is a very interesting study and a keen test of
+application, care, and skill, anything like carelessness being sure to
+leave its tell-tale marks.
+
+
+NO. 15. HAMMER-HANDLE.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 22, 30, 4, 31, 2, 13, and 24.)
+
+This study exercises ability in the mastery of elliptical lines, and in
+the use of the spokeshave in Exercises 30 and 31.
+
+Cut from Beech a piece about 13 in. long, 1-1/2 in. wide, and 1-1/4 in.
+thick. Plane one side and one edge at right angles. On the smooth side
+thus produced, with the pencil sketch throughout the whole of Fig. 1 of
+drawings No. 15. Then, with the turning saw, cut at right angles to the
+curved lines on both edges throughout, and finish the shaping with the
+spokeshave, taking care to maintain right angles. Then, on one of the
+edges, with pencil, sketch throughout the whole of Fig. 2, and, with saw
+and spokeshave, shape both sides in unison with that sketch, still
+carefully maintaining right angles throughout. Then, with the knife,
+shave off the corners so as to make four symmetrical chamfers
+throughout. Then, with the spokeshave, remove the corners of the
+chamfers, and proceed with the paring down until the required
+symmetrical elliptical shape is arrived at, as shown by Figs. 1, 2, and
+3. Saw across at right angles at each end to the exact length, and
+finish with file, scraper, and sand-paper.
+
+
+NO. 16. HANDLE FOR CHISEL OR FILE.
+
+(Requiring Exercises 5, 7, 8, 9, 10, 11, 33, 18, 6, 2, 13, and 24.)
+
+From Beech cut a piece 6 in. long, 2 in. wide, and 1-1/4 in. thick.
+Plane one side and one edge at right angles. Gauge for greatest width
+shown from _A_ to _B_ in Fig. 1 of drawings No. 16, and also for
+greatest thickness shown by _A_ to _B_ in Fig. 2. Plane the rough side
+and edge down to the respective gauge lines, thus producing a piece of
+equal thickness throughout, with the sides and edges at right angles.
+Saw across one end at right angles. On the face thus produced on that
+end sketch Fig. 3 complete. Fit a 1/4-in. Bit to the Brace and bore a
+hole in the centre of the same end to the depth shown by the dotted
+lines in the upper part of Fig. 1. Plane from _A_ to _C_ and from _B_ to
+_D_, thus slightly tapering the sides and edges, but maintaining right
+angles throughout. Measure from the thin flat end and mark the length of
+5 in. Then, from the centre of the line _A_ to _B_ of Fig. 1, describe a
+semicircle on each side as shown at bottom of Fig. 1. With turning saw
+and chisel, shape each side of that end to the semicircle. Then plane
+off the angles so far as to make the shape in unison throughout with
+Fig. 3, presenting sides corresponding to Fig. 1, and edges
+corresponding to Fig. 2. Then complete the shape of the thick end with
+knife, as shown in Fig. 2, and finish with file, scraper, and
+sand-paper.
+
+[Illustration: _No. 15._
+
+_Hammer Handle_]
+
+[Illustration: _No. 16._
+
+_Chisel Handle_]
+
+
+NO. 17. SPOON.
+
+(Requiring Exercises 5, 19, 12, 8, 9, 10, 32, 22, 29, 14, 15, 26, 13, 2,
+8, 6, 24, 16, and 1.)
+
+From very carefully selected Beech cut a piece 10 in. long, 2-1/2 in.
+wide, and 1-3/4 in. thick. Plane one side and one edge at right angles.
+Sketch on the flat edge the complete outline of Fig. 1 of drawings No.
+17. With the turning saw, cut to the outline at right angles on the
+upper side only, completing with chisel and file. On the shaped side
+thus produced, make a centre line as shown in Fig. 2, then the cross
+lines. Then, with compasses as guides and checks, mark the outlines of
+the handle shown in Fig. 2, and, with freehand, sketch the ellipse. With
+bits and brace drill a 7/8-in. hole right through at each centre marked
+_b_, and a 5/8-in. hole at each centre marked _c_. Then, with the
+turning saw, cut to the outline at right angles throughout, completing
+the process with gouge, knife, and file. Then, in the manner described
+for making the inside of No. 14, make the inside of the Spoon in unison
+with the dotted curve of Fig. 1.
+
+The inside of the Spoon being thus completed, proceed with the outside.
+Mark on the edge the outline _d d d d d_ for the under side of the
+spoon. With the turning saw, cut out to that outline, and round with the
+knife, as shown in the sections of Figs. 3, 4, and 5. Take care to keep
+carefully outside the lines when cutting with the knife, and apply the
+file, scraper, and sand-paper for finishing.
+
+[***] The under part of the spoon is a capital exercise in modelling
+with the knife, and, if one process is completed before the next is
+commenced, requires no more than ordinary application and care.
+
+
+NO. 18. CHOPPING-BOARD.
+
+(Requiring Exercises 5, 12, 8, 9, 10, 14, 15, 26, 34, 13, 25, and 24.)
+
+[Illustration: _No. 17._
+
+_Spoon._]
+
+This especially involves straight and square planing. Cut from Deal a
+piece 20 in. long, 6-1/2 in. wide, and 1 in. thick. Plane one side
+perfectly level and one edge perfectly straight at right angles. Gauge
+and mark for width at 5-3/4 in. Find and mark the centre line _A_ to _B_
+in Fig. 1 of drawings No. 18. Set the compasses to a radius from _A_ to
+_B_, and describe, with _A_ for the centre, the semicircle shown at the
+top of the Fig. Fit a 1-in. Centre-bit to the Brace, and drill a hole
+with _A_ for the centre, taking care that it goes vertically through at
+right angles, and that there is no splitting when the bit is nearly
+through. With the small turning saw, cut round the semicircle at right
+angles, and, with the chisel, shave off and round the two corners that
+spring from the semicircle, also at right angles. Then, measuring from
+the centre of the rounded end at _B_, mark the entire length at 16-7/8
+in., and, with the tenon saw, cut off at the mark at right angles. Then
+shave and round at right angles the two bottom corners. Plane the bottom
+edge smooth, and file the edges where necessary. Set the gauge at 3/4
+in., mark with it the edge all round for thickness, and plane the rough
+side down to the mark, perfectly level throughout. Then, with the
+smoothing plane, take a thin shaving from the first side, merely enough
+to remove the marks, taking care to maintain an accurate level. Finish
+throughout with sand-paper.
+
+[***] The object of deferring the planing of the second side until so
+late a period, is that, at the same time, minute chipping and roughness
+of edge on that side, almost certain to result from the boring and
+sawing, are at the same time disposed of.
+
+
+NO. 19. HALF-YARD MEASURE.
+
+(In the original Sloyd model this is a half-metre measure.)
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 25, 30, 15, 16, 6, 2, 13, and
+24.)
+
+Select from Beech an exceptionally straight-grained piece 24 in. long,
+1-1/4 in. wide, and 3/4 in. thick. Plane one side and one edge at right
+angles, both scrupulously straight and even; then gauge, mark to a
+nicety for 1-1/8 in. wide and 1/2 in. thick, and plane to the gauge
+marks with great exactitude, thus producing a four-cornered rod of
+uniform size throughout. Saw across one end at right angles. Measure
+from that cut end, mark the length of 18 in., and saw across at the
+mark. Then set the gauge precisely at 7/8 in., and, passing it along
+each edge, mark on both sides for the lines _a_ to _b_ in Fig. 1 of
+drawings No. 19, continuing the lines from end to end of the entire rod.
+Then, with the square, mark across the place for _a a_, and there saw a
+slit on each side down to the gauge line. Then proceed to the first
+exercise in Obstacle Planing (No. 25.) Thus, pass the smooth plane along
+each edge from _b_ to _a_, as far as the obstacle of the corner will
+allow. Of course the planing cannot be continued into the corners, but,
+whatever is left by the plane must be got out by the chisel and file.
+Then, on each side, sketch for the handle, as shown in Fig. 1, the gauge
+line, previously there, forming part of the sketch. Then, with the
+turning-saw, cut out to the sketch and gauge lines. With the knife, make
+the chamfers shown in Figs. 1 and 2. Then shave the corners and round
+the end of the handle, as shown in Fig. 1. File and scrape lightly where
+required, and finish with sand-paper.
+
+[Illustration: _No. 18._
+
+_Knife or Chopping Board._]
+
+[Illustration: _No. 19._
+
+_Yard Measure._]
+
+
+NO. 20. SCOOP.
+
+(Requiring Exercises 5, 19, 12, 9, 14, 7, 15, 26, 32, 33, 29, 28, 13,
+18, 6, 16, 2, and 24.)
+
+Cut from Beech a carefully-selected piece 11 in. long, 3 in. wide, and 3
+in. thick. Plane one side and one edge at right angles, with exceptional
+care. Then, on the smooth edge sketch the outline of the upper side _a_
+to _a_ of Fig. 1 of drawings No. 20. Saw to the outline at right angles
+throughout, afterwards correcting inaccuracies with chisel and plane. On
+the smooth shaped side thus produced, sketch the outline of Fig. 2. With
+1-1/2-in. centre bit drill the holes indicated by _b b_, right through.
+Saw to the outline all round, carefully maintaining right angles
+throughout and, as before, correcting inaccuracies with chisel and
+plane.
+
+Then, at the upper edge of the invisible end at the bottom of Fig. 2,
+find the centre represented by _c_ in Fig. 3. Fix compasses to a radius
+from _c_ to _d_, and, from the centre before found, describe a
+semicircle, and from the same centre another semicircle with a radius
+about 1/8 in. longer. The centre of the inner of those semicircles
+represents the bottom of the inside of the Scoop at _f_ of Fig. 1, and
+the outer one represents the bottom of the outside at the same point.
+
+Next, with 1/8-in. gouge, make a furrow just inside the outline of the
+face of the scoop, as previously recommended for Model No. 17. Then,
+from that furrow as a starting-point, in all directions, with 7/8-gouge,
+scoop out from back to front, to the depth indicated by the dotted line
+of Fig. 1, and to the width at front of the semicircle previously drawn
+on the end, but gradually diminishing the inner capacity so as to make
+it smallest near the handle, in about the same proportion as indicated
+for the bottom by the dotted line in Fig. 1. Then file and scrape inside
+where required, and finish so far with sand-paper.
+
+Then, upon each edge, draw the outline of the bottom of the Scoop, shown
+in Fig. 1. Saw throughout that outline at right angles. Then from _e_ to
+_f_ plane all round to the semicircle indicated by the outer line of
+Fig. 3 previously described on the end. Then, with the knife, cut the
+handle to the section indicated by Fig. 4, and continue the shaping to
+_e_ as indicated by the shaded lines of Fig. 1. File the handle and
+outside of Scoop where required, and finish with sand-paper.
+
+[***] The most difficult part of this model is that shaded in Fig. 1,
+which requires special attention and care.
+
+[Illustration: _No. 20._
+
+_Scoop._]
+
+
+NO. 21. HANGING PEGS OR RACK.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 14, 15, 26, 13, 18, 4, 26, 37,
+29, 35, 39, 40, and 42.)
+
+From Deal cut out two pieces, one 18 in. long, 3-1/2 in. wide, and 7/8
+in. thick; the other 15 in. long, 1 in. wide, and 7/8 in. thick.
+
+Commencing with the larger piece, plane one side and one edge at right
+angles. Then gauge-mark to a width of 3 in., and plane the rough edge
+down to that mark. At the centre of the width draw a line from end, as
+shown in Fig. 1, _f_ to _f_. On that line, with compasses, mark the
+points indicated by _a_, _b_, _c_, of Fig. 1 of the drawings No. 21. At
+each point drill a 5/8 in. hole right through, taking great care to
+drill vertically. With the square, draw the cross lines at _d d_, the
+intersections with the central line forming additional central points.
+Set compasses to a radius of 7/8 in., and, from each of those central
+points, describe a semicircle as shown in the Fig.; then from each of
+the same central points describe an outer semicircle as also shown in
+the Fig. With tenon saw make a nick at each of the four points _g_, in
+each case reaching to the outer of the semicircles, each nick being
+strictly at right angles. Then, with turning saw, follow the line of
+each of the outer semicircles. Then dress the edges all round with
+chisel and file as required. Then gauge-mark all round for a thickness
+of 3/4 in., and plane the rough side down to the mark, evenly
+throughout. Gauge-mark all round for the chamfer, in the proportion
+shown in Fig. 1, and chamfer to the mark accordingly, using the plane
+for the sides and the knife for the curves and corners. File throughout
+where necessary, and finish with sand-paper.
+
+The smaller piece of Deal being to make the pegs with, plane it on one
+side and one edge at right angles, then gauge-mark for a width of 3/4
+in. and for a thickness of 5/8 in., as illustrated in section by Fig. 4.
+Saw across into three lengths of 5 in. each. Place them together on
+their sides, and sketch one side of each as shown from _j_ to _k_ and
+_l_ in Fig. 3, leaving the space from _j_ to _m_ untouched. With the try
+square repeat the lines of this sketch on both sides of each. With saw
+and knife cut each peg to the sketch, finishing the whole, excepting the
+circular plug. Then at the inner end, find the centre as denoted in Fig.
+4, and, using the same centre-bit as for Fig. 1, describe a circle mark
+as dotted in Fig. 4. Then, with the tenon saw, cut by the "shoulder" to
+a depth of 1/8 in., and pare the circle with the knife to the shoulder
+_j_, so making a round plug, a little too large to go into the holes of
+Fig. 1. Then, with the file, carefully reduce the size of each plug so
+as to very accurately and tightly fit one hole at a time in Fig 1, where
+wedging must not be tolerated. The perfection of this part of the work
+is to be tested by ascertaining that the pegs are precisely in a line,
+and that each one fits all round to the face of the board into which it
+is inserted.
+
+[Illustration: _No. 21._
+
+_Clothes Rack._]
+
+Having thus fitted each plug to its own hole, and marked it for
+identification, the pegs may be completed. Cut down each one, with the
+tenon saw, from _k_ to _x_, and, with the chisel, pare down from _j_ to
+_k_, first making it square and afterwards slightly rounding it, as
+shown in section of Fig. 4. With a sharp chisel cut round to the outside
+of the semicircle for the top of the peg. File this round and then cut
+the chamfer with the knife. File as required, and finish with
+sand-paper.
+
+The pegs being thus made ready for fixing, clean the face of the board
+(Fig. 1) with the smooth plane, and the edges and chamfers with
+sand-paper. Then glue in each plug, using the try square to make sure
+that they project at right angles. Then put the whole away for not less
+than six hours, to allow the glue to set well. Then, as each plug has
+been purposely made slightly too long, saw off each projection at the
+back, and smooth the whole of the back with the plane, so effecting the
+finishing touches.
+
+To avoid the necessity for nailing to the wall, get two pieces of
+hoop-iron about 1-1/2 in. long and 1/2 in. wide. To adapt each piece for
+its purpose, cut one end round and punch in a nail hole and two smaller
+screw holes, as shown in Fig. 1. With a chisel cut a neat recess for
+each iron so that it can be sunk flush with the back, as shown in Fig.
+2, and, inserting the screws, the work will be complete.
+
+
+NO. 22. FLOWER-POT STAND.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 34, 20, 2, 1, 13, 41, 42, and
+35.)
+
+This is an especially good subject for straight sawing, straight
+planing, and nailing.
+
+Cut from Deal a piece about 22 in. long, 6 in. wide, and 1 in. thick.
+With the jack-plane face one side and one edge perfectly straight and
+true at right angles. Gauge-mark for 13/16 in. thick, and plane the
+rough side down to the gauge-line. Square one end with the plane, mark
+to length shown in Fig. 1 of drawings No. 22, cut with tenon saw to
+mark, and square the end with smooth plane. Then gauge-mark for
+thickness of lath shown in Fig. 4, and saw off a shade inside the
+gauge-lines. In like manner cut five laths, and plane each to the gauge
+line.
+
+The laths being thus made, sufficient wood will be left for the
+supports. Make the width of the supports the same as that of the laths.
+After gauging and planing the supports to depth as Fig. 4, saw off to
+the 6-in. length. Square the ends with a chisel and set out on each the
+distance _a a_, Fig. 3. Gauge to _b b_, Fig. 4, and with the tenon saw,
+cut to the gauge-line at _a a_, and with the knife remove the piece
+between _a_ and _a_. Then mark on each lath the distance the supports
+are from each end of the laths, and nail on the laths--the outside laths
+first, then the centre one, and finally the other two.
+
+[Illustration: _No. 22._
+
+_Flower Pot Stand._]
+
+
+NO. 23. FOOT-STOOL.
+
+(Requiring Exercises 5, 7, 12, 8, 9, 10, 3, 4, 15, 44, 32, 29, 14, 13,
+3, 5, 41, and 42.)
+
+Cut from Deal two pieces, one 12 in. long, 6 in. wide, and 1-1/4 in.
+thick; the other 18 in. long, 3-1/4 in. wide, and 1 in. thick.
+
+The former piece is for the laths, and it must be prepared and cut as in
+No. 22, making each lath to finish 1 in. wide, 1/2 in. thick, and 10-3/4
+in. long.
+
+The wood for the support must now be proceeded with. Plane one side and
+one edge at right angles, and gauge-mark for width of 3 in. and
+thickness of 1-7/8 in. Plane the rough side and edge down to the
+gauge-marks. Then saw through the centre so as to make two pieces of 7/8
+in. thickness each. Place the pieces side by side, and nail them
+together with two 1-1/2-in. wrought nails, so that both pieces can be
+operated upon together. Then draw on one outer side the diagram shown on
+the unshaded part of Fig. 1 of drawings No. 23, and, with the aid of
+try-square and compasses, repeat the diagram on the other outer side.
+Then cut off each end nearly to the end lines of the diagrams, and, with
+the smoothing plane, finish at perfect right angles. Then, with a
+5/8-in. centre-bit, drill at the spots marked _a a_ on each diagram,
+penetrating on one side a little more than an inch, and finishing by
+drilling from the other side in precise unison. The drilling throughout
+must be exactly vertical. Then proceed with the arch shown in Fig. 1,
+with the turning saw cutting out the three semicircles, which finish
+with gouge and file, taking care to maintain right angles at every
+point. Then separate the pieces, smooth each face with the smoothing
+plane, and the circular parts with file and sand-paper.
+
+The respective parts being now complete, mark on each lath the distance
+the supports are from the ends shown in Fig. 2. Then nail on the laths,
+_b b_ first, _c_ next, and the others afterwards. Then, having first
+taken care to punch down all the nails sufficiently, plane a few
+shavings off the tops of the laths to make them clean and level.
+
+[***] If the laths are well and truly nailed on, their ends should be in
+perfect line. Any defect in that respect must be remedied by carefully
+and judiciously planing; but the perfection of work is when no such
+planing is necessary.
+
+
+NO. 24. BOOK-CARRIER.
+
+(Requiring Exercises 5, 12, 8, 9, 10, 3, 4, 15, 44, 32, 29, 14, 13, 3,
+5, 41, and 42.)
+
+This is made partly in hard and partly in soft wood.
+
+[Illustration: _No. 23._
+
+_Foot Stool._]
+
+[Illustration: _No. 24._
+
+_Book Carrier_]
+
+For the handle, cut from Beech a piece 8 in. long, 2 in. wide, and 7/8
+in. thick. Plane one side and one edge. Then gauge-mark for 1-1/2 in.
+wide and 3/4 in. thick, and plane the rough side and edge down to each
+gauge-mark. Then draw on one side the diagram of the handle shown in
+Fig. 1 of drawings No. 24. With the turning saw, cut to the inner and
+outer lines of the diagram. With the plane, round the top of the handle,
+as shown in Fig. 1, and, with the knife, round and smooth the other
+parts, taking care that all the right angles are strictly maintained.
+Then, with an 1/8-in. centre-bit, drill a hole for each screw, as shown
+in the Fig., and, with the knife, counter-sink for the heads of the
+screws. With the knife, make the chamfers at the corners of the curves,
+as shown in Fig. 2, and finish completely with scraper and sand-paper.
+
+The handle being thus finished, cut from Deal a piece 24 in. long, 6-1/2
+in. wide, and 5/8 in. thick, and plane one side and one edge at right
+angles. Gauge-mark for 6 in. wide, and 1/2 in. thick, and plane the
+rough side and edge down to the gauge-marks. Square one end, measuring
+from that end, saw off at 9 in. On the larger piece remaining, draw the
+lines _a b_ and _a b_ in the positions shown in Fig. 2; then, with the
+compasses, set off the spaces from _a_ to _c_ and from _a_ to _c_, _b_
+to _c_ and _b_ to _c_, _a_ to _d_ and _a_ to _d_, _b_ to _d_ and _b_ to
+_d_. Then set the gauge to half the thickness, and with it mark the
+edges on the four places indicated in each case from _c_ to _d_. Set the
+bevel to the oblique line at each side of the dovetails, and transfer
+this bevelled line to each side at points _c c c c_ and _d d d d_. Then,
+with tenon saw, cut down each line _c d_ to the depth of the gauge line,
+and, with a small chisel, remove the whole of the pieces between the
+nicks made by the saw. This will result in two grooves for dovetailed
+tongues, as shown above, _a a_ in Fig. 1, designed to strengthen and
+prevent from warping the upper half of the holder.
+
+The grooves having been thus made ready, the dovetails must be prepared.
+From Deal cut two pieces, each 9 in. long, 2-1/2 in. wide, and 3/4 in.
+thick. Plane one side of each and bevel one edge to the pitch the bevel
+was previously set for. Then, on the planed side, mark 2-1/4 in. at one
+end, 1-1/4 in. at the other end, and take to that width, afterwards
+bevelling the edge as before. Then fit each of the tongues provided,
+driving them tight into their places. When they fit exactly, glue the
+planed side and the edges, and drive them to their positions, being
+careful not to split off the ends. Then allow time for the glue to set,
+and cut off the projecting ends of the tongues and plane them and the
+face of the board to a level. Cut off to exact length, measuring from
+the lines _a b_. Then smooth both boards with the plane, nail them
+together with two small nails, and square the ends. Then gauge and nick
+with the saw for the recesses _e e_, removing the wood from each recess
+with the knife, so making grooves for a strap to pass round. Then screw
+on the handle in the manner indicated by both Figs., and finish as
+required with sand-paper.
+
+
+NO. 25. LADLE.
+
+(Requiring Exercises 5, 19, 12, 9, 10, 32, 15, 33, 29, 14, 26, 28, 22,
+49, 31, 1, 6, 16, 13, and 24.)
+
+[Illustration: _No. 25._
+
+_Ladle._]
+
+Cut from Beech a piece 16 in. long, 4 in. wide, and 4 in. thick. The
+manner of proceeding resembles that required for No. 17. Plane one side
+and one edge at right angles, and draw on the planed side the diagram
+shown in Fig. 2 of drawings No. 25. With a 1-1/4-in. centre-bit, drill
+two holes right through, as indicated by the dotted circles. Saw round
+the outside lines of the diagram, taking care not to obliterate the
+lines. Trim exactly to the lines with a chisel, gouge, and file. Then
+mark on each edge the upper curved line of Fig. 1. Saw to that line
+without obliterating it, finishing with spokeshave, plane, chisel, and
+file. Then cut out the bowl of the ladle, using a small gouge for the
+edge, and a larger one for obtaining the depth, which must be governed
+by the white section shown in Fig. 3, and finished with file, scraper,
+and sand-paper before proceeding with the under side. When the bowl is
+thus finished, mark on each side the curve for the under side shown in
+Fig. 1. Saw just outside the line, and proceed to shape the under
+side--the bowl to the shaded section of Fig. 3, and the handle to the
+section of Fig. 4. For finishing the bowl, fix the handle in the bench
+screw, and pare with a wide chisel, afterwards applying the knife for
+completing the bowl and handle. For the finishing touches use the file,
+scraper, and sand-paper.
+
+
+END.
+
+
+TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
+
+
+
+
+
+End of the Project Gutenberg EBook of Hand-Craft, by John D. Sutcliffe
+
+*** END OF THIS PROJECT GUTENBERG EBOOK HAND-CRAFT ***
+
+***** This file should be named 37447.txt or 37447.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/7/4/4/37447/
+
+Produced by Jonathan Ingram, Harry Lame and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/37447.zip b/37447.zip
new file mode 100644
index 0000000..ac9f5dc
--- /dev/null
+++ b/37447.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..8e8ef15
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #37447 (https://www.gutenberg.org/ebooks/37447)