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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #53288 (https://www.gutenberg.org/ebooks/53288)
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-The Project Gutenberg EBook of Seat Weaving, by L. Day Perry
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Seat Weaving
-
-Author: L. Day Perry
-
-Release Date: October 15, 2016 [EBook #53288]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SEAT WEAVING ***
-
-
-
-
-Produced by Chris Curnow, Sam W. and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
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-
-
-
-
-
-
-
-Transcriber's Note
-
-Bold text is marked with =equals signs=, italic text is marked with
-_underscores_.
-
-
-
-
-                 SEAT WEAVING
-
-
-                      BY
-
-                 L. DAY PERRY
-    _Supervisor of Manual Training, Joliet,
-     Illinois, and Instructor, Department
-      Esthetic and Industrial Education,
-  Summer Quarters, The University of Chicago_
-
-
-                [Illustration]
-
-
-             THE MANUAL ARTS PRESS
-               PEORIA, ILLINOIS
-                     1917
-
-
-              Copyright, 1917, by
-                 L. Day Perry
-
-
-
-
-FOREWORD
-
-
-Woodworking shops in manual training schools far outnumber those for
-other manual activities, and as a result, courses in woodwork have
-come to be termed the stable courses in a handwork curriculum.
-However, experience in woodwork alone is not sufficient, and needs to
-be supplemented by other and more varied activities to give to the boy
-a proper foundation for choice of vocation.
-
-A definite way to produce necessary variety as applied to woodwork,
-especially if woodwork is the only course offered, is thru the use of
-such mediums as cane, reed, rush, splints and allied materials in
-correlation with the wood. These materials add life to the problems
-and generally arouse interest and enthusiasm in the work at hand. The
-result is careful application to construction details, with resultant
-appreciation of constructive design.
-
-It would prove a difficult task to make a fair estimate of the value
-such mediums have in manual training shops. Their use produces very
-definite reactions upon boys who could not be reached by woodwork
-alone, awakening them to a new interest in their work and making them
-more workmanlike and exacting in construction.
-
-There exists some element in such mediums which cannot be defined, but
-which nevertheless stimulates the average or mediocre boy, as well as
-the exceptional one, to produce the best work of which he is capable.
-Experience with these materials utilized in correlation with wood will
-prove the truth of these statements and demonstrate that they are not
-only worth while, but necessary to any well-rounded course in wood.
-
-The originals of the projects illustrated by the photographs were,
-with few exceptions, constructed by boys of average ability in the
-eighth grade. They indicate the character of work which may be
-expected of boys in that grade, and, in a measure, the first two years
-of high school.
-
-Practically the entire emphasis is laid upon weaving as applied to
-some form of seat, either as a decorative feature or as a necessary
-part of the structure. These materials may be utilized in various ways
-on varied types and forms of furniture other than seats, a few of
-which are suggested. Experience with them will lead the worker to new
-and interesting fields of a distinctly educational nature.
-
-  Joliet, Illinois, November, 1916.
-                                               L. DAY PERRY.
-
-       *       *       *       *       *
-
-ACKNOWLEDGMENTS
-
-Acknowledgments are hereby made to The Bruce Publishing Co., for
-permission to re-use the material in Chapters I and II which appeared
-in _The Industrial Arts Magazine_ in a modified form; to The
-Periodical Publishing Co., for the photograph shown in the
-frontispiece; to M. F. Gleason, Joliet, for the sketches shown in
-Figs. 5, 6 and 8; to T. S. Moore, Joliet, for his cooperation in all
-the photographic work; and to the instructors in the Joliet Department
-of Manual Training who have assisted in working out a number of the
-problems.
-
-                                                    L. D. P.
-
-
-
-
-CONTENTS
-
-
-                                                      PAGE
-  Foreword                                            3, 4
-
-  Acknowledgments                                        4
-
-  Chapter I.--Caning; The Seven Steps                    7
-    Cane                                              7, 8
-    Equipment                                         8, 9
-    Beginning the Operation                          9, 10
-    The Seven Steps in Caning                        10-14
-
-  Chapter II.--Caning Suggestions                       15
-    Irregular Areas                                  17-21
-    Five-Step Caning                                21, 22
-    The Design Element                               22-25
-
-  Chapter III.--Reseating a Chair; Hand Caning          26
-    The Process                                      27-31
-    Refinishing                                      31-33
-
-  Chapter IV.--Reseating a Chair; Cane Webbing          34
-    The Process                                      35-40
-
-  Chapter V.--Rush Seating                              41
-    Historical                                       41-42
-    Rush                                             42-43
-    Other Materials                                  43-44
-    Preparation of Materials                         44-46
-    The Weaving Process                              46-49
-    Rectangular Seats                                49-50
-    Irregular Seats                                  50-51
-    Suggestions                                      51-54
-    Finish                                              54
-
-  Chapter VI.--Reed and Splint Weaving                  55
-    Primitive Methods                                56-57
-    Bleaching                                        57-58
-    Staining                                         58-59
-    Other Materials                                  59-62
-
-  Chapter VII.--Seats of Reeds and Splints              63
-    Indian Splints                                   72-79
-    A Rustic Chair                                   79-80
-    A Woven Table                                       81
-    Willows                                          81-82
-
-  Weaving Materials: Where to Obtain                    84
-
-
-
-
-  [Illustration: A TYPICAL ALLEY SCENE IN HONG KONG SHOWING NATIVE MEN
-    AND WOMEN SORTING AND STRIPPING RATTAN.
-      _Courtesy, Periodical Publishing Co._]
-
-
-
-
-CHAPTER I
-
-CANING; THE SEVEN STEPS
-
-
-That caning has not been undertaken to any appreciable extent in
-school shops is due to the fact that instructors are unfamiliar with
-the weaving processes. Caning is not difficult. It, in common with
-many other lines of activity, is best learned thru observation.
-However, it may be undertaken by the average person after careful
-study of printed directions and illustrations. If the worker will
-closely observe his own work as it progresses, and follows
-instructions carefully, he should have no unusual difficulty in caning
-an area very acceptably in the initial attempt. Particular attention
-should be paid to directions which tell of errors to avoid. Errors
-creep in, in a very unobtrusive manner at times, and the amateur will
-find them hard to detect.
-
-
-=Cane.=--Cane is the name applied to a great number of plants which
-possess long, slender, reedlike stems. The name should apply only to a
-class of palms called rattans. These plants are found thruout the
-Indian Archipelago, China, India, Ceylon, and the Malay Peninsula.
-They grow in dense, dark forests and form a matted undergrowth which
-makes passage difficult or impossible. These palms are trailing in
-tendency, yet frequently grow to tree height. They then fall over and
-lie on the ground. The stem is covered with beautiful green foliage,
-grows to a length of 100 to 300 ft., and rarely exceeds 1 in. in
-diameter. The stems are cut into lengths of 10 to 20 ft. for export.
-The outer bark is stripped into widths varying from ¹⁄₁₆ to ³⁄₁₆ in.
-These strips are put into hanks of 1,000 lineal feet each. The cane is
-then ready for the cane weaver. A hank of cane costs from 60 cents to
-$1. The width of the cane and its quality determines the price per
-hank. It may be purchased from any upholstery supply house.
-
-Cane is named from the narrowest to the widest in order: carriage,
-superfine, fine-fine, fine, medium, common, narrow binder, and wide
-binder. Cane from India has a very glossy surface, while that from
-other localities is duller. The right side of the cane is easily
-determined by this glossiness.
-
-Cane for weaving purposes should not be confused with the popularly
-called cane or bamboo of our southern states, where it forms the well
-known cane-brakes. This cane rarely exceeds a height of 20 ft. It
-grows rapidly and very straight, and to an appreciable diameter. Such
-cane is used for bamboo furniture, walking sticks, poles, etc. The
-ordinary domestic sugar cane, also, should not be confused with
-seating cane.
-
-  [Illustration: FIG. 1. THE CANING NEEDLE.]
-
-
-=Equipment.=--The tools needed in cane weaving are few in number. A
-special one is called the caning needle. This may be made in the
-school shop. Fig. 1 shows a working drawing of the needle. Its length
-is variable, depending upon the work at hand. It is desirable to have
-a number of different lengths. The tool is made of good flexible steel
-wire. This is flattened at one end, an eye cut in it, blunt pointed,
-and slightly curved as indicated. The other end is inserted in an
-ordinary small tool handle, extended thru and riveted. The riveting
-prevents the wire from drawing out of the handle under a pulling
-strain.
-
-The other tools needed are a scratch awl, and a pair of scissors or
-knife. A button-hook with the hook straightened or cut off may take
-the place of the awl. A pair of dividers and rule are necessary for
-marking. Several wood pegs are needed. These may be classed with the
-tools. They are made from a ¼ in. dowel rod, or the equivalent. Cut
-them about 4 in. long and point them as you would a lead pencil. The
-amateur is inclined to use a number of pegs. Four should prove amply
-sufficient.
-
-
-=Beginning the Operation.=--Fig. 2 is a photograph of an upholstered
-leg rest with caned sides. This rest will be used for our initial work
-in cane weaving, inasmuch as the area for caning is rectangular. It is
-not advisable for the beginner to have his initial experience on a
-chair seat, for the area is usually of an odd shape, and arms, legs,
-and back interfere. However, any rectangular area on which there are
-no projections to bother may be used for the first trial.
-
-  [Illustration: FIG. 2. LEG REST.]
-
-It is assumed that the sides of the rest have been fitted. The rails
-and stiles are then assembled with glue, without the posts. When the
-glue has set the proper length of time, and the frame is cleaned and
-sanded, the rails and stiles are ready to dimension.
-
-Draw pencil lines entirely around the inner sides of the rails and
-stiles, ½ in. from the edges. This distance remains constant, usually,
-on all areas and with canes the various widths. With a pair of
-dividers set at ¼ in. space off points on the pencil lines, starting
-from the intersection of the extended lines on each rail. Fig. 3 is a
-working drawing of a corner, dimensioned as suggested. It will make
-clearer the directions. It is fundamental that the spacing be done in
-the same direction on parallel rails, for at times the last space
-will be a short ½ in. or whatever dimension is used. In such cases it
-is necessary to redivide the last several spaces into divisions as
-near ½ in. as possible. It thus becomes obvious why spacing must be
-done in one direction as stated. This applies to all rectangular
-frames.
-
-  [Illustration: FIG. 3. SKETCH OF CORNER FOR CANING.]
-
-With a ³⁄₁₆ in. wood bit bore holes thru the rails and stiles at the
-points marked. Countersink the holes slightly on the underside of the
-frame. This is not absolutely necessary but aids considerably in
-locating the holes, and in other ways. In shops where power machinery
-is available a vertical borer may be used for this purpose. It is best
-to carefully mark the points for boring with a center punch. The twist
-bit will then start accurately and the danger for getting out of line
-will be reduced to a minimum. The dimensions given here are for
-fine-fine cane. Use sandpaper to remove pencil lines and rough edges
-left from boring; then clamp the frame over the edge of a table or
-bench with a carriage clamp; sit while doing the weaving.
-
-
-=The Seven Steps in Caning.=--Fig. 4 shows the seven steps in caning.
-Refer to this photograph thruout the following directions. The numbers
-on the photograph refer to the steps.
-
-  [Illustration: FIG. 4. THE SEVEN STEPS IN CANING.]
-
-_Step 1._ A hank of cane should be soaked for a few minutes in warm
-water, or longer in cold. Do not soak it too long. Start a strand by
-drawing one end thru a hole next to a corner hole, and let it project
-about 3 in. below. Fasten with a peg. Then starting at the peg, pull
-the entire strand thru the thumb and forefinger to prevent twisting,
-and pull the end down thru the hole on the opposite parallel rail next
-to the corner hole, and then up thru the hole next to it. See that the
-right side of the cane is out on the underside of the frame as on the
-top. Pull the cane reasonably taut, and fasten with a peg to prevent
-the strand from slipping back and becoming loose. Draw the cane thru
-the thumb and forefinger again; pull it across the frame and down thru
-the hole next to the peg and up thru the hole next to it. Pull taut
-and fasten with the second peg. This operation is repeated until all
-holes have been utilized on the two parallel rails, except those on
-the corners. Thruout the seven operations it is necessary that the
-cane be kept from twisting by drawing the remaining part of the strand
-thro thumb and forefinger.
-
-_Step 2._ The second step is identical with the first, with the
-difference that the other two parallel rails are used, and that the
-canes run over the first set of parallel canes. If the first strand of
-cane has not been entirely used up in the first step, the remainder is
-used to begin the second step.
-
-  [Illustration: FIG. 5. METHOD OF TYING ENDS OF CANE.]
-
-_Step 3._ This step is a repetition of the first two. The canes of
-this series run _over_ the first and second series and parallel with
-the first. As each strand is used up bind the end by pulling it under
-a cane, crossing from one hole to another underneath the frame and
-cutting off about ¼ in. from the cane. Fig. 5 shows how this binding
-is done. The loose end at the starting point is tied in this way, and
-all subsequent ones should be tied as they come, thus avoiding
-interference by many pegs, and insuring neat binding.
-
-_Step 4._ The actual weaving begins with this step. It may be done
-entirely by hand, without resort to the needle, but it is slow work.
-The needle should be used. Start at a hole next to a corner on either
-rail that has been used but _once_, working from caned side toward the
-open frame. Go over and under the strands necessary to form the weave,
-turning the needle from side to side in order to catch the canes
-behind the point. When across thread the needle with the strand and
-pull thru, being careful to avoid a twist. Pull the end down thru the
-hole, pairing the canes. Pull the cane up thru the next hole; then
-start the needle from the opposite side of the frame and repeat the
-first operation, thus pairing another set of canes. Continue until all
-canes are paired and all holes used. Soak the woven cane with a wet
-sponge, and with two pegs straighten the strands of cane and force all
-pairs together. Small, open squares are thus formed over the area
-being caned. Unless the cane is soaked it will prove rather difficult
-to pair the canes.
-
-_Step 5._ This step is the weaving of one set of diagonals. Start the
-strand at any corner hole. Use one hand over and one under the frame.
-As the worker becomes skilful he will find it easier to give the cane
-a slight curve and work with both hands on the upper surface. Use an
-end of cane long enough for convenient handling; then pull the entire
-strand thru the length of the frame, provided the area is not too
-great. Care must be taken to avoid twisting the cane. The cane will
-run easily, and partially under a cane at the corners of the squares,
-if correctly done. Fig. 6 shows this clearly, as does the illustration
-in Fig. 27. The second illustration is a photograph of a strip of cane
-webbing, is approximately half size, and will supplement the freehand
-sketch. The corners will bind, and the strand will pull with
-difficulty if the cane is incorrectly woven. On parallel canes note
-that the canes either run _over_ or _under_ the pairs.
-
-  [Illustration: FIG. 6. FREEHAND SKETCH OF CANING.]
-
-_Step 6._ This step is identical with the preceding one. The canes are
-at right angles to the first diagonals. In this step and the preceding
-one note that two strands run into the corner holes. This holds true
-in all rectangular frames where a corner hole is bored. It permits the
-strands to run in as straight a line as possible. If it is necessary
-to turn abruptly to enter a hole it is obvious that an error has been
-made by the weaver.
-
-_Step 7._ Pull a cane of the same size as used in the other steps up
-thru a hole, over the binder cane and down thru the same hole. A loop
-is thus formed and the binder secured. Pull taut, then enter the next
-hole, pull up the cane over the binder and down, and so on. This
-operation may be repeated at every other hole when the holes are close
-together. The two ends of the binder are finally overlapped and
-secured, and the operation thus completed. At times, when the last
-strands are woven, it may prove advisable to secure canes underneath
-the frame by plugging the necessary holes; at least in instances where
-the canes have a tendency to work loose.
-
-  [Illustration: SUGGESTIVE PROJECTS.]
-
-
-
-
-CHAPTER II
-
-CANING SUGGESTIONS
-
-
-As weaving progresses difficulty will be experienced in inserting cane
-ends in the holes, due to their becoming filled. Force the scratch awl
-thru and turn it several times. This will effectively force an
-opening.
-
-In many instances long ends of cane remain from one series to another.
-These generally, as previously mentioned, should be used in succeeding
-steps. There is one limitation. They should be used provided it is not
-necessary to carry them over more than four holes on the under side of
-the frame. The fewer loose ends left, the better, for the caning is
-thereby neater and better. It is generally advisable to use a full
-length strand to avoid a number of loose ends.
-
-The amateur will find his greatest difficulty in properly weaving the
-diagonals at the edges; that is, immediately upon entering or leaving
-a hole. Many commendable pieces of caning are spoiled by ragged,
-improperly woven edges. Care must be taken to see that the cane goes
-_over_ and _under_ the proper strand or strands at these points. Fig.
-6 clearly shows how the diagonals should run. Study it carefully.
-
-The addition of a binder is generally a matter of taste. Perhaps 50
-per cent of modern hand caned furniture does not employ a binder of
-any description. The series of regularly exposed holes are rather
-pleasing and in no way detract. However, in chair seats a binder is
-essential to protect the ends of canes, for they are subject to hard
-wear.
-
-Binders of reed or of wood called "splines" may be used on hand-caned
-frames. If either is used a groove ¼ in. deep and ³⁄₁₆ in. wide is
-cut coincident with the holes before weaving is begun. After the area
-is caned the strips are fitted and glued in. Use little glue. Tap the
-splines firmly with a mallet used over a block of wood, until they are
-flush with the woven cane. Chapter IV gives the method in detail.
-
-The size of the holes and the distance between them is determined
-largely by the size of the cane used. Some prefer coarse meshed areas,
-while others desire them closely woven. There is, however, what we may
-term a standard mesh. The individual may vary the dimensions given to
-suit himself. The Jacobean or early caning was invariably of coarse
-mesh.
-
-  [Illustration: FIG. 7. WINGBACK CHAIR.]
-
-Carriage and superfine cane require ⅛ in. holes and ⅜ in. spaces;
-fine-fine cane requires ³⁄₁₆ in. holes and ½ in. spaces; fine cane
-requires ³⁄₁₆ in. holes and ⅝ in. spaces; medium, ¼ in. holes and ¾ in.
-spaces. Fine-fine and fine cane are the best sizes for shop use. A
-small amount of medium binder is desirable.
-
-One hank of cane will ordinarily be sufficient for a half-dozen areas
-of approximately 12 in. by 12 in.
-
-Most old pieces of period furniture utilizing cane employ a
-particularly narrow split horizontally and vertically, and a wider
-split diagonally. The opposite practice may be employed--a finer split
-of cane being used diagonally than horizontally and vertically. Both
-effects are pleasing.
-
-In all illustrations of rectangular areas shown herein, corner holes
-are bored and utilized in the cane weaving. These are not absolutely
-necessary; in fact caned areas on many pieces of period and modern
-furniture do not utilize corner holes. In such instances two diagonal
-strands are run in each hole on either side of the corner. A
-comparison of the areas, the one employing a corner hole, and the
-other not, will lead the observer to conclude that the former appears
-complete while the latter appears unfinished.
-
-  [Illustration: FIG. 8. SKETCH OF STRIP TO COVER CANE ENDS.]
-
-It is frequently necessary or desirable to cover up the cane on the
-back or inside of an article. This is true of places exposed to view,
-and is especially advisable on such pieces of furniture as the
-wingback chair shown in Fig. 7. This chair of William and Mary design
-was made in a school shop, is hand caned, and of mahogany. The exposed
-cane is covered with strips of mahogany ¼ in. thick and 1 in. wide in
-which a groove ⅛ in. deep and ⅜ in. wide has been run. This groove may
-be made with saw, chisel, or combination plane. Fig. 8 shows a sketch
-of such a strip. It makes a neat, pleasing cover. Many pieces of
-so-called expensive furniture have ragged, exposed caning. This is
-unsightly and is not to be commended.
-
-Wherever it is found desirable to leave cane natural, it is necessary
-that the frame be stained before caning is begun. Box fuming will not
-permanently color cane. Oil stains make no appreciable impression if
-rubbed off at once. But water, acid, and alcohol stains produce
-decided colors. If the worker desires to color the cane approximately
-the same shade as the article, the caning may be done on the white
-wood and the entire article stained at the one operation. Cane may be
-shellacked or varnished or left natural, as desired.
-
-
-=Irregular Areas.=--Fig. 9 shows a close view of the back of the
-chair illustrated in Fig. 7. This is a typical example of an
-irregular-shaped area for caning. The principles of weaving remain
-the same in areas of any shape, yet each requires slightly different
-treatment. Each has its individual problem. It is necessary to skip
-some holes altogether. This is never done in rectangular shapes. A
-close inspection of the photograph will reveal many skipped holes.
-This is necessary to keep parallel strands equidistant, and diagonals
-straight.
-
-  [Illustration: FIG. 9. BACK OF CHAIR SHOWING ODDLY SHAPED AREAS.]
-
-  [Illustration: FIG. 10. METHOD OF LOCATING HOLES ON WING OF CHAIR.]
-
-To clearly understand how the holes are located on a wing of this
-chair refer to Fig. 10. The left upright and lower rails are at right
-angles to each other. The upper rail is curved and the right upright
-slanted. Measurements are begun at the lower left hand corner and
-proper distances spaced on the left upright. With the arm of a
-try-square against this upright, points are marked on the opposite
-upright in line with those on the former. This operation is repeated
-on the lower rail and the upper curved one. Strands of cane will then
-obviously run parallel. Inasmuch as there are five holes in the base
-and eight in the top it is necessary that three vertical strands be
-run into the slanting upright in any holes which will permit the
-strands to run parallel to each other. The photograph of the caned
-wing, shown in Fig. 11, should make very clear the foregoing
-explanation. Experience with several unusual shapes is necessary
-before the weaver feels confident of readily caning any area of odd
-shape.
-
-  [Illustration: FIG. 11. CLOSE VIEW OF WING.]
-
-In weaving the diagonals it is frequently necessary to run several in
-one hole in order to keep the canes as straight as possible. Just when
-this should be done can only be determined by the worker. A diagonal
-should never be permitted to swing to any great degree out of a
-straight line. A close observation of the photograph of the wing will
-reveal many diagonal canes in one hole, and several holes skipped
-entirely.
-
-  [Illustration: FIG. 12. CANING OF FIVE STEPS.]
-
-
-=Five-Step Caning.=--Cane weaving of five steps is not common. It may
-be done in many cases where it will not be subject to hard wear. It is
-neat in appearance and is much simpler than seven-step caning. The
-presumption should not be made that this weave will in any way
-supplant the regular weave, but in instances where decoration is the
-object, and not service particularly, this weave will prove sufficient
-and effective.
-
-Fig. 12 illustrates a frame caned with the five steps. The distance
-between holes was purposely made greater than usual, to show the weave
-clearly. The first strands are strung in, in the same manner as
-described in the seven steps. The second series of strands are
-interwoven with the first. The over and under weave is used. Each
-alternate row of each series is either over or under. The first
-diagonal strands run _over_ the preceding two series. They are not
-woven as in seven-step caning. The second diagonal strands run _over_
-the first diagonals and _under_ the intersection of the other strands,
-including every alternate first diagonal. This resolves itself into
-simple over and under weaving. Note that but one strand of a diagonal
-enters a corner hole. This is not true of seven-step caning, as
-elsewhere indicated. It is advisable to utilize a wider cane in the
-first two steps, than is used in the subsequent ones.
-
-  [Illustration: FIG. 13. DAVENPORT WITH CANED PANELS.]
-
-
-=The Design Element.=--Caning is not a fad. Cane was commonly used in
-Carolean furniture in England about 1660, and has continued in use for
-seating purposes thru the various subsequent periods. The application
-of cane as used today on French furniture, as in panels, is
-historically wrong. However there can be no valid objection to its use
-in panels if no attempt is made to name it a true period style. Also
-it must be conceded that period furniture was not always well
-designed, and there can be no well sustained objection to the use of
-cane in panels, provided it is in keeping structurally and
-decoratively with the particular piece of furniture.
-
-The introduction of cane at first was undoubtedly brought about by a
-desire for something light, substantial and serviceable, and it
-blended well with the oak of the period. Cane is much used on modern
-furniture, and without doubt it adds to the beauty of the given
-pieces. In many cases the decoration is overdone and instead of
-improving the article the cane in reality detracts. Properly used, it
-enriches by breaking up flat uninteresting areas, and lightening the
-appearance of otherwise massive, cumbersome articles.
-
-  [Illustration: FIG. 14. ROCKER WITH CANED SIDES.]
-
-  [Illustration: FIG. 15. BOOK SHELVES WITH CANED PANELS.]
-
-Under proper correlation with wood in school shops it promotes an
-appreciation of constructive design in which the element of beauty is
-a prime consideration. It is a practical medium in which the aspect of
-design as an element of utility is paramount. It has distinct
-commercial value, for the boys who have had training in the shops may
-do chair seating outside and earn considerable money. By such work
-they come to see a distinct relation between the commercial field and
-their shop experiences. This is a point of view which is very
-desirable in present-day industrial education.
-
-Figs. 13, 14, 15, and 17 show pieces of furniture made in manual
-training shops by eighth grade boys. These pieces comprise a group,
-with the addition of the leg rest shown in Fig. 2 for a library or
-living room. The cane in each instance adds materially to the artistic
-effect of the problems; they have tone. The cane forms pleasing groups
-well related to the wood mass. The cane is natural, the wood fumed and
-finished flat. The two tones of color are in perfect harmony.
-
-  [Illustration: FIG. 16. LIBRARY TABLE.]
-
-  [Illustration: FIG. 17. TABLE. SIDES CANED.]
-
-Fig. 16 shows a library table of oak constructed by an eighth grade
-boy. The lines are very pleasing and the long vertical caned panel
-adds a distinct note to the structure even tho purely decorative.
-
-Many modifications of the standard weave in caning are in vogue, but
-are more or less fads. A "rotary" weave is rather prevalent on certain
-types of furniture, as is what may be termed the "spider-web" weave.
-These are mentioned merely to suggest that caning is subject to
-variation. However, the standard weave, of seven steps, will not be
-supplanted to any appreciable degree, for it adapts itself to almost
-all types of furniture both decoratively and structurally.
-
-It must not be presumed that the method described in Chapter I is the
-only one which may be employed in weaving this standard weave. There
-are several methods of weaving which arrive at the same ultimate
-result, but the one described is the simplest, and the most direct,
-and withal the one best adapted to general use, particularly to
-school-shop pupils.
-
-  [Illustration: SUGGESTIVE PROJECTS.]
-
-
-
-
-CHAPTER III
-
-RESEATING A CHAIR; HAND CANING
-
-
-In many localities it is impossible to find a professional to reseat
-caned chairs either by hand or with cane webbing. Many chairs in good
-repair and worthy are relegated to the attic because of broken or
-sunken seats. Upholsterers generally will not be troubled with such
-jobs of caning for the work does not pay unless there is an amount
-sufficient to keep them steadily employed. Usually they are not adept
-enough to do such odd jobs as may come to them, even tho willing to do
-the work, within a time consistent with sufficient money returns.
-
-Chairs of ordinary size may be caned for a minimum of $1 and a maximum
-of $2. If the holes have previously been bored, much labor is thus
-avoided, and the charge is naturally made less. The professional cane
-weaver has various ways by which he determines the cost for recaning a
-given seat. Perhaps the most common method employed is that of
-charging so much per hole. This is from 1 to 2 cents. The difficulty
-in handling very fine cane is also a factor in deciding what to
-charge. Usually a casual looking over of the chair by the expert is
-all that is necessary to fix a price. No charge of less than $1 on a
-hand caned seat will sufficiently remunerate the worker. Fig. 18 shows
-a hank of cane and rolls of machine woven cane.
-
-Any boy who has had instruction and sufficient experience in caning in
-the manual training shop may readily undertake jobs of caning. The boy
-who will investigate will find that he may work up a sizeable trade in
-chair seating in a short time. In fact several boys will not overcrowd
-a given field. Such work will pay the amateur well. He does not, nor
-cannot expect professional wages. It is of considerable value from the
-pupil's standpoint alone, that is, this correlation with his manual
-school activities. The amount of pay initially is not the main
-question; it is the educational value derived. He would undoubtedly
-find willing help at his shop at any time a job of peculiar treatment
-presented itself.
-
-
-=The Process.=--Many chairs which the owners would wish hand caned
-have no holes bored for the work. They previously held machine woven
-cane. Fig. 19 shows a sketch of a chair bottom of ordinary or standard
-shape. The area is irregular. The sketch shows the method of
-determining the location for the holes.
-
-  [Illustration: FIG. 18. HANK OF CANE AND ROLLS OF MACHINE WOVEN CANE.]
-
-As stated in the discussion of the seven steps in caning, the holes
-are invariably ½ in. from the inner edges of the rails. In this
-instance the line from which the holes for the front rail are located
-is parallel with the front rail; it is coincident with the line on
-which the holes are bored. The line on the back rail must be parallel
-with it; the line runs thru the center of the center hole. The lines
-on the side rails are parallel to each other and at right angles to
-the first two. These four lines are shown as dash lines on the
-drawing. Their function is simply to determine the location for the
-holes to be bored on the lines ½ in. from the inner edges of the
-rails. Those lines are shown in the sketch as full lines.
-
-  [Illustration: FIG. 19. SKETCH OF CHAIR SEAT OF ODD SHAPE, SHOWING
-    METHOD OF FINDING LOCATION OF HOLES.]
-
-When the working lines are determined, the centers of the front and
-back lines are located. The lines connecting corresponding holes on
-the front and back rails must be parallel to the line connecting the
-center holes on these rails. This rule applies to the locating of the
-holes on the side rails. It also applies to any seat of odd shape. The
-distance between holes will vary somewhat at different places on the
-seat frame. This is the result of working to rule, and is necessary to
-keep strands equidistant and parallel. At times respacing at several
-places will be necessary. When it is, simply redivide into as nearly
-the given dimensions as possible.
-
-  [Illustration: FIG. 20. FIRST STEP HALF COMPLETED.]
-
-  [Illustration: FIG. 21. FIRST STEP COMPLETED. SECOND BEGUN.]
-
-After the holes have been bored and cleaned the seat is ready for
-caning. Start at the center hole in the back. Pull the cane up thru
-this hole and across the frame, and down the center hole in the front.
-Work both ways on the frame. Fig. 19 shows a cane started in this
-manner. It is best that the amateur work from the center, both ways.
-He may begin otherwise when he understands the work better. The caning
-operations on the seat to be shown are the same as those described in
-the seven steps in caning. They never vary. The only new thing
-involved here is the shape of the seat. Fig. 20 is a photograph of a
-chair seat of an odd shape, an irregular ellipse. It shows the first
-step half completed. Note here that the last strand skips two holes,
-one at the front and one at the back. This is necessary to keep
-strands as nearly the same distance apart as possible. Fig. 21 shows
-the first step completed and the second partially so. It is not
-necessary to start at the center with this series, altho it is
-advisable with the beginner. Note that two holes have been skipped
-here, as in the first step. Fig. 22 shows the second step finished and
-the third under way. These strands run directly over those of the
-first series. Pegs are always used to keep strands taut. Their proper
-use has been explained. Fig. 23 shows the third step completed and the
-fourth under way. This shows the actual weaving, and the method of
-using the needle. It has been pushed thru in the manner previously
-described; and is shown threaded, ready to be pulled back, thus making
-the weave. The needle may not be used, but will do the work rapidly.
-Handwork alone here is tedious. Fig. 24 shows the diagonal weave under
-way. In Fig. 25 this weave is completed and the second diagonal
-started. Fig. 26 shows the method of fastening the binder. This has
-been described.
-
-  [Illustration: FIG. 22. THE SECOND STEP FINISHED AND THE THIRD UNDER
-    WAY.]
-
-  [Illustration: FIG. 23. THE THIRD STEP COMPLETED AND THE FOURTH UNDER
-    WAY. THE CANING NEEDLE IN USE.]
-
-The first three series of strands should not be pulled very tight,
-otherwise the final weaving will prove difficult. The finished seat,
-when dry, should ring when struck sharply with the fingers.
-
-The method of tying cane, preventing twists, etc., has been explained.
-Reference should be made to these points, when anything is not fully
-understood in this discussion of chair seating.
-
-  [Illustration: FIG. 24. THE FIRST DIAGONAL WEAVE UNDER WAY. THE FIFTH
-    STEP.]
-
-  [Illustration: FIG. 25. FIRST DIAGONAL COMPLETED AND THE SECOND BEGUN.
-    THE SIXTH STEP.]
-
-Note that many holes have been skipped in each series, especially in
-the last two, and also that more than one diagonal of a given series
-enters the same hole. In every case it will enter that hole which
-leaves its course in as straight a line as possible. In rectangular
-areas it is never necessary to run two diagonals into the same hole,
-except at the corners. This applies to two diagonals of the same
-series.
-
-
-=Refinishing.=--The refinishing of a chair is a distinct problem, and
-one which the cane weaver should understand. He should acquire ability
-for finishing along with skill in caning, inasmuch as a chair which
-needs a new seat invariably is in need of refinishing. The method is
-as follows: Remove the cane from the seat. If the finish is in fair
-condition merely wash the chair with warm water and soap. When dry
-sand the surface somewhat, wipe clean, and follow with a coat of good
-varnish. In forty-eight hours rub with pumice stone and oil, and
-follow with an application of furniture polish, well rubbed. A good
-polish which may be made in school shops is composed of two parts of
-raw oil, two parts of turpentine, one part vinegar, and a very small
-amount of alcohol. Boiled oil may be used in the absence of the raw
-product. Shake the container constantly when using, for the parts are
-almost all merely held in suspension.
-
-Should the chair be in poor condition, remove all varnish with any
-good varnish remover found on the market. Apply as directed with a
-stiff brush, running the solution well into all crevices. Later rub
-off the softened finish with excelsior or burlap. A scraper, an old
-plane bit, or a rather dull chisel will prove effective in corners and
-recesses. Apply a second coat of remover if conditions warrant it and
-clean again, then when the surfaces are dry, sand until clean and
-smooth. Follow with a coat of oil stain of the color desired; then two
-coats of varnish, allowing each coat to dry 48 hours. Sand the first
-coat lightly, and rub the second with pumice stone and oil. A filler
-is not generally necessary in refinishing. The ground coat may be of
-shellac instead of varnish if the worker prefers it. The chair need
-not be stained if it was finished natural originally.
-
-  [Illustration: FIG. 26. METHOD OF FASTENING BINDER. THE SEVENTH AND
-    LAST STEP.]
-
-In caning the seat special care must be exercised to avoid marring
-the varnished frame. If the needle is used in the fourth step the
-frame needs protection from it. Pieces of bristol or card board may be
-placed under the needle on either side of the frame. The needle is
-bound to mar the surface of the frame if this precaution is not taken.
-
-In many instances it is policy to cane the seat after the old finish
-has been removed; this to avoid any possibility of marring the seat
-frame later. However, it is better practice to refinish the chair
-first, and cane the seat last.
-
-  [Illustration: SUGGESTIVE PROJECTS.]
-
-
-
-
-CHAPTER IV
-
-RESEATING A CHAIR; CANE WEBBING
-
-
-The seating of chairs with machine woven cane is a much simpler
-process than that of hand caning them. Under similar conditions less
-time and skill are required on areas of like dimensions. Machine woven
-cane, as its name implies, is a manufactured product made on power
-looms or machines. Commercially it is sold under the name of cane
-webbing. It is obtainable in widths ranging from 8 in., increasing by
-2 in., to 18 in., and in rolls of indefinite lengths. It may be
-procured in meshes of varying fineness, utilizing cane of various
-sizes. In specifying open woven cane it is necessary that the
-purchaser indicate his wants in essentially this way: Ten feet medium
-open woven cane webbing, of No. 1 fine cane, 12 in. wide. A roll of
-such cane has been referred to in Fig. 18.
-
-Cane webbing may also be purchased in close woven, in both the plain
-and diagonal weaves. The specifications for purchasing are identical
-with the open woven except that the term close woven is specified
-together with the character of weave. Fig. 27 shows cane webbing
-approximately half size, in open and close woven meshes.
-
-As in hand caning, any boy with proper inclination who has had the
-necessary experience in the shops, may avail himself of the
-opportunities for seating chairs in his community. The educational and
-pecuniary advantages are identical to those mentioned in relation to
-hand caning. The relative ease with which he may acquire skill in
-handling the materials precludes satisfactory workmanship for
-prospective customers.
-
-The cost of jobs is readily determined, for the amount and cost of
-webbing is easily ascertained, and experience soon determines the
-length of time required. Cane webbing costs approximately as follows:
-For 12 in. widths, 21 cents; 14 in. widths, 26 cents; 16 in. widths,
-30 cents; and 18 in. widths, 38 cents. This cost applies to open woven
-and is the charge per running foot. Close woven is sold by the square
-foot at about 30 cents, regardless of width. It is possible to procure
-special wide widths, but these are not generally found on the open
-market.
-
-  [Illustration: FIG. 27. OPEN AND CLOSE WOVEN CANE.]
-
-  [Illustration: FIG. 28. THE SEAT FRAME WITH WEBBING AND TOOLS.]
-
-For example, a chair seat which requires a 12 in. square of open woven
-webbing, and which has the groove made, may be reseated for 50 cents.
-The entire job could be finished in about half an hour. This may be
-made less if several chairs are to be reseated at a time. However, it
-may be termed the minimum charge consistent with fair money returns.
-There are instances when the seat frame requires grooving, and
-inasmuch as running it in by hand is a laborious and tedious process
-the worker must of necessity carefully estimate time before he
-determines upon charge.
-
-
-=The Process.=--The following may be termed the steps in inserting
-cane webbing. No special difficulty should be encountered in properly
-seating the frame at the first attempt.
-
-_Step 1._ Fig. 28 shows a commercial chair seat with groove cut by a
-router after it has been assembled. There are no angles on the seat.
-The groove is standard, with dimensions ¼ in. deep and ³⁄₁₆ in. wide.
-This groove may be cut by hand with a universal plane and chisel
-before permanently assembling the parts. In fact this is a necessary
-procedure in grade schools and other schools where special machine
-tools are unavailable. The necessary tools for pressing in the webbing
-lie near the frame, Fig. 28. These are a small mallet, a chisel, and
-several hard wood wedges. The wedges are made in several widths, to
-enable them to enter the groove at the abrupt curves, are 4 in. long
-of ¼ in. stock, tapered to ⅛ in. on the faces.
-
-  [Illustration: FIG. 29. INSERTING THE CANE WEBBING.]
-
-  [Illustration: FIG. 30. TRIMMING THE EDGES.]
-
-_Step 2._ The cane should be boiled in water for a minute or so, or
-allowed to soak for several minutes in warm water until thoroly
-pliable. Then lay it on the frame and cut it to the shape of the seat,
-allowing half an inch excess around the entire piece. A pattern of
-card or bristol board will prove of material assistance to the amateur
-as well as the expert. The front line or edge of the pattern must run
-parallel with the horizontal or vertical strands of cane. Pull out all
-weavers at the edges of the piece of cane where they run over and
-parallel with the groove. Then lay the webbing over the frame, and see
-that the weavers run parallel with the front of the frame. With wedge
-and mallet as illustrated in Fig. 29 begin at the front and force the
-webbing into the groove. Insert on the opposite side next, then the
-other two sides in order. The curves may be done last.
-
-_Step 3._ The edges of the webbing will project up beyond the groove.
-These are cut off as illustrated in Fig. 30 by means of a mallet and
-chisel at the outer edge in the bottom of the groove. Run either
-liquid or hot glue into the groove. An oil-can with large holed nozzle
-is excellent for this purpose. The liquid glue should be heated if
-used in this way so it may flow easily. This glue is to be recommended
-for the amateur in that no great haste is required as in the case with
-hot glue. A small stiff round brush will serve the purpose very well
-in absence of the oiler.
-
-  [Illustration: FIG. 31. INSERTING THE SPLINE.]
-
-  [Illustration: FIG. 32. SKETCH OF A PORTION OF A SPLINE.]
-
-_Step 4._ Fig. 31 shows the method of inserting the spline. Splines
-may be had either of wood or reed, are curved on the upper edge and
-wedge shape in cross-section. They are standard in width and thickness
-and will fit a groove of the size indicated in _Step 1_. Fig. 32 is a
-freehand sketch of a spline, showing particularly its shape in
-cross-section. Wood splines, preferably of hickory, may be purchased
-in 5 ft. lengths, and reed splines in lengths of 8 or 10 ft. Both
-hickory and reed are recommended because of their pliability and ease
-in handling. Steam or soak them in hot water until thoroly pliable;
-then insert in the groove as illustrated. Note that the joint is made
-at the rear of the seat. The mallet used is of rawhide and will not
-mar the spline. A wooden mallet of small size is a satisfactory tool.
-Cut off the extra length of spline with the chisel, force the spline
-down nearly flush with the frame with mallet and wedge, sponge off the
-excess glue from the surface, and allow the webbing to dry.
-
-_Step 5._ The finished seat is shown in Fig. 33. As the cane webbing
-dries it becomes taut, and irregularities of the surface, if not too
-pronounced, will disappear entirely. Therefore, the worker need not
-consider them primarily. Light sanding of the cane when thoroly dry
-will eliminate the small hairlike projections on the surface. Singeing
-the surface with a blow torch or gas flame will do the work more
-effectively, but great care must be exercised to avoid burning the
-webbing itself. The singeing must be done rapidly and the flame not be
-permitted to remain at one spot more than an instant. Dampen the
-surface to minimize the danger of burning.
-
-  [Illustration: FIG. 33. THE FINISHED SEAT.]
-
-  [Illustration: FIG. 34. CHAIR WITH CANED PANEL.]
-
-The chair shown in Fig. 34 was made by an eighth grade boy. The slip
-seat is upholstered, and a panel of cane webbing utilized on the back.
-In instances of this character where the area is rectangular, splines
-are cut, mitered, and fitted previous to inserting the webbing. The
-splines are used dry. Manufacturers, in instances where the seat area
-is all curved, generally fit the pliable spline, allow it to dry,
-and then insert it with the webbing. This assures tight joints. This
-procedure is not recommended for the ordinary shops for the simple
-reason that the shrinkage is not appreciable.
-
-  [Illustration: FIG. 35. FRAME ILLUSTRATING STEPS IN INSERTING WOVEN
-    CANE.]
-
-The frame illustrated in Fig. 35 is purely supplementary to the steps,
-but as with the Seven Steps in Caning, it should be used in
-demonstrating the processes to classes. It materially assists in
-making the processes clear to the students, previous to allowing work
-on their projects, and assures a general understanding, at least, of
-proper procedure. The different panels are lettered for convenience
-and need no elaborate explanation:
-
-_A_ is the open frame with grooves cut for the webbing.
-
-_B_ is the webbing inserted with ragged edges exposed, ready for
-cutting.
-
-_C_ is the webbing with edges properly trimmed and a spline inserted.
-
-_D_ is the completed panel.
-
-Inserts of cane webbing may be utilized on pieces of furniture other
-than seats. These inserts could be used on every article illustrated
-in Chapters I and II, with similar pleasing effects, and with less
-labor. However, there is an obvious element in hand caning which
-naturally and logically gives it precedence over the inserted cane.
-
-
-
-
-CHAPTER V
-
-RUSH SEATING
-
-
-Rush seating, employing either genuine rush or substitutes, may be
-done to good advantage and with excellent results in manual training
-shops. No equipment is needed to maintain such work. The addition of a
-woven seat to a chair or stool constructed in the shops will
-necessarily employ a new, interesting medium in conjunction with
-woodwork; and materially increase the pupils' knowledge of materials
-and possible combinations. And, as with caning, the resultant interest
-in the work at hand more than justifies its introduction in manual
-training shops. Rush seating employs a very simple weave. Different
-materials employed in weaving naturally require different degrees of
-skill, and the difficulties encountered are those resulting from
-handling materials and not because of the complexity of the weave. One
-may very readily undertake the rushing of ordinary seat frames after a
-study of printed directions and illustrations. It should be understood
-at the outset that, in discussing rush seating, materials other than
-genuine rush are included in the term.
-
-
-=Historical.=--In the British Museum in London is a seat of curious
-shape of Egyptian manufacture, which, it is estimated, was made
-previous to 4000 B.C. A small amount of rush still clings to the seat
-frame. The relative date of the construction and weaving of the chair
-seat would indicate that rush seating is by no means a modern art,
-altho at present rush is extensively employed in furniture.
-
-The use of rush in England dates no earlier than 1720. Several types
-of chairs were made there between that date and 1870. In France rush
-was used extensively in the seating of furniture of Normandy and
-Brittany about 1750. Flanders produced rush seated chairs at an early
-date, and many were constructed in this country in early colonial
-days, prior to 1776, as well as later. Such chairs were undoubtedly
-patterned after those brought over from Holland, France, and England
-to the early settlements in America both before and after the
-Revolutionary War.
-
-  [Illustration: FIG. 36. ADAPTATION OF LADDER BACK CHAIR.]
-
-In early times rush always served a function in the seats of chairs
-and stools, and was very seldom if ever used on the better class of
-furniture. The use of cane or rush on furniture for decorative
-purposes only is distinctly a modern idea. Utility rather than beauty
-prompted the introduction of seats of rush.
-
-Modern furniture of excellent design and workmanship employs rush
-seats. These are either woven over a separate frame and inserted or
-are an integral part of the chair, being woven over the seat rails of
-the chair itself. Fig. 36 shows a modern adaptation of a ladder back
-chair with rush seat. The rush on this chair is woven over the rails.
-Fig. 37 shows a flat view of the seat.
-
-
-=Rush.=--Rush is the name applied to many fistular, stemlike plants of
-similar or like growth. Properly, rush belongs to the sedge family.
-The different species vary greatly in appearance; some are low and
-slender, some are tall and leafless, and some are broad leaved. They
-are found in wet places thruout the northern hemisphere, along banks
-of sluggish streams, and in lowlands and marshes. The great bulrush
-is common and familiar, while the chair-maker's rush is not as well
-known. The plants most commonly known as rush are called by the names
-of flag and cattail. In fact, flag and cattail are very generally used
-for rush seating. The technical names of the different species of rush
-are not pertinent or desirable here.
-
-  [Illustration: FIG. 37. SEAT OF LADDER BACK CHAIR.]
-
-
-=Other Materials.=--Materials other than rush may be used for rush
-seating, as has been stated. Rush is rather hard to manage in that no
-appreciable length may be handled because of the shortness of the
-leaf. Twisting is necessary. Fiber, or similar materials, is to be
-recommended for shop use because a great length is procurable, and the
-twist is made. It is made of machine-twisted paper, and comes in long
-indefinite lengths. It is tough, strong, and serviceable, and
-procurable in spools of about one hundred pounds each. Fig. 38 shows
-such a spool together with a bundle of rush. It is manufactured with
-or without a flexible wire center and costs from 10 to 15 cents a
-pound. It may be had in several colors and sizes.
-
-Raffia is well known thru its general use in basketry and allied work.
-In rush seating it has no conspicuous place, altho it may be utilized
-to great advantage. Raffia is the leaf of a certain palm, cut in
-narrow widths and varying in length from 2 to 5 feet. It is bought in
-hanks by the pound, bleached or unbleached, and in colors. The natural
-unbleached raffia costs about 25 cents per pound; colored about 75
-cents. The hanks should not be untied, but as strands are needed they
-should be pulled out from the head end of the hank. If improperly
-handled, raffia will become badly tangled.
-
-  [Illustration: FIG. 38. SPOOL OF FIBER AND BUNDLE OF RUSH.]
-
-Corn husks, taken from close to the ear, may be used, particularly for
-seating chairs of toy furniture. The husks near the ear are not as
-coarse and brittle as those outside. The shortness of the husks
-precludes their general use, altho they produce an excellent seat when
-properly woven.
-
-The materials mentioned by no means exhaust the list of available
-mediums for rush seating, but will give considerable and sufficient
-variety for shopwork. As the weaver comes to appreciate the limits and
-advantages of the various mediums for certain grade work, he may
-utilize local plants and grasses suitable for such work.
-
-
-=Preparation of Materials.=--Rush--and in the term are included
-cattail and flag--is common to almost any locality in our northern
-states. It should be gathered when full grown and still green. It is
-ready for cutting when the tips of the leaves begin to turn brown.
-This is usually about the middle of August. The leaves are tied in
-loose bundles for convenience in handling, and dried in the shade,
-preferably a darkened room. They should remain here until thoroly dry.
-Before using, soak the rush about ten hours in water. Less time is
-required if warm water is used. When it is soft and pliable it is
-ready for weaving.
-
-  [Illustration: FIG. 39. ISOMETRIC DRAWING OF FRAME FOR RUSH SEATING.]
-
-Before weaving, the butt ends of the leaves are cut off about a foot
-from the base. These are too coarse and stiff to weave properly. One
-leaf may be used or two leaves may be twisted together to make a
-strand. Three leaves make a coarse strand, two a medium, and one a
-fine strand. A long, tight twist is necessary to produce an even,
-smooth strand. The twisting is always done in one direction. One leaf
-is recommended for beginners in rush seating, for adding to one is
-much simpler than adding to several. The under side of the seat need
-not be as smooth and as well woven as the top. In fact, twisting need
-not be done underneath at all unless the individual worker so desires.
-
-Raffia is easy to manipulate because of its pliability, even when dry.
-Several lengths will need to be twisted together to produce a strand
-of sufficient size. It requires little soaking to make it ready for
-use. Raffia produces an even, smooth surface of pleasing appearance,
-and is very desirable in a seat.
-
-  [Illustration: FIG. 40. METHOD OF WEAVING THE FIRST STRAND.]
-
-Fiber may be woven as it comes from the spool. However, it is better
-to dampen it by plunging a quantity in water and removing at once.
-When it dries after weaving, a slight shrinkage results, thereby
-making a tauter seat than could be woven with dry strands. Inasmuch as
-the fiber is paper, it cannot be soaked in water.
-
-
-=The Weaving Process.=--With the frame ready and rush in proper
-condition the weaving may be started. Fig. 39 shows an isometric
-drawing on which corners are lettered and the rails numbered in order.
-Fig. 40 shows another drawing on which the corners and rails are
-similarly lettered and numbered, showing graphically the method of
-weaving the first strand. The arrows indicate the direction of weave.
-The operation is practically complete once around the frame. Reference
-may be made to either drawing in the following detailed directions for
-weaving.
-
-Start arbitrarily at any corner--in this case, _A_. A strand of rush
-tightly twisted is laid over rail 1 next to the cap with its short end
-turned down. The beginner may find it advantageous to tack the end in
-place. Draw the strand over the edge and bottom of rail 1 and up at
-the inner corner, then over the top and edge of rail 2. This binds the
-loose end in place if it has not been previously tacked. Pull the
-strand directly across the frame opening to the top of rail 3 at
-corner _B_. Draw it over the edge of the same rail and under, then up
-at the inner corner and over the top and edge of rail 1. Pull directly
-across the frame opening to the top of rail 4 at corner _C_. The
-operations at corners _C_ and _D_ are identical to those at _A_ and
-_B_, and these repeat themselves indefinitely at each corner, or until
-the seat is completed. This applies to square seats only. The end of
-the last strand may be secured with a tack under the proper rail, or
-twisted around a strand underneath the seat.
-
-  [Illustration: FIG. 41. STICK FOR STUFFING INTERIOR OF SEATS.]
-
-The strand is twisted as the weaving progresses. This may be done with
-the palm of the hand and thigh, in much the same manner as a shoemaker
-waxes his thread. If one leaf of rush is used to make the strand, new
-leaves are added by tying the two ends in a square knot at a corner,
-or wherever such joining will not show on the finished seat. When more
-than one piece of rush is used for a strand the pieces should be of
-uneven lengths initially. One leaf or piece at a time is then added.
-The upper or top end of the leaf is used to begin the seating and each
-leaf added is attached at its top end.
-
-Some expert rush seaters do not tie knots in making strands, but add
-leaves by twisting the end of the preceding leaf about the added one,
-"like the color on a barber pole," as one old rush weaver remarked.
-Adding by twisting only is difficult, and requires great patience and
-dextrous handling of the material. In fact rush should be used by the
-more skilful boys only. Others may use the excellent substitute,
-fiber.
-
-Care must be exercised to keep the strands from overlapping
-improperly at the corners. The strands should fit snugly where they go
-over the rails. To assure this, tap them sharply with a mallet used
-over a block of soft wood. This may be done at frequent intervals or
-when several strands have been woven over each rail. Uniform tension
-on the strand is desirable and this should be tight.
-
-  [Illustration: FIG. 42. METHOD OF FILLING IN CENTER.]
-
-As the work progresses the interior between the upper and lower rows
-of strands is stuffed. This is done with the same material as that
-used in the weaving. The butt ends of rush are used to stuff the seat
-of rush; raffia is used to stuff a raffia seat; craft paper to stuff a
-fiber seat; and so on. The packing should be done in a thoro manner,
-for it builds up the seat and prevents its breaking down at the inner
-edges of the rails, and sagging with continued use. A slightly curved
-hardwood stick about 12 in. long may be used to advantage to do this
-work. Fig. 41 shows a sketch of such a stick. It is ¾ in. in diameter
-at one end and tapered to ½ in. by ⅛ in. at the other. Considerable
-force needs to be exerted in packing, and caution used to avoid
-breaking strands.
-
-
-=Rectangular Seats.=--As stated, in weaving a square seat the initial
-process is repeated at all corners until all openings are filled. In
-rectangular seats the spaces on the short rails will fill before those
-on the long rails. Weaving around corners is then manifestly
-impossible. Fig. 42 shows a partly woven seat with the short rails
-filled, and the process of filling up the remaining area under way.
-The method is this: Go over and under a long rail, across half the
-frame opening and up thru, then across the remaining distance, and
-over and under the other long rail. Repeat until the seat is
-completed. Fig. 43 is a sketch of a partly woven seat, illustrating
-the method of filling in the center just described. It supplements the
-photograph and makes the method clearer.
-
-  [Illustration: FIG. 43. METHOD OF FILLING IN CENTER.]
-
-It should be noted that the strands in crossing at the center must be
-compressed one-half of their diameters. They will need to be tapped
-sharply with a small mallet or hammer to produce proper crowding. Fig.
-44 shows a stool seat of fiber woven by an eighth grade boy. Fig. 45
-shows the complete stool. The seat is woven over a separate frame and
-inserted. Fig. 46 is a child's chair of oak, with a seat of fiber
-woven over the rails of the chair.
-
-
-=Irregular Seats.=--The usual or standard shape of chair seat is like
-the one illustrated in the drawing, Fig. 47. The front rail is longer
-than the back, and the side rails are equal in length. Seats of this
-shape are rather difficult to weave because special treatment is
-necessary to fill up portions of certain rails.
-
-  [Illustration: FIG. 44. COMPLETED TOP OF FIBER.]
-
-With reference made to the drawing, the method employed in locating
-lines for rushing, and for rushing such a seat is this: With the beam
-of a square laid against rail 4 with its corner against the cap at
-corner _A_, scribe a pencil line across rail 2. Similarly, mark the
-same rail using the square against rail 4 at corner _D_. Stated in
-other words, these lines may be obtained by determining the difference
-in length between the front and back rails, and laying off one-half
-this difference from each corner on the front rail. This distance is
-indicated by the brackets in the drawing.
-
-  [Illustration: FIG. 45. COMPLETED RUSH SEATED STOOL.]
-
-  [Illustration: FIG. 46. CHILD'S CHAIR WITH FIBER SEAT.]
-
-Now tie with a string as many strands of rush as will be needed to
-fill in this difference between front and back rails. Fasten them
-underneath the rail at corner _A_. Then use one strand, twisted, and
-weave around corners _B_ and _C_ and fasten under the rail at corner
-_D_. The weaving is identical to that described in square seats. Weave
-in each strand in the bundle at the same corners and tie under the
-rail at corner _D_; or until the spaces marked off on the front rail
-are filled. It may be necessary to add to or to remove strands from
-the bundle if calculations as to number of strands necessary were
-inaccurate. Tie all loose ends together at corner _D_, fasten securely
-and cut off all extra lengths.
-
-Start now as in beginning a weave on a square seat, weaving around all
-corners in the regular way. The first strand around will effectively
-bind the bundles of ends at corners _A_ and _D_.
-
-
-=Suggestions.=--In using paper fiber or similar materials which come
-in long lengths, a strand 20 or 25 ft. in length may be used at one
-time in weaving. For convenience in handling it should be formed in a
-loop and held together with a strong rubber band. The strand may be
-unlooped a little at a time as the weaving progresses. In using rush,
-raffia, and like materials, the strand is made as the weaver works, so
-at no time is there a strand exceeding 5 ft. or so in length to
-handle. No special expedient is therefore needed.
-
-  [Illustration: FIG. 47. METHOD OF STARTING WEAVE ON SEAT OF IRREGULAR
-    SHAPE.]
-
-Raffia, fiber, etc., may be purchased from supply houses and in many
-cases direct from the manufacturers. Rush may be gathered in many
-communities by an energetic instructor and pupils, and properly cured.
-In fact, gathering the raw material and preparing it for use is
-desirable in many ways, and is to be encouraged. Ordinarily rush may
-be obtained from manufacturers of rush seats. It costs 15 cents per
-pound, dry.
-
-  [Illustration: FIG. 48. WORKING DRAWING OF A STOOL FOR RUSHING.]
-
-Fig. 48 is a working drawing of a stool or seat. The constructed
-problem would appear very similar to the one shown in Fig. 45. The
-seat frame is fastened to the base with concealed screws. The upper
-caps are temporarily fastened until the weaving is completed, when
-they are removed and the frame fastened to the base as indicated. The
-caps are then replaced permanently. Generally speaking, for initial
-work in rush seating it is advisable to weave over a separate frame.
-Such a frame is conveniently handled, and better work will result.
-
-
-=Finish.=--Some agent to preserve a rush seat is necessary. Rush
-should be coated with equal parts of oil and turpentine, followed by
-two coats of tough, elastic varnish. The necessary time should elapse
-between coats. Some manufacturers do not use oil, and apply varnish
-only. Raffia and husk seats should be treated as rush. Fiber is
-varnished only. A brittle varnish is to be avoided, for it will chip
-off with a little use, and a seat is subject to hard wear.
-
-  [Illustration: SUGGESTIVE PROJECTS.]
-
-
-
-
-CHAPTER VI
-
-REED AND SPLINT WEAVING
-
-
-Reeds which are used extensively for basket-making and weaving in
-general are procured from the species of palm described in Chapter I.
-These reeds should not be confused with the term reed applied to
-several distinct species of large water loving grasses. Such reeds are
-usually designated under the name of grasses. There are a thousand
-species of palm distributed over the tropical regions of the entire
-world, but only a few are native in the United States, and these are
-of no distinct commercial value. The rattan or cane palms of India and
-the Malay Islands grow to an unusual height, and are imported into
-this country in great quantities. These rattans and the trailing palm
-of the species _Calamus_ have as main export centers Singapore and
-Calcutta. These palms are stripped of leaves and bark and split into
-round and flat strips of different diameters and widths. The outer
-bark, when stripped into proper sizes, is known as chair cane; the
-entire palm, with leaves removed, is commercially known as rattan; and
-the flat reeds are frequently sold as flat rattan and pith cane.
-Inasmuch as these flat and round strips, split from the palm plant and
-exported under the name of rattan are called reeds, we shall refer to
-them under that name in all discussions to follow. There are two
-qualities of reed on the market sold under the names of China reed and
-German reed. The former is inferior in quality and the latter is
-superior, being strong, tough and durable. The Philippine Islands give
-promise of producing a liberal supply of reed of good quality that is
-claimed to equal the German product. The problem, however, is one of
-gathering and marketing the product. The government has made a partial
-survey of the rattan supply, and this justifies the belief that the
-Islands will eventually compete with the world market.
-
-
-=Primitive Methods.=--Briefly the primitive process of converting the
-rattan, or raw material, into cane and reeds, or the finished product,
-is this: The rattan stems are thoroly dried or seasoned, and the
-nodules are pared off with a peculiar native knife. Then the rattan is
-sorted into sizes and selection made as to grade. The sorting is based
-upon external color and diameter of the rattan. The rattan is then
-immersed in water, and the stem is rubbed vigorously with sand and
-cocoanut husks to remove dirt and foreign substances. It is then
-bleached by means of sulphur fumes, either in the stem or after the
-peel and core have been prepared.
-
-The method of preparing the peel and core is this: The peel, or outer
-covering, is removed with a heavy knife; it is then stripped to
-selected thicknesses and widths by drawing it by hand thru two knives
-set at required distances apart. This peel is commercially called
-cane. The core is then stripped into as many strands as necessary,
-depending upon the diameter of the cores required. These are rounded
-by drawing them thru a sheet of tin or iron perforated with holes of
-different diameters. The rounded cores are called reeds.
-
-Considerable rattan is still converted into the finished products by
-hand processes thru these laborious stages. Machines have been
-perfected which do practically the entire work. Particularly have the
-Germans brought this industry to a perfected state. Still in various
-sections of India, China, and the Philippines hand working of rattan
-is a thriving industry; an industry seemingly peculiarly adapted to
-the natives. The Philippine method of preparing the raw material
-varies somewhat from the Chinese method in that the natives do not
-bleach the rattan.
-
-Reed may be procured in large or small hanks, in coils and in bundles,
-with the cost determined by weight. Schools generally will find it
-advantageous to buy it in small hanks, because of ease in handling and
-for economic reasons. Round reeds are shown three-fourths size in Fig.
-49, from No. 0 to and including No. 7, also winding, half-round and
-flat reeds. Winding reed is thin and slightly rounded on one surface.
-Half-round is as its name implies. Flat reed may be obtained in
-several widths from ¼ in. to ½ in., and if of good quality, one
-surface will show a decided bevel on the edges and appear much
-smoother than the other. Thus the right side is determined. There are
-many more sizes on the market than are indicated in Fig. 49, but those
-shown should supply adequate, if not liberal variety for the ordinary
-school shop. The cost of reed cannot be given with any degree of
-accuracy at present. The price is determined by the quantity bought,
-and by the quality and size. Under normal commercial conditions round
-reeds will cost from 30 cents to $1 per pound for Nos. 1 to 8, and
-flat reed about 25 cents per pound.
-
-  [Illustration: FIG. 49. SPECIMENS OF REEDS, THREE-FOURTHS OF ACTUAL
-    SIZE.]
-
-
-=Bleaching.=--Reed is procurable either bleached or unbleached.
-Ordinarily it is better to buy the bleached product. However, if the
-worker desires to bleach the reed, the method for small quantities is
-as follows: In a tub two-thirds full of water dissolve ten pounds of
-chloride of lime. Immerse the reed in this solution, weighting it down
-to insure covering it all, and let it stand about 4 hours. Remove it
-from the tub and wash thoroly in running water. The best way to do
-this is to lay the reed on an inclined surface and turn a forceful
-stream of water upon it. Chloride of lime has a bad effect upon the
-hands in that it makes them sore and tender, so care must be taken to
-properly rinse the reed. A little tallow rubbed over the hands will
-materially offset the tendency to tenderness, and generally keep them
-in good condition.
-
-
-=Staining.=--Bleached reed takes stain much more readily and evenly
-than does the natural or unbleached. It may be stained any color with
-prepared stains, but ordinarily these leave the reed muddy in
-appearance due primarily to the difficulty in brushing in or wiping
-off the stain in the recesses which weaving leaves. Perhaps the best
-agent for coloring reed, and at least a very desirable one, especially
-after it has been woven, is naptha. The preparation of the stain and
-the process of coloring is as follows: Obtain the necessary amount and
-variety of colors ground in oil; mix the required colors with a little
-naptha; then to determine the shade of color test with a reed. Reed
-absorbs a given amount of color, therefore the shade will prove out
-practically the same when tested with a small quantity of naptha, as
-when tried out with a greater amount. Add the required amount of
-naptha to the solution, avoiding thinning too much; otherwise the
-color produced will be "sickly" in appearance. Five pounds of color to
-about 3 gallons of naptha will prove about the right ratio. For
-instance, to obtain a rich nut brown mix 1 pound of chrome yellow and
-5 pounds of burnt umber with a small amount of naptha. Stir until the
-colors are liquid, then gradually add 4 gallons or so of naptha, and
-stir well. The intensity of the brown may be varied by using more or
-less chrome yellow.
-
-Coiled hanks of reed may be immersed in the solution, immediately
-withdrawn and hung to drain dry above the receptacle, thus permitting
-surplus stain to drain back into it. The stain may be used repeatedly,
-and as it is very volatile it should be kept in a tightly corked red
-can when not in use. It is also highly inflammable, and should be
-used in a room in which there is free circulation of air. If colors
-have been mixed properly and thinned to the right consistency, the
-reed will dry rapidly and the color will be sharp and clear, free from
-muddy effects.
-
-A woven article such as a basket or woven top footstool may be dipped,
-or the color poured over and allowed to drip dry. In some instances it
-is good policy to wipe surplus stain off lightly. Then, in the case of
-the footstool or similar project, if the worker so desires he may
-stain the wood a darker shade than the top with a prepared stain. Reed
-is very effective without stain; many of the stools shown herewith are
-left natural. Reed may be shellacked or varnished. Because of its
-porosity it soils very easily unless some finishing agent is used, and
-a good grade of elastic varnish is recommended as a finish, especially
-when the woven article is subject to severe use.
-
-
-=Other Materials.=--Reed is not the only good medium adapted to
-weaving, either in correlation with wood or when used alone. On the
-stools illustrated several other materials have been used, as inner
-hickory bark and Indian splints and fiber. Binding cane, rope, and
-even willow may be utilized with success. Paper fiber was discussed in
-detail in Chapter V and needs no elaboration. Fig. 60 shows a stool
-partly woven with this serviceable material. Sufficient to say that
-this fiber adapts itself admirably to almost all work where reed is
-commonly employed, and in many instances is, commercially, supplanting
-reed.
-
-Inner hickory bark may be obtained of manufacturers of rustic
-furniture either directly or indirectly. They may be obtained first
-hand if hickory trees grow in the locality, thus enhancing the
-educational value of weaving. In the spring or early summer when the
-sap is up and the bark slips easily, a hickory tree may be cut down,
-and the rough outer bark shaved with a draw knife from the top of the
-log the full length of the trunk, leaving a surface from 8 in. to 10
-in. wide. With a heavy knife split the inner bark on either side of
-the shaved strip; then beginning at one end peel back the inner bark
-the full length of the log. This process may be repeated until the log
-is stripped. The thickness of the inner bark depends upon the size of
-the tree and the species. Manufacturers of hickory furniture claim
-that the pignut possesses a thicker bark than any other species, the
-bark running from ¼ in. to ¾ in. in thickness, and they accordingly
-use this tree in preference to others when available. The rolls of
-thick inner bark are allowed to dry for several weeks. Then they are
-placed in water, to remain until pliable. They are then split into
-strips of proper thickness and width. Factories use a very simple
-motor driven machine for making the strips, and any manual training
-shop can devise some scheme for accomplishing this work. These strips
-cut in indefinite lengths must be made pliant by a thoro soaking just
-previous to use. In weaving they should be pressed close together with
-the fingers or with the aid of a hammer, as there is an appreciable
-shrinkage especially in their width upon drying. Such strips are used
-mainly by builders of rustic outdoor and porch furniture for the
-weaving of the backs, arms and seats of chairs, and have at present no
-general use in school shops. Their use here should be encouraged. If
-bought of the manufacturer these strips cost 40 cents per pound, dry.
-They are put up in coils, and are ¾ in. wide and ¹⁄₁₆ in. thick. They
-may be stripped into narrower widths by means of a hand stripper, soon
-to be described.
-
-  [Illustration: FIG. 50. SKETCH OF HAND STRIPPER AND GAGE.]
-
-Indian splints of ash and hickory may be obtained from dealers in the
-raw products. These strips are cut from the wood of the tree in long
-shavings in a manner similar to obtaining the inner hickory bark, and
-stripped into desired widths and thicknesses. One kind of ash splint
-is made in three weights or thicknesses, fine, medium and heavy, and
-in strips 1½ in. wide. It is sold in coils of 200 ft. each at $8.00
-for 4,000 ft. The strips are a number of feet in length. Hickory
-splints are sold in coils of a dozen strands each. These strands are 8
-ft. to 10 ft. long by ½ in. wide, and slightly less than ¹⁄₁₆ in.
-thick. A coil weighs about three-fourths of a pound and costs 5 cents.
-
-  [Illustration: FIG. 51. WORKING DRAWING OF HAND STRIPPER AND GAGE.]
-
-The ash splints particularly, need to be restripped to widths needed
-by the worker. For ordinary purposes the hickory strips are right for
-seating purposes. The stripping is done by means of a combination hand
-stripper and gage shown in Fig. 50. A working drawing of it is shown
-in Fig. 51. It is made of maple preferably. The cutters are of a watch
-spring, pointed and sharpened as indicated. The end piece is removable
-to permit changes of the cutters. To use, merely hold the splint flat
-between the right hand and stripper, press the strand down on the
-cutter and pull it across the cutters with the left hand. Two persons
-may do the operation more readily and speedily than one. It is a good
-policy to make several of these devices with cutters at different
-distances apart so splints of various widths may be cut without
-resort to a change of cutters.
-
-Splints need to be soaked in water for a number of minutes before
-using. They will be found to be somewhat less pliable than inner
-hickory bark, and different in color, varying from almost white to a
-light brown. Inner bark is a nut brown in color. The splints stain
-well, and may be dipped in identically the same manner as reeds. Inner
-bark needs no stain; in fact is more pleasing if left natural.
-
-  [Illustration: FIG. 52. ROLLS OF SPLINTS, INNER BARK, AND REED.]
-
-Ash splints are extensively gathered and prepared by the Indians in
-certain sections of Canada and the northern states. There they are
-woven into baskets of intricate design and beautiful colors, usually
-in combination with other materials, as sweet grass. Splints may be
-used for almost every purpose for which flat reed is utilized, and in
-numerous cases is superior and preferable to reed.
-
-In Fig. 52 is shown in order, two rolls of hickory splints, a bundle
-of inner hickory bark strips, and a small hank of flat reed. These are
-in the original bundles as they come from the dealers.
-
-
-
-
-CHAPTER VII
-
-SEATS OF REEDS AND SPLINTS
-
-
-The discussion of the weaving processes to follow is confined, in the
-main, to stools or seats. Fig. 53 shows several stools different in
-design both in wood construction and in weaving. In two instances it
-will be noted that weaving is done over a separate frame, one being
-inserted between the rails, the other fastened on top, leaving a
-little projection. Reference is made to several possible weaving
-designs and the use of various mediums and combinations. The possible
-combinations of materials are merely suggestive of possible other
-ones, and the individual worker will find that many designs of varying
-complexity may be worked out. An excellent method for working out
-possible designs is that of using black and white paper strips ½ in.
-in width. The design will show up very clearly because of the contrast
-of the black and white. Experimenting with the weave on the seat
-itself is rather tedious and unsatisfactory. The paper strips are an
-excellent means to an end.
-
-The stool top illustrated in Fig. 54 employs a simple over-and-under
-weave, utilizing flat reed. The worker needs to decide at the outset
-on the character of weave to be used unless it be of unusual design.
-In this instance the weaver runs over _three_ and under _three_
-strands, and the wrapping done in a series of _three_. To begin the
-operation tack an end of flat reed under a short rail at a corner,
-then bring the strand out and over the rail, across the frame opening
-to the opposite rail, under this rail, across underneath the frame
-opening to the bottom of the first rail. This completes the process
-once around. Repeat three times; then wrap the strand around the two
-rails, without running it across the top. Thus every fourth strand
-across the top is omitted. It is not necessary to cut the strand; the
-wrapping is continuous. Repeat these series of three strands until
-opposite short rails are entirely wrapped. When a strand runs out tack
-the end with the beginning of a new one underneath a rail. Use a one
-ounce flat head wire tack for this purpose if available, otherwise a
-one ounce cut tack will do. The weaving proper now begins.
-
-  [Illustration: FIG. 53. WOVEN TOP STOOLS.]
-
-Tack a strand underneath a long rail at a corner, then weave _over
-three_ strands and _under three_. Repeat in the same manner three
-times, then weave _over_ the series which were woven _under_ before
-and repeat alternately until the top is entirely woven. In weaving the
-top of this stool one strand is woven in the last series of three, and
-to balance it a single strand is run in on the opposite side. The ends
-of this strand are not fastened in any particular way; the weaving
-holds them in place. The spaces next to each short rail may be filled
-in a like manner if desired. Strands crossing underneath the frame
-must be woven in some manner to produce a seat of maximum strength.
-The character of the weave here is not pertinent; in this instance it
-might take the same form as the top.
-
-  [Illustration: FIG. 54. WEAVING IN SERIES OF THREE.]
-
-Fig. 55 shows a stool top woven of inner hickory bark strips employing
-what is termed a diagonal weave. Begin the wrapping on either the
-short or long rails. In this instance we will assume that the short
-rails have been wrapped; then the weaving will begin over the long
-rails, and as indicated, at the upper left hand corner. The strands
-have been numbered to make the description clearer. The "diagonal" is
-determined at the edges of the upper rail. The method of weaving may
-be expressed in the following manner:
-
-    Strand 1--Over 1, under 2, over 2, under 2, and so on.
-
-    Strand 2--Over 2, under 2, over 2, under 2, and so on.
-
-    Strand 3--Under 1, over 2, under 2, over 2, and so on.
-
-    Strand 4--Under 2, over 2, under 2, over 2, and so on.
-
-  [Illustration: FIG. 55. STOOL TOP OF INNER HICKORY STRIPS.]
-
-This completes the series or unit, and this unit repeats itself until
-the area is woven. For instance, the fifth weaver follows the same
-course as the first; the sixth weaver follows the same course as the
-second; the seventh the same as the third; and so on. The diagonal
-effect will remain the same were the weaver to run over three strands
-or more, providing the right start is made at the edges of the frame.
-In using inner hickory bark care must be exercised to keep the strands
-close together, for they shrink appreciably in drying. A brad hammer
-with square face is an excellent tool to use for keeping the strands
-snugly together.
-
-  [Illustration: FIG. 56. STOOL TOP OF FLAT AND HALF-ROUND REEDS.]
-
-A combination of half-round and flat reed is illustrated in Fig. 56.
-The half-round reed is wrapped about the frame first, and in this case
-every other strand is wrapped around the opposite rail, crossing
-underneath the frame only. The diagonal weave is employed, and is
-identical to the one just described in general effect. However, the
-weaver runs over three and under three in the body. Note the
-difference in the weave at the edges of the rails. When using
-half-round reed it is necessary that every other strand be wrapped
-completely around the rails, for otherwise it would prove practically
-impossible to weave the area because of the thickness of the reed. A
-winding reed as shown in Fig. 49 or binder cane could be run
-continuously, inasmuch as either is relatively thin. Weaving with two
-kinds of reed will produce an area of pleasing high relief.
-
-  [Illustration: FIG. 57. DIAMOND DESIGN IN FLAT REED.]
-
-Fig. 57 illustrates a stool woven in flat reed. The diagonal weave is
-used running toward a common center, and it forms a diamond pattern or
-design. Begin wrapping on the long rails, skipping every other strand
-on the top as indicated. To weave this pattern it is necessary to
-locate the center of the short rails and the center strand of those
-running across the frame. In this instance the strands are even in
-number, so the pattern does not begin at the actual center, but a
-little to the right or left as the case may be. Beginning at the
-center, count by twos, _over_, _under_ and _over_, _under_ and so on
-to determine the number of strands to go over or under at the edge of
-the frame. The first strand runs over _one_ at the center, and over
-two and under two on either side. The second strand runs under _three_
-at the center, and over two, under two on either side; the worker must
-again count to the edge of the frame to determine the beginning weave,
-until the unit of four strands has been woven. Then the unit repeats
-itself _at the center_ and _at the edges_ of the frame. Beginning at
-the right side of the illustration the weaving is as follows:
-
-    Strand 1--Over 2, under 2, over 2, under 2, over 2, under 2,
-      then over 1, and repeat across the other half of the frame.
-
-    Strand 2--Under 1, over 2, under 2, over 2, under 2, over 2,
-      then under 3, and repeat across the frame.
-
-    Strand 3--Under 2, over 2, under 2, over 2, under 2, over 2,
-      then under 1, and repeat across the frame.
-
-    Strand 4--Over 1, under 2, over 2, under 2, over 2, under 2,
-      then over 3, and repeat across the frame.
-
-  [Illustration: FIG. 58. DIAMOND WEAVE IN FLAT AND HALF-ROUND REEDS.]
-
-  [Illustration: FIG. 59. WOVEN DESIGN IN FLAT REED.]
-
-These four strands comprise the unit, and it is repeated until the
-frame is entirely woven. Complete half of the frame first, then weave
-the other half, which is just the reverse of the first half. In
-starting the weave for the second half, strand 1 is omitted, for it is
-the center of the frame. After the worker has worked out the unit
-according to the method described, he will find it good practice to
-write it out graphically as above to use in weaving the seat. The unit
-above applies to the particular stool, and will not hold good on seats
-utilizing more strands, or fewer. Errors are easily made in weaving
-this pattern for the reason that strands need watching at two places.
-The seat of the stool at the top of the group shown in Fig. 61 has a
-pattern identical with this one, except that the strands both ways are
-close together.
-
-The top illustrated in Fig. 58 is practically the same in design as
-the one just described. The weavers run over the long rails in this
-instance, instead of the short ones, and half-round reed is used for
-the weavers, with flat reed utilized for the wrapping. The first
-weaver of half-round reed runs _under_ the center strand, and the two
-second weavers run _over_ three strands on either side of the first,
-at the _center_ of the area. The combination of the half-round and
-flat reeds produces a seat both pleasing and serviceable.
-
-  [Illustration: FIG. 60. STOOL TOP WOVEN WITH FIBER.]
-
-Fig. 59 illustrates a stool top woven with flat reed entirely, in a
-design the very opposite in effect of that shown in Fig. 57; instead
-of evolving a diamond effect the diagonals appear to radiate from a
-common center. The method of weaving is identical to that of Fig. 57
-in that the operation begins at the center of rails instead of next to
-the posts. The first weaver is woven over the center strand at the
-center of the top, and the second weaver, on either side, is woven
-_over three_ strands, at the center. These three weavers practically
-determine the design and effect produced. An error of no vital
-importance exists in this particular stool top. It will merely
-emphasize the fact that particular care is necessary to avoid
-mistakes.
-
-Fiber is the material used for the top of the stool shown in Fig. 60.
-The diagonal weave is employed. The process of weaving has been
-explained and needs no further discussion. The fiber is the same as
-that discussed in Chapter V. It adapts itself admirably to this form
-of weaving, and when properly finished with varnish makes a
-serviceable seat, pleasing in every particular. The strands which run
-across the frame in the wrapping must be some distance apart,
-otherwise weaving would prove impossible. The thickness of the strands
-preclude their being wrapped close together as in the case of thin
-materials. In this case a space equal to the width of three strands is
-left. The weaver runs over two and under two strands in the body.
-
-While reeds and inner hickory bark shrink in drying, they will shrink
-mostly in width and not much in length. Therefore it is necessary to
-pull all strands, both in wrapping and in weaving, rather tight at all
-times. Only by doing this will the worker be assured of an ultimately
-taut seat. This applies also to the Indian splints now to be
-discussed. As fiber is woven practically dry it needs to be pulled
-particularly tight.
-
-
-=Indian Splints.=--Fig. 61 shows a group of stools and a waste basket
-constructed in eighth grade shops. The tops of the stools and the
-panels of the basket are woven of hickory splints ½ in. in width. A
-variety of patterns is shown, and these will suggest other ones. One
-of the stools has turned posts and the splints are carried over the
-sides of the rails. With slight modification of the structure, the
-sides might be woven in a similar manner to the top. The panels of the
-basket were woven over a separate frame, then they were cut to fit the
-frames of the basket, and finally tacked on the frames. The edges of
-the splints were covered with thin wood strips held in place with
-brads. These panels should be inserted and secured while damp to
-assure proper tautness, and to prevent as far as possible splitting
-the ends of the splints in tacking them to the frames.
-
-  [Illustration: FIG. 61. GROUP OF STOOLS. TOPS WOVEN WITH INDIAN
-    SPLINTS.]
-
-It is not advisable to tack splints onto seat frames, either as an
-insert or slip seat, or on the rails of the structure itself. The
-splints split easily when tacked, the strands are bound to pull
-loose, and the seats break down under continued use. On such articles
-as waste baskets, boxes, screens and the like, tacking the panels in
-place is necessary and proper, for no appreciable wear or service
-comes to them. The weaving on seats needs to be continuous over and
-under the frame.
-
-  [Illustration: FIG. 62. METHOD OF FASTENING ONE STRAND TO ANOTHER.]
-
-When a strand of usual length has been wrapped about the rails of the
-seat a second strand needs to be added to continue the wrapping.
-Tacking the strands to the under side of the rails, as in the case of
-reeds, cannot be resorted to with splints for the reasons just
-explained. Therefore some method of fastening strands to each other is
-necessary. Fig. 62 is a freehand sketch showing a good method. As
-indicated, a small rectangular piece is cut out of the used strand at
-_B_, one inch from the end. A chisel or chip carving knife is good for
-the purpose. Cut across the grain of the wood first to avoid splitting
-the splint. The end of the new strand _A_ is notched as shown an inch
-back from the end, and is then inserted thru _B_ and the two strands
-thus secured. All subsequent strands are secured in the same manner.
-
-  [Illustration: FIG. 63. METHOD OF OVERLAPPING WEAVERS.]
-
-Another method which works well and involves less labor than the one
-just described is that of fastening the strands together with metal
-staples. Any type of small hand stapler will accomplish the result.
-The splints must be very pliable when the staple is inserted and
-clinched, for if they are not, the splints are certain to split. Clips
-used in Venetian ironwork are excellent for this purpose also. It
-should be understood, for reasons very obvious, that these fastenings
-are made underneath the frame.
-
-  [Illustration: FIG. 64. WOVEN DESIGN IN HICKORY SPLINTS.]
-
-After the wrapping of the opposite rails is completed, the weaving is
-begun. The use of tacks here is also unnecessary and is inadvisable.
-Fasten a new strand by overlapping the end of the old one for several
-inches either on top or underneath the frame. The ends of each will be
-hidden under cross strands or spokes. Fig. 63 is a sketch illustrating
-the method of overlapping. _AA_ shows strands running _over_ the
-weavers, and _BB_ strands running _under_. _D_ is the end of the old
-or used strand, and _C_ one end of the new one. _C_ is pulled until
-the end is hidden under _A_. It is advisable to overlap the distance
-of a number of strands and not merely two as the sketch indicates. The
-sketch merely shows the method. The end of the strand which completes
-the weaving of the seat is secured underneath the frame by weaving for
-a short distance in the usual manner.
-
-Fig. 64 is merely Fig. 59 repeated as far as the weaving processes
-are concerned. In this instance hickory splints are used, and the
-rails are wrapped continuously across the top. Note the different
-effects produced, by comparing the two figures.
-
-  [Illustration: FIG. 65. WOVEN DESIGN. DIAMOND EFFECT.]
-
-Fig. 65 shows a rather unusual weave. The effect is that of a number
-of diamond areas over the entire surface, one of which is marked to
-make the unit or design evident. This design need not begin at the
-center, but may begin at the edge of the frame as in regular diagonal
-weaving shown in Fig. 55. The strands comprising the unit are numbered
-for convenience. The process of weaving is as follows:
-
-    Strand 1--Under 1, over 2, under 1, over 2, and so on.
-
-    Strand 2--Over 2, under 3, over 3, under 3, and so on.
-
-    Strand 3--Over 1, under 2, over 1, under 2, and so on.
-
-    Strand 4--Under 2, over 3, under 3, over 3, and so on.
-
-    Strand 5--Under 1, over 2, under 1, over 2, and so on.
-
-    Strand 6--Under 2, over 3, under 3, over 3, and so on.
-
-    Strand 7--Over 1, under 2, over 1, under 2, and so on.
-
-    Strand 8--Over 2, under 3, over 3, under 3, and so on.
-
-    Strand 9--Under 1, over 2, under 1, over 2, and so on.
-
-Nine strands comprise the unit. One half of the unit from strand 5 is
-a repetition of the first half except that the order is reversed. Thus
-strands 4 and 6, 3 and 7, 2 and 8, and 1 and 9 are identical in weave.
-Repeat the unit until the seat is completed.
-
-  [Illustration: FIG. 66. DESIGN OF INDIAN SPLINTS.]
-
-The design produced in Fig. 66 is obtained by skipping certain strands
-for rather unusual distances. This may be done in instances where the
-pattern is begun at the center of the area. No strand should be
-omitted its entire length however. Any number of designs may be worked
-out, limited only by the patience and ingenuity of the individual
-worker.
-
-A design for a seat or panel not illustrated herein, but which is
-particularly pleasing in its general effect, is produced by a unit of
-six strands repeated indefinitely. The weaving is started as in the
-diagonal weave and the process may be indicated as follows:
-
-    Strand 1--Over 1, under 3, over 3, under 3, and so on.
-
-    Strand 2--Over 2, under 3, over 3, under 3, and so on.
-
-    Strand 3--Over 3, under 3, over 3, under 3, and so on.
-
-    Strand 4--Under 1, over 3, under 3, over 3, and so on.
-
-    Strand 5--Under 2, over 3, under 3, over 3, and so on.
-
-    Strand 6--Under 3, over 3, under 3, over 3, and so on.
-
-  [Illustration: FIG. 67. METHOD OF WEAVING SPLINTS.]
-
-The isometric sketch of a stool, Fig. 67, shows the structure partly
-woven. It will be noticed that the splints or reeds run both ways
-underneath the frame as they do on top. As indicated previously these
-strands underneath should be woven in some manner to assure a seat of
-maximum strength for the material used. The diagonal weave was
-arbitrarily chosen to illustrate the method of weaving the seat frame.
-The weaving underneath is not shown on the sketch. If the rails on any
-seat are run flush with the inside corners of the posts the woven
-strands will fill the entire space. On the other hand, if they are
-permitted an offset, a series of open spaces are left as shown on the
-first woven seat illustrated. The sketch shows the rails flush with
-the inner corner of the posts.
-
-
-=A Rustic Chair.=--The type of chair which is particularly adapted to
-splint weaving is illustrated in Fig. 68. The construction is simple,
-and the necessary bending of pieces is readily done if a suitable
-steaming chest is available in the shop. Such a chest may be made of a
-6 in. gas pipe cut the required length and threaded at both ends. Cap
-one end permanently. Have the cap for the other end removable, with a
-gasket in it to prevent the escape of steam, and a suitable handle
-attached for ease in removing. Set the pipe upon a standard, then make
-the necessary steam connections at the closed end and the drain at the
-other. Place the wood in the chest, screw on the cap, and turn on the
-steam. The length of time the wood should remain in the steam depends
-upon the wood and the size of the piece.
-
-  [Illustration: FIG. 68. PORCH CHAIR WITH BACK AND SEAT WOVEN WITH
-    SPLINTS.]
-
-Suitable wood forms are easily made for bending stock. Their
-construction needs no elaboration. When the pieces are removed from
-the chest, clamp them over the forms immediately, and allow them to
-remain clamped in this manner for several days in a dry, warm room. If
-steam coils or hot air registers are handy the forms may be placed
-over or near them to expedite the drying.
-
-Rock elm is a good material from which to construct such a chair. The
-wood may be procured in the round, of different diameters. The tenons
-on the straight pieces may be made on the wood lathe; on the curved
-ones with spokeshave or draw knife. The short thin pieces on the sides
-should be fully housed. On a chair of this description it is good
-policy to assemble the sides first. Finish both the frame and the
-splints with a good paint composed of white lead and oil.
-
-Another excellent material for chairs of similar design and purpose is
-hickory. It is the best material for the construction of furniture for
-lawns and porches where weathering is constant, and it is peculiarly
-adapted to splint and inner bark weaving. If a person lives in the
-right locality he may gather young second growth hickory saplings in
-the fall. An instructor could very readily take his classes out on
-such a wood-gathering expedition. The educational gain in gathering
-raw materials to be fashioned into finished articles of use and beauty
-will justify all efforts. In the fall the bark of the saplings will
-adhere firmly to the wood. Trim and assort the different pieces in
-accordance with plans, cut them into approximate lengths, and steam
-and bend those desired. Sand each piece smooth, and proceed to
-construct the chair according to previous plans. Glue and nail all
-important joints to prevent any possibility of separation under any
-weather condition. No finish of any description is necessary or
-desired on hickory furniture. Weathering will naturally darken both
-frame and splints, but will not detract in any way from the rugged,
-pleasing appearance of the article.
-
-Sassafras is a very desirable wood for rustic furniture, and well
-adapted to splint weaving. The methods of gathering and finishing are
-identical to hickory. It is much lighter in weight than hickory, but
-is quite as serviceable. No finishing agent is necessary, altho the
-worker may oil or varnish it at his discretion.
-
-
-=A Woven Table.=--The table illustrated in Fig. 69 is a commercial
-product, evidenced by the machine turned posts and crosspieces. In
-school shops the posts may be made of rock elm rounds previously
-mentioned, or square tapered, and the rails of rounds or squares. The
-posts mortise in a frame underneath the top. The framework of the top
-is made of ⅜ in. dowel rods housed in a 6 in. round piece of ¾ in.
-wood, and radiating from it equal distances apart. The number of
-spokes needs to be odd, and cut to even lengths. The weaving is done
-with about a No. 6 reed, running over one, under two, over one, under
-two, and so on. The odd spoke permits the weaver to run continuously
-without skipping a spoke. A new strand is begun underneath the spoke
-where the last strand ends. When the top has been woven to the ends of
-the spokes a strip of braided No. 2 reed is nailed to each spoke with
-a round head, galvanized nail. The braid is made in the usual manner,
-as in basketry, with three series of strands of four each. When the
-shelf has been constructed in the same manner as the top, and both top
-and shelf have been fastened in their respective places, the table may
-be stained with naptha by pouring the stain over it. This method has
-been described in Chapter VI. Commercially, such articles are sized
-before staining. However, staining direct is the proper procedure in
-school shops. Use no shellac if the table is to be used on the porch
-or in the open where exposed to the weather.
-
-
-=Willows.=--Willows are imported normally from Germany, Holland,
-Belgium and France. Because of their scarcity and demand for them,
-willow growing is fast becoming a thriving industry in the United
-States. Many experimental farms are under the direct supervision of
-the federal government. These have demonstrated that willows can be
-grown to advantage in many localities in this country. In many
-instances manufacturers have abandoned rattan in favor of willows for
-certain articles of furniture where rattan was formerly used
-exclusively. Willow possesses all the attributes necessary for such
-furniture, being light in weight, durable, and strong; and it takes a
-good finish.
-
-  [Illustration: FIG. 69. A WOVEN CENTER TABLE.]
-
-Willow stems or rods are cut when several feet long. They are then
-soaked in water and the outer bark peeled. The rods are then sorted,
-bundled and shipped to the dealer or user. The peeling is generally
-accomplished by hand with a peculiarly forked stick or rod.
-Commercially there are what are termed dry peeled rods and steam
-peeled rods, with the former in favor for furniture of the better
-class. They sell for from 6 cents to 15 cents per pound, depending on
-quality, length and method of peeling. Willow stems are used
-extensively in basketry, and for porch and summer furniture. They
-could be used effectively on such a table as shown in Fig. 69, but
-cannot generally be utilized advantageously in school shops for
-seating purposes only. However, they have very definite uses on some
-structures, and an adequate supply should be kept on hand for use when
-opportunity offers.
-
-       *       *       *       *       *
-
-Within the confines of this book a variety of materials has been
-suggested, and many demonstrated, for seat weaving of various kinds
-and for weaving on structures other than seats. These will ordinarily
-afford sufficient latitude for classes of different grade in the
-school shops, but the instructor or worker should not infer that those
-indicated include all. Experience in weaving with these materials will
-suggest new mediums and combinations without number, and
-experimentation with new materials by both instructor and pupil should
-be encouraged.
-
-  [Illustration: SUGGESTIVE PROJECTS.]
-
-
-
-
-WEAVING MATERIALS: WHERE TO OBTAIN
-
-
-The following firms and individuals can furnish the various weaving
-materials indicated. They may undoubtedly be procured locally in the
-larger cities.
-
-
-  CANE
-    LUSSKY, WHITE AND COOLIDGE             Chicago, Ill.
-    AMERICAN REED AND RATTAN MFG. CO.      Brooklyn, N. Y.
-    HOOVER BROS.                           Kansas City, Mo.
-    L. S. DRAKE, INC.                      West Newton, Mass.
-
-  CANE WEBBING
-    LUSSKY, WHITE AND COOLIDGE             Chicago, Ill.
-    RESTMOER MFG. CO.                      Vancouver, B. C.
-
-  FIBER
-    THE FIBER GRAND CO.                    Grand Rapids, Mich.
-    J. L. HAMMET CO.                       Brooklyn, N. Y.
-
-  RUSH
-    L. S. DRAKE, INC.                      West Newton, Mass.
-    GUSTAV STICKLEY                        Eastwood, N. Y.
-
-  INDIAN SPLINTS
-    C. N. SABA AND CO.                     84 Wellington St. West,
-                                             Toronto, Ontario.
-    DAVID HARDIN                           Patesville, Ky.
-
-  REEDS
-    LUSSKY, WHITE AND COOLIDGE             Chicago, Ill.
-    AMERICAN REED AND RATTAN MFG. CO.      Brooklyn, N. Y.
-    J. L. HAMMET CO.                       Brooklyn, N. Y.
-
-  INNER HICKORY BARK
-    THE OLD HICKORY CHAIR CO.              Martinsville, Ind.
-
-
-
-
-BOOKS ON THE MANUAL ARTS
-
-
-=DESIGN AND CONSTRUCTION IN WOOD. By Noyes.= A book full of charm and
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-=HANDWORK IN WOOD. By Noyes.= A comprehensive and scholarly treatise,
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-=WOOD AND FOREST. By Noyes.= A reference book for teachers of
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-Profusely illustrated. $3.00.
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-=CARPENTRY. By Griffith.= A well-illustrated textbook for use in
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-=WOODWORK FOR SECONDARY SCHOOLS. By Griffith.= A textbook for high
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-=CORRELATED COURSES IN WOODWORKING AND MECHANICAL DRAWING. By
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-=ESSENTIALS OF WOODWORKING. By Griffith.= A textbook written
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-=WOODWORK FOR BEGINNERS. By Griffith.= A textbook for students in the
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-=MANUAL TRAINING TOYS FOR THE BOYS' WORKSHOP. By Moore.= A popular
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-=LEATHER WORK. By Mickel.= A manual on art leather work for students,
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-=BOOKS ON THE MANUAL ARTS.= A bibliography listing and describing 400
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-
-_Published by_ The Manual Arts Press _Peoria, Ill._
-
-
-
-
-Transcriber's Note
-
-Variant spelling is preserved as printed.
-
-Minor punctuation errors have been repaired.
-
-The following amendments have been made:
-
-    Page 41--trainig amended to training--... more than justifies
-    its introduction in manual training shops.
-
-    Page 84--the transcriber has added the omitted chapter heading,
-    'WEAVING MATERIALS: WHERE TO OBTAIN.'
-
-
-
-
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-
-The Project Gutenberg EBook of Seat Weaving, by L. Day Perry
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world 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.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Seat Weaving
-
-Author: L. Day Perry
-
-Release Date: October 15, 2016 [EBook #53288]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SEAT WEAVING ***
-
-
-
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-Produced by Chris Curnow, Sam W. and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
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-
-<div class="covernote">
-<p><b>Transcriber&rsquo;s Note</b></p>
-
-<p>The cover image was created by the transcriber for the convenience of the reader,
-and it is placed in the public domain.</p>
-</div>
-
-
-<div class="titlep">
-<h1>SEAT WEAVING</h1>
-
-
-<p class="author"><span class="smlfont">By</span><br />
-<br />
-L. DAY PERRY</p>
-
-<p class="authorsub">Supervisor of Manual Training, Joliet, Illinois,<br />
-and Instructor, Department Esthetic and Industrial Education,<br />
-Summer Quarters, The University of Chicago</p>
-
-
-<div class="figcenternocap" style="width: 121px;">
-<img src="images/logo.png" width="121" height="150"
-alt="Publisher's logo" />
-</div>
-
-
-<p class="publisher"><span class="lrgfont">THE MANUAL ARTS PRESS</span><br />
-PEORIA, ILLINOIS<br />
-1917</p>
-</div>
-
-
-<p class="copynotice">Copyright, 1917, by<br />
-L. Day Perry</p>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_3" id="Page_3">[<span class="hidden">Pg </span>3]</a></span></p>
-
-<h2><a name="foreword" id="foreword"></a>FOREWORD</h2>
-</div>
-
-
-<p>Woodworking shops in manual training schools far outnumber
-those for other manual activities, and as a result, courses in woodwork
-have come to be termed the stable courses in a handwork
-curriculum. However, experience in woodwork alone is not sufficient,
-and needs to be supplemented by other and more varied
-activities to give to the boy a proper foundation for choice of
-vocation.</p>
-
-<p>A definite way to produce necessary variety as applied to woodwork,
-especially if woodwork is the only course offered, is thru the
-use of such mediums as cane, reed, rush, splints and allied materials
-in correlation with the wood. These materials add life to the
-problems and generally arouse interest and enthusiasm in the work
-at hand. The result is careful application to construction details,
-with resultant appreciation of constructive design.</p>
-
-<p>It would prove a difficult task to make a fair estimate of the
-value such mediums have in manual training shops. Their use
-produces very definite reactions upon boys who could not be reached
-by woodwork alone, awakening them to a new interest in their
-work and making them more workmanlike and exacting in construction.</p>
-
-<p>There exists some element in such mediums which cannot be
-defined, but which nevertheless stimulates the average or mediocre
-boy, as well as the exceptional one, to produce the best work of
-which he is capable. Experience with these materials utilized in
-correlation with wood will prove the truth of these statements and
-demonstrate that they are not only worth while, but necessary to
-any well-rounded course in wood.</p>
-
-<p>The originals of the projects illustrated by the photographs were,
-with few exceptions, constructed by boys of average ability in the
-eighth grade. They indicate the character of work which may be
-<span class="pagenum"><a name="Page_4" id="Page_4">[<span class="hidden">Pg </span>4]</a></span>
-expected of boys in that grade, and, in a measure, the first two years
-of high school.</p>
-
-<p>Practically the entire emphasis is laid upon weaving as applied
-to some form of seat, either as a decorative feature or as a necessary
-part of the structure. These materials may be utilized in various
-ways on varied types and forms of furniture other than seats, a few
-of which are suggested. Experience with them will lead the worker
-to new and interesting fields of a distinctly educational nature.</p>
-
-<p>Joliet, Illinois, November, 1916.</p>
-
-<p class="sig">L. DAY PERRY.</p>
-
-
-<h3><a name="acknowledgments" id="acknowledgments"></a>ACKNOWLEDGMENTS</h3>
-
-<p>Acknowledgments are hereby made to The Bruce Publishing
-Co., for permission to re-use the material in <a href="#chap01">Chapters I</a> and <a href="#chap02">II</a>
-which appeared in <i>The Industrial Arts Magazine</i> in a modified
-form; to The Periodical Publishing Co., for the photograph shown
-in the <a href="#frontis">frontispiece</a>; to M.&nbsp;F. Gleason, Joliet, for the sketches shown
-in <a href="#fig05">Figs. 5</a>, <a href="#fig06">6</a> and <a href="#fig08">8</a>; to T.&nbsp;S. Moore, Joliet, for his cooperation in
-all the photographic work; and to the instructors in the Joliet
-Department of Manual Training who have assisted in working out
-a number of the problems.</p>
-
-<p class="sig">L.&nbsp;D.&nbsp;P.</p>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_5" id="Page_5">[<span class="hidden">Pg </span>5]</a></span></p>
-
-<h2><a name="contents" id="contents"></a>CONTENTS</h2>
-</div>
-
-
-<div class="centered">
-<table border="0" summary="Table of contents">
-  <tr>
-    <td class="tdlsc">&nbsp;</td>
-    <td class="tdrb"><small>PAGE</small></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Foreword</td>
-    <td class="tdrb"><a href="#foreword">3</a>, <a href="#Page_4">4</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Acknowledgments</td>
-    <td class="tdrb"><a href="#acknowledgments">4</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Chapter I.&mdash;Caning; The Seven Steps</td>
-    <td class="tdrb"><a href="#chap01">7</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Cane</td>
-    <td class="tdrb"><a href="#cane">7</a>, <a href="#Page_8">8</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Equipment</td>
-    <td class="tdrb"><a href="#equipment">8</a>, <a href="#Page_9">9</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Beginning the Operation</td>
-    <td class="tdrb"><a href="#beginning">9</a>, <a href="#Page_10">10</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">The Seven Steps in Caning</td>
-    <td class="tdrb"><a href="#sevensteps">10-14</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Chapter II.&mdash;Caning Suggestions</td>
-    <td class="tdrb"><a href="#chap02">15</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Irregular Areas</td>
-    <td class="tdrb"><a href="#irregularareas">17-21</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Five-Step Caning</td>
-    <td class="tdrb"><a href="#fivestep">21</a>, <a href="#Page_22">22</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">The Design Element</td>
-    <td class="tdrb"><a href="#design">22-25</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Chapter III.&mdash;Reseating a Chair; Hand Caning</td>
-    <td class="tdrb"><a href="#chap03">26</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">The Process</td>
-    <td class="tdrb"><a href="#process01">27-31</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Refinishing</td>
-    <td class="tdrb"><a href="#refinishing">31-33</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Chapter IV.&mdash;Reseating a Chair; Cane Webbing</td>
-    <td class="tdrb"><a href="#chap04">34</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">The Process</td>
-    <td class="tdrb"><a href="#process02">35-40</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Chapter V.&mdash;Rush Seating</td>
-    <td class="tdrb"><a href="#chap05">41</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Historical</td>
-    <td class="tdrb"><a href="#historical">41-42</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Rush</td>
-    <td class="tdrb"><a href="#rush">42-43</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Other Materials</td>
-    <td class="tdrb"><a href="#othermaterials01">43-44</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Preparation of Materials</td>
-    <td class="tdrb"><a href="#preparation">44-46</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">The Weaving Process</td>
-    <td class="tdrb"><a href="#weaving">46-49</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Rectangular Seats</td>
-    <td class="tdrb"><a href="#rectangular">49-50</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Irregular Seats</td>
-    <td class="tdrb"><a href="#irregular">50-51</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Suggestions</td>
-    <td class="tdrb"><a href="#suggestions">51-54</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Finish</td>
-    <td class="tdrb"><a href="#finish">54</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Chapter VI.&mdash;Reed and Splint Weaving</td>
-    <td class="tdrb"><a href="#chap06">55</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Primitive Methods</td>
-    <td class="tdrb"><a href="#primitive">56-57</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Bleaching</td>
-    <td class="tdrb"><a href="#bleaching">57-58</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Staining</td>
-    <td class="tdrb"><a href="#staining">58-59</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Other Materials</td>
-    <td class="tdrb"><a href="#othermaterials02">59-62</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Chapter VII.&mdash;Seats of Reeds and Splints</td>
-    <td class="tdrb"><a href="#chap07">63</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Indian Splints</td>
-    <td class="tdrb"><a href="#splints">72-79</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">A Rustic Chair</td>
-    <td class="tdrb"><a href="#rustic">79-80</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">A Woven Table</td>
-    <td class="tdrb"><a href="#woven">81</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Willows</td>
-    <td class="tdrb"><a href="#willows">81-82</a></td>
-  </tr>
-  <tr>
-    <td class="tdlsc">Weaving Materials: <span class="regfont">Where to Obtain</span></td>
-    <td class="tdrb"><a href="#chap08">84</a></td>
-  </tr>
-</table>
-</div>
-
-
-<p><span class="pagenum"><a name="Page_6" id="Page_6">[<span class="hidden">Pg </span>6]</a></span></p>
-
-<div class="figcenter" style="width: 450px;">
-<a name="frontis" id="frontis"></a>
-<img src="images/sw01.jpg" width="450" height="600"
-alt="" />
-<p class="capright"><i>Courtesy, Periodical Publishing Co.</i></p>
-<p class="caption">A TYPICAL ALLEY SCENE IN HONG KONG SHOWING NATIVE MEN AND
-WOMEN SORTING AND STRIPPING RATTAN.</p>
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_7" id="Page_7">[<span class="hidden">Pg </span>7]</a></span></p>
-
-<h2><a name="chap01" id="chap01"></a>CHAPTER I<br />
-<br />
-<span class="smcap">Caning; The Seven Steps</span></h2>
-</div>
-
-
-<p>That caning has not been undertaken to any appreciable extent
-in school shops is due to the fact that instructors are unfamiliar
-with the weaving processes. Caning is not difficult. It, in common
-with many other lines of activity, is best learned thru observation.
-However, it may be undertaken by the average person after careful
-study of printed directions and illustrations. If the worker will
-closely observe his own work as it progresses, and follows instructions
-carefully, he should have no unusual difficulty in caning an
-area very acceptably in the initial attempt. Particular attention
-should be paid to directions which tell of errors to avoid. Errors
-creep in, in a very unobtrusive manner at times, and the amateur
-will find them hard to detect.</p>
-
-
-<p><a name="cane" id="cane"></a><b>Cane.</b>&mdash;Cane is the name applied to a great number of plants
-which possess long, slender, reedlike stems. The name should apply
-only to a class of palms called rattans. These plants are found
-thruout the Indian Archipelago, China, India, Ceylon, and the
-Malay Peninsula. They grow in dense, dark forests and form a
-matted undergrowth which makes passage difficult or impossible.
-These palms are trailing in tendency, yet frequently grow to tree
-height. They then fall over and lie on the ground. The stem is
-covered with beautiful green foliage, grows to a length of 100 to
-300 ft., and rarely exceeds 1 in. in diameter. The stems are cut
-into lengths of 10 to 20 ft. for export. The outer bark is stripped
-into widths varying from &sup1;&#8260;<sub>16</sub> to &sup3;&#8260;<sub>16</sub> in. These strips are put
-into hanks of 1,000 lineal feet each. The cane is then ready for
-the cane weaver. A hank of cane costs from 60 cents to $1. The
-width of the cane and its quality determines the price per hank.
-It may be purchased from any upholstery supply house.</p>
-
-<p><span class="pagenum"><a name="Page_8" id="Page_8">[<span class="hidden">Pg </span>8]</a></span>
-Cane is named from the narrowest to the widest in order:
-carriage, superfine, fine-fine, fine, medium, common, narrow binder,
-and wide binder. Cane from India has a very glossy surface, while
-that from other localities is duller. The right side of the cane is
-easily determined by this glossiness.</p>
-
-<p>Cane for weaving purposes should not be confused with the
-popularly called cane or bamboo of our southern states, where it
-forms the well known cane-brakes. This cane rarely exceeds a
-height of 20 ft. It grows rapidly and very straight, and to an
-appreciable diameter. Such cane is used for bamboo furniture,
-walking sticks, poles, etc. The ordinary domestic sugar cane, also,
-should not be confused with seating cane.</p>
-
-<div class="figcenter" style="width: 598px;">
-<a name="fig01" id="fig01"></a>
-<img src="images/sw02.png" width="598" height="173"
-alt="" />
-<p class="caption">FIG. 1. THE CANING NEEDLE.</p>
-</div>
-
-
-<p><a name="equipment" id="equipment"></a><b>Equipment.</b>&mdash;The tools needed in cane weaving are few in
-number. A special one is called the caning needle. This may be
-made in the school shop. <a href="#fig01">Fig. 1</a> shows a working drawing of the
-needle. Its length is variable, depending upon the work at hand.
-It is desirable to have a number of different lengths. The tool is
-made of good flexible steel wire. This is flattened at one end, an
-eye cut in it, blunt pointed, and slightly curved as indicated. The
-other end is inserted in an ordinary small tool handle, extended
-thru and riveted. The riveting prevents the wire from drawing
-out of the handle under a pulling strain.</p>
-
-<p>The other tools needed are a scratch awl, and a pair of scissors
-or knife. A button-hook with the hook straightened or cut off
-<span class="pagenum"><a name="Page_9" id="Page_9">[<span class="hidden">Pg </span>9]</a></span>
-may take the place of the awl. A pair of dividers and rule are
-necessary for marking. Several wood pegs are needed. These may
-be classed with the tools. They are made from a &frac14; in. dowel rod,
-or the equivalent. Cut them about 4 in. long and point them as
-you would a lead pencil. The amateur is inclined to use a number
-of pegs. Four should prove amply sufficient.</p>
-
-
-<p><a name="beginning" id="beginning"></a><b>Beginning the Operation.</b>&mdash;<a href="#fig02">Fig. 2</a> is a photograph of an upholstered
-leg rest with caned sides. This rest will be used for our
-initial work in cane weaving, inasmuch
-as the area for caning is
-rectangular. It is not advisable
-for the beginner to have his initial
-experience on a chair seat, for the
-area is usually of an odd shape,
-and arms, legs, and back interfere.
-However, any rectangular area
-on which there are no projections
-to bother may be used for the first
-trial.</p>
-
-<div class="figcenter" style="width: 291px;">
-<a name="fig02" id="fig02"></a>
-<img src="images/sw03.jpg" width="291" height="298"
-alt="" />
-<p class="caption">FIG. 2. LEG REST.</p>
-</div>
-
-<p>It is assumed that the sides
-of the rest have been fitted. The
-rails and stiles are then assembled
-with glue, without the posts. When the glue has set the proper
-length of time, and the frame is cleaned and sanded, the rails and
-stiles are ready to dimension.</p>
-
-<p>Draw pencil lines entirely around the inner sides of the rails and
-stiles, &frac12; in. from the edges. This distance remains constant,
-usually, on all areas and with canes the various widths. With a
-pair of dividers set at &frac14; in. space off points on the pencil lines,
-starting from the intersection of the extended lines on each rail.
-<a href="#fig03">Fig. 3</a> is a working drawing of a corner, dimensioned as suggested.
-It will make clearer the directions. It is fundamental that the
-spacing be done in the same direction on parallel rails, for at times
-<span class="pagenum"><a name="Page_10" id="Page_10">[<span class="hidden">Pg </span>10]</a></span>
-the last space will be a short &frac12; in. or whatever dimension is used.
-In such cases it is necessary to redivide the last several spaces into
-divisions as near &frac12; in. as possible. It thus becomes obvious why
-spacing must be done in one direction as stated. This applies to
-all rectangular frames.</p>
-
-<div class="figcenter" style="width: 489px;">
-<a name="fig03" id="fig03"></a>
-<img src="images/sw04.png" width="489" height="300"
-alt="" />
-<p class="caption">FIG. 3. SKETCH OF CORNER FOR CANING.</p>
-</div>
-
-<p>With a &sup3;&#8260;<sub>16</sub> in. wood bit bore holes thru the rails and stiles at
-the points marked. Countersink the holes slightly on the underside
-of the frame. This is not absolutely necessary
-but aids considerably in locating the
-holes, and in other ways. In shops where
-power machinery is available a vertical borer
-may be used for this purpose. It is best to
-carefully mark the points for boring with a center punch. The
-twist bit will then start accurately and the danger for getting out
-of line will be reduced to a minimum. The dimensions given here
-are for fine-fine cane. Use sandpaper to remove pencil lines and
-rough edges left from boring; then clamp the frame over the edge
-of a table or bench with a carriage clamp; sit while doing the
-weaving.</p>
-
-
-<p><a name="sevensteps" id="sevensteps"></a><b>The Seven Steps in Caning.</b>&mdash;<a href="#fig04">Fig. 4</a> shows the seven steps in
-caning. Refer to this photograph thruout the following directions.
-The numbers on the photograph refer to the steps.</p>
-
-<div class="figcenter" style="width: 409px;">
-<a name="fig04" id="fig04"></a>
-<img src="images/sw05.jpg" width="409" height="593"
-alt="" />
-<p class="caption">FIG. 4. THE SEVEN STEPS IN CANING.</p>
-</div>
-
-<p><i>Step 1.</i> A hank of cane should be soaked for a few minutes in
-warm water, or longer in cold. Do not soak it too long. Start a
-strand by drawing one end thru a hole next to a corner hole, and
-let it project about 3 in. below. Fasten with a peg. Then starting
-<span class="pagenum"><a name="Page_11" id="Page_11">[<span class="hidden">Pg </span>11]</a></span>
-at the peg, pull the entire strand thru the thumb and forefinger to
-prevent twisting, and pull the end down thru the hole on the
-opposite parallel rail next to the corner hole, and then up thru the
-hole next to it. See that the right side of the cane is out on the
-underside of the frame as on the top. Pull the cane reasonably
-taut, and fasten with a peg to prevent the strand from slipping back
-and becoming loose. Draw the cane thru the thumb and forefinger
-again; pull it across the frame and down thru the hole next to the
-peg and up thru the hole next to it. Pull taut and fasten with the
-<span class="pagenum"><a name="Page_12" id="Page_12">[<span class="hidden">Pg </span>12]</a></span>
-second peg. This operation is repeated until all holes have been
-utilized on the two parallel rails, except those on the corners.
-Thruout the seven operations it is necessary that the cane be kept
-from twisting by drawing the remaining part of the strand thro
-thumb and forefinger.</p>
-
-<p><i>Step 2.</i> The second step is identical with the first, with the difference
-that the other two parallel rails are used, and that the
-canes run over the first set of parallel
-canes. If the first strand of cane has
-not been entirely used up in the first
-step, the remainder is used to begin
-the second step.</p>
-
-<div class="figcenter" style="width: 249px;">
-<a name="fig05" id="fig05"></a>
-<img src="images/sw06.png" width="249" height="61"
-alt="" />
-<p class="caption">FIG. 5. METHOD OF TYING ENDS OF CANE.</p>
-</div>
-
-<p><i>Step 3.</i> This step is a repetition of the first two. The canes of
-this series run <em>over</em> the first and second series and parallel with the
-first. As each strand is used up bind the end by pulling it under
-a cane, crossing from one hole to another underneath the frame
-and cutting off about &frac14; in. from the cane. <a href="#fig05">Fig. 5</a> shows how this
-binding is done. The loose end at the starting point is tied in this
-way, and all subsequent ones should be tied as they come, thus
-avoiding interference by many pegs, and insuring neat binding.</p>
-
-<p><i>Step 4.</i> The actual weaving begins with this step. It may be
-done entirely by hand, without resort to the needle, but it is slow
-work. The needle should be used. Start at a hole next to a corner
-on either rail that has been used but <em>once</em>, working from caned side
-toward the open frame. Go over and under the strands necessary
-to form the weave, turning the needle from side to side in order to
-catch the canes behind the point. When across thread the needle
-with the strand and pull thru, being careful to avoid a twist. Pull
-the end down thru the hole, pairing the canes. Pull the cane up
-thru the next hole; then start the needle from the opposite side of
-the frame and repeat the first operation, thus pairing another set
-of canes. Continue until all canes are paired and all holes used.
-Soak the woven cane with a wet sponge, and with two pegs
-straighten the strands of cane and force all pairs together. Small,
-<span class="pagenum"><a name="Page_13" id="Page_13">[<span class="hidden">Pg </span>13]</a></span>
-open squares are thus formed over the area being caned. Unless
-the cane is soaked it will prove rather difficult to pair the canes.</p>
-
-<p><i>Step 5.</i> This step is the weaving of one set of diagonals. Start
-the strand at any corner hole. Use one hand over and one under
-the frame. As the worker becomes skilful he will find it easier
-to give the cane a slight curve and work with both hands on the
-upper surface. Use an end of cane
-long enough for convenient handling;
-then pull the entire strand
-thru the length of the frame, provided
-the area is not too great.
-Care must be taken to avoid twisting
-the cane. The cane will run
-easily, and partially under a cane
-at the corners of the squares, if correctly
-done. <a href="#fig06">Fig. 6</a> shows this
-clearly, as does the illustration in
-<a href="#fig27">Fig. 27</a>. The second illustration
-is a photograph of a strip of cane
-webbing, is approximately half size,
-and will supplement the freehand
-sketch. The corners will bind, and the strand will pull with difficulty
-if the cane is incorrectly woven. On parallel canes note that
-the canes either run <em>over</em> or <em>under</em> the pairs.</p>
-
-<div class="figcenter" style="width: 273px;">
-<a name="fig06" id="fig06"></a>
-<img src="images/sw07.png" width="273" height="322"
-alt="" />
-<p class="caption">FIG. 6. FREEHAND SKETCH OF CANING.</p>
-</div>
-
-<p><i>Step 6.</i> This step is identical with the preceding one. The canes
-are at right angles to the first diagonals. In this step and the
-preceding one note that two strands run into the corner holes.
-This holds true in all rectangular frames where a corner hole is
-bored. It permits the strands to run in as straight a line as possible.
-If it is necessary to turn abruptly to enter a hole it is obvious
-that an error has been made by the weaver.</p>
-
-<p><i>Step 7.</i> Pull a cane of the same size as used in the other steps up
-thru a hole, over the binder cane and down thru the same hole.
-A loop is thus formed and the binder secured. Pull taut, then
-<span class="pagenum"><a name="Page_14" id="Page_14">[<span class="hidden">Pg </span>14]</a></span>
-enter the next hole, pull up the cane over the binder and down,
-and so on. This operation may be repeated at every other hole
-when the holes are close together. The two ends of the binder are
-finally overlapped and secured, and the operation thus completed.
-At times, when the last strands are woven, it may prove advisable
-to secure canes underneath the frame by plugging the necessary
-holes; at least in instances where the canes have a tendency to
-work loose.</p>
-
-<div class="figcenter" style="width: 606px;">
-<img src="images/sw08.jpg" width="606" height="282"
-alt="Two tables, two stools and a chair" />
-<p class="caption">SUGGESTIVE PROJECTS.</p>
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_15" id="Page_15">[<span class="hidden">Pg </span>15]</a></span></p>
-
-<h2><a name="chap02" id="chap02"></a>CHAPTER II<br />
-<br />
-<span class="smcap">Caning Suggestions</span></h2>
-</div>
-
-
-<p>As weaving progresses difficulty will be experienced in inserting
-cane ends in the holes, due to their becoming filled. Force the
-scratch awl thru and turn it several times. This will effectively
-force an opening.</p>
-
-<p>In many instances long ends of cane remain from one series to
-another. These generally, as previously mentioned, should be used
-in succeeding steps. There is one limitation. They should be
-used provided it is not necessary to carry them over more than four
-holes on the under side of the frame. The fewer loose ends left,
-the better, for the caning is thereby neater and better. It is generally
-advisable to use a full length strand to avoid a number of
-loose ends.</p>
-
-<p>The amateur will find his greatest difficulty in properly weaving
-the diagonals at the edges; that is, immediately upon entering or
-leaving a hole. Many commendable pieces of caning are spoiled
-by ragged, improperly woven edges. Care must be taken to see
-that the cane goes <em>over</em> and <em>under</em> the proper strand or strands at
-these points. <a href="#fig06">Fig. 6</a> clearly shows how the diagonals should run.
-Study it carefully.</p>
-
-<p>The addition of a binder is generally a matter of taste. Perhaps
-50 per cent of modern hand caned furniture does not employ a
-binder of any description. The series of regularly exposed holes
-are rather pleasing and in no way detract. However, in chair seats
-a binder is essential to protect the ends of canes, for they are subject
-to hard wear.</p>
-
-<p>Binders of reed or of wood called &ldquo;splines&rdquo; may be used on hand-caned
-frames. If either is used a groove &frac14; in. deep and &sup3;&#8260;<sub>16</sub> in.
-<span class="pagenum"><a name="Page_16" id="Page_16">[<span class="hidden">Pg </span>16]</a></span>
-wide is cut coincident with the holes before weaving is begun.
-After the area is caned the strips are fitted and glued in. Use little
-glue. Tap the splines firmly with a mallet used over a block of
-wood, until they are flush with the woven cane. <a href="#chap04">Chapter IV</a> gives
-the method in detail.</p>
-
-<p>The size of the holes and the distance between them is determined
-largely by the size of the
-cane used. Some prefer coarse
-meshed areas, while others desire
-them closely woven. There is,
-however, what we may term a
-standard mesh. The individual
-may vary the dimensions given to
-suit himself. The Jacobean or
-early caning was invariably of
-coarse mesh.</p>
-
-<div class="figcenter" style="width: 292px;">
-<a name="fig07" id="fig07"></a>
-<img src="images/sw09.jpg" width="292" height="424"
-alt="" />
-<p class="caption">FIG. 7. WINGBACK CHAIR.</p>
-</div>
-
-<p>Carriage and superfine cane require
-&#8539; in. holes and &#8540; in. spaces;
-fine-fine cane requires &sup3;&#8260;<sub>16</sub>
-in. holes and &frac12; in. spaces; fine
-cane requires &sup3;&#8260;<sub>16</sub> in. holes and
-&#8541; in. spaces; medium, &frac14; in. holes
-and &frac34; in. spaces. Fine-fine and
-fine cane are the best sizes for
-shop use. A small amount of medium binder is desirable.</p>
-
-<p>One hank of cane will ordinarily be sufficient for a half-dozen
-areas of approximately 12 in. by 12 in.</p>
-
-<p>Most old pieces of period furniture utilizing cane employ a
-particularly narrow split horizontally and vertically, and a wider
-split diagonally. The opposite practice may be employed&mdash;a finer
-split of cane being used diagonally than horizontally and vertically.
-Both effects are pleasing.</p>
-
-<p>In all illustrations of rectangular areas shown herein, corner
-<span class="pagenum"><a name="Page_17" id="Page_17">[<span class="hidden">Pg </span>17]</a></span>
-holes are bored and utilized in the cane weaving. These are not
-absolutely necessary; in fact caned areas on many pieces of period
-and modern furniture do not utilize corner holes. In such instances
-two diagonal strands are run in each hole on either side of the
-corner. A comparison of the areas, the one employing a corner
-hole, and the other not, will lead the observer to conclude that the
-former appears complete while the latter appears unfinished.</p>
-
-<div class="figcenter" style="width: 211px;">
-<a name="fig08" id="fig08"></a>
-<img src="images/sw10.png" width="211" height="126" alt="" />
-<p class="caption">FIG. 8. SKETCH OF STRIP TO COVER CANE ENDS.</p>
-</div>
-
-<p>It is frequently necessary or desirable
-to cover up the cane on the back or inside
-of an article. This is true of places exposed
-to view, and is especially advisable
-on such pieces of furniture as the wingback
-chair shown in <a href="#fig07">Fig. 7</a>. This chair
-of William and Mary design was made
-in a school shop, is hand caned, and of mahogany. The exposed
-cane is covered with strips of mahogany &frac14; in. thick and 1 in. wide
-in which a groove &#8539; in. deep and &#8540; in. wide has been run. This
-groove may be made with saw, chisel, or combination plane. <a href="#fig08">Fig. 8</a>
-shows a sketch of such a strip. It makes a neat, pleasing cover.
-Many pieces of so-called expensive furniture have ragged, exposed
-caning. This is unsightly and is not to be commended.</p>
-
-<p>Wherever it is found desirable to leave cane natural, it is necessary
-that the frame be stained before caning is begun. Box fuming
-will not permanently color cane. Oil stains make no appreciable
-impression if rubbed off at once. But water, acid, and alcohol
-stains produce decided colors. If the worker desires to color the
-cane approximately the same shade as the article, the caning may
-be done on the white wood and the entire article stained at the one
-operation. Cane may be shellacked or varnished or left natural,
-as desired.</p>
-
-
-<p><a name="irregularareas" id="irregularareas"></a><b>Irregular Areas.</b>&mdash;<a href="#fig09">Fig. 9</a> shows a close view of the back of the
-chair illustrated in <a href="#fig07">Fig. 7</a>. This is a typical example of an irregular-shaped
-area for caning. The principles of weaving remain the
-<span class="pagenum"><a name="Page_18" id="Page_18">[<span class="hidden">Pg </span>18]</a></span>
-same in areas of any shape, yet each requires slightly different treatment.
-Each has its individual problem. It is necessary to skip
-some holes altogether. This is never done in rectangular shapes.
-A close inspection of the photograph will reveal many skipped holes.
-This is necessary to keep parallel strands equidistant, and diagonals
-straight.</p>
-
-<div class="figcenter" style="width: 494px;">
-<a name="fig09" id="fig09"></a>
-<img src="images/sw11.jpg" width="494" height="651"
-alt="" />
-<p class="caption">FIG. 9. BACK OF CHAIR SHOWING ODDLY SHAPED AREAS.</p>
-</div>
-
-<div class="figcenter" style="width: 455px;">
-<a name="fig10" id="fig10"></a>
-<img src="images/sw12.png" width="455" height="688"
-alt="" />
-<p class="caption">FIG. 10. METHOD OF LOCATING HOLES ON WING OF CHAIR.</p>
-</div>
-
-<p>To clearly understand how the holes are located on a wing of
-<span class="pagenum"><a name="Page_19" id="Page_19">[<span class="hidden">Pg </span>19]</a></span>
-this chair refer to <a href="#fig10">Fig. 10</a>. The left upright and lower rails are
-at right angles to each other. The upper rail is curved and the
-right upright slanted. Measurements are begun at the lower left
-hand corner and proper distances spaced on the left upright. With
-the arm of a try-square against this upright, points are marked on
-<span class="pagenum"><a name="Page_20" id="Page_20">[<span class="hidden">Pg </span>20]</a></span>
-the opposite upright in line with those on the former. This operation
-is repeated on the lower rail and the upper curved one. Strands
-of cane will then obviously run parallel. Inasmuch as there are
-five holes in the base and eight in the top it is necessary that three
-vertical strands be run into the slanting upright in any holes which
-will permit the strands to run parallel to each other. The photograph
-of the caned wing, shown in <a href="#fig11">Fig. 11</a>, should make very clear
-the foregoing explanation. Experience with several unusual shapes
-<span class="pagenum"><a name="Page_21" id="Page_21">[<span class="hidden">Pg </span>21]</a></span>
-is necessary before the weaver feels confident of readily caning any
-area of odd shape.</p>
-
-<div class="figcenter" style="width: 450px;">
-<a name="fig11" id="fig11"></a>
-<img src="images/sw13.jpg" width="450" height="621"
-alt="" />
-<p class="caption">FIG. 11. CLOSE VIEW OF WING.</p>
-</div>
-
-<p>In weaving the diagonals it is frequently necessary to run several
-in one hole in order to keep the canes as straight as possible. Just
-when this should be done can only be determined by the worker.
-A diagonal should never be permitted to swing to any great degree
-out of a straight line. A close observation of the photograph of
-the wing will reveal many diagonal canes in one hole, and several
-holes skipped entirely.</p>
-
-<div class="figcenter" style="width: 610px;">
-<a name="fig12" id="fig12"></a>
-<img src="images/sw14.jpg" width="610" height="302"
-alt="" />
-<p class="caption">FIG. 12. CANING OF FIVE STEPS.</p>
-</div>
-
-
-<p><a name="fivestep" id="fivestep"></a><b>Five-Step Caning.</b>&mdash;Cane weaving of five steps is not common.
-It may be done in many cases where it will not be subject to hard
-wear. It is neat in appearance and is much simpler than seven-step
-caning. The presumption should not be made that this weave
-will in any way supplant the regular weave, but in instances where
-decoration is the object, and not service particularly, this weave
-will prove sufficient and effective.</p>
-
-<p><a href="#fig12">Fig. 12</a> illustrates a frame caned with the five steps. The distance
-between holes was purposely made greater than usual, to
-show the weave clearly. The first strands are strung in, in the
-same manner as described in the seven steps. The second series of
-<span class="pagenum"><a name="Page_22" id="Page_22">[<span class="hidden">Pg </span>22]</a></span>
-strands are interwoven with the first. The over and under weave
-is used. Each alternate row of each series is either over or under.
-The first diagonal strands run <em>over</em> the preceding two series. They
-are not woven as in seven-step caning. The second diagonal strands
-run <em>over</em> the first diagonals and <em>under</em> the intersection of the other
-strands, including every alternate first diagonal. This resolves
-itself into simple over and under weaving. Note that but one
-strand of a diagonal enters a corner hole. This is not true of seven-step
-caning, as elsewhere indicated. It is advisable to utilize a
-wider cane in the first two steps, than is used in the subsequent ones.</p>
-
-<div class="figcenter" style="width: 488px;">
-<a name="fig13" id="fig13"></a>
-<img src="images/sw15.jpg" width="488" height="271"
-alt="" />
-<p class="caption">FIG. 13. DAVENPORT WITH CANED PANELS.</p>
-</div>
-
-
-<p><a name="design" id="design"></a><b>The Design Element.</b>&mdash;Caning is not a fad. Cane was commonly
-used in Carolean furniture in England about 1660, and has
-continued in use for seating purposes thru the various subsequent
-periods. The application of cane as used today on French furniture,
-as in panels, is historically wrong. However there can be no valid
-objection to its use in panels if no attempt is made to name it a
-true period style. Also it must be conceded that period furniture
-was not always well designed, and there can be no well sustained
-objection to the use of cane in panels, provided it is in keeping
-structurally and decoratively with the particular piece of furniture.</p>
-
-<p><span class="pagenum"><a name="Page_23" id="Page_23">[<span class="hidden">Pg </span>23]</a></span>
-The introduction of cane at first was undoubtedly brought about
-by a desire for something light, substantial and serviceable, and it
-blended well with the oak of the period. Cane is much used on
-modern furniture, and without doubt it adds to the beauty of the
-given pieces. In many cases the decoration is overdone and instead
-of improving the article the cane in reality detracts. Properly used,
-it enriches by breaking up flat uninteresting areas, and lightening
-the appearance of otherwise massive, cumbersome articles.</p>
-
-<div class="figcenter" style="width: 290px;">
-<a name="fig14" id="fig14"></a>
-<img src="images/sw16.jpg" width="290" height="365"
-alt="" />
-<p class="caption">FIG. 14. ROCKER WITH CANED SIDES.</p>
-</div>
-
-<div class="figcenter" style="width: 293px;">
-<a name="fig15" id="fig15"></a>
-<img src="images/sw17.jpg" width="293" height="356"
-alt="" />
-<p class="caption">FIG. 15. BOOK SHELVES WITH CANED PANELS.</p>
-</div>
-
-<p>Under proper correlation with wood in school shops it promotes
-an appreciation of constructive design in which the element of
-beauty is a prime consideration. It is a practical medium in which
-the aspect of design as an element of utility is paramount. It has
-distinct commercial value, for the boys who have had training in
-the shops may do chair seating outside and earn considerable money.
-By such work they come to see a distinct relation between the commercial
-field and their shop experiences. This is a point of view
-which is very desirable in present-day industrial education.</p>
-
-<p><span class="pagenum"><a name="Page_24" id="Page_24">[<span class="hidden">Pg </span>24]</a></span>
-<a href="#fig13">Figs. 13</a>, <a href="#fig14">14</a>, <a href="#fig15">15</a>, and <a href="#fig17">17</a> show pieces of furniture made in manual
-training shops by eighth grade boys. These pieces comprise a group,
-with the addition of the leg rest shown in <a href="#fig02">Fig. 2</a> for a library or
-living room. The cane in each instance adds materially to the
-artistic effect of the problems; they have tone. The cane forms
-pleasing groups well related to the wood mass. The cane is natural,
-the wood fumed and finished flat. The two tones of color are in
-perfect harmony.</p>
-
-<div class="figcenter" style="width: 293px;">
-<a name="fig16" id="fig16"></a>
-<img src="images/sw18.jpg" width="293" height="284"
-alt="" />
-<p class="caption">FIG. 16. LIBRARY TABLE.</p>
-</div>
-
-<div class="figcenter" style="width: 293px;">
-<a name="fig17" id="fig17"></a>
-<img src="images/sw19.jpg" width="293" height="340"
-alt="" />
-<p class="caption">FIG. 17. TABLE. SIDES CANED.</p>
-</div>
-
-<p><a href="#fig16">Fig. 16</a> shows a library table of oak constructed by an eighth
-grade boy. The lines are very pleasing and the long vertical
-caned panel adds a distinct note to the structure even tho purely
-decorative.</p>
-
-<p>Many modifications of the standard weave in caning are in
-vogue, but are more or less fads. A &ldquo;rotary&rdquo; weave is rather prevalent
-on certain types of furniture, as is what may be termed the
-&ldquo;spider-web&rdquo; weave. These are mentioned merely to suggest that
-caning is subject to variation. However, the standard weave, of
-seven steps, will not be supplanted to any appreciable degree, for it
-adapts itself to almost all types of furniture both decoratively and
-structurally.</p>
-
-<p><span class="pagenum"><a name="Page_25" id="Page_25">[<span class="hidden">Pg </span>25]</a></span>
-It must not be presumed that the method described in <a href="#chap01">Chapter
-I</a> is the only one which may be employed in weaving this standard
-weave. There are several methods of weaving which arrive at the
-same ultimate result, but the one described is the simplest, and the
-most direct, and withal the one best adapted to general use, particularly
-to school-shop pupils.</p>
-
-<div class="figcenter" style="width: 613px;">
-<img src="images/sw20.jpg" width="613" height="389"
-alt="Two chairs, two stools, a table and a stand" />
-<p class="caption">SUGGESTIVE PROJECTS.</p>
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_26" id="Page_26">[<span class="hidden">Pg </span>26]</a></span></p>
-
-<h2><a name="chap03" id="chap03"></a>CHAPTER III<br />
-<br />
-<span class="smcap">Reseating a Chair; Hand Caning</span></h2>
-</div>
-
-
-<p>In many localities it is impossible to find a professional to reseat
-caned chairs either by hand or with cane webbing. Many chairs
-in good repair and worthy are relegated to the attic because of
-broken or sunken seats. Upholsterers generally will not be troubled
-with such jobs of caning for the work does not pay unless there
-is an amount sufficient to keep them steadily employed. Usually
-they are not adept enough to do such odd jobs as may come to them,
-even tho willing to do the work, within a time consistent with
-sufficient money returns.</p>
-
-<p>Chairs of ordinary size may be caned for a minimum of $1 and
-a maximum of $2. If the holes have previously been bored, much
-labor is thus avoided, and the charge is naturally made less. The
-professional cane weaver has various ways by which he determines
-the cost for recaning a given seat. Perhaps the most common
-method employed is that of charging so much per hole. This is
-from 1 to 2 cents. The difficulty in handling very fine cane is also
-a factor in deciding what to charge. Usually a casual looking over
-of the chair by the expert is all that is necessary to fix a price. No
-charge of less than $1 on a hand caned seat will sufficiently remunerate
-the worker. <a href="#fig18">Fig. 18</a> shows a hank of cane and rolls of
-machine woven cane.</p>
-
-<p>Any boy who has had instruction and sufficient experience in
-caning in the manual training shop may readily undertake jobs of
-caning. The boy who will investigate will find that he may work
-up a sizeable trade in chair seating in a short time. In fact several
-boys will not overcrowd a given field. Such work will pay the
-amateur well. He does not, nor cannot expect professional wages.
-It is of considerable value from the pupil&rsquo;s standpoint alone, that
-is, this correlation with his manual school activities. The amount
-<span class="pagenum"><a name="Page_27" id="Page_27">[<span class="hidden">Pg </span>27]</a></span>
-of pay initially is not the main question; it is the educational value
-derived. He would undoubtedly find willing help at his shop at
-any time a job of peculiar treatment presented itself.</p>
-
-
-<p><a name="process01" id="process01"></a><b>The Process.</b>&mdash;Many chairs which the owners would wish hand
-caned have no holes bored for the work. They previously held
-machine woven cane. <a href="#fig19">Fig. 19</a> shows a sketch of a chair bottom
-of ordinary or standard shape. The area is irregular. The sketch
-shows the method of determining the location for the holes.</p>
-
-<div class="figcenter" style="width: 572px;">
-<a name="fig18" id="fig18"></a>
-<img src="images/sw21.jpg" width="572" height="431"
-alt="" />
-<p class="caption">FIG. 18. HANK OF CANE AND ROLLS OF MACHINE WOVEN CANE.</p>
-</div>
-
-<p>As stated in the discussion of the seven steps in caning, the holes
-are invariably &frac12; in. from the inner edges of the rails. In this
-instance the line from which the holes for the front rail are located
-is parallel with the front rail; it is coincident with the line on which
-the holes are bored. The line on the back rail must be parallel
-with it; the line runs thru the center of the center hole. The
-lines on the side rails are parallel to each other and at right angles
-<span class="pagenum"><a name="Page_28" id="Page_28">[<span class="hidden">Pg </span>28]</a></span>
-to the first two. These four lines are shown as dash lines on the
-drawing. Their function is simply to determine the location for
-the holes to be bored on the lines &frac12; in. from the inner edges of the
-rails. Those lines are shown in the sketch as full lines.</p>
-
-<div class="figcenter" style="width: 605px;">
-<a name="fig19" id="fig19"></a>
-<img src="images/sw22.png" width="605" height="566"
-alt="" />
-<p class="caption">FIG. 19. SKETCH OF CHAIR SEAT OF ODD SHAPE, SHOWING METHOD OF FINDING LOCATION OF HOLES.</p>
-</div>
-
-<p>When the working lines are determined, the centers of the front
-and back lines are located. The lines connecting corresponding
-holes on the front and back rails must be parallel to the line connecting
-the center holes on these rails. This rule applies to the
-locating of the holes on the side rails. It also applies to any seat
-of odd shape. The distance between holes will vary somewhat at
-<span class="pagenum"><a name="Page_29" id="Page_29">[<span class="hidden">Pg </span>29]</a></span>
-different places on the seat frame. This is the result of working
-to rule, and is necessary to keep strands equidistant and parallel.
-At times respacing at several places will be necessary. When it is,
-simply redivide into as nearly the given dimensions as possible.</p>
-
-<div class="figcenter" style="width: 292px;">
-<a name="fig20" id="fig20"></a>
-<img src="images/sw23.jpg" width="292" height="347"
-alt="" />
-<p class="caption">FIG. 20. FIRST STEP HALF COMPLETED.</p>
-</div>
-
-<div class="figcenter" style="width: 289px;">
-<a name="fig21" id="fig21"></a>
-<img src="images/sw24.jpg" width="289" height="352"
-alt="" />
-<p class="caption">FIG. 21. FIRST STEP COMPLETED. SECOND BEGUN.</p>
-</div>
-
-<p>After the holes have been bored and cleaned the seat is ready
-for caning. Start at the center hole in the back. Pull the cane up
-thru this hole and across the frame, and down the center hole in
-the front. Work both ways on the frame. <a href="#fig19">Fig. 19</a> shows a cane
-started in this manner. It is best that the amateur work from the
-center, both ways. He may begin otherwise when he understands
-the work better. The caning operations on the seat to be shown
-are the same as those described in the seven steps in caning. They
-never vary. The only new thing involved here is the shape of the
-seat. <a href="#fig20">Fig. 20</a> is a photograph of a chair seat of an odd shape, an
-irregular ellipse. It shows the first step half completed. Note here
-that the last strand skips two holes, one at the front and one at
-the back. This is necessary to keep strands as nearly the same
-distance apart as possible. <a href="#fig21">Fig. 21</a> shows the first step completed
-<span class="pagenum"><a name="Page_30" id="Page_30">[<span class="hidden">Pg </span>30]</a></span>
-and the second partially so. It is not necessary to start at the
-center with this series, altho it is advisable with the beginner. Note
-that two holes have been skipped here, as in the first step. <a href="#fig22">Fig. 22</a>
-shows the second step finished and the third under way. These
-strands run directly over those of the first series. Pegs are always
-used to keep strands taut. Their proper use has been explained.
-<a href="#fig23">Fig. 23</a> shows the third step completed and the fourth under way.
-This shows the actual weaving, and the method of using the needle.
-It has been pushed thru in the manner previously described; and is
-shown threaded, ready to be pulled back, thus making the weave.
-The needle may not be used, but will do the work rapidly. Handwork
-alone here is tedious. <a href="#fig24">Fig. 24</a> shows the diagonal weave
-under way. In <a href="#fig25">Fig. 25</a> this weave is completed and the second
-diagonal started. <a href="#fig26">Fig. 26</a> shows the method of fastening the
-binder. This has been described.</p>
-
-<div class="figcenter" style="width: 289px;">
-<a name="fig22" id="fig22"></a>
-<img src="images/sw25.jpg" width="289" height="353"
-alt="" />
-<p class="caption">FIG. 22. THE SECOND STEP FINISHED AND THE THIRD UNDER WAY.</p>
-</div>
-
-<div class="figcenter" style="width: 331px;">
-<a name="fig23" id="fig23"></a>
-<img src="images/sw26.jpg" width="331" height="354"
-alt="" />
-<p class="caption">FIG. 23. THE THIRD STEP COMPLETED AND THE FOURTH UNDER WAY. THE CANING NEEDLE IN USE.</p>
-</div>
-
-<p>The first three series of strands should not be pulled very tight,
-<span class="pagenum"><a name="Page_31" id="Page_31">[<span class="hidden">Pg </span>31]</a></span>
-otherwise the final weaving will prove difficult. The finished seat,
-when dry, should ring when struck sharply with the fingers.</p>
-
-<p>The method of tying cane, preventing twists, etc., has been explained.
-Reference should be made to these points, when anything
-is not fully understood in this discussion of chair seating.</p>
-
-<div class="figcenter" style="width: 294px;">
-<a name="fig24" id="fig24"></a>
-<img src="images/sw27.jpg" width="294" height="368"
-alt="" />
-<p class="caption">FIG. 24. THE FIRST DIAGONAL WEAVE UNDER WAY. THE FIFTH STEP.</p>
-</div>
-
-<div class="figcenter" style="width: 294px;">
-<a name="fig25" id="fig25"></a>
-<img src="images/sw28.jpg" width="294" height="366"
-alt="" />
-<p class="caption">FIG. 25. FIRST DIAGONAL COMPLETED AND THE SECOND BEGUN. THE SIXTH STEP.</p>
-</div>
-
-<p>Note that many holes have been skipped in each series, especially
-in the last two, and also that more than one diagonal of a given
-series enters the same hole. In every case it will enter that hole
-which leaves its course in as straight a line as possible. In rectangular
-areas it is never necessary to run two diagonals into the
-same hole, except at the corners. This applies to two diagonals of
-the same series.</p>
-
-
-<p><a name="refinishing" id="refinishing"></a><b>Refinishing.</b>&mdash;The refinishing of a chair is a distinct problem,
-and one which the cane weaver should understand. He should
-acquire ability for finishing along with skill in caning, inasmuch
-as a chair which needs a new seat invariably is in need of refinishing.
-<span class="pagenum"><a name="Page_32" id="Page_32">[<span class="hidden">Pg </span>32]</a></span>
-The method is as follows: Remove the cane from the seat.
-If the finish is in fair condition merely wash the chair with warm
-water and soap. When dry sand the surface somewhat, wipe clean,
-and follow with a coat of good varnish. In forty-eight hours rub
-with pumice stone and oil, and follow with an application of furniture
-polish, well rubbed. A good polish which may be made in
-school shops is composed of two parts of raw oil, two parts of
-turpentine, one part vinegar, and
-a very small amount of alcohol.
-Boiled oil may be used in the absence
-of the raw product. Shake
-the container constantly when
-using, for the parts are almost all
-merely held in suspension.</p>
-
-<p>Should the chair be in poor condition,
-remove all varnish with
-any good varnish remover found
-on the market. Apply as directed
-with a stiff brush, running the solution
-well into all crevices. Later
-rub off the softened finish with
-excelsior or burlap. A scraper,
-an old plane bit, or a rather dull
-chisel will prove effective in corners
-and recesses. Apply a second coat of remover if conditions
-warrant it and clean again, then when the surfaces are dry, sand
-until clean and smooth. Follow with a coat of oil stain of the color
-desired; then two coats of varnish, allowing each coat to dry 48
-hours. Sand the first coat lightly, and rub the second with pumice
-stone and oil. A filler is not generally necessary in refinishing.
-The ground coat may be of shellac instead of varnish if the worker
-prefers it. The chair need not be stained if it was finished natural
-originally.</p>
-
-<div class="figcenter" style="width: 287px;">
-<a name="fig26" id="fig26"></a>
-<img src="images/sw29.jpg" width="287" height="344"
-alt="" />
-<p class="caption">FIG. 26. METHOD OF FASTENING BINDER. THE SEVENTH AND LAST STEP.</p>
-</div>
-
-<p>In caning the seat special care must be exercised to avoid
-<span class="pagenum"><a name="Page_33" id="Page_33">[<span class="hidden">Pg </span>33]</a></span>
-marring the varnished frame. If the needle is used in the fourth step
-the frame needs protection from it. Pieces of bristol or card board
-may be placed under the needle on either side of the frame. The
-needle is bound to mar the surface of the frame if this precaution
-is not taken.</p>
-
-<p>In many instances it is policy to cane the seat after the old finish
-has been removed; this to avoid any possibility of marring the seat
-frame later. However, it is better practice to refinish the chair
-first, and cane the seat last.</p>
-
-<div class="figcenter" style="width: 612px;">
-<img src="images/sw30.jpg" width="612" height="273"
-alt="Four tables" />
-<p class="caption">SUGGESTIVE PROJECTS.</p>
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_34" id="Page_34">[<span class="hidden">Pg </span>34]</a></span></p>
-
-<h2><a name="chap04" id="chap04"></a>CHAPTER IV<br />
-<br />
-<span class="smcap">Reseating a Chair; Cane Webbing</span></h2>
-</div>
-
-
-<p>The seating of chairs with machine woven cane is a much simpler
-process than that of hand caning them. Under similar conditions
-less time and skill are required on areas of like dimensions. Machine
-woven cane, as its name implies, is a manufactured product made
-on power looms or machines. Commercially it is sold under the
-name of cane webbing. It is obtainable in widths ranging from
-8 in., increasing by 2 in., to 18 in., and in rolls of indefinite lengths.
-It may be procured in meshes of varying fineness, utilizing cane of
-various sizes. In specifying open woven cane it is necessary that
-the purchaser indicate his wants in essentially this way: Ten feet
-medium open woven cane webbing, of No. 1 fine cane, 12 in. wide.
-A roll of such cane has been referred to in <a href="#fig18">Fig. 18</a>.</p>
-
-<p>Cane webbing may also be purchased in close woven, in both the
-plain and diagonal weaves. The specifications for purchasing are
-identical with the open woven except that the term close woven
-is specified together with the character of weave. <a href="#fig27">Fig. 27</a> shows
-cane webbing approximately half size, in open and close woven
-meshes.</p>
-
-<p>As in hand caning, any boy with proper inclination who has had
-the necessary experience in the shops, may avail himself of the
-opportunities for seating chairs in his community. The educational
-and pecuniary advantages are identical to those mentioned in relation
-to hand caning. The relative ease with which he may acquire
-skill in handling the materials precludes satisfactory workmanship
-for prospective customers.</p>
-
-<p>The cost of jobs is readily determined, for the amount and cost
-of webbing is easily ascertained, and experience soon determines
-the length of time required. Cane webbing costs approximately
-<span class="pagenum"><a name="Page_35" id="Page_35">[<span class="hidden">Pg </span>35]</a></span>
-as follows: For 12 in. widths, 21 cents; 14 in. widths, 26 cents;
-16 in. widths, 30 cents; and 18 in. widths, 38 cents. This cost
-applies to open woven and is the charge per running foot. Close
-woven is sold by the square foot at about 30 cents, regardless of
-width. It is possible to procure special wide widths, but these are
-not generally found on the open market.</p>
-
-<div class="figcenter" style="width: 293px;">
-<a name="fig27" id="fig27"></a>
-<img src="images/sw31.jpg" width="293" height="216"
-alt="" />
-<p class="caption">FIG. 27. OPEN AND CLOSE WOVEN CANE.</p>
-</div>
-
-<div class="figcenter" style="width: 292px;">
-<a name="fig28" id="fig28"></a>
-<img src="images/sw32.jpg" width="292" height="240"
-alt="" />
-<p class="caption">FIG. 28. THE SEAT FRAME WITH WEBBING AND TOOLS.</p>
-</div>
-
-<p>For example, a chair seat which requires a 12 in. square of open
-woven webbing, and which has the groove made, may be reseated
-for 50 cents. The entire job could be finished in about half an
-hour. This may be made less if several chairs are to be reseated
-at a time. However, it may be termed the minimum charge consistent
-with fair money returns. There are instances when the
-seat frame requires grooving, and inasmuch as running it in by
-hand is a laborious and tedious process the worker must of necessity
-carefully estimate time before he determines upon charge.</p>
-
-
-<p><a name="process02" id="process02"></a><b>The Process.</b>&mdash;The following may be termed the steps in inserting
-cane webbing. No special difficulty should be encountered in
-properly seating the frame at the first attempt.</p>
-
-<p><i>Step 1.</i> <a href="#fig28">Fig. 28</a> shows a commercial chair seat with groove cut by
-a router after it has been assembled. There are no angles on the
-seat. The groove is standard, with dimensions &frac14; in. deep and
-&sup3;&#8260;<sub>16</sub> in. wide. This groove may be cut by hand with a universal
-<span class="pagenum"><a name="Page_36" id="Page_36">[<span class="hidden">Pg </span>36]</a></span>
-plane and chisel before permanently assembling the parts. In fact
-this is a necessary procedure in grade schools and other schools
-where special machine tools are unavailable. The necessary tools
-for pressing in the webbing lie near the frame, <a href="#fig28">Fig. 28</a>. These
-are a small mallet, a chisel, and several hard wood wedges. The
-wedges are made in several widths, to enable them to enter the
-groove at the abrupt curves, are 4 in. long of &frac14; in. stock, tapered
-to &#8539; in. on the faces.</p>
-
-<div class="figcenter" style="width: 288px;">
-<a name="fig29" id="fig29"></a>
-<img src="images/sw33.jpg" width="288" height="245"
-alt="" />
-<p class="caption">FIG. 29. INSERTING THE CANE WEBBING.</p>
-</div>
-
-<div class="figcenter" style="width: 289px;">
-<a name="fig30" id="fig30"></a>
-<img src="images/sw34.jpg" width="289" height="236"
-alt="" />
-<p class="caption">FIG. 30. TRIMMING THE EDGES.</p>
-</div>
-
-<p><i>Step 2.</i> The cane should be boiled in water for a minute or so,
-or allowed to soak for several minutes in warm water until thoroly
-pliable. Then lay it on the frame and cut it to the shape of the
-seat, allowing half an inch excess around the entire piece. A
-pattern of card or bristol board will prove of material assistance to
-the amateur as well as the expert. The front line or edge of the
-pattern must run parallel with the horizontal or vertical strands of
-cane. Pull out all weavers at the edges of the piece of cane where
-they run over and parallel with the groove. Then lay the webbing
-over the frame, and see that the weavers run parallel with the
-front of the frame. With wedge and mallet as illustrated in <a href="#fig29">Fig.
-29</a> begin at the front and force the webbing into the groove. Insert
-on the opposite side next, then the other two sides in order. The
-curves may be done last.</p>
-
-<p><span class="pagenum"><a name="Page_37" id="Page_37">[<span class="hidden">Pg </span>37]</a></span>
-<i>Step 3.</i> The edges of the webbing will project up beyond the
-groove. These are cut off as illustrated in <a href="#fig30">Fig. 30</a> by means of a
-mallet and chisel at the outer edge in the bottom of the groove.
-Run either liquid or hot glue into
-the groove. An oil-can with large
-holed nozzle is excellent for this
-purpose. The liquid glue should
-be heated if used in this way so it
-may flow easily. This glue is to
-be recommended for the amateur
-in that no great haste is required
-as in the case with hot glue. A
-small stiff round brush will serve
-the purpose very well in absence
-of the oiler.</p>
-
-<div class="figcenter" style="width: 290px;">
-<a name="fig31" id="fig31"></a>
-<img src="images/sw35.jpg" width="290" height="247"
-alt="" />
-<p class="caption">FIG. 31. INSERTING THE SPLINE.</p>
-</div>
-
-<div class="figcenter" style="width: 287px;">
-<a name="fig32" id="fig32"></a>
-<img src="images/sw36.png" width="287" height="136"
-alt="" />
-<p class="caption">FIG. 32. SKETCH OF A PORTION OF A SPLINE.</p>
-</div>
-
-<p><i>Step 4.</i> <a href="#fig31">Fig. 31</a> shows the method of inserting the spline. Splines
-may be had either of wood or reed, are curved on the upper edge
-and wedge shape in cross-section. They are standard in width and
-thickness and will fit a groove of the size indicated in <i>Step 1</i>. <a href="#fig32">Fig.
-32</a> is a freehand sketch of a spline,
-showing particularly its shape in
-cross-section. Wood splines, preferably
-of hickory, may be purchased
-in 5 ft. lengths, and reed
-splines in lengths of 8 or 10 ft.
-Both hickory and reed are recommended
-because of their pliability
-and ease in handling. Steam or soak them in hot water until thoroly
-pliable; then insert in the groove as illustrated. Note that the
-joint is made at the rear of the seat. The mallet used is of rawhide
-and will not mar the spline. A wooden mallet of small size is a
-satisfactory tool. Cut off the extra length of spline with the chisel,
-force the spline down nearly flush with the frame with mallet and
-wedge, sponge off the excess glue from the surface, and allow the
-webbing to dry.</p>
-
-<p><span class="pagenum"><a name="Page_38" id="Page_38">[<span class="hidden">Pg </span>38]</a></span>
-<i>Step 5.</i> The finished seat is shown in <a href="#fig33">Fig. 33</a>. As the cane webbing
-dries it becomes taut, and irregularities of the surface, if not too
-pronounced, will disappear entirely. Therefore, the worker need
-not consider them primarily. Light sanding of the cane when
-thoroly dry will eliminate the small hairlike projections on the
-surface. Singeing the surface with a blow torch or gas flame will
-do the work more effectively, but great
-care must be exercised to avoid burning
-the webbing itself. The singeing
-must be done rapidly and the flame
-not be permitted to remain at one spot
-more than an instant. Dampen the
-surface to minimize the danger of
-burning.</p>
-
-<div class="figcenter" style="width: 453px;">
-<a name="fig33" id="fig33"></a>
-<img src="images/sw37.jpg" width="453" height="210"
-alt="" />
-<p class="caption">FIG. 33. THE FINISHED SEAT.</p>
-</div>
-
-<div class="figcenter" style="width: 253px;">
-<a name="fig34" id="fig34"></a>
-<img src="images/sw38.jpg" width="253" height="414"
-alt="" />
-<p class="caption">FIG. 34. CHAIR WITH CANED PANEL.</p>
-</div>
-
-<p>The chair shown in <a href="#fig34">Fig. 34</a> was
-made by an eighth grade boy. The
-slip seat is upholstered, and a panel of
-cane webbing utilized on the back. In
-instances of this character where the
-area is rectangular, splines are cut,
-mitered, and fitted previous to inserting
-the webbing. The splines are
-used dry. Manufacturers, in instances
-where the seat area is all curved,
-<span class="pagenum"><a name="Page_39" id="Page_39"><!-- original location of Fig. 35 --></a></span>
-<span class="pagenum"><a name="Page_40" id="Page_40">[<span class="hidden">Pg </span>40]</a></span>
-generally fit the pliable spline, allow it to dry, and then insert it with
-the webbing. This assures tight joints. This procedure is not
-recommended for the ordinary shops for the simple reason that the
-shrinkage is not appreciable.</p>
-
-<div class="figcenter" style="width: 497px;">
-<a name="fig35" id="fig35"></a>
-<img src="images/sw39.jpg" width="497" height="700"
-alt="" />
-<p class="caption">FIG. 35. FRAME ILLUSTRATING STEPS IN INSERTING WOVEN CANE.</p>
-</div>
-
-<p>The frame illustrated in <a href="#fig35">Fig. 35</a> is purely supplementary to the
-steps, but as with the Seven Steps in Caning, it should be used in
-demonstrating the processes to classes. It materially assists in making
-the processes clear to the students, previous to allowing work
-on their projects, and assures a general understanding, at least, of
-proper procedure. The different panels are lettered for convenience
-and need no elaborate explanation:</p>
-
-<p><i>A</i> is the open frame with grooves cut for the webbing.</p>
-
-<p><i>B</i> is the webbing inserted with ragged edges exposed, ready for
-cutting.</p>
-
-<p><i>C</i> is the webbing with edges properly trimmed and a spline inserted.</p>
-
-<p><i>D</i> is the completed panel.</p>
-
-<p>Inserts of cane webbing may be utilized on pieces of furniture
-other than seats. These inserts could be used on every article illustrated
-in Chapters I and II, with similar pleasing effects, and with
-less labor. However, there is an obvious element in hand caning
-which naturally and logically gives it precedence over the inserted
-cane.</p>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_41" id="Page_41">[<span class="hidden">Pg </span>41]</a></span></p>
-
-<h2><a name="chap05" id="chap05"></a>CHAPTER V<br />
-<br />
-<span class="smcap">Rush Seating</span></h2>
-</div>
-
-
-<p>Rush seating, employing either genuine rush or substitutes, may
-be done to good advantage and with excellent results in manual
-training shops. No equipment is needed to maintain such work.
-The addition of a woven seat to a chair or stool constructed in the
-shops will necessarily employ a new, interesting medium in conjunction
-with woodwork; and materially increase the pupils&rsquo; knowledge
-of materials and possible combinations. And, as with caning,
-the resultant interest in the work at hand more than justifies its
-introduction in manual training shops. Rush seating employs a very
-simple weave. Different materials employed in weaving naturally
-require different degrees of skill, and the difficulties encountered
-are those resulting from handling materials and not because of the
-complexity of the weave. One may very readily undertake the
-rushing of ordinary seat frames after a study of printed directions
-and illustrations. It should be understood at the outset that, in
-discussing rush seating, materials other than genuine rush are included
-in the term.</p>
-
-
-<p><a name="historical" id="historical"></a><b>Historical.</b>&mdash;In the British Museum in London is a seat of
-curious shape of Egyptian manufacture, which, it is estimated, was
-made previous to 4000 B.C. A small amount of rush still clings to
-the seat frame. The relative date of the construction and weaving
-of the chair seat would indicate that rush seating is by no means a
-modern art, altho at present rush is extensively employed in furniture.</p>
-
-<p>The use of rush in England dates no earlier than 1720. Several
-types of chairs were made there between that date and 1870. In
-France rush was used extensively in the seating of furniture of
-Normandy and Brittany about 1750. Flanders produced rush
-<span class="pagenum"><a name="Page_42" id="Page_42">[<span class="hidden">Pg </span>42]</a></span>
-seated chairs at an early date, and many were constructed in this
-country in early colonial days, prior to 1776, as well as later. Such
-chairs were undoubtedly patterned after those brought over from
-Holland, France, and England to the early settlements in America
-both before and after the Revolutionary
-War.</p>
-
-<div class="figcenter" style="width: 314px;">
-<a name="fig36" id="fig36"></a>
-<img src="images/sw40.jpg" width="314" height="463"
-alt="" />
-<p class="caption">FIG. 36. ADAPTATION OF LADDER BACK CHAIR.</p>
-</div>
-
-<p>In early times rush always
-served a function in the seats
-of chairs and stools, and was
-very seldom if ever used on the
-better class of furniture. The
-use of cane or rush on furniture
-for decorative purposes
-only is distinctly a modern
-idea. Utility rather than beauty
-prompted the introduction
-of seats of rush.</p>
-
-<p>Modern furniture of excellent
-design and workmanship
-employs rush seats. These are
-either woven over a separate
-frame and inserted or are an
-integral part of the chair, being
-woven over the seat rails
-of the chair itself. <a href="#fig36">Fig. 36</a> shows a modern adaptation of a ladder
-back chair with rush seat. The rush on this chair is woven over
-the rails. <a href="#fig37">Fig. 37</a> shows a flat view of the seat.</p>
-
-
-<p><a name="rush" id="rush"></a><b>Rush.</b>&mdash;Rush is the name applied to many fistular, stemlike
-plants of similar or like growth. Properly, rush belongs to the sedge
-family. The different species vary greatly in appearance; some are
-low and slender, some are tall and leafless, and some are broad
-leaved. They are found in wet places thruout the northern hemisphere,
-along banks of sluggish streams, and in lowlands and marshes.
-<span class="pagenum"><a name="Page_43" id="Page_43">[<span class="hidden">Pg </span>43]</a></span>
-The great bulrush is common and familiar, while the chair-maker&rsquo;s
-rush is not as well known. The plants most commonly
-known as rush are called by the names of flag and cattail. In fact,
-flag and cattail are very generally used for rush seating. The
-technical names of the different species of rush are not pertinent or
-desirable here.</p>
-
-<div class="figcenter" style="width: 490px;">
-<a name="fig37" id="fig37"></a>
-<img src="images/sw41.jpg" width="490" height="397"
-alt="" />
-<p class="caption">FIG. 37. SEAT OF LADDER BACK CHAIR.</p>
-</div>
-
-
-<p><a name="othermaterials01" id="othermaterials01"></a><b>Other Materials.</b>&mdash;Materials other than rush may be used for
-rush seating, as has been stated. Rush is rather hard to manage in
-that no appreciable length may be handled because of the shortness
-of the leaf. Twisting is necessary. Fiber, or similar materials, is
-to be recommended for shop use because a great length is procurable,
-and the twist is made. It is made of machine-twisted paper,
-and comes in long indefinite lengths. It is tough, strong, and serviceable,
-and procurable in spools of about one hundred pounds
-each. <a href="#fig38">Fig. 38</a> shows such a spool together with a bundle of rush.
-It is manufactured with or without a flexible wire center and costs
-<span class="pagenum"><a name="Page_44" id="Page_44">[<span class="hidden">Pg </span>44]</a></span>
-from 10 to 15 cents a pound. It may be had in several colors and
-sizes.</p>
-
-<p>Raffia is well known thru its general use in basketry and allied
-work. In rush seating it has no conspicuous place, altho it may be
-utilized to great advantage. Raffia is the leaf of a certain palm,
-cut in narrow widths and varying in length from 2 to 5 feet. It is
-bought in hanks by the pound,
-bleached or unbleached, and in
-colors. The natural unbleached
-raffia costs about 25 cents per
-pound; colored about 75 cents.
-The hanks should not be untied,
-but as strands are needed they
-should be pulled out from the
-head end of the hank. If improperly
-handled, raffia will become
-badly tangled.</p>
-
-<div class="figcenter" style="width: 290px;">
-<a name="fig38" id="fig38"></a>
-<img src="images/sw42.jpg" width="290" height="451"
-alt="" />
-<p class="caption">FIG. 38. SPOOL OF FIBER AND BUNDLE OF RUSH.</p>
-</div>
-
-<p>Corn husks, taken from close to
-the ear, may be used, particularly
-for seating chairs of toy furniture.
-The husks near the ear are not
-as coarse and brittle as those outside.
-The shortness of the husks
-precludes their general use, altho
-they produce an excellent seat
-when properly woven.</p>
-
-<p>The materials mentioned by no means exhaust the list of available
-mediums for rush seating, but will give considerable and sufficient
-variety for shopwork. As the weaver comes to appreciate the
-limits and advantages of the various mediums for certain grade
-work, he may utilize local plants and grasses suitable for such work.</p>
-
-
-<p><a name="preparation" id="preparation"></a><b>Preparation of Materials.</b>&mdash;Rush&mdash;and in the term are included
-cattail and flag&mdash;is common to almost any locality in our
-northern states. It should be gathered when full grown and still
-<span class="pagenum"><a name="Page_45" id="Page_45">[<span class="hidden">Pg </span>45]</a></span>
-green. It is ready for cutting when the tips of the leaves begin to
-turn brown. This is usually about the middle of August. The
-leaves are tied in loose bundles for convenience in handling, and
-dried in the shade, preferably a darkened room. They should remain
-here until thoroly dry. Before using, soak the rush about
-ten hours in water. Less time is required if warm water is used.
-When it is soft and pliable it is ready for weaving.</p>
-
-<div class="figcenter" style="width: 567px;">
-<a name="fig39" id="fig39"></a>
-<img src="images/sw43.png" width="567" height="342"
-alt="" />
-<p class="caption">FIG. 39. ISOMETRIC DRAWING OF FRAME FOR RUSH SEATING.</p>
-</div>
-
-<p>Before weaving, the butt ends of the leaves are cut off about a
-foot from the base. These are too coarse and stiff to weave properly.
-One leaf may be used or two leaves may be twisted together to
-make a strand. Three leaves make a coarse strand, two a medium,
-and one a fine strand. A long, tight twist is necessary to produce
-an even, smooth strand. The twisting is always done in one direction.
-One leaf is recommended for beginners in rush seating, for
-adding to one is much simpler than adding to several. The under
-side of the seat need not be as smooth and as well woven as the top.
-In fact, twisting need not be done underneath at all unless the
-individual worker so desires.</p>
-
-<p>Raffia is easy to manipulate because of its pliability, even when
-dry. Several lengths will need to be twisted together to produce a
-<span class="pagenum"><a name="Page_46" id="Page_46">[<span class="hidden">Pg </span>46]</a></span>
-strand of sufficient size. It requires little soaking to make it ready
-for use. Raffia produces an even, smooth surface of pleasing appearance,
-and is very desirable in a seat.</p>
-
-<div class="figcenter" style="width: 488px;">
-<a name="fig40" id="fig40"></a>
-<img src="images/sw44.png" width="488" height="292"
-alt="" />
-<p class="caption">FIG. 40. METHOD OF WEAVING THE FIRST STRAND.</p>
-</div>
-
-<p>Fiber may be woven as it comes from the spool. However, it is
-better to dampen it by plunging a quantity in water and removing
-at once. When it dries after weaving, a slight shrinkage results,
-thereby making a tauter seat than could be woven with dry strands.
-Inasmuch as the fiber is paper, it cannot be soaked in water.</p>
-
-
-<p><a name="weaving" id="weaving"></a><b>The Weaving Process.</b>&mdash;With the frame ready and rush in
-proper condition the weaving may be started. <a href="#fig39">Fig. 39</a> shows an
-isometric drawing on which corners are lettered and the rails
-numbered in order. <a href="#fig40">Fig. 40</a> shows another drawing on which the
-corners and rails are similarly lettered and numbered, showing
-graphically the method of weaving the first strand. The arrows
-indicate the direction of weave. The operation is practically complete
-once around the frame. Reference may be made to either
-drawing in the following detailed directions for weaving.</p>
-
-<p>Start arbitrarily at any corner&mdash;in this case, <i>A</i>. A strand of
-rush tightly twisted is laid over rail 1 next to the cap with its short
-end turned down. The beginner may find it advantageous to tack
-<span class="pagenum"><a name="Page_47" id="Page_47">[<span class="hidden">Pg </span>47]</a></span>
-the end in place. Draw the strand over the edge and bottom of
-rail 1 and up at the inner corner, then over the top and edge of rail
-2. This binds the loose end in place if it has not been previously
-tacked. Pull the strand directly across the frame opening to the
-top of rail 3 at corner <i>B</i>. Draw it over the edge of the same rail
-and under, then up at the inner corner and over the top and edge
-of rail 1. Pull directly across the frame opening to the top of rail
-4 at corner <i>C</i>. The operations at corners <i>C</i> and <i>D</i> are identical to
-those at <i>A</i> and <i>B</i>, and these repeat themselves indefinitely at each
-corner, or until the seat is completed. This applies to square seats
-only. The end of the last strand may be secured with a tack under
-the proper rail, or twisted around a strand underneath the seat.</p>
-
-<div class="figcenter" style="width: 573px;">
-<a name="fig41" id="fig41"></a>
-<img src="images/sw45.png" width="573" height="79"
-alt="" />
-<p class="caption">FIG. 41. STICK FOR STUFFING INTERIOR OF SEATS.</p>
-</div>
-
-<p>The strand is twisted as the weaving progresses. This may be
-done with the palm of the hand and thigh, in much the same manner
-as a shoemaker waxes his thread. If one leaf of rush is used to
-make the strand, new leaves are added by tying the two ends in a
-square knot at a corner, or wherever such joining will not show on
-the finished seat. When more than one piece of rush is used for a
-strand the pieces should be of uneven lengths initially. One leaf or
-piece at a time is then added. The upper or top end of the leaf is
-used to begin the seating and each leaf added is attached at its top
-end.</p>
-
-<p>Some expert rush seaters do not tie knots in making strands, but
-add leaves by twisting the end of the preceding leaf about the added
-one, &ldquo;like the color on a barber pole,&rdquo; as one old rush weaver remarked.
-Adding by twisting only is difficult, and requires great
-patience and dextrous handling of the material. In fact rush
-should be used by the more skilful boys only. Others may use the
-excellent substitute, fiber.</p>
-
-<p><span class="pagenum"><a name="Page_48" id="Page_48">[<span class="hidden">Pg </span>48]</a></span>
-Care must be exercised to keep the strands from overlapping improperly
-at the corners. The strands should fit snugly where they
-go over the rails. To assure this, tap them sharply with a mallet
-used over a block of soft wood. This may be done at frequent
-intervals or when several strands have been woven over each rail.
-Uniform tension on the strand is desirable and this should be tight.</p>
-
-<div class="figcenter" style="width: 514px;">
-<a name="fig42" id="fig42"></a>
-<img src="images/sw46.jpg" width="514" height="394"
-alt="" />
-<p class="caption">FIG. 42. METHOD OF FILLING IN CENTER.</p>
-</div>
-
-<p>As the work progresses the interior between the upper and lower
-rows of strands is stuffed. This is done with the same material as
-that used in the weaving. The butt ends of rush are used to stuff
-the seat of rush; raffia is used to stuff a raffia seat; craft paper to
-stuff a fiber seat; and so on. The packing should be done in a thoro
-manner, for it builds up the seat and prevents its breaking down at
-the inner edges of the rails, and sagging with continued use. A
-slightly curved hardwood stick about 12 in. long may be used to
-advantage to do this work. <a href="#fig41">Fig. 41</a> shows a sketch of such a stick.
-It is &frac34; in. in diameter at one end and tapered to &frac12; in. by &#8539; in. at
-<span class="pagenum"><a name="Page_49" id="Page_49">[<span class="hidden">Pg </span>49]</a></span>
-the other. Considerable force needs to be exerted in packing, and
-caution used to avoid breaking strands.</p>
-
-
-<p><a name="rectangular" id="rectangular"></a><b>Rectangular Seats.</b>&mdash;As stated, in weaving a square seat the
-initial process is repeated at all corners until all openings are filled.
-In rectangular seats the spaces on the short rails will fill before
-those on the long rails. Weaving around corners is then manifestly
-impossible. <a href="#fig42">Fig. 42</a> shows a partly woven seat with the short rails
-filled, and the process of filling up the remaining area under way.
-The method is this: Go over and under a long rail, across half the
-frame opening and up thru, then across the remaining distance, and
-over and under the other long rail. Repeat until the seat is completed.
-<a href="#fig43">Fig. 43</a> is a sketch of a partly woven seat, illustrating the
-method of filling in the center just described. It supplements the
-photograph and makes the method clearer.</p>
-
-<div class="figcenter" style="width: 488px;">
-<a name="fig43" id="fig43"></a>
-<img src="images/sw47.png" width="488" height="322"
-alt="" />
-<p class="caption">FIG. 43. METHOD OF FILLING IN CENTER.</p>
-</div>
-
-<p>It should be noted that the strands in crossing at the center must
-be compressed one-half of their diameters. They will need to be
-tapped sharply with a small mallet or hammer to produce proper
-crowding. <a href="#fig44">Fig. 44</a> shows a stool seat of fiber woven by an eighth
-grade boy. <a href="#fig45">Fig. 45</a> shows the complete stool. The seat is woven
-<span class="pagenum"><a name="Page_50" id="Page_50">[<span class="hidden">Pg </span>50]</a></span>
-over a separate frame and inserted. <a href="#fig46">Fig. 46</a> is a child&rsquo;s chair of
-oak, with a seat of fiber woven over the rails of the chair.</p>
-
-
-<p><a name="irregular" id="irregular"></a><b>Irregular Seats.</b>&mdash;The usual or standard shape of chair seat is
-like the one illustrated in the drawing, <a href="#fig47">Fig. 47</a>. The front rail is
-longer than the back, and the side rails are equal in length. Seats
-of this shape are rather difficult to weave because special treatment
-is necessary to fill up portions of certain rails.</p>
-
-<div class="figcenter" style="width: 609px;">
-<a name="fig44" id="fig44"></a>
-<img src="images/sw48.jpg" width="609" height="446"
-alt="" />
-<p class="caption">FIG. 44. COMPLETED TOP OF FIBER.</p>
-</div>
-
-<p>With reference made to the drawing, the method employed in
-locating lines for rushing, and for rushing such a seat is this: With
-the beam of a square laid against rail 4 with its corner against the
-cap at corner <i>A</i>, scribe a pencil line across rail 2. Similarly, mark
-the same rail using the square against rail 4 at corner <i>D</i>. Stated in
-other words, these lines may be obtained by determining the difference
-in length between the front and back rails, and laying off
-<span class="pagenum"><a name="Page_51" id="Page_51">[<span class="hidden">Pg </span>51]</a></span>
-one-half this difference from each corner on the front rail. This distance
-is indicated by the brackets in the drawing.</p>
-
-<div class="figcenter" style="width: 310px;">
-<a name="fig45" id="fig45"></a>
-<img src="images/sw49.jpg" width="310" height="293"
-alt="" />
-<p class="caption">FIG. 45. COMPLETED RUSH SEATED STOOL.</p>
-</div>
-
-<div class="figcenter" style="width: 270px;">
-<a name="fig46" id="fig46"></a>
-<img src="images/sw50.jpg" width="270" height="379"
-alt="" />
-<p class="caption">FIG. 46. CHILD&rsquo;S CHAIR WITH FIBER SEAT.</p>
-</div>
-
-<p>Now tie with a string as many strands of rush as will be needed
-to fill in this difference between front and back rails. Fasten them
-underneath the rail at corner <i>A</i>. Then use one strand, twisted,
-and weave around corners <i>B</i> and
-<i>C</i> and fasten under the rail at
-corner <i>D</i>. The weaving is identical
-to that described in square seats. Weave in each strand in
-the bundle at the same corners and tie under the rail at corner <i>D</i>;
-or until the spaces marked off on the front rail are filled. It may
-be necessary to add to or to remove strands from the bundle if
-calculations as to number of strands necessary were inaccurate.
-Tie all loose ends together at corner <i>D</i>, fasten securely and cut off
-all extra lengths.</p>
-
-<p>Start now as in beginning a weave on a square seat, weaving
-around all corners in the regular way. The first strand around will
-effectively bind the bundles of ends at corners <i>A</i> and <i>D</i>.</p>
-
-
-<p><a name="suggestions" id="suggestions"></a><b>Suggestions.</b>&mdash;In using paper fiber or similar materials which
-come in long lengths, a strand 20 or 25 ft. in length may be used
-<span class="pagenum"><a name="Page_52" id="Page_52">[<span class="hidden">Pg </span>52]</a></span>
-at one time in weaving. For convenience in handling it should be
-formed in a loop and held together with a strong rubber band.
-The strand may be unlooped a little at a time as the weaving progresses.
-In using rush, raffia, and like materials, the strand is made
-as the weaver works, so at no time is there a strand exceeding 5 ft.
-or so in length to handle. No special expedient is therefore needed.</p>
-
-<div class="figcenter" style="width: 484px;">
-<a name="fig47" id="fig47"></a>
-<img src="images/sw51.png" width="484" height="385"
-alt="" />
-<p class="caption">FIG. 47. METHOD OF STARTING WEAVE ON SEAT OF IRREGULAR SHAPE.</p>
-</div>
-
-<p>Raffia, fiber, etc., may be purchased from supply houses and in
-many cases direct from the manufacturers. Rush may be gathered
-in many communities by an energetic instructor and pupils, and
-properly cured. In fact, gathering the raw material and preparing
-it for use is desirable in many ways, and is to be encouraged. Ordinarily
-rush may be obtained from manufacturers of rush seats.
-It costs 15 cents per pound, dry.</p>
-
-<div class="figcenter" style="width: 449px;">
-<a name="fig48" id="fig48"></a>
-<img src="images/sw52.png" width="449" height="700"
-alt="" />
-<p class="caption">FIG. 48. WORKING DRAWING OF A STOOL FOR RUSHING.</p>
-</div>
-
-<p><a href="#fig48">Fig. 48</a> is a working drawing of a stool or seat. The constructed
-problem would appear very similar to the one shown in <a href="#fig45">Fig. 45</a>.
-The seat frame is fastened to the base with concealed screws. The
-upper caps are temporarily fastened until the weaving is completed,
-<span class="pagenum"><a name="Page_53" id="Page_53"><!-- original location of Fig. 48--></a></span>
-<span class="pagenum"><a name="Page_54" id="Page_54">[<span class="hidden">Pg </span>54]</a></span>
-when they are removed and the frame fastened to the base as indicated.
-The caps are then replaced permanently. Generally speaking,
-for initial work in rush seating it is advisable to weave over a
-separate frame. Such a frame is conveniently handled, and better
-work will result.</p>
-
-
-<p><a name="finish" id="finish"></a><b>Finish.</b>&mdash;Some agent to preserve a rush seat is necessary. Rush
-should be coated with equal parts of oil and turpentine, followed
-by two coats of tough, elastic varnish. The necessary time should
-elapse between coats. Some manufacturers do not use oil, and apply
-varnish only. Raffia and husk seats should be treated as rush.
-Fiber is varnished only. A brittle varnish is to be avoided, for it
-will chip off with a little use, and a seat is subject to hard wear.</p>
-
-<div class="figcenter" style="width: 611px;">
-<img src="images/sw53.jpg" width="611" height="379"
-alt="Five stools of different design and a chair" />
-<p class="caption">SUGGESTIVE PROJECTS.</p>
-</div>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_55" id="Page_55">[<span class="hidden">Pg </span>55]</a></span></p>
-
-<h2><a name="chap06" id="chap06"></a>CHAPTER VI<br />
-<br />
-<span class="smcap">Reed and Splint Weaving</span></h2>
-</div>
-
-
-<p>Reeds which are used extensively for basket-making and weaving
-in general are procured from the species of palm described in <a href="#chap01">Chapter
-I</a>. These reeds should not be confused with the term reed
-applied to several distinct species of large water loving grasses.
-Such reeds are usually designated under the name of grasses. There
-are a thousand species of palm distributed over the tropical regions
-of the entire world, but only a few are native in the United States,
-and these are of no distinct commercial value. The rattan or cane
-palms of India and the Malay Islands grow to an unusual height,
-and are imported into this country in great quantities. These rattans
-and the trailing palm of the species <i>Calamus</i> have as main
-export centers Singapore and Calcutta. These palms are stripped
-of leaves and bark and split into round and flat strips of different
-diameters and widths. The outer bark, when stripped into proper
-sizes, is known as chair cane; the entire palm, with leaves removed,
-is commercially known as rattan; and the flat reeds are frequently
-sold as flat rattan and pith cane. Inasmuch as these flat and round
-strips, split from the palm plant and exported under the name of
-rattan are called reeds, we shall refer to them under that name in
-all discussions to follow. There are two qualities of reed on the
-market sold under the names of China reed and German reed. The
-former is inferior in quality and the latter is superior, being strong,
-tough and durable. The Philippine Islands give promise of producing
-a liberal supply of reed of good quality that is claimed to
-equal the German product. The problem, however, is one of gathering
-and marketing the product. The government has made a
-partial survey of the rattan supply, and this justifies the belief that
-the Islands will eventually compete with the world market.</p>
-
-
-<p><span class="pagenum"><a name="Page_56" id="Page_56">[<span class="hidden">Pg </span>56]</a></span>
-<a name="primitive" id="primitive"></a><b>Primitive Methods.</b>&mdash;Briefly the primitive process of converting
-the rattan, or raw material, into cane and reeds, or the finished
-product, is this: The rattan stems are thoroly dried or seasoned,
-and the nodules are pared off with a peculiar native knife. Then the
-rattan is sorted into sizes and selection made as to grade. The sorting
-is based upon external color and diameter of the rattan. The
-rattan is then immersed in water, and the stem is rubbed vigorously
-with sand and cocoanut husks to remove dirt and foreign substances.
-It is then bleached by means of sulphur fumes, either in the stem or
-after the peel and core have been prepared.</p>
-
-<p>The method of preparing the peel and core is this: The peel, or
-outer covering, is removed with a heavy knife; it is then stripped to
-selected thicknesses and widths by drawing it by hand thru two
-knives set at required distances apart. This peel is commercially
-called cane. The core is then stripped into as many strands as
-necessary, depending upon the diameter of the cores required.
-These are rounded by drawing them thru a sheet of tin or iron
-perforated with holes of different diameters. The rounded cores
-are called reeds.</p>
-
-<p>Considerable rattan is still converted into the finished products
-by hand processes thru these laborious stages. Machines have been
-perfected which do practically the entire work. Particularly have
-the Germans brought this industry to a perfected state. Still in
-various sections of India, China, and the Philippines hand working
-of rattan is a thriving industry; an industry seemingly peculiarly
-adapted to the natives. The Philippine method of preparing the
-raw material varies somewhat from the Chinese method in that the
-natives do not bleach the rattan.</p>
-
-<p>Reed may be procured in large or small hanks, in coils and in
-bundles, with the cost determined by weight. Schools generally
-will find it advantageous to buy it in small hanks, because of ease in
-handling and for economic reasons. Round reeds are shown
-three-fourths size in <a href="#fig49">Fig. 49</a>, from No. 0 to and including No. 7,
-also winding, half-round and flat reeds. Winding reed is thin and
-<span class="pagenum"><a name="Page_57" id="Page_57">[<span class="hidden">Pg </span>57]</a></span>
-slightly rounded on one surface. Half-round is as its name implies.
-Flat reed may be obtained in several widths from &frac14; in. to &frac12; in.,
-and if of good quality, one surface will show a decided bevel on the
-edges and appear much smoother than the other. Thus the right
-side is determined. There are many more sizes on the market than
-are indicated in <a href="#fig49">Fig. 49</a>, but those shown should supply adequate, if
-not liberal variety for the ordinary school shop. The cost of reed
-cannot be given with any degree of accuracy at present. The price
-is determined by the quantity bought, and by the quality and size.
-Under normal commercial conditions round reeds will cost from
-30 cents to $1 per pound for Nos. 1 to 8, and flat reed about 25
-cents per pound.</p>
-
-<div class="figcenter" style="width: 607px;">
-<a name="fig49" id="fig49"></a>
-<img src="images/sw54.jpg" width="607" height="343"
-alt="" />
-<p class="caption">FIG. 49. SPECIMENS OF REEDS, THREE-FOURTHS OF ACTUAL SIZE.<br />
-<span class="link">[<a href="#note">See note.</a>]</span></p>
-</div>
-
-
-<p><a name="bleaching" id="bleaching"></a><b>Bleaching.</b>&mdash;Reed is procurable either bleached or unbleached.
-Ordinarily it is better to buy the bleached product. However, if
-the worker desires to bleach the reed, the method for small quantities
-is as follows: In a tub two-thirds full of water dissolve ten
-pounds of chloride of lime. Immerse the reed in this solution,
-weighting it down to insure covering it all, and let it stand about
-<span class="pagenum"><a name="Page_58" id="Page_58">[<span class="hidden">Pg </span>58]</a></span>
-4 hours. Remove it from the tub and wash thoroly in running
-water. The best way to do this is to lay the reed on an inclined
-surface and turn a forceful stream of water upon it. Chloride of
-lime has a bad effect upon the hands in that it makes them sore and
-tender, so care must be taken to properly rinse the reed. A little
-tallow rubbed over the hands will materially offset the tendency to
-tenderness, and generally keep them in good condition.</p>
-
-
-<p><a name="staining" id="staining"></a><b>Staining.</b>&mdash;Bleached reed takes stain much more readily and
-evenly than does the natural or unbleached. It may be stained any
-color with prepared stains, but ordinarily these leave the reed
-muddy in appearance due primarily to the difficulty in brushing in
-or wiping off the stain in the recesses which weaving leaves. Perhaps
-the best agent for coloring reed, and at least a very desirable
-one, especially after it has been woven, is naptha. The preparation
-of the stain and the process of coloring is as follows: Obtain the
-necessary amount and variety of colors ground in oil; mix the required
-colors with a little naptha; then to determine the shade of
-color test with a reed. Reed absorbs a given amount of color,
-therefore the shade will prove out practically the same when tested
-with a small quantity of naptha, as when tried out with a greater
-amount. Add the required amount of naptha to the solution, avoiding
-thinning too much; otherwise the color produced will be &ldquo;sickly&rdquo;
-in appearance. Five pounds of color to about 3 gallons of naptha
-will prove about the right ratio. For instance, to obtain a rich nut
-brown mix 1 pound of chrome yellow and 5 pounds of burnt umber
-with a small amount of naptha. Stir until the colors are liquid,
-then gradually add 4 gallons or so of naptha, and stir well. The
-intensity of the brown may be varied by using more or less chrome
-yellow.</p>
-
-<p>Coiled hanks of reed may be immersed in the solution, immediately
-withdrawn and hung to drain dry above the receptacle, thus
-permitting surplus stain to drain back into it. The stain may be
-used repeatedly, and as it is very volatile it should be kept in a
-tightly corked red can when not in use. It is also highly inflammable,
-<span class="pagenum"><a name="Page_59" id="Page_59">[<span class="hidden">Pg </span>59]</a></span>
-and should be used in a room in which there is free circulation
-of air. If colors have been mixed properly and thinned to the
-right consistency, the reed will dry rapidly and the color will be
-sharp and clear, free from muddy effects.</p>
-
-<p>A woven article such as a basket or woven top footstool may be
-dipped, or the color poured over and allowed to drip dry. In some
-instances it is good policy to wipe surplus stain off lightly. Then,
-in the case of the footstool or similar project, if the worker so
-desires he may stain the wood a darker shade than the top with a
-prepared stain. Reed is very effective without stain; many of the
-stools shown herewith are left natural. Reed may be shellacked or
-varnished. Because of its porosity it soils very easily unless some
-finishing agent is used, and a good grade of elastic varnish is recommended
-as a finish, especially when the woven article is subject to
-severe use.</p>
-
-
-<p><a name="othermaterials02" id="othermaterials02"></a><b>Other Materials.</b>&mdash;Reed is not the only good medium adapted
-to weaving, either in correlation with wood or when used alone.
-On the stools illustrated several other materials have been used,
-as inner hickory bark and Indian splints and fiber. Binding cane,
-rope, and even willow may be utilized with success. Paper fiber
-was discussed in detail in <a href="#chap05">Chapter V</a> and needs no elaboration.
-<a href="#fig60">Fig. 60</a> shows a stool partly woven with this serviceable material.
-Sufficient to say that this fiber adapts itself admirably to almost
-all work where reed is commonly employed, and in many instances
-is, commercially, supplanting reed.</p>
-
-<p>Inner hickory bark may be obtained of manufacturers of rustic
-furniture either directly or indirectly. They may be obtained first
-hand if hickory trees grow in the locality, thus enhancing the educational
-value of weaving. In the spring or early summer when
-the sap is up and the bark slips easily, a hickory tree may be cut
-down, and the rough outer bark shaved with a draw knife from
-the top of the log the full length of the trunk, leaving a surface
-from 8 in. to 10 in. wide. With a heavy knife split the inner bark
-on either side of the shaved strip; then beginning at one end peel
-<span class="pagenum"><a name="Page_60" id="Page_60">[<span class="hidden">Pg </span>60]</a></span>
-back the inner bark the full length of the log. This process may
-be repeated until the log is stripped. The thickness of the inner
-bark depends upon the size of the tree and the species. Manufacturers
-of hickory furniture claim that the pignut possesses a
-thicker bark than any other species, the bark running from &frac14; in.
-to &frac34; in. in thickness, and they accordingly use this tree in preference
-to others when available. The rolls of thick inner bark are
-allowed to dry for several weeks. Then they are placed in water,
-to remain until pliable. They are then split into strips of proper
-thickness and width. Factories use a very simple motor driven
-machine for making the strips, and any manual training shop can
-devise some scheme for accomplishing this work. These strips cut
-in indefinite lengths must be made pliant by a thoro soaking just
-previous to use. In weaving they should be pressed close together
-with the fingers or with the aid of a hammer, as there is an appreciable
-shrinkage especially in their width upon drying. Such strips
-are used mainly by builders of rustic outdoor and porch furniture
-for the weaving of the backs, arms and seats of chairs, and have
-at present no general use in school shops. Their use here should
-be encouraged. If bought of the manufacturer these strips cost 40
-cents per pound, dry. They are put up in coils, and are &frac34; in. wide
-and &sup1;&#8260;<sub>16</sub> in. thick. They may be stripped into narrower widths
-by means of a hand stripper, soon to be described.</p>
-
-<div class="figcenter" style="width: 408px;">
-<a name="fig50" id="fig50"></a>
-<img src="images/sw55.png" width="408" height="203"
-alt="" />
-<p class="caption">FIG. 50. SKETCH OF HAND STRIPPER AND GAGE.</p>
-</div>
-
-<p>Indian splints of ash and hickory may be obtained from dealers
-<span class="pagenum"><a name="Page_61" id="Page_61">[<span class="hidden">Pg </span>61]</a></span>
-in the raw products. These strips are cut from the wood of the
-tree in long shavings in a manner similar to obtaining the inner
-hickory bark, and stripped into desired widths and thicknesses.
-One kind of ash splint is made in three weights or thicknesses, fine,
-medium and heavy, and in strips 1&frac12; in. wide. It is sold in
-coils of 200 ft. each at $8.00 for 4,000 ft. The strips are a number
-of feet in length. Hickory splints are sold in coils of a dozen
-strands each. These strands are 8 ft. to 10 ft. long by &frac12; in. wide,
-and slightly less than &sup1;&#8260;<sub>16</sub> in. thick. A coil weighs about three-fourths
-of a pound and costs 5 cents.</p>
-
-<div class="figcenter" style="width: 482px;">
-<a name="fig51" id="fig51"></a>
-<img src="images/sw56.png" width="482" height="227"
-alt="" />
-<p class="caption">FIG. 51. WORKING DRAWING OF HAND STRIPPER AND GAGE.</p>
-</div>
-
-<p>The ash splints particularly, need to be restripped to widths
-needed by the worker. For ordinary purposes the hickory strips
-are right for seating purposes. The stripping is done by means of
-a combination hand stripper and gage shown in <a href="#fig50">Fig. 50</a>. A working
-drawing of it is shown in <a href="#fig51">Fig. 51</a>. It is made of maple preferably.
-The cutters are of a watch spring, pointed and sharpened
-as indicated. The end piece is removable to permit changes of the
-cutters. To use, merely hold the splint flat between the right hand
-and stripper, press the strand down on the cutter and pull it across
-the cutters with the left hand. Two persons may do the operation
-more readily and speedily than one. It is a good policy to make
-several of these devices with cutters at different distances apart so
-<span class="pagenum"><a name="Page_62" id="Page_62">[<span class="hidden">Pg </span>62]</a></span>
-splints of various widths may be cut without resort to a change
-of cutters.</p>
-
-<p>Splints need to be soaked in water for a number of minutes before
-using. They will be found to be somewhat less pliable than inner
-hickory bark, and different in color, varying from almost white to
-a light brown. Inner bark is a nut brown in color. The splints
-stain well, and may be dipped in identically the same manner as
-reeds. Inner bark needs no stain; in fact is more pleasing if left
-natural.</p>
-
-<div class="figcenter" style="width: 608px;">
-<a name="fig52" id="fig52"></a>
-<img src="images/sw57.jpg" width="608" height="242"
-alt="" />
-<p class="caption">FIG. 52. ROLLS OF SPLINTS, INNER BARK, AND REED.</p>
-</div>
-
-<p>Ash splints are extensively gathered and prepared by the Indians
-in certain sections of Canada and the northern states. There they
-are woven into baskets of intricate design and beautiful colors,
-usually in combination with other materials, as sweet grass. Splints
-may be used for almost every purpose for which flat reed is utilized,
-and in numerous cases is superior and preferable to reed.</p>
-
-<p>In <a href="#fig52">Fig. 52</a> is shown in order, two rolls of hickory splints, a
-bundle of inner hickory bark strips, and a small hank of flat reed.
-These are in the original bundles as they come from the dealers.</p>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_63" id="Page_63">[<span class="hidden">Pg </span>63]</a></span></p>
-
-<h2><a name="chap07" id="chap07"></a>CHAPTER VII<br />
-<br />
-<span class="smcap">Seats of Reeds and Splints</span></h2>
-</div>
-
-
-<p>The discussion of the weaving processes to follow is confined,
-in the main, to stools or seats. <a href="#fig53">Fig. 53</a> shows several stools different
-in design both in wood construction and in weaving. In two instances
-it will be noted that weaving is done over a separate frame,
-one being inserted between the rails, the other fastened on top,
-leaving a little projection. Reference is made to several possible
-weaving designs and the use of various mediums and combinations.
-The possible combinations of materials are merely suggestive of
-possible other ones, and the individual worker will find that many
-designs of varying complexity may be worked out. An excellent
-method for working out possible designs is that of using black and
-white paper strips &frac12; in. in width. The design will show up very
-clearly because of the contrast of the black and white. Experimenting
-with the weave on the seat itself is rather tedious and
-unsatisfactory. The paper strips are an excellent means to an end.</p>
-
-<p>The stool top illustrated in <a href="#fig54">Fig. 54</a> employs a simple over-and-under
-weave, utilizing flat reed. The worker needs to decide at
-the outset on the character of weave to be used unless it be of
-unusual design. In this instance the weaver runs over <em>three</em> and
-under <em>three</em> strands, and the wrapping done in a series of <em>three</em>.
-To begin the operation tack an end of flat reed under a short rail
-at a corner, then bring the strand out and over the rail, across the
-frame opening to the opposite rail, under this rail, across underneath
-the frame opening to the bottom of the first rail. This completes
-the process once around. Repeat three times; then wrap the
-strand around the two rails, without running it across the top.
-Thus every fourth strand across the top is omitted. It is not
-necessary to cut the strand; the wrapping is continuous. Repeat
-<span class="pagenum"><a name="Page_64" id="Page_64">[<span class="hidden">Pg </span>64]</a></span>
-these series of three strands until opposite short rails are entirely
-wrapped. When a strand runs out tack the end with the beginning
-of a new one underneath a rail. Use a one ounce flat head wire
-tack for this purpose if available, otherwise a one ounce cut tack
-will do. The weaving proper now begins.</p>
-
-<div class="figcenter" style="width: 509px;">
-<a name="fig53" id="fig53"></a>
-<img src="images/sw58.jpg" width="509" height="652"
-alt="" />
-<p class="caption">FIG. 53. WOVEN TOP STOOLS.</p>
-</div>
-
-<p>Tack a strand underneath a long rail at a corner, then weave
-<em>over three</em> strands and <em>under three</em>. Repeat in the same manner
-<span class="pagenum"><a name="Page_65" id="Page_65">[<span class="hidden">Pg </span>65]</a></span>
-three times, then weave <em>over</em> the series which were woven <em>under</em>
-before and repeat alternately until the top is entirely woven. In
-weaving the top of this stool one strand is woven in the last series
-of three, and to balance it a single strand is run in on the opposite
-side. The ends of this strand are not fastened in any particular
-way; the weaving holds them in place. The spaces next to each
-short rail may be filled in a like manner if desired. Strands crossing
-underneath the frame must be woven in some manner to produce
-a seat of maximum strength. The character of the weave here is
-not pertinent; in this instance it might take the same form as
-the top.</p>
-
-<div class="figcenter" style="width: 607px;">
-<a name="fig54" id="fig54"></a>
-<img src="images/sw59.jpg" width="607" height="460"
-alt="" />
-<p class="caption">FIG. 54. WEAVING IN SERIES OF THREE.</p>
-</div>
-
-<p><a href="#fig55">Fig. 55</a> shows a stool top woven of inner hickory bark strips
-employing what is termed a diagonal weave. Begin the wrapping
-on either the short or long rails. In this instance we will assume
-<span class="pagenum"><a name="Page_66" id="Page_66">[<span class="hidden">Pg </span>66]</a></span>
-that the short rails have been wrapped; then the weaving will
-begin over the long rails, and as indicated, at the upper left hand
-corner. The strands have been numbered to make the description
-clearer. The &ldquo;diagonal&rdquo; is determined at the edges of the upper
-rail. The method of weaving may be expressed in the following
-manner:</p>
-
-<div class="weaving">
-<p>Strand 1&mdash;Over 1, under 2, over 2, under 2, and so on.</p>
-
-<p>Strand 2&mdash;Over 2, under 2, over 2, under 2, and so on.</p>
-
-<p>Strand 3&mdash;Under 1, over 2, under 2, over 2, and so on.</p>
-
-<p>Strand 4&mdash;Under 2, over 2, under 2, over 2, and so on.</p>
-</div>
-
-<div class="figcenter" style="width: 607px;">
-<a name="fig55" id="fig55"></a>
-<img src="images/sw60.jpg" width="607" height="425"
-alt="" />
-<p class="caption">FIG. 55. STOOL TOP OF INNER HICKORY STRIPS.</p>
-</div>
-
-<p>This completes the series or unit, and this unit repeats itself until
-the area is woven. For instance, the fifth weaver follows the
-same course as the first; the sixth weaver follows the same course
-as the second; the seventh the same as the third; and so on. The
-diagonal effect will remain the same were the weaver to run over
-<span class="pagenum"><a name="Page_67" id="Page_67">[<span class="hidden">Pg </span>67]</a></span>
-three strands or more, providing the right start is made at the edges
-of the frame. In using inner hickory bark care must be exercised
-to keep the strands close together, for they shrink appreciably in
-drying. A brad hammer with square face is an excellent tool to
-use for keeping the strands snugly together.</p>
-
-<div class="figcenter" style="width: 618px;">
-<a name="fig56" id="fig56"></a>
-<img src="images/sw61.jpg" width="618" height="498"
-alt="" />
-<p class="caption">FIG. 56. STOOL TOP OF FLAT AND HALF-ROUND REEDS.</p>
-</div>
-
-<p>A combination of half-round and flat reed is illustrated in <a href="#fig56">Fig.
-56</a>. The half-round reed is wrapped about the frame first, and
-in this case every other strand is wrapped around the opposite rail,
-crossing underneath the frame only. The diagonal weave is employed,
-and is identical to the one just described in general effect.
-However, the weaver runs over three and under three in the body.
-Note the difference in the weave at the edges of the rails. When
-using half-round reed it is necessary that every other strand be
-<span class="pagenum"><a name="Page_68" id="Page_68">[<span class="hidden">Pg </span>68]</a></span>
-wrapped completely around the rails, for otherwise it would prove
-practically impossible to weave the area because of the thickness
-of the reed. A winding reed as shown in <a href="#fig49">Fig. 49</a> or binder cane
-could be run continuously, inasmuch as either is relatively thin.
-Weaving with two kinds of reed will produce an area of pleasing
-high relief.</p>
-
-<div class="figcenter" style="width: 609px;">
-<a name="fig57" id="fig57"></a>
-<img src="images/sw62.jpg" width="609" height="412"
-alt="" />
-<p class="caption">FIG. 57. DIAMOND DESIGN IN FLAT REED.</p>
-</div>
-
-<p><a href="#fig57">Fig. 57</a> illustrates a stool woven in flat reed. The diagonal
-weave is used running toward a common center, and it forms a
-diamond pattern or design. Begin wrapping on the long rails,
-skipping every other strand on the top as indicated. To weave this
-pattern it is necessary to locate the center of the short rails and
-the center strand of those running across the frame. In this instance
-the strands are even in number, so the pattern does not begin at
-the actual center, but a little to the right or left as the case may be.
-Beginning at the center, count by twos, <em>over</em>, <em>under</em> and <em>over</em>, <em>under</em>
-and so on to determine the number of strands to go over or under
-<span class="pagenum"><a name="Page_69" id="Page_69">[<span class="hidden">Pg </span>69]</a></span>
-at the edge of the frame. The first strand runs over <em>one</em> at the
-center, and over two and under two on either side. The second
-strand runs under <em>three</em> at the center, and over two, under two on
-either side; the worker must again count to the edge of the frame
-to determine the beginning weave, until the unit of four strands
-has been woven. Then the unit repeats itself <em>at the center</em> and
-<em>at the edges</em> of the frame. Beginning at the right side of the
-illustration the weaving is as follows:</p>
-
-<div class="weaving">
-<p>Strand 1&mdash;Over 2, under 2, over 2, under 2, over 2, under 2,
-then over 1, and repeat across the other half of the
-frame.</p>
-
-<p>Strand 2&mdash;Under 1, over 2, under 2, over 2, under 2, over 2,
-then under 3, and repeat across the frame.</p>
-
-<p><span class="pagenum"><a name="Page_70" id="Page_70">[<span class="hidden">Pg </span>70]</a></span>
-Strand 3&mdash;Under 2, over 2, under 2, over 2, under 2, over 2,
-then under 1, and repeat across the frame.</p>
-
-<p>Strand 4&mdash;Over 1, under 2, over 2, under 2, over 2, under 2,
-then over 3, and repeat across the frame.</p>
-</div>
-
-<div class="figcenter" style="width: 610px;">
-<a name="fig58" id="fig58"></a>
-<img src="images/sw63.jpg" width="610" height="450"
-alt="" />
-<p class="caption">FIG. 58. DIAMOND WEAVE IN FLAT AND HALF-ROUND REEDS.</p>
-</div>
-
-<div class="figcenter" style="width: 615px;">
-<a name="fig59" id="fig59"></a>
-<img src="images/sw64.jpg" width="615" height="417"
-alt="" />
-<p class="caption">FIG. 59. WOVEN DESIGN IN FLAT REED.</p>
-</div>
-
-<p>These four strands comprise the unit, and it is repeated until the
-frame is entirely woven. Complete half of the frame first, then
-weave the other half, which is just the reverse of the first half.
-In starting the weave for the second half, strand 1 is omitted, for
-it is the center of the frame. After the worker has worked out
-the unit according to the method described, he will find it good
-practice to write it out graphically as above to use in weaving the
-seat. The unit above applies to the particular stool, and will not
-hold good on seats utilizing more strands, or fewer. Errors are
-easily made in weaving this pattern for the reason that strands need
-watching at two places. The seat of the stool at the top of the
-<span class="pagenum"><a name="Page_71" id="Page_71">[<span class="hidden">Pg </span>71]</a></span>
-group shown in <a href="#fig61">Fig. 61</a> has a pattern identical with this one, except
-that the strands both ways are close together.</p>
-
-<p>The top illustrated in <a href="#fig58">Fig. 58</a> is practically the same in design
-as the one just described. The weavers run over the long rails in
-this instance, instead of the short ones, and half-round reed is used
-for the weavers, with flat reed utilized for the wrapping. The
-first weaver of half-round reed runs <em>under</em> the center strand, and
-the two second weavers run <em>over</em> three strands on either side of
-the first, at the <em>center</em> of the area. The combination of the half-round
-and flat reeds produces a seat both pleasing and serviceable.</p>
-
-<div class="figcenter" style="width: 608px;">
-<a name="fig60" id="fig60"></a>
-<img src="images/sw65.jpg" width="608" height="415"
-alt="" />
-<p class="caption">FIG. 60. STOOL TOP WOVEN WITH FIBER.</p>
-</div>
-
-<p><a href="#fig59">Fig. 59</a> illustrates a stool top woven with flat reed entirely, in
-a design the very opposite in effect of that shown in <a href="#fig57">Fig. 57</a>; instead
-of evolving a diamond effect the diagonals appear to radiate from a
-common center. The method of weaving is identical to that of
-<a href="#fig57">Fig. 57</a> in that the operation begins at the center of rails instead
-of next to the posts. The first weaver is woven over the center
-<span class="pagenum"><a name="Page_72" id="Page_72">[<span class="hidden">Pg </span>72]</a></span>
-strand at the center of the top, and the second weaver, on either
-side, is woven <em>over three</em> strands, at the center. These three
-weavers practically determine the design and effect produced. An
-error of no vital importance exists in this particular stool top.
-It will merely emphasize the fact that particular care is necessary
-to avoid mistakes.</p>
-
-<p>Fiber is the material used for the top of the stool shown in <a href="#fig60">Fig.
-60</a>. The diagonal weave is employed. The process of weaving
-has been explained and needs no further discussion. The fiber is
-the same as that discussed in <a href="#chap05">Chapter V</a>. It adapts itself admirably
-to this form of weaving, and when properly finished with varnish
-makes a serviceable seat, pleasing in every particular. The strands
-which run across the frame in the wrapping must be some distance
-apart, otherwise weaving would prove impossible. The thickness
-of the strands preclude their being wrapped close together as in the
-case of thin materials. In this case a space equal to the width of
-three strands is left. The weaver runs over two and under two
-strands in the body.</p>
-
-<p>While reeds and inner hickory bark shrink in drying, they will
-shrink mostly in width and not much in length. Therefore it is
-necessary to pull all strands, both in wrapping and in weaving,
-rather tight at all times. Only by doing this will the worker be
-assured of an ultimately taut seat. This applies also to the Indian
-splints now to be discussed. As fiber is woven practically dry it
-needs to be pulled particularly tight.</p>
-
-
-<p><a name="splints" id="splints"></a><b>Indian Splints.</b>&mdash;<a href="#fig61">Fig. 61</a> shows a group of stools and a waste
-basket constructed in eighth grade shops. The tops of the stools
-and the panels of the basket are woven of hickory splints &frac12; in.
-in width. A variety of patterns is shown, and these will suggest
-other ones. One of the stools has turned posts and the splints are
-carried over the sides of the rails. With slight modification of the
-structure, the sides might be woven in a similar manner to the top.
-The panels of the basket were woven over a separate frame, then
-they were cut to fit the frames of the basket, and finally tacked on
-<span class="pagenum"><a name="Page_73" id="Page_73">[<span class="hidden">Pg </span>73]</a></span>
-the frames. The edges of the splints were covered with thin wood
-strips held in place with brads. These panels should be inserted
-and secured while damp to assure proper tautness, and to prevent
-as far as possible splitting the ends of the splints in tacking them
-to the frames.</p>
-
-<div class="figcenter" style="width: 611px;">
-<a name="fig61" id="fig61"></a>
-<img src="images/sw66.jpg" width="611" height="660"
-alt="" />
-<p class="caption">FIG. 61. GROUP OF STOOLS. TOPS WOVEN WITH INDIAN SPLINTS.</p>
-</div>
-
-<p>It is not advisable to tack splints onto seat frames, either as an
-insert or slip seat, or on the rails of the structure itself. The splints
-<span class="pagenum"><a name="Page_74" id="Page_74">[<span class="hidden">Pg </span>74]</a></span>
-split easily when tacked, the strands are bound to pull loose, and
-the seats break down under continued use. On such articles as
-waste baskets, boxes, screens and the like, tacking the panels in
-place is necessary and proper, for no appreciable wear or service
-comes to them. The
-weaving on seats needs
-to be continuous over and
-under the frame.</p>
-
-<div class="figcenter" style="width: 366px;">
-<a name="fig62" id="fig62"></a>
-<img src="images/sw67.png" width="366" height="159"
-alt="" />
-<p class="caption">FIG. 62. METHOD OF FASTENING ONE STRAND TO ANOTHER.</p>
-</div>
-
-<p>When a strand of
-usual length has been
-wrapped about the rails
-of the seat a second
-strand needs to be added
-to continue the wrapping. Tacking the strands to the under side of
-the rails, as in the case of reeds, cannot be resorted to with splints
-for the reasons just explained. Therefore some method of fastening
-strands to each other is necessary. <a href="#fig62">Fig. 62</a> is a freehand sketch
-showing a good method. As indicated, a small rectangular piece
-is cut out of the used strand at <i>B</i>,
-one inch from the end. A chisel
-or chip carving knife is good for
-the purpose. Cut across the grain
-of the wood first to avoid splitting
-the splint. The end of the new
-strand <i>A</i> is notched as shown an
-inch back from the end, and is
-then inserted thru <i>B</i> and the two strands thus secured. All subsequent
-strands are secured in the same manner.</p>
-
-<div class="figcenter" style="width: 288px;">
-<a name="fig63" id="fig63"></a>
-<img src="images/sw68.png" width="288" height="134"
-alt="" />
-<p class="caption">FIG. 63. METHOD OF OVERLAPPING WEAVERS.</p>
-</div>
-
-<p>Another method which works well and involves less labor than
-the one just described is that of fastening the strands together with
-metal staples. Any type of small hand stapler will accomplish the
-result. The splints must be very pliable when the staple is inserted
-and clinched, for if they are not, the splints are certain to split.
-Clips used in Venetian ironwork are excellent for this purpose also.
-<span class="pagenum"><a name="Page_75" id="Page_75">[<span class="hidden">Pg </span>75]</a></span>
-It should be understood, for reasons very obvious, that these fastenings
-are made underneath the frame.</p>
-
-<div class="figcenter" style="width: 606px;">
-<a name="fig64" id="fig64"></a>
-<img src="images/sw69.jpg" width="606" height="424"
-alt="" />
-<p class="caption">FIG. 64. WOVEN DESIGN IN HICKORY SPLINTS.</p>
-</div>
-
-<p>After the wrapping of the opposite rails is completed, the weaving
-is begun. The use of tacks here is also unnecessary and is inadvisable.
-Fasten a new strand by overlapping the end of the old
-one for several inches either on top or underneath the frame. The
-ends of each will be hidden under cross strands or spokes. <a href="#fig63">Fig. 63</a>
-is a sketch illustrating the method of overlapping. <i>AA</i> shows
-strands running <em>over</em> the weavers, and <i>BB</i> strands running <em>under</em>.
-<i>D</i> is the end of the old or used strand, and <i>C</i> one end of the new
-one. <i>C</i> is pulled until the end is hidden under <i>A</i>. It is advisable
-to overlap the distance of a number of strands and not merely two
-as the sketch indicates. The sketch merely shows the method.
-The end of the strand which completes the weaving of the seat is
-secured underneath the frame by weaving for a short distance in
-the usual manner.</p>
-
-<p><span class="pagenum"><a name="Page_76" id="Page_76">[<span class="hidden">Pg </span>76]</a></span>
-<a href="#fig64">Fig. 64</a> is merely <a href="#fig59">Fig. 59</a> repeated as far as the weaving processes
-are concerned. In this instance hickory splints are used, and the
-rails are wrapped continuously across the top. Note the different
-effects produced, by comparing the two figures.</p>
-
-<div class="figcenter" style="width: 611px;">
-<a name="fig65" id="fig65"></a>
-<img src="images/sw70.jpg" width="611" height="429"
-alt="" />
-<p class="caption">FIG. 65. WOVEN DESIGN. DIAMOND EFFECT.</p>
-</div>
-
-<p><a href="#fig65">Fig. 65</a> shows a rather unusual weave. The effect is that of a
-number of diamond areas over the entire surface, one of which is
-marked to make the unit or design evident. This design need not
-begin at the center, but may begin at the edge of the frame as in
-regular diagonal weaving shown in <a href="#fig55">Fig. 55</a>. The strands comprising
-the unit are numbered for convenience. The process of
-weaving is as follows:</p>
-
-<div class="weaving">
-<p>Strand 1&mdash;Under 1, over 2, under 1, over 2, and so on.</p>
-
-<p>Strand 2&mdash;Over 2, under 3, over 3, under 3, and so on.</p>
-
-<p>Strand 3&mdash;Over 1, under 2, over 1, under 2, and so on.</p>
-
-<p>Strand 4&mdash;Under 2, over 3, under 3, over 3, and so on.</p>
-
-<p><span class="pagenum"><a name="Page_77" id="Page_77">[<span class="hidden">Pg </span>77]</a></span>
-Strand 5&mdash;Under 1, over 2, under 1, over 2, and so on.</p>
-
-<p>Strand 6&mdash;Under 2, over 3, under 3, over 3, and so on.</p>
-
-<p>Strand 7&mdash;Over 1, under 2, over 1, under 2, and so on.</p>
-
-<p>Strand 8&mdash;Over 2, under 3, over 3, under 3, and so on.</p>
-
-<p>Strand 9&mdash;Under 1, over 2, under 1, over 2, and so on.</p>
-</div>
-
-<p>Nine strands comprise the unit. One half of the unit from
-strand 5 is a repetition of the first half except that the order is
-reversed. Thus strands 4 and 6, 3 and 7, 2 and 8, and 1 and 9
-are identical in weave. Repeat the unit until the seat is completed.</p>
-
-<div class="figcenter" style="width: 609px;">
-<a name="fig66" id="fig66"></a>
-<img src="images/sw71.jpg" width="609" height="413"
-alt="" />
-<p class="caption">FIG. 66. DESIGN OF INDIAN SPLINTS.</p>
-</div>
-
-<p>The design produced in <a href="#fig66">Fig. 66</a> is obtained by skipping certain
-strands for rather unusual distances. This may be done in instances
-where the pattern is begun at the center of the area. No strand
-should be omitted its entire length however. Any number of
-designs may be worked out, limited only by the patience and ingenuity
-of the individual worker.</p>
-
-<p><span class="pagenum"><a name="Page_78" id="Page_78">[<span class="hidden">Pg </span>78]</a></span>
-A design for a seat or panel not illustrated herein, but which is
-particularly pleasing in its general effect, is produced by a unit of
-six strands repeated indefinitely. The weaving is started as in the
-diagonal weave and the process may be indicated as follows:</p>
-
-<div class="weaving">
-<p>Strand 1&mdash;Over 1, under 3, over 3, under 3, and so on.</p>
-
-<p>Strand 2&mdash;Over 2, under 3, over 3, under 3, and so on.</p>
-
-<p>Strand 3&mdash;Over 3, under 3, over 3, under 3, and so on.</p>
-
-<p>Strand 4&mdash;Under 1, over 3, under 3, over 3, and so on.</p>
-
-<p>Strand 5&mdash;Under 2, over 3, under 3, over 3, and so on.</p>
-
-<p>Strand 6&mdash;Under 3, over 3, under 3, over 3, and so on.</p>
-</div>
-
-<div class="figcenter" style="width: 558px;">
-<a name="fig67" id="fig67"></a>
-<img src="images/sw72.png" width="558" height="506"
-alt="" />
-<p class="caption">FIG. 67. METHOD OF WEAVING SPLINTS.</p>
-</div>
-
-<p>The isometric sketch of a stool, <a href="#fig67">Fig. 67</a>, shows the structure
-partly woven. It will be noticed that the splints or reeds run both
-ways underneath the frame as they do on top. As indicated
-<span class="pagenum"><a name="Page_79" id="Page_79">[<span class="hidden">Pg </span>79]</a></span>
-previously these strands underneath should be woven in some manner
-to assure a seat of maximum strength for the material used. The
-diagonal weave was arbitrarily chosen to illustrate the method of
-weaving the seat frame. The weaving underneath is not shown
-on the sketch. If the rails on any
-seat are run flush with the inside
-corners of the posts the woven
-strands will fill the entire space.
-On the other hand, if they are
-permitted an offset, a series of
-open spaces are left as shown on
-the first woven seat illustrated.
-The sketch shows the rails flush
-with the inner corner of the posts.</p>
-
-
-<p><a name="rustic" id="rustic"></a><b>A Rustic Chair.</b>&mdash;The type of
-chair which is particularly adapted
-to splint weaving is illustrated
-in <a href="#fig68">Fig. 68</a>. The construction is
-simple, and the necessary bending
-of pieces is readily done if a suitable
-steaming chest is available
-in the shop. Such a chest may
-be made of a 6 in. gas pipe cut
-the required length and threaded at both ends. Cap one end permanently.
-Have the cap for the other end removable, with a gasket
-in it to prevent the escape of steam, and a suitable handle attached
-for ease in removing. Set the pipe upon a standard, then make the
-necessary steam connections at the closed end and the drain at the
-other. Place the wood in the chest, screw on the cap, and turn on
-the steam. The length of time the wood should remain in the
-steam depends upon the wood and the size of the piece.</p>
-
-<div class="figcenter" style="width: 290px;">
-<a name="fig68" id="fig68"></a>
-<img src="images/sw73.jpg" width="290" height="418"
-alt="" />
-<p class="caption">FIG. 68. PORCH CHAIR WITH BACK AND SEAT WOVEN WITH SPLINTS.</p>
-</div>
-
-<p>Suitable wood forms are easily made for bending stock. Their
-construction needs no elaboration. When the pieces are removed
-from the chest, clamp them over the forms immediately, and allow
-<span class="pagenum"><a name="Page_80" id="Page_80">[<span class="hidden">Pg </span>80]</a></span>
-them to remain clamped in this manner for several days in a dry,
-warm room. If steam coils or hot air registers are handy the forms
-may be placed over or near them to expedite the drying.</p>
-
-<p>Rock elm is a good material from which to construct such a chair.
-The wood may be procured in the round, of different diameters.
-The tenons on the straight pieces may be made on the wood lathe;
-on the curved ones with spokeshave or draw knife. The short
-thin pieces on the sides should be fully housed. On a chair of this
-description it is good policy to assemble the sides first. Finish both
-the frame and the splints with a good paint composed of white lead
-and oil.</p>
-
-<p>Another excellent material for chairs of similar design and purpose
-is hickory. It is the best material for the construction of
-furniture for lawns and porches where weathering is constant, and
-it is peculiarly adapted to splint and inner bark weaving. If a
-person lives in the right locality he may gather young second growth
-hickory saplings in the fall. An instructor could very readily take
-his classes out on such a wood-gathering expedition. The educational
-gain in gathering raw materials to be fashioned into finished
-articles of use and beauty will justify all efforts. In the fall the
-bark of the saplings will adhere firmly to the wood. Trim and
-assort the different pieces in accordance with plans, cut them into
-approximate lengths, and steam and bend those desired. Sand each
-piece smooth, and proceed to construct the chair according to previous
-plans. Glue and nail all important joints to prevent any possibility
-of separation under any weather condition. No finish of any
-description is necessary or desired on hickory furniture. Weathering
-will naturally darken both frame and splints, but will not detract
-in any way from the rugged, pleasing appearance of the article.</p>
-
-<p>Sassafras is a very desirable wood for rustic furniture, and well
-adapted to splint weaving. The methods of gathering and finishing
-are identical to hickory. It is much lighter in weight than hickory,
-but is quite as serviceable. No finishing agent is necessary, altho the
-worker may oil or varnish it at his discretion.</p>
-
-
-<p><span class="pagenum"><a name="Page_81" id="Page_81">[<span class="hidden">Pg </span>81]</a></span>
-<a name="woven" id="woven"></a><b>A Woven Table.</b>&mdash;The table illustrated in <a href="#fig69">Fig. 69</a> is a commercial
-product, evidenced by the machine turned posts and crosspieces.
-In school shops the posts may be made of rock elm rounds
-previously mentioned, or square tapered, and the rails of rounds
-or squares. The posts mortise in a frame underneath the top. The
-framework of the top is made of &#8540; in. dowel rods housed in a
-6 in. round piece of &frac34; in. wood, and radiating from it equal
-distances apart. The number of spokes needs to be odd, and cut
-to even lengths. The weaving is done with about a No. 6 reed,
-running over one, under two, over one, under two, and so on. The
-odd spoke permits the weaver to run continuously without skipping
-a spoke. A new strand is begun underneath the spoke where the
-last strand ends. When the top has been woven to the ends of the
-spokes a strip of braided No. 2 reed is nailed to each spoke with
-a round head, galvanized nail. The braid is made in the usual
-manner, as in basketry, with three series of strands of four each.
-When the shelf has been constructed in the same manner as the
-top, and both top and shelf have been fastened in their respective
-places, the table may be stained with naptha by pouring the stain
-over it. This method has been described in <a href="#chap06">Chapter VI</a>. Commercially,
-such articles are sized before staining. However, staining
-direct is the proper procedure in school shops. Use no shellac if
-the table is to be used on the porch or in the open where exposed
-to the weather.</p>
-
-
-<p><a name="willows" id="willows"></a><b>Willows.</b>&mdash;Willows are imported normally from Germany,
-Holland, Belgium and France. Because of their scarcity and
-demand for them, willow growing is fast becoming a thriving
-industry in the United States. Many experimental farms are under
-the direct supervision of the federal government. These have
-demonstrated that willows can be grown to advantage in many
-localities in this country. In many instances manufacturers have
-abandoned rattan in favor of willows for certain articles of furniture
-where rattan was formerly used exclusively. Willow
-<span class="pagenum"><a name="Page_82" id="Page_82">[<span class="hidden">Pg </span>82]</a></span>
-possesses all the attributes necessary for such furniture, being light in
-weight, durable, and strong; and it takes a good finish.</p>
-
-<div class="figcenter" style="width: 252px;">
-<a name="fig69" id="fig69"></a>
-<img src="images/sw74.jpg" width="252" height="361"
-alt="" />
-<p class="caption">FIG. 69. A WOVEN CENTER TABLE.</p>
-</div>
-
-<p>Willow stems or rods are cut when several feet long. They are
-then soaked in water and the outer bark peeled. The rods are then
-sorted, bundled and shipped to the
-dealer or user. The peeling is generally
-accomplished by hand with a
-peculiarly forked stick or rod. Commercially
-there are what are termed
-dry peeled rods and steam peeled
-rods, with the former in favor for
-furniture of the better class. They
-sell for from 6 cents to 15 cents per
-pound, depending on quality, length
-and method of peeling. Willow
-stems are used extensively in basketry,
-and for porch and summer
-furniture. They could be used effectively
-on such a table as shown
-in <a href="#fig69">Fig. 69</a>, but cannot generally be
-utilized advantageously in school shops for seating purposes only.
-However, they have very definite uses on some structures, and an
-adequate supply should be kept on hand for use when opportunity
-offers.</p>
-
-
-
-<p class="break">Within the confines of this book a variety of materials has been
-suggested, and many demonstrated, for seat weaving of various
-kinds and for weaving on structures other than seats. These will
-ordinarily afford sufficient latitude for classes of different grade in
-the school shops, but the instructor or worker should not infer that
-those indicated include all. Experience in weaving with these
-materials will suggest new mediums and combinations without
-<span class="pagenum"><a name="Page_83" id="Page_83">[<span class="hidden">Pg </span>83]</a></span>
-number, and experimentation with new materials by both instructor
-and pupil should be encouraged.</p>
-
-<div class="figcenter" style="width: 609px;">
-<img src="images/sw75.jpg" width="609" height="262"
-alt="Two stools, a low table and a container" />
-<p class="caption">SUGGESTIVE PROJECTS.</p>
-</div>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_84" id="Page_84">[<span class="hidden">Pg </span>84]</a></span></p>
-
-<h2><a name="chap08" id="chap08"></a>WEAVING MATERIALS: WHERE TO OBTAIN</h2>
-</div>
-
-
-<p>The following firms and individuals can furnish the various
-weaving materials indicated. They may undoubtedly be procured
-locally in the larger cities.</p>
-
-
-<div class="centered">
-<table border="0" summary="Suppliers and locations">
-  <tr>
-    <td class="tdc" colspan="2">Cane</td>
-  </tr>
-  <tr>
-    <td class="tdlts">LUSSKY, WHITE AND COOLIDGE</td>
-    <td class="tdltl">Chicago, Ill.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">AMERICAN REED AND RATTAN MFG. CO.</td>
-    <td class="tdltl">Brooklyn, N.&nbsp;Y.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">HOOVER BROS.</td>
-    <td class="tdltl">Kansas City, Mo.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">L.&nbsp;S. DRAKE, INC.</td>
-    <td class="tdltl">West Newton, Mass.</td>
-  </tr>
-  <tr>
-    <td class="tdc" colspan="2">Cane Webbing</td>
-  </tr>
-  <tr>
-    <td class="tdlts">LUSSKY, WHITE AND COOLIDGE</td>
-    <td class="tdltl">Chicago, Ill.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">RESTMOER MFG. CO.</td>
-    <td class="tdltl">Vancouver, B.&nbsp;C.</td>
-  </tr>
-  <tr>
-    <td class="tdc" colspan="2">Fiber</td>
-  </tr>
-  <tr>
-    <td class="tdlts">THE FIBER GRAND CO.</td>
-    <td class="tdltl">Grand Rapids, Mich.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">J.&nbsp;L. HAMMET CO.</td>
-    <td class="tdltl">Brooklyn, N.&nbsp;Y.</td>
-  </tr>
-  <tr>
-    <td class="tdc" colspan="2">Rush</td>
-  </tr>
-  <tr>
-    <td class="tdlts">L.&nbsp;S. DRAKE, INC.</td>
-    <td class="tdltl">West Newton, Mass.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">GUSTAV STICKLEY</td>
-    <td class="tdltl">Eastwood, N.&nbsp;Y.</td>
-  </tr>
-  <tr>
-    <td class="tdc" colspan="2">Indian Splints</td>
-  </tr>
-  <tr>
-    <td class="tdlts">C.&nbsp;N. SABA AND CO.</td>
-    <td class="tdltl">84 Wellington St. West, Toronto, Ontario.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">DAVID HARDIN</td>
-    <td class="tdltl">Patesville, Ky.</td>
-  </tr>
-  <tr>
-    <td class="tdc" colspan="2">Reeds</td>
-  </tr>
-  <tr>
-    <td class="tdlts">LUSSKY, WHITE AND COOLIDGE</td>
-    <td class="tdltl">Chicago, Ill.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">AMERICAN REED AND RATTAN MFG. CO.</td>
-    <td class="tdltl">Brooklyn, N.&nbsp;Y.</td>
-  </tr>
-  <tr>
-    <td class="tdlts">J.&nbsp;L. HAMMET CO.</td>
-    <td class="tdltl">Brooklyn, N.&nbsp;Y.</td>
-  </tr>
-  <tr>
-    <td class="tdc" colspan="2">Inner Hickory Bark</td>
-  </tr>
-  <tr>
-    <td class="tdlts">THE OLD HICKORY CHAIR CO.</td>
-    <td class="tdltl">Martinsville, Ind.</td>
-  </tr>
-</table>
-</div>
-
-
-
-
-<p class="bookshead">BOOKS ON THE MANUAL ARTS</p>
-
-
-<p><b>DESIGN AND CONSTRUCTION IN WOOD.</b> <b>By Noyes.</b> A book full of charm
-and distinction. It illustrates a series of well-designed and attractive projects, and
-gives suggestions for other similar projects, all suitable for home use, together with
-information regarding tools and processes for making. A pleasing volume abundantly
-and beautifully illustrated. $1.50.</p>
-
-<p><b>HANDWORK IN WOOD.</b> <b>By Noyes.</b> A comprehensive and scholarly treatise, covering
-logging, saw-milling, seasoning, and measuring, hand tools, wood fastenings,
-equipment and care of the shop, the common joints, types of wood structures, principles
-of joinery, and wood finishing. 304 illustrations&mdash;excellent pen drawings and
-many photographs. The best reference book for teachers of woodworking. $2.00.</p>
-
-<p><b>WOOD AND FOREST.</b> <b>By Noyes.</b> A reference book for teachers of woodworking.
-Treats of woods, distribution of American forests, life of the forest, enemies of the
-forest, destruction, conservation and uses of the forest, with a key to the common
-woods by Filibert Roth. Describes 67 principal species of wood, with maps of the
-habitat, leaf drawings, life-size photographs and microphotographs of sections. Profusely
-illustrated. $3.00.</p>
-
-<p><b>CARPENTRY.</b> <b>By Griffith.</b> A well-illustrated textbook for use in vocational
-schools, trade schools, technical schools and by apprentices to the trade, presenting
-the principles of house framing in a clear and fundamental way. It treats of the
-&ldquo;every-day&rdquo; practical problem of the carpenter and house-builder from the &ldquo;laying
-of foundations&rdquo; to the completion of the &ldquo;interior finish.&rdquo; $1.00.</p>
-
-<p><b>WOODWORK FOR SECONDARY SCHOOLS.</b> <b>By Griffith.</b> A textbook for high
-schools, colleges and technical schools. It contains chapters on woods, tools and
-processes, joinery, turning, carving, inlaying, wood finishing, pattern making, and the
-use of woodworking machines. It is a well-balanced and authoritative text, presupposing
-a knowledge of elementary tool processes. Specially adapted to secondary
-schools. $1.75.</p>
-
-<p><b>CORRELATED COURSES IN WOODWORKING AND MECHANICAL DRAWING.</b>
-<b>By Griffith.</b> Contains reliable information concerning organization of
-courses, subject-matter, and methods of teaching. It covers classification and
-arrangement of tool operations, stock bills, cost of material, records, shop conduct,
-the lesson, maintenance, equipment and lesson outlines for grammar and high schools.
-The most complete and thoro treatment of the subject of teaching woodworking
-ever published. $1.50.</p>
-
-<p><b>ESSENTIALS OF WOODWORKING.</b> <b>By Griffith.</b> A textbook written especially
-for grammar and high school students. The standard textbook on elementary woodworking.
-A clear and comprehensive treatment of woodworking tools, materials
-and processes, to supplement, but not to take the place of the instruction given by
-the teacher. The book may be used with any course of models. 75 cents.</p>
-
-<p><b>WOODWORK FOR BEGINNERS.</b> <b>By Griffith.</b> A textbook for students in the
-seventh and eighth grades. In a remarkably simple manner it presents only the fundamental
-facts regarding tools and tool processes which should be thoroly mastered
-by the grammar grade boy. It is technically correct, well illustrated and is adapted
-for use with any course of models. 50 cents.</p>
-
-<p><b>PROJECTS FOR BEGINNING WOODWORK AND MECHANICAL DRAWING.</b>
-<b>By Griffith.</b> A collection of 50 working drawings and working directions of projects
-which have proved of exceptional service where woodworking and mechanical drawing
-are taught in a thoro, systematic manner in the seventh and eighth grades.
-75 cents.</p>
-
-<p><b>FURNITURE MAKING&mdash;ADVANCED PROJECTS IN WOODWORK.</b> <b>By
-Griffith.</b> A collection of problems in furniture making selected and designed with
-reference to high school use. On the plate with each working drawing is a good
-perspective sketch of the completed object. In draftsmanship and refinement of
-design, these problems are of superior quality. An excellent collection. 75 cents.</p>
-
-<p><b>FURNITURE DESIGN FOR SCHOOLS AND SHOPS.</b> <b>By Crawshaw.</b> A manual
-in furniture design containing a collection of plates showing perspective drawings of
-typical designs, representing particular types of furniture. Each perspective is
-accompanied by suggestions for rearrangements and the modeling of parts. The
-text discusses and illustrates principles of design as applied to furniture. Should be
-in the hands of every teacher of cabinet making and design. $1.00.</p>
-
-<p><b>PROBLEMS IN FARM WOODWORK.</b> <b>By Blackburn.</b> A book of working drawings
-of 100 practical problems relating to agriculture and farm life. Each problem is
-accompanied by text treating of &ldquo;Purpose,&rdquo; &ldquo;Material,&rdquo; &ldquo;Bill of Stock,&rdquo; &ldquo;Tools,&rdquo;
-&ldquo;Directions,&rdquo; and &ldquo;Assembly.&rdquo; Of special value to the pupil and teacher of agriculture
-and manual arts in rural schools, and to the boy on the farm. $1.00.</p>
-
-<p><b>PROBLEMS IN FURNITURE MAKING.</b> <b>By Crawshaw.</b> Contains 43 full-page
-working drawings of articles of furniture. In addition to the working drawings, there
-is a perspective sketch of each article completed. There are 36 pages of text giving
-notes on the construction of each project, chapters on the &ldquo;Design&rdquo; and &ldquo;Construction&rdquo;
-of furniture, and one on &ldquo;Finishes.&rdquo; The last chapter describes 15 methods of
-wood finishing, all adapted for use on furniture. $1.00.</p>
-
-<p><b>PROBLEMS IN WOODWORKING.</b> <b>By Murray.</b> A collection of 40 plates of
-working drawings of problems in bench work that have been successfully worked out
-by boys in grades seven to nine, inclusive. 75 cents.</p>
-
-<p><b>PROBLEMS IN WOOD-TURNING.</b> <b>By Crawshaw.</b> Contains 25 full-page plates
-of working drawings covering spindle, faceplate, and chuck turning. It gives the
-mathematical basis for the cuts used in turning. A valuable textbook for students&rsquo;
-use. 80 cents.</p>
-
-<p><b>WORKSHOP NOTE-BOOK&mdash;WOODWORKING.</b> <b>By Greene.</b> A note-book
-which furnishes a few general and extremely important directions about tools and
-processes, and provides space for additional notes and working drawings. It is
-essentially a collection of helps, ideas, hints, suggestions, questions, facts, illustrations,
-etc. It is full of suggestions; shows a keen insight into subject-matter and
-teaching methods, and is an effective teaching tool. 15 cents.</p>
-
-<p><b>SHOP PROBLEMS.</b> <b>By Siepert.</b> Portfolios of plates&mdash;working drawings of projects
-printed on tracing paper and adapted to be blue-printed for students&rsquo; use. The
-plates are taken from the Shop Notes and Problems department of the <i>Manual
-Training Magazine</i>. The problems include a wide variety of good design and adapted
-for shop use. Series I, II, III and IV have been published. Price per series, 35 cents.</p>
-
-<p><b>GRAMMAR GRADE PROBLEMS IN MECHANICAL DRAWING.</b> <b>By Bennett.</b>
-A remarkably simple and carefully graded textbook on the fundamentals of mechanical
-drawing for the use of students in the seventh and eighth grades. It combines
-an abundance of text and simple problems, accompanied by notes and directions.
-Its use insures the early formation of correct habits of technique and makes possible
-the development of a standard in grammar grade mechanical drawing parallel with
-woodworking. Abundantly and well illustrated. 38 cents.</p>
-
-<p><b>PROBLEMS IN MECHANICAL DRAWING.</b> <b>By Bennett.</b> A students&rsquo; textbook
-consisting of 80 plates of problems classified into groups according to principle, and
-arranged according to difficulty of solution. Each problem is given unsolved and,
-therefore, in proper form to hand to the pupil for solution. The best collection of
-problems for first-year high-school students available. 75 cents.</p>
-
-<p><b>MANUAL TRAINING TOYS FOR THE BOYS&rsquo; WORKSHOP.</b> <b>By Moore.</b>
-A popular boys&rsquo; book. It contains 35 pages of full-page plates of working drawings
-illustrating 42 projects. All the projects are overflowing with &ldquo;boy&rdquo; interest, and are
-well adapted to the upper grades of the elementary school. The text treats of tools
-and tool processes, and gives instructions for making each project. $1.00.</p>
-
-<p><b>KITECRAFT AND KITE TOURNAMENTS.</b> <b>By Miller.</b> Authoritative and comprehensive.
-The book deals with the construction and flying of all kinds of kites, and
-the making and using of kite accessories. Also aeroplanes, gliders, propellers, motors,
-etc. Abundantly illustrated and attractively bound. $1.00.</p>
-
-<p><b>BIRD HOUSES BOYS CAN BUILD.</b> <b>By Siepert.</b> A book of rare interest to boys.
-It is written in the boy spirit and combines the charm of nature with the allurements
-of continuation work in wood. It illustrates hundreds of bird houses and shows working
-drawings of various designs; also feeders, shelters, sparrow traps, and other bird
-accessories. The common house nesting birds are pictured and described with information
-regarding houses, foods, etc., suitable for each. A pleasing and practical
-book for wide-awake boys. Price, 50 cents.</p>
-
-<p><b>LEATHER WORK.</b> <b>By Mickel.</b> A manual on art leather work for students, teachers
-and craft workers. It gives detailed descriptions of the various processes of working,
-treating of flat modeling, embossing or repouss&eacute;, carved leather and cut work. It
-is well illustrated with photographs of finished work and working drawings of twenty
-useful and beautiful articles suitable for school and home work. 75 cents.</p>
-
-<p><b>BOOKS ON THE MANUAL ARTS.</b> A bibliography listing and describing 400 books
-mailed free.</p>
-
-
-<p class="pubby"><span class="dbord">Published by</span> <span class="vlrgfont">The Manual Arts Press</span> <span class="dbord">Peoria, Ill.</span></p>
-
-
-
-<div class="bbox">
-<p><b>Transcriber&rsquo;s Note</b></p>
-
-<p>Variant spelling is preserved as printed.</p>
-
-<p>Minor punctuation errors have been repaired.</p>
-
-<p>The following amendments have been made:</p>
-
-<div class="amends">
-<p>Page <a href="#Page_41">41</a>&mdash;trainig amended to training&mdash;... more than justifies its introduction in manual
-training shops.</p>
-
-<p>Page <a href="#Page_84">84</a>&mdash;the transcriber has added the omitted chapter heading, &lsquo;WEAVING MATERIALS: WHERE
-TO OBTAIN.&rsquo;</p>
-</div>
-
-<p>Illustrations have been moved where necessary so that they are not in the middle of a
-paragraph. Omitted page numbers were the location of full page illustrations in the original
-book.</p>
-
-<p><a name="note" id="note"></a>The caption to <a href="#fig49">Fig. 49</a> notes that the reeds in the image are three-fourths of actual size.
-As image size within e-books can vary depending on the device display, for reference, the
-original image measured 7.6 in. by 4.3 in. / 193mm by 108mm approximately.
-<a href="#fig49">Back to figure</a></p>
-</div>
-
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of Seat Weaving, by L. Day Perry
-
-*** END OF THIS PROJECT GUTENBERG EBOOK SEAT WEAVING ***
-
-***** This file should be named 53288-h.htm or 53288-h.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/5/3/2/8/53288/
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