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diff --git a/old/68650-0.txt b/old/68650-0.txt deleted file mode 100644 index beb34df..0000000 --- a/old/68650-0.txt +++ /dev/null @@ -1,8735 +0,0 @@ -The Project Gutenberg eBook of Harper's indoor book for boys, by -Joseph H. (Henry) Adams - -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 -will have to check the laws of the country where you are located before -using this eBook. - -Title: Harper's indoor book for boys - -Author: Joseph H. (Henry) Adams - -Release Date: July 30, 2022 [eBook #68650] - -Language: English - -Produced by: Richard Hulse and the Online Distributed Proofreading Team - at https://www.pgdp.net (This file was produced from images - generously made available by The Internet Archive/American - Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK HARPER'S INDOOR BOOK FOR -BOYS *** - -HARPER’S INDOOR BOOK FOR BOYS - - - - - -[Illustration: WOOD-WORKING] - - - - - HARPER’S - INDOOR BOOK - FOR BOYS - - BY - JOSEPH H. ADAMS - - AUTHOR OF - “HARPER’S ELECTRICITY BOOK FOR BOYS” - AND JOINT AUTHOR OF - “HARPER’S OUTDOOR BOOK FOR BOYS” - - WITH MANY ILLUSTRATIONS - - [Illustration] - - HARPER & BROTHERS PUBLISHERS - NEW YORK AND LONDON - MCMVIII - - Copyright, 1908, by HARPER & BROTHERS. - - _All rights reserved._ - - Published April, 1908. - - - - -CONTENTS - - - PAGE - - INTRODUCTION xi - - Part I - - WOOD-WORKING - - CHAPTER I—CARPENTRY 3 - - TOOLS: HOW TO USE THEM—THE WORK-BENCH—A TOOL-RACK—A - TOOL-CHEST—JOINTS—A LOW BENCH—A HIGH BENCH—A STEP-BENCH—A - SHOE-BOX—A SHOE-BLACKING-BOX—A SHOE-BLACKING-LEDGE—AN EASEL—A - CLOTHES-TREE—HANGING BOOK-SHELVES—A CORNER CABINET—A CHAIR—A - TABLE—A SETTLE—A SUSPENDED SETTLE—A COAL AND WOOD BOX—A - FLAT-IRON HOLDER—AN UMBRELLA-STAND—A PLANT-BOX—A FINAL WORD - - CHAPTER II—WOOD-CARVING 38 - - METHOD AND MATERIAL—TOOLS—A CARVER’S BENCH—CHIP-CARVING—A - FRAME FOR A SMALL CLOCK—OTHER DESIGNS—RELIEF-CARVING—MOULDINGS - - CHAPTER III.—FRETWORK AND WOOD-TURNING 56 - - THE TOOLS—THE PRACTICE OF THE ART—THE PREPARATION OF THE - WORK—A MATCH-SAFE—A WALL-BRACKET—A FRETWORK-BOX—OTHER - DESIGNS—WOOD-TURNING - - CHAPTER IV—PICTURE MOUNTING AND FRAMING 71 - - A DUTCH HEAD MOUNTING—A DARK CARD MOUNTING—A TRIPLE - MOUNTING—PLAIN FRAMING—A SPORTING MOUNT—A ROUND-ROBIN - MOUNTING - - Part II - - METAL-WORKING - - CHAPTER V.—VENETIAN AND FLORENTINE METAL-WORK 81 - - TOOLS AND MATERIAL—A LAMP-SCREEN—PATTERN-MAKING—A - STANDARD SCREEN—A CANDLESTICK—A CANDELABRA—A FAIRY LAMP—A - BURNED-MATCH HOLDER—A PHOTOGRAPH-FRAME—A HANDKERCHIEF-BOX—A - SIGN-BOARD—DOUBLE DOORWAY GRILLE—A MOORISH LANTERN - - CHAPTER VI.—METAL-BOUND WORK 103 - - A METAL-BOUND BOX—A WOOD-HOLDER—A PLANT-BOX—A COAL-BOX—A - TABLE-LAMP—A HANGING-LAMP—A HANGING-PLANT BOX - - CHAPTER VII.—DECORATIVE HARDWARE 115 - - MATERIALS AND TOOLS—ESCUTCHEONS—SHORT HINGE-STRAPS—LONG - HINGE-STRAPS—DRAWER-PULLS AND HANDLE-PLATES—DOOR-PLATES—LARGE - LOCK-PLATES—DOOR-KNOCKERS AND MISCELLANEOUS ORNAMENTS - - CHAPTER VIII.—WIRE-WORK 125 - - A BIRD-CAGE BRACKET—A PHOTOGRAPH EASEL—A MATCH-BOX—A FAIRY - LAMP—A PICTURE-FRAME—A GLOVE-BOX—A WINDOW-GRILLE - - CHAPTER IX.—GAS AND ELECTRIC SHADES 133 - - A SIMPLE GAS-SHADE—ANOTHER GAS-SHADE—A METAL SHADE—AN - ELECTRIC-LIGHT SCREEN—A BELL-SHAPED SHADE—A PEAR-SHAPED SHADE—A - DOME-SHAPED SHADE—ANOTHER DINING-ROOM SHADE—A CANOPY—A PANEL - SHADE - - CHAPTER X.—RELIEF ETCHING 139 - - EQUIPMENT—THE TECHNIQUE OF THE PROCESS—THE ACID SOLUTION—SOME - TYPICAL DESIGNS - - Part III - - HOUSEHOLD ARTS - - CHAPTER XI.—CLAY-MODELLING AND PLASTER-CASTING 151 - - TOOLS AND METHODS—THE TECHNIQUE OF THE ART—GLUE AND GELATINE - MOULDS—HOLLOW CASTING—MODELLING A FOOT—BAS-RELIEF MODELLING—A - MEDALLION HEAD—COIN AND METAL CASTS—PLASTER-CASTING IN - GENERAL—HOW TO FIND AND MOUNT SIGNETS - - CHAPTER XII.—PYROGRAPHY 170 - - FIRE-ETCHING ON WOOD AND LEATHER—EXPLANATION OF METHODS—A - PLATINUM-POINT OUTFIT—A VARIETY OF WORK ON WOOD—SUGGESTIVE - DESIGNS—LEATHER-WORK - - CHAPTER XIII.—BOOKBINDING AND EXTRA-ILLUSTRATION 186 - - SHEETS AND SIGNATURES—THE TOOLS—THE PRACTICE OF THE - ART—REBINDING BOOKS—HOW TO EXTRA-ILLUSTRATE A BOOK—A - CIRCULATING LIBRARY - - CHAPTER XIV.—MAGIC LANTERNS AND STEREOPTICONS 203 - - A HOME-MADE MAGIC LANTERN—A STEREOPTICON—LANTERN SLIDES BY - CONTACT-PRINTING—LANTERN SLIDES BY REDUCTION - - CHAPTER XV.—PRINTING, STAMPING, AND EMBOSSING 222 - - A SIMPLE FLAT-BED PRESS—AN UPRIGHT PRESS—A - LEVER-PRESS—STAMPING—EMBOSSING - - Part IV - - ROUND ABOUT THE HOUSE - - CHAPTER XVI.—A HOUSE GYMNASIUM 237 - - INDOOR PHYSICAL DEVELOPMENT—DUMB-BELLS—INDIAN - CLUBS—CALISTHENIC WANDS AND BALL-BARS—SWINGING-RINGS—TRAPEZE - BARS—PARALLEL BARS—A FLOOR HORIZONTAL BAR—STRIKING-BAGS—A - MEDICINE-BALL—PULLEY-WEIGHTS AND EXERCISERS—AN ATTIC GYMNASIUM - - CHAPTER XVII.—A MINIATURE THEATRE 259 - - ARRANGEMENT AND LIGHTING—SCENERY AND EQUIPMENT—THE PUPPETS - - CHAPTER XVIII.—FITTING UP A BOY’S ROOM 267 - - SIMPLE METHODS AND MATERIALS—A PLAIN CHAIR—AN ODD CHAIR—A - MORRIS CHAIR—A SETTLE—A BOX-DESK—A WRITING-TABLE—A WHATNOT—A - TREASURE-CHEST—STUDYING-TABLE AND STOOL - - CHAPTER XIX.—PAINTING, DECORATING, AND STENCILLING 283 - - HOW TO MIX AND USE PAINTS—SCHEMES OF DECORATION—DECORATING - A BEDROOM—A BOY’S ROOM—ANOTHER PLAN FOR A ROOM—A - NURSERY—STENCILLING - - CHAPTER XX.—NOOKS FOR BOOKS 302 - - A VARIETY OF PRACTICAL DESIGNS—A WALL-RACK—A BOOK-NEST—ANOTHER - BOOK-RACK—A CORNER-NOOK—A BOOK-TOWER—HANGING-SHELVES—A - BOOK-CASTLE—A BOOK-CHAIR—A BOOK-TABLE—A MAGAZINE-RACK—A BOX - BOOK-CASE—A NURSERY BOOK-RACK—ANOTHER BOOK-RACK—A HANDY PIECE - OF FURNITURE—A BOOK-LEDGE AND STOOL - - CHAPTER XXI.—CLOCKS AND TIMEPIECES 321 - - DESIGNS AND MATERIALS—A BRACKET-CLOCK—A MANTEL-CLOCK—A - WALL-CLOCK—A HIGH WALL-CLOCK—AN ODD MANTEL-CLOCK—A - SHELF-CLOCK—AN OLD-STYLE TIMEPIECE - - CHAPTER XXII.—SCREENS, SHOE-BOXES, AND WINDOW SEATS 331 - - A LIGHT-SCREEN—A FIRE-SCREEN—A SHOE-SCREEN—A BEDROOM-DOOR - SCREEN—A HEAVY FIRE-SCREEN—A WINDOW-SEAT WITH UNDER LEDGE—A - SHOE-BOX SEAT—A DRESSING-ROOM SETTLE—A SHORT SETTLE—A - FOOT-REST—A COMBINATION SHOE-BOX AND SEAT—A DOUBLE SHOE-BOX AND - SEAT—A CURVED-BACK WINDOW-SEAT—A WINDOW-SEAT AND SHOE-BOX - - CHAPTER XXIII.—HOUSEHOLD CONVENIENCES 347 - - A PLATE-RAIL—A CUP AND PLATE RACK—A CUP AND PLATE PYRAMID—A - BUTLER’S TRAY—CUP-PINS AND BRUSH-RACK—LOCK-SHELVES—A - VEGETABLE-BIN—A SPOON-BAR AND SAUCEPAN-RACK—A MEDICINE-CHEST—A - CONVENIENT PLANT-TRAY—AN INDISPENSABLE CLOTHES-PRESS—A DIVAN—A - CORNER DRESSING-TABLE - - - - -INTRODUCTION - - -The success of Harper’s _Outdoor Book for Boys_ seems to insure a -welcome for an indoor handy book, equally practical and comprehensive, -which shall show how leisure time indoors can be spent most pleasantly -and profitably. When stress of weather, or the coming of long winter -evenings, or any other reason gives the indoor part of life a larger -importance, this indoor handy book will be found an invaluable -companion. Good books and good games have their value always, but -there is also a large place for the joy of actual accomplishment. It -is good to do things. It is worth while to learn to use hands and eyes -in the production of working results. And when, as in the case of the -explanation of this book, achievement goes hand in hand with amusement, -it is clear that Mr. Adams and his associates are the best of companions -for an indoor day or evening. - -Expensive tools and apparatus are not called for. A boy should have good -but not necessarily costly tools, and he should take proper care of them. -Furthermore, whether his working-place is in his room or elsewhere, he -should feel that he is put upon his honor to remove any rubbish and to -avoid injury to floor or walls. Let us understand at the outset that -the explanation in these pages can be followed at very little expense, -but in this work, as in everything else, common-sense is necessary. To -use one tool for work to which another is adapted, or to neglect one’s -implements, or allow them to get wet and to rust or to become hopelessly -dulled or nicked, is a sign of shiftlessness. A good workman always takes -care of his tools, and he also keeps his work-bench in order. The very -mention of work in a boy’s room, or even indoors, may excite fears of -disorder on the part of the mother; but experience has shown that with -care on the part of the boy, and some concessions from the mother, these -fears are groundless. - -It is desirable that a boy should have a place, whether it be in the -cellar or attic, or a corner of his room, definitely devoted to his own -work. It is also a useful training for him to feel that he is put upon -honor both to confine his work to his own bounds, and also to “tidy up” -whenever he leaves his task. With a little patience and oversight all -this can be adjusted to the mutual satisfaction of the household and the -boy. - -In addition to the training in various directions which we have -indicated, the suggestions in these pages will help the boy to make -things which are useful—to become a contributor to his home. A glance at -the Table of Contents shows, under “Wood-working,” an introduction to -the use of carpenters’ tools, and instructions in making picture-frames -and ornamented wood-carving. Of late years ornamental work for lamps, -sconces, hinges, and a variety of purposes has steadily grown in -favor, and the second division of the book tells how a great variety -of decorative and useful objects in metal may be made. When so much -experience has been gained, the boy can readily take up more advanced -work, such as modelling in clay, and plaster casting; bookbinding, and -the kindred craft of extra-illustration; pyrography, or decorative work -in burnt wood; printing, stamping, and embossing; and the construction -and use of the stereopticon. In Part IV. the young craftsman is shown how -he may employ the technical knowledge he has acquired in the fitting up -and decoration of his room; in the building and operating of a miniature -theatre; in the installation of a home gymnasium; and in the making -of various objects of ornament and utility for the household. Amateur -photography has been purposely omitted, since there are many excellent -and practical manuals on the subject that have been published by the -various camera manufacturers for gratuitous distribution. It is easy -to see the possibilities for usefulness, for beauty, and for amusement -in the home, which are brought within reach in these pages; and these -instructions also represent possibilities for earning money. In, schools -where manual training receives attention, and, indeed, in any school -library, this book will prove peculiarly useful. - -Here, as in the _Outdoor Handy Book_, it has been kept in mind that there -will be neither fun nor profit in doing these things unless the way is -made clear, and it is certain that the desired results will follow if -the directions are carried out. Everything, therefore, has been tested, -and all the instructions are put in simple, practical form. It is a -friendly, well-tried, and reliable household companion that comes to -young Americans in Harper’s _Indoor Book for Boys_. - - - - -Part I - -WOOD-WORKING - - - - -Chapter I - -CARPENTRY - - -Carpentry, or the science of making things out of wood, is the oldest -and comes the closest to us of any of the applied arts and crafts. -The earliest men made clubs at least. Later they began to build, to -construct, and it is interesting to remember that this ability to -construct is a faculty shared with man by the animals. There are many -species of birds that build well-designed nests; the spider is a weaver; -the bee is a geometrician; the ant is a tunnel builder; the beaver, -in the construction of his dams and breakwaters, displays engineering -ability of a high order. The vital difference between the animal and the -human intelligence lies in the fact that the latter is progressive. The -spider weaves just the same pattern to-day that he did when the Pyramids -were young; the mathematical section of the bee cell is invariable; the -mud-swallows build the same kind of houses as their remotest ancestors. -The common explanation is that instinct and not reason guides the animal -in his work, and instinct is a reproductive faculty, not an inventive -one. It is for man alone to progress from the crude beginnings of an art -to its highest and most perfect development. - -Perhaps the first and most urgent need of all living creatures is for -shelter. The oriole weaves his hanging nest; the beaver constructs his -wonderfully domed house; primitive man builds his hut of interlaced -boughs. But it is man alone who is not content with the first crude -efforts; he is constantly aiming after something more substantial and -better adapted to his increasing needs. So man becomes the true builder, -and as wood is the simple and almost universally obtainable material, -carpentry, or the art of working in wood, stands at the head of the -applied sciences upon which the civilization of the race depends. - -The average boy takes to carpentry as naturally as ducks take to water, -and beginning with the tacks a baby boy will hammer in a board, the -young builder goes on from the simple to the more complex forms until -he attains the full mastery of his material and his tools. He has now -obtained the dignity of manhood; he is a maker of things. - -Once proficient in the art of cutting, joining, and fastening wood-work, -and in the use and care of tools, a boy may begin to call himself a -carpenter. But he must learn to work systematically and accurately if -he is ever to become a genuine craftsman. In the first place, he should -understand the possibilities and limitations of his tools. He should -never use a chisel for a screw-driver, nor drive nails with the butt -end of a plane. Good tools should have good care. Inanimate things that -they are, they yet resent ill-usage, and retaliate, in their own way, -by becoming dull and otherwise unfit for their work. Indeed, a good -carpenter may be known by the condition of his tool-chest and work-bench. -Carpentry, when properly carried on, is a most fascinating occupation -for out-of-school hours, especially in the winter season, when bad -weather keeps one indoors. Needless to say, it may be made a profitable -way of passing time as well as an amusing one. - - -Tools - -The tools that a boy will need in order to do good joiner-work should be -the same as carpenters use, but they may be smaller and not so cumbersome -to handle. The set of tools in a chest, put up for the use of children -and sold at toyshops, are not the sort that can be relied upon for good -carpentry work, since they are usually dull and made of soft steel that -will not hold an edge. Possibly the manufacturer thinks that he is -justified in turning out this kind of rubbish, bearing in mind the old -saying, “Children should not play with edged tools.” But the boy who is -old enough to take up carpentry in earnest is entitled to the use of good -and serviceable implements, and without them it is hardly worth while -starting at the business. - -Competition has brought down the cost of good tools to a point where -they are not beyond the means of the average boy who is prepared to save -his pocket-money. It is better to purchase only a small kit at first, -and then to add to it from time to time, until the complete outfit is -obtained. - -Good tools may be purchased at nearly every hardware shop or general -store throughout the country. For ordinary work you will require a -good rip and cross-cut saw, with twenty and twenty-four inch blades, -respectively; a claw-hammer, and a smaller one; a wooden mallet for -chisels, and to knock together the lap joints of wood; a jack and a -smoothing plane; a compass-saw; a brace and several sizes of bitts, -ranging from a quarter to one inch in diameter; a draw-knife; a square; -awls; pliers; a rule; several firmer-chisels, and a screw-driver. There -are many other useful tools, but they may be added as they are required. - -It is a difficult matter to instruct a boy, by written description, how -to handle tools; and rather than attempt it, I should advise the young -workman to watch a carpenter at his work. Most carpenters are quite -willing to have you follow their movements, and many of them will even -offer advice, if they see that you are really interested. But remember -that a good workman never likes to have a boy meddle with his tools, and -you should not ask foolish or unnecessary questions. - -Perhaps there is a carpenter’s shop near your home in which the owner may -let you work occasionally (if you keep out of his way), and where, in -the atmosphere of the craft, you will make faster progress than you can -possibly do at home with no one to tell or show you how things should be -done. - - -The Work-bench - -One of the indispensable pieces of equipment for the boy carpenter is a -good work-bench. The bench must be substantially made, and provided with -a planing-stop, a vise, and a drawer in which to keep small tools, nails, -screws, and the various odds and ends that are employed in carpentry. - -To begin with, obtain four spruce or white-wood sticks, three inches -square and thirty-six inches long, planed on all sides. These are for the -legs. You will also need two pieces of clear pine, or white-wood, three -feet long and six inches wide, and two more the same length and three -inches wide. These pieces should be one and an eighth inches thick, and -planed on all sides and edges. - -[Illustration: FIG. 1. FIG. 2. FIG. 3. FIG. 4. FIG. 5.] - -Lay two of the legs on the floor, three feet apart, and join the ends -with one of the six-inch strips. Six inches up from the free ends fasten -a narrow strip, as shown in Fig. 2 A. This finishes one of the end -supports. Flat-headed iron screws, two and a half inches long, should be -used for the unions, and a tighter joint may be secured by also using -glue. - -Prepare, in similar fashion, the other pair of legs, and, with two pieces -of clear pine, or white-wood, five feet long, eight inches wide, and -seven-eighths of an inch thick, bind the four legs together, as shown in -Fig. 3. You should allow the boards to project six inches beyond the legs -at both ends. These pieces are the side-rails, or aprons, and they should -be securely fastened with glue and screws to the upper end of each leg. - -At the back of the bench arrange two braces of wood, three inches wide -and seven-eighths of an inch thick, as shown in Fig. 3. Bevelled laps are -to be cut in the side of two legs, as shown in Fig. 2 B, into which the -ends of the strips will fit flush. The upper ends of the strips are to -be mitred (cut at an angle), and attached to the inside of the apron, as -shown in Fig. 3. - -For the top of the bench use clear pine planking not less than one inch -in thickness. This should be fitted closely together, and fastened to the -cross-pieces with stout screws. - -From hard-wood a piece should be shaped for a vise-jaw thirty-two inches -long, three inches wide at the bottom, and seven inches wide at the top. -Near the bottom of the jaw an oblong hole should be cut to receive the -end of a sliding piece, which in turn is provided with several holes -for a peg to fit into. A corresponding oblong hole is cut near the foot -of one leg, through which the piece containing the holes will pass. This -last regulates the spread of the jaw. This construction may be seen -in Fig. 4, and its final position is shown in the illustration of the -finished bench (Fig. 1). - -Near the top of the jaw a hole is cut to receive the screw that is turned -with the lever-stick to tighten the jaw. A bench-screw may be purchased -at any hardware store, and fitted to the work-bench. If it should prove -too much of an undertaking for the youthful workman, a carpenter will put -it in place at a trifling cost. The wood screws are the cheapest, but the -steel ones are the most satisfactory, and will cost about one dollar for -a small one. - -From the apron (at the front of the bench) a piece should be cut fifteen -inches long and six inches wide. This opening will admit a drawer of the -same width and height, and as deep as may be desired. Twenty-four inches -will be quite deep enough. - -Rabbets are cut in the ends of a front piece, and the sides are let -into them, as shown in Fig. 5. The bottom and back are fastened in with -screws, and the drawer is arranged to slide on runners that are fastened -across the bench inside the aprons, as shown in the upper corner of Fig. -3. - -At the front of the drawer a cove may be cut out, and a thin plate of -iron screwed fast across the top of it, so that the fingers may be passed -in behind the plate to pull out the drawer (Fig. 5). It will not do to -use a projecting drawer-pull, as that would interfere with pieces of -work when clamped in the vise. In planing strips, or boards, that are -too long for the vise to hold securely, a wooden peg, inserted in a hole -at the opposite end of the apron from the vise, will be found convenient. -Two or three holes may be made for boards of different widths, and the -peg adjusted to the proper one as occasion requires. - -A planing-stop, with teeth, may be purchased at a hardware store and set -in place near the vise-jaw. The complete bench will then be ready for use. - - -A Tool-rack - -For the accommodation of chisels, gouges, screw-drivers, awls, -compass-saws, pliers, and other small tools a tool-rack will be found -convenient. It should be fastened against the wall immediately over the -work-bench. - -The one shown in Fig. 6 is thirty-six inches long and twelve inches high, -with a ledge projecting two inches from the back-board. A leather strap -is caught along the upper part of the board with nails to form loops, -into which the tools are slipped. - -The ledge is made from two strips of wood. One of them, one and a -half inches in width, is cut with a saw, as shown in Fig. 7, and the -superfluous wood, between the saw-cuts, is removed with a chisel. When -all the notches are cut, a narrow strip, half an inch in width, is -screwed fast to the notched strip. The ledge is then attached to the -lower edge of the back-board with long screws, as indicated in the -illustration. - - -A Tool-cabinet - -The hanging tool-cabinet shown in Fig. 8 should be constructed with two -doors of nearly equal size, so that four instead of two surfaces may be -available, against which to hang tools. - -The body part of the chest is thirty inches high, twenty inches wide, -and nine inches deep, outside measure. It is made of wood three-quarters -of an inch in thickness, fastened together with screws and glue, and -varnished to improve its appearance. - -The right side of the cabinet is but three and a half inches wide, and to -this the inner door is made fast with hinges, so that it will swing in -against a stop-moulding on the opposite side, as shown at A in Fig. 9. A -small bolt will fasten the door in place when shut in, and on both sides -of this door hooks and pegs may be arranged for the reception of tools. -The back-board of the cabinet may be used for hanging saws, squares, and -other flat tools, as indicated in Fig. 8. - -The outer door is provided with a side-strip (Fig. 9 B) of such size -that when the doors are closed in and locked the appearance of the chest -will be uniform, with a cross-section appearing, as shown in Fig. 9 C. -With a little careful planning and figuring it will not be a difficult -matter to construct this cabinet. Take particular care to have the doors -fit snugly and close easily. The doors will keep their shape better if -they are made from narrow matched boards, held together at the ends with -battens, or strips, nailed across the ends of the boards, as shown in -Fig. 9 D. Two-inch wrought butts will be heavy enough for the doors, and -a cabinet-lock at the edge of the outer door will make all secure. - -[Illustration: FIG. 6. FIG. 7. FIG. 8. FIG. 9. FIG. 10.] - -On the inside of the outer door some tool-pegs may be arranged. Near the -bottom a bitt-rack should be fitted, with a leather strap formed into -loops, as described for the tool-rack. Under each loop a hole should be -bored in a strip of wood, into which the square end of the bitts will -fit, and thus insure their orderly position. For chisels a similar set of -pockets may be designed as shown in Fig. 8. - - -A Tool-chest - -The tool-chest shown in Fig. 10 is twenty-eight inches long, fifteen -wide, and twelve inches high. This is a good size for the accommodation -of a moderate-sized kit of tools. The interior fittings should include -two or three trays arranged to rest on runners and to slide back and -forth, so that tools may be reached at the bottom of the chest without -removing the trays. - -Obtain a pine or white-wood board fifteen inches wide, and free from -knots or sappy places. Cut two pieces twenty-eight inches long, and two -shorter ones twelve inches long. These will form the top, bottom, and -ends. Cut out the front and back pieces twenty-eight inches long and -twelve inches wide; then with glue and screws form a box, and let it -stand a day until the glue is hard. Make the joints as perfect and tight -as possible, so as to present a good appearance; then mark a line around -the box two and a half inches from the top. - -With a rip-saw cut the cover free from the body, and plane the rough -edges of the cut, so that the cover will fit the body snugly. Bind the -lid and the top and bottom edges of the chest with a strip of wood -three-eighths of an inch in width, as shown in the illustration; to look -well, the corners should be mitred. The lid is attached to the chest -with stout hinges, and a lock is arranged at the front. Stout handles at -the sides will be found a convenience. - -Two or three coats of olive-green paint, with a slightly darker shade for -the bands, will improve the appearance of the chest. To keep the hardware -from rusting, the lock, hinges, and handles should receive a coat or two -of black paint. - - -Joints - -One of the first lessons for the young carpenter to learn will be that of -making wood joints. Without good joiner-work there is no such thing as -carpentry, and it is the sign-manual of the competent artificer. There -are a great variety of joints employed in carpentry, but many of them are -too complicated for the boy carpenter to make, and the simple forms will -answer every reasonable requirement. - -The easiest joint to make is the straight, or box, joint. It is -constructed by butting the end of one board against the edge of another -and nailing, or screwing, them fast. - -Fig. 11 shows a lap-joint made by cutting away a portion of the wood on -opposite sides of the ends which are to be joined. When fastened the -wood will appear as a continuous piece. For corners and angles, where a -mitre-box is not available, the lap-joint is a very good substitute, and -for many uses it is stronger than the mitred-joint, and, therefore, to be -preferred. - -Fig. 12 is another form of lap-joint, where the end of a strip is -embedded in the surface of a stout piece of wood. This joint will be -found useful in furniture work, and also for frame construction in -general. - -Fig. 13 is a bevelled lap-joint, and is used for timbers and posts, -particularly under conditions where the joint can be reinforced by -another piece of wood at one or two sides. - -Fig. 14 shows a mortise and tenon. The hole in the upright piece is the -mortise and the shaped end on the stick is the tenon. The shaped end -should fit the hole accurately, and the joint is usually held with a -pin, or nails, driven through the side of the upright piece and into the -body of the stick embedded in the mortise. The mortise and tenon is used -extensively in framing, and for doors, window-sashes, and blinds. In -cabinet work it is indispensable. - -Fig. 15 is the mitred-joint. In narrow wood it is usually cut in a -mitre-box with a stiff back-saw to insure accuracy in the angles. The -mitred-joint is employed for picture-frames, screens, mouldings, and all -sorts of angle-joints. - -Fig. 16 is the tongue-and-groove joint, and is cut on the edges of boards -that are to be laid side by side, such as flooring, weather-boards, -and partitions. Before wood-working machinery came into general -use the tongues and grooves were all hand-cut with planes, but a -tongue-and-groove plane is now almost obsolete, all this class of -building material being mill finished. - -Fig. 17 A is a rabbet. It is cut on the edges of wood, and another -similarly shaped piece fits into it. It is also useful where wood laps -over some other material, such as glass or metal. The inner moulding of -picture-frames are always provided with a rabbet, behind which the edge -of the glass, picture, and backing-boards will fit. - -[Illustration: JOINTS, RABBETS, AND BENCHES - -FIG. 11. FIG. 12. FIG. 13. FIG. 14. FIG. 15. FIG. 16. FIG. 17. FIG. 18. -FIG. 19. FIG. 20. FIG. 21. FIG. 22. FIG. 23.] - -Fig. 17 B is a rabbet-joint made with a rabbet and groove. It is a good -one to employ for box corners, and where the edges of two pieces of wood -come together. - -Fig. 18 is the dovetail-joint used for boxes, drawer corners, chests, -and sometimes in cabinet work, where the corners are to be covered with -mouldings or edging-strips. - -Fig. 19 is the straight dovetail employed in the cheap construction of -small boxes for hardware, groceries, and other wares. Since the edges are -straight, this is the easier one to make, but care must be taken to have -the fitting accurate. - - -A Low Bench - -Small benches are useful to work upon when sawing, nailing, and matching -boards; and they are handy for many purposes about the house. The low -bench shown in Fig. 20 is fifteen inches high and twelve inches wide, and -the top is twenty-two inches long. The foot-pieces are cut as shown in -Fig. 21, and at the upper end at each side a piece is cut out to let in -the side-aprons. The aprons are three inches wide and seven-eighths of an -inch thick; they are held to the foot-pieces with glue and screws. In the -top a finger-hole is cut so that the bench may be quickly picked up and -the more easily handled. - - -A High Bench - -The high bench shown in Fig. 22 is twelve inches square and twenty-four -inches high, with a top fourteen inches square. The wood is seven-eighths -of an inch thick, and all the joints are made with screws. A hand-hole -is cut in the top with a compass or key-hole saw, and all the edges are -sand-papered to round them off. - - -A Step-bench - -A step-bench will be found useful for various purposes. It does not take -up so much room as a step-ladder and affords a more solid footing. The -bench shown in Fig. 23 is thirty inches high, fifteen inches wide, and -eighteen inches deep. The uprights that support the sides are five inches -wide; the treads of the first and second steps are six inches wide, and -that of the top step eight inches wide. The wood is seven-eighths of -an inch thick, planed on both sides, and all the unions are made with -screws. The cross-brace at the back and near the bottom is set into laps -cut in the edges of the upright supports, and to prevent the support and -side-pieces from spreading, stanchion-bars may be screwed fast to the -sides, under the first tread, and to the foot of the uprights. - -Two or three coats of paint will finish these benches and make them fit -for use about the house. - - -A Shoe-box - -A shoe-box and seat (Fig. 24) is a useful piece of furniture in any -bedroom. Two boxes, purchased at a grocery store, may be made to serve -the purpose, but for a really neat and workmanlike job the frame should -be constructed of boards three-quarters or seven-eighths of an inch in -thickness. A good size for the shoe receptacle is twenty-four inches -high, fifteen inches deep, and sixteen inches wide. The seat-box should -be thirty inches long, and fifteen inches high and deep. - -[Illustration: FIG. 24. FIG. 24 A.] - -These boxes are to be attached to each other with stout screws, and a -back the length of the two boxes, and having a rounded corner is to be -securely fastened to the rear of each box, as shown in Fig. 24 A. In the -shoe-box two shelves are screwed fast, and to the lower box a corner -should be arranged on hinges so that it may be raised from the front. The -back and seat and also the top of the shoe-box should be covered with -denim, under which a padding of hair or cotton may be placed. The denim -should be caught down with carriage-buttons and string, the latter being -passed through holes made in the wood and tied at the underside. Around -the front and sides a flounce of cretonne or denim may be gathered, -and hung from the top edge of the box and seat. If finished with gimp -and brass-headed tacks it will present a good appearance. Where the -drop-curtain at the edge of the shoe-box meets the seat the fabric is to -be divided, in order that it may be drawn to one side when taking out or -replacing shoes. - -[Illustration: FIG. 25. FIG. 26. FIG. 27.] - -A coat of shellac, or paint, will cover such parts of the wood-work as -are not hidden by the upholstery. Fig. 24 shows the finished article of -furniture. - - -A Shoe-blacking-box - -Every boy should own a shoe-blacking-box, such as is shown in Fig. -25. Otherwise, the brushes and blacking-box are apt to get widely -separated, and are never at hand when they are wanted. Moreover, it is -a slovenly practice to use a chair or stool as a foot-rest when engaged -in polishing one’s shoes, since the blacking is sure to discolor and -dirty whatever it touches. This shoe-blacking-box is twenty-four inches -high and eighteen inches square, the compartment being four inches deep. -Four sticks, two inches square and twenty-four inches long, will form the -legs. Each stick should be cut away at one end three-quarters of an inch -deep for a distance of five inches, as shown in Fig. 26, so that when the -side boards are fastened to them the joints will be flush. Two sides of -each stick should thus be cut away, and the small end of the stick may be -tapered slightly. The side boards, of three-quarter-inch wood and five -inches wide, are screwed fast to the top of the legs. - -A bottom sixteen and a half inches square is cut from boards and fastened -inside the frame, where it is held in place with steel-wire nails driven -through the lower edge of the side boards and into the edge of the -bottom, all around. - -Four brackets are cut and fastened with screws at each side of the box, -under the side boards. A cover is made and hinged to the box, where it is -prevented from falling too far back by a chain attached to the underside -of the lid and to the inside of the box. - -Over the front edge of the box bend a strip of zinc and tack it fast to -both the in and outside of the front board. This will prevent shoes from -chafing the wood away, and is easily cleaned when muddied up. - -With a thin piece of wood make a division in the box at one side, where -blacking and daubers may be kept. Also a drawer may be fitted to slide -in and out under the box. It should be constructed, as described for the -work-bench, and arranged to work on runners fastened to the inside of -the legs. Screw-eyes or staples should be driven into the ends of the -brushes and daubers, so that they may be hung up in an orderly manner on -hooks set in the wall immediately over the ledge. - -A few thin coats of olive-green or light-brown paint will add to the -appearance of this shoe-blacking-box, and the owner should take pride in -keeping it clean, and the brushes in good order. - - -A Shoe-blacking-ledge - -In a cellar where one of the chimneys is built with a recess, a -shoe-blacking-ledge may be made from four boards five inches wide. The -bottom is slatted, so that dirt will fall through. Fig. 27 shows quite -clearly how this can be done. One end is partitioned off to hold the box -of blacking. - -The ledge is twenty-four inches high, and the front board is bound with a -strip of zinc along the upper edge. The blacking-brushes may be kept in -the tray, but it is a better plan to hang them up against the brick-work -on steel nails. If the brushes are to be kept inside the tray, a lid -should be made and hinged to the back strip of the tray. When the lid is -raised it may be held against the brick wall with a wooden button. - - -An Easel - -Boys who have a talent for drawing and painting would undoubtedly like -to have an easel on which to work, and a good strong one may be made, at -moderate cost, in the following manner (Fig. 28). - -Obtain four pieces of clear white pine six feet long, two and a half -inches wide, and seven-eighths of an inch in thickness. These should be -planed on all sides. Two of the sticks should be tapered off at one end, -and slightly bevelled at the other. Nine inches from the top and twelve -inches up from the bottom laps are to be cut in the sticks at the back, -as shown in Fig. 29. Into these the ends of cross-pieces will fit. If the -concealed lap is too bothersome to make, it can be cut clear across the -sticks, as shown in Fig. 30. Glue and screws will make a strong joint. - -[Illustration: FIG. 28. FIG. 29. FIG. 30. FIG. 31. FIG. 32. FIG. 33. -FIG. 34.] - -The remaining long stick is the back support, or leg, and is to be hinged -to the upper cross-piece. With this leg the easel may be pitched at any -angle, and to prevent it from going back too far a guide-chain should -be attached to the leg, and the ends secured to the back of each upright -with staples. Holes are bored along the uprights at even distances apart, -and two wooden pegs are cut to fit snugly in the holes, and so hold a -drawing-board or canvas-stretcher. - - -A Clothes-tree - -A clothes-tree is a most serviceable article of furniture, and helps a -boy to form habits of neatness and orderliness in the care of his wearing -apparel. To make the one shown in Fig. 31 obtain a clear pine or ash -stick one and a half inches square and five feet long for the upright, -or staff. Also two pieces eighteen inches long, two inches wide, and -three-quarters of an inch thick for the feet; and four braces twelve -inches long, one and a half inches wide, and three-quarters of an inch in -thickness. - -Cut a lap in the middle of each foot-piece, as shown in Fig. 32, and with -glue and screws fasten them securely together, as shown in Fig. 33. Screw -this foot fast to the bottom of the upright stick, and strengthen the -four projecting feet with braces bevelled at the ends, so that they will -rest against the upright and on the foot, where they can be fastened with -screws, as shown in Fig. 34. Under the end of each foot, the half of a -small wooden ball, or a castor, may be arranged to raise the tree from -the floor. With a chisel and plane taper the top of the upright stick, as -shown in Fig. 31. - -At a hardware store purchase eight hooks and arrange them in alternating -pairs, as shown in the drawing. The wood-work should be shellacked or -painted to give it a finished appearance. - -When hanging clothes upon this tree place the coat, vest, and trousers -on the lower hooks, the shirt and underclothing on the hooks next above, -and on the top hooks the necktie and collar and cuffs. When dressing, the -clothing needed first will then be the nearest to hand. - - -Hanging Book-shelves - -In a room where space cannot be given up to a standing bookcase, it -may be possible to arrange a set of shelves to form a book-rack that -will hang against the wall. The construction of the hanging shelves -shown in Fig. 35 is very simple, and will require but a few boards, two -wall-strips, and a few yards of strong rope. - -For the shelves, obtain five pine boards eight inches wide, seven-eighths -of an inch thick, and from three to four feet long; also two pine strips -three inches wide, an inch thick, and four feet long. In the rear edge of -each board, at the ends, cut notches three inches long and an inch wide, -as shown in Fig. 35 A, into which the wall-strips will fit. Round off the -top of each wall-strip and screw them fast to the notched edges of the -shelves, first boring gimlet holes in both strips and shelves to prevent -splitting of the wood. - -Half-inch holes at the top of each wall-strip will admit the suspension -rope, which is of manila, and half an inch in diameter. Knot one end of -the rope and pass it up through holes made at the outer corners of each -shelf, and finally through the hole at the top of the wall-strips, and -cut it off three inches back of the hole. With a gouge-chisel a groove -should be made at the back of the wall-strip for an inch or two below -the hole, so that the rope end may be carried down and ravelled out. It -can then be glued and held fast to the wood with staples. Where the rope -passes through the hole in each shelf, drive several long steel-wire -nails into the edge and end of the board, allowing the nails to pass -through the rope and into the wood. - -Paint or varnish the wood-work, and securely anchor the wall-plates with -stout screws driven into the frame timbers, through the lath and plaster -of the wall. - - -A Corner Cabinet - -A corner cabinet of odd design and simple construction is shown in Fig. -36. The total height of the wall-plates should be thirty-four inches, -and at the top the shelf measures eighteen inches across. Each shelf is -rounded out at the front so as to afford more surface on which to place -books and bric-à-brac. The ends of each shelf are securely attached to -the side or wall-plates with screws, thus insuring a perfect anchorage -and a strong construction. - -Fig. 37 is a plan showing the shape of the sides or wall-plates. At -the widest part they should measure twelve inches across. Fig. 38 is a -plan of the top shelf, which is followed in shape by the others. They -decrease, however, in size as they near the bottom. The notch at the -middle of each shelf breaks the long curved line in a pleasing manner. -Two light metal rods from which curtains hang may be arranged under -the top shelf and the one next the bottom. Shellac or paint of some -appropriate shade will add to the appearance of this useful piece of -furniture. - -[Illustration: HANGING BOOK-SHELVES AND CHAIR CABINET - -FIG. 35. FIG. 35 A. FIG. 36. FIG. 37. FIG. 38. FIG. 39. FIG. 40.] - -When fastening this cabinet to the wall, care should be taken to pass the -screws securely into the studding or uprights. Otherwise the screws might -pull out under the accumulated weight, and a fall would be disastrous to -both the cabinet and its contents. - - -A Chair - -The construction of a chair is perhaps as interesting as anything in -carpentry. The one shown in Fig. 39 may be made from either soft or -hard-wood, the joints being all open and simple to cut. - -The legs are two inches square, the seat is sixteen inches square and -eighteen inches high, and the back posts are thirty-six inches long. The -front and back posts are cut out, as shown in Fig. 40 A and B. These -receive the cross-pieces that bind the legs and back together. The posts -are two inches wide and three-quarters of an inch thick. The side braces -are set two inches up from the floor and the back one four inches. The -front brace is let into the rear of the front legs, and is eight inches -from the floor to the lower edge. - -The seat is made from matched boards, and the back, ten inches wide, -is made from a single board, all the joints being glued and screwed -together. Chairs that are made in shops usually have the joints dowelled -or mortised, but the lap-joint is the easiest and strongest one to make. -Take care, however, that the cuts are accurately sawed, and that the -cross-pieces fit the laps so snugly that a mallet is necessary to help -drive the strips home. - -The seat and back of this chair may be covered with denim, leather, or -other upholstery material, drawn over curled hair, or cotton may be used -for padding, and fastened down around the edges with large flat-headed -tacks or upholstery nails. Shellac, varnish, or paint may be used to give -the wood-work a good appearance. - - -A Table - -It is not so difficult as it may seem to make a good strong table, but -care and perseverance must be exercised to obtain a satisfactory result. -When constructing a table bear in mind that every joint should be made to -fit accurately; otherwise it will quickly rack and become useless. The -proportions and shape for a serviceable table are shown in Fig. 41. Only -well-seasoned wood should be employed, and it should be free from knots -or sappy places. - -For the legs, obtain four sticks thirty-three inches long and two and a -half inches square. From two sides, near the end of each stick, cut the -wood away for five inches to a depth of seven-eighths of an inch, as -shown (at the top) in Fig. 40 B. Now cut two boards five inches wide and -forty-two inches long, and four more thirty inches long for the frame. -Six inches from the uncut ends of the legs saw and chisel out laps, so -that two of the thirty-inch lengths will fit into them, and with two -long and two short boards unite the legs, thereby forming a frame thirty -inches wide, forty-two inches long, and thirty-three inches high. An -under-shelf may be made twelve inches wide and long enough to extend two -or three inches over the cross-strips. - -The table top extends over the framework for three inches all around, -and it is made of narrow tongue-and-grooved boards driven together -and screwed down to the band around the top, formed by the thirty and -forty-two-inch boards. To finish this top nicely it may be covered with -felt, or with imitation leather, in old-red, green, or brown shades, -caught under the edge and made fast with stout tacks. - - -A Settle - -A comfortable settle (Fig. 42), for the piazza or yard, may be made from -pine, white-wood, cypress, or almost any other wood that may be at hand. - -It is fifty-four inches long, eighteen inches wide, and the seat is -eighteen inches above the ground. The sides are made from strips three -inches wide and seven-eighths of an inch thick, as shown in Fig. 43 A. -The arms are twenty inches long, six inches broad at the front, and cut -the shape shown in Fig. 43 B. The notches or laps cut in the rear posts -are to let in the strips forming the back and lower brace. - -The joints should be made with screws rather than nails, as they hold -better and do not work loose. Small brackets support the arms at the -front corner posts, and a batten at the middle strengthens the back of -the settle. A close inspection of the drawings will show the joints -clearly and indicate how the frame is put together. A few coats of paint -will finish the wood nicely, or it may be stained and varnished if the -wood has a pretty grain. Cushions and a sofa-pillow or two will add to -the comfort of this commodious seat. - -[Illustration: FIG. 41. FIG. 42. FIG. 43. FIG. 44. FIG. 45.] - - -A Suspended Settle - -A suspended settle (Fig. 44) is a convenient piece of piazza furniture, -and not a difficult thing for the young carpenter to make. - -The corner posts are two and a half inches square, and the boards used -in its construction are seven-eighths of an inch thick and four inches -wide. The seat is forty-two inches long and eighteen inches wide, and -the back is fifteen inches high from the seat. The arms are cut as shown -in Fig. 43 B, and securely screwed to the corner posts. The frame-pieces -supporting the seat-boards are let into the back and front posts, in -which laps have been cut, as shown at Fig. 45 A and B. They should be -securely fastened with flat-headed screws. Both the rail to which the -backing-boards are attached and the rear ends of the arms are let into -the corner post and fastened with screws. - -The seat is suspended from the ceiling of the piazza on four chains that -may be purchased at a hardware store or from a ship-chandler, or they may -be made by a blacksmith from iron three-eighths of an inch in diameter. -If it is not possible to obtain the chains, rope may be substituted, but -it will not look or last so well. - -Two yokes bolted to the top of the back posts and eye-straps for the -front posts will anchor the chains securely to the settle. The yoke is -shown at Fig. 45 C, and the eye-strap at Fig. 45 D. A bolt passed through -the top of the rear posts and through the holes in the yoke will secure -the latter firmly, and a nut will prevent it from slipping loose. Holes -are made in the arms, and the eye-straps are passed down through them and -attached to the front corner posts with screws, as shown in Fig. 44. The -back of the settle is composed of boards four inches wide and placed an -inch apart. - - -A Coal and Wood Box - -A combination box for coal and wood may be made from an ordinary -shoe-box, the sides and one end being cut down as shown in Fig. 46; -but a more serviceable one is constructed of boards seven-eighths of an -inch thick, planed on both sides, and with the joints securely glued and -screwed. - -The sides are twenty-six inches long and twelve inches high at the back. -At the front they are but four inches high. A back-piece ten inches wide -and twelve inches high is cut and fastened in place, and a front strip -four inches high is also made fast with glue and long, slim screws. - -A division-board is placed in the middle of the box, as indicated by the -line of screw-heads, and a bottom, ten by twenty-four inches, is held in -place with screws passed through the lower edge of the front, back, and -sides, and into the edges of the bottom. - -A lid the width of the box is hinged to a cross-strip over the partition. -A handle at the lower end will make it easy to lift the lid. Blocks with -the corners rounded off will serve as feet, one at each corner. - -Thin stain and two coats of varnish will finish the wood-work on the -outside. A coat or two of asphaltum varnish will be better for the inside. - -Sticks of wood for the open fire or kindling for the grate fire may -be kept in the square receptacle, while under the lid at least two -bucketfuls of coal may be stowed away. If the fuel-holder is used only at -the open fire, logs may be stood on end in the square box, and kindling -may be kept in the covered half. - - -A Flat-iron Holder - -A rack of shelves to hold flat-irons may be made of white-wood or pine -seven-eighths of an inch thick, the several pieces being securely -fastened together with screws. Two side-plates are cut four inches wide -and thirty inches long. The tops are bevelled and the bottom of each -piece is curved, as shown in Fig. 47. - -[Illustration: FIG. 46. FIG. 47. FIG. 48. FIG. 49.] - -The shelves are two inches wide and eighteen inches long. They are spaced -eight inches apart, having the front edge flush with the edge of the -side-plates, and leaving a space two inches wide from the rear edge to -the wall. Wall-plates two inches wide are let into the rear edge of the -side-plates two inches above the shelves. Against these the bottom of the -irons will rest. - -A top and a bottom board, cut as shown in the illustration, are to be -attached to the wall-plates, and the complete rack of shelves should be -fastened to the kitchen or laundry wall with stout screws set firmly into -the studding. - -Two coats of olive-green or brown paint will finish this holder nicely, -or it may be painted any color to match the wood-work in the kitchen or -laundry. - - -An Umbrella-stand - -An umbrella-stand does not occupy much space, and it is a convenient -receptacle for umbrellas, canes, ball-bats, and golf-clubs (Fig. 48). - -To make one it will require four pieces of clear pine or white-wood -thirty inches long, ten inches wide, and half an inch in thickness. There -is also a bottom board nine and a half inches square and seven-eighths of -an inch thick, to which the lower ends of the boards are to be screwed -fast. A high, narrow box is to be formed of the boards, one side of each -board being attached to the edge of the next one, as the illustration -shows. Shellac or varnish will give the wood-work a pleasing finish, -especially if it is white-wood, cypress, or spruce. - -A design may be worked out on one side with large oval-headed hobnails -painted black. These may be purchased at a shoemakers for a few cents a -paper. The design should first be drawn on thin brown paper and held on -the wood with pins. The nails are driven along the lines of the ornament, -but before they are hammered home, the paper should be torn away so that -none of it is caught under the nail-heads. - -A zinc tray six inches high, and made to fit in the bottom of the box, -will hold the drippings from wet umbrellas. Rings soldered at the top -edge of the tray will permit it to be removed for cleaning. - - -A Plant-box - -For growing plants and flowers that always look well around a piazza -rail, the plant-box shown in Fig. 49 will be found useful. One or more -boxes may be made from pine boards an inch thick and eight inches wide. -The boxes should be six inches deep, outside measure, and they may be as -long as desired to fill the spaces between the piazza posts. - -Straight or box joints are made at the corners and fastened with screws. -The inside of the boxes should be treated to several successive coats of -asphaltum varnish to render them water-proof. Several small holes must be -bored in the bottom of each box to drain off surplus moisture, and the -boxes and supports may be painted a color to match the trimmings of the -house. - -To anchor the boxes, screw a batten to the balustrade, on which the inner -edge of the box may rest. The outer edge is supported by means of braces -attached firmly to the underside of the box and to the piazza floor, as -shown in the illustration. Two small brackets attached to the underside -of the box and to the batten will hold the box in place and prevent it -from slipping off the top of the batten. - - -A Final Word - -The few objects shown and described in this chapter are, of course, but -a small part of the things a wide-awake boy will think of and wish to -make. The principles involved in these examples, however, will apply to -scores of other things that may be constructed. Once these simpler forms -of workmanship are mastered the young craftsman will go forward naturally -to the higher exercise of his art. Carpentry is a fascinating occupation, -and it is well worth while, since its results are of practical use and -value. - - - - -Chapter II - -WOOD-CARVING - - -A knowledge of drawing and modelling will be most helpful to the young -carver, as then the outline of ornament can be readily drawn, while to -carve objects from wood the art of modelling form is most desirable. - -If the beginner possesses a knowledge of form acquired by drawing -and modelling, the art of wood-carving may be readily and quickly -mastered; but even if these advantages should be lacking, it is possible -that considerable progress can be made by those who will follow the -instructions given on these pages. - -The most important feature of carving is the ability to sharpen and -maintain the little tools, and when this is mastered, more than half the -difficulty has been overcome. The dexterity to handle, with a firm and -sure hand, the various chisels and gouges comes, of course, with practice -only. - -It is better to begin with a soft wood. Pine, poplar, button-wood, -cypress, or red woods are all of close grain and are easy to work. The -harder woods, and those with a very open grain—such as chestnut, ash, and -oak—should not be carved until the first principles are learned in the -softer woods. - -Carving takes time, and it is not an art that can be quickly mastered, -unless it be the chip-and-line variety. But this last can hardly be -compared to the more beautiful relief-carving, with its well-modelled -form and undercutting. - -A boy may learn the first principles of carving, using only his small, -flat carpenter’s chisels and gouges; but for more advanced work he -will need the regular carving-chisels. These latter are sharpened on -both sides, while the carpenter’s chisels are ground on one side only. -Nevertheless, some very good work has been done by boys who had nothing -better than a small gouge, a flat chisel, and a penknife. The true artist -can work in any material and with the most indifferent of implements. - - -Tools - -At the start a numerous assortment of tools will not be necessary, as the -flat work and chip-carving will naturally be the first department of the -art to be taken up by the young carver. - -Six or eight chisels constitute a good set, and those shown from Fig. -1 to 6 will answer very well. Fig. 1 is a plain, flat chisel with a -straight edge, as shown at A; it is commonly called a firmer. Fig. 2 is -also a flat tool, but possessing an angle or oblique edge; it is commonly -called a skew-firmer. Figs. 3 and 4 are gouges. Fig. 5 is a V gouge, and -Fig. 6 is a grounder. G, H, I, J, and K are gouges of various circles. L -is an angle, or V, gouge. M, N, and O are gouges of various curves, and -P, Q, and R are V gouges of various widths and angles. These last are -used for furrows, chip-carving, and lining. - -[Illustration: A FIG. 1. - -B FIG. 2. - -C FIG. 3. - -D FIG. 4. - -E FIG. 5. - -F FIG. 6. - -G H I J K L M N O P Q R] - -A flat felt or denim case should be made for the tools, so that they may -be kept in good order. It is made of two strips of the goods, one wider -than the other. Two edges are brought together and sewed, and lines of -stitching form pockets for the chisels. The flap left by the wider strip -of goods is folded over the chisel ends, and the pockets containing the -tools may be rolled up and tied with tape-strings. When opened it will -appear as shown in Fig. 7. The edges of chisels kept in this manner -are insured against injury and rust, since the case protects them from -atmospheric moisture. - -The stones needed for sharpening the tools will be an ordinary flat -oil-stone (preferably a fine-grained India stone), and two or three -Turkey or Arkansas slips, four or five inches long, having the shapes -shown in Fig. 8. A, with the rounded edges, is for the gouge tools; B, -with the sharp edges, is for V-shaped tools; and any of the flat chisels -may be sharpened on the regular oil-stone, C. - -In Fig. 9 end views of some slips are shown. A and B are round-edged -slips for gouge-chisels; C and D are angle stones for V chisels; while -small, flat tools may be finished on the sides. These stones are held in -the hand, and lightly but firmly rubbed against both surfaces of a tool -to give it the fine cutting edge. - -In Fig. 10 an oil-stone in a case is shown. A boxed cover fits over it -and protects it from grit and dust. This is important, for often a little -gritty dust will do more harm to the edge of a fine tool than the stone -can do it good. - -The other tools necessary to complete the kit will be several clamps, -similar to those shown in Figs. 11 and 12, and a fret-saw (Fig. 13). If -you happen to possess a bracket-machine or jig-saw the fret-saw will not -be necessary. A glue-pot will also be found useful. - -[Illustration: FIG. 7. FIG. 8. FIG. 9. FIG. 10. FIG. 11. FIG. 12. FIG. -13.] - -The first essential to good, clean cutting is that the tools shall be -absolutely sharp and in a workmanlike condition. It is often the case -that an amateur’s tools are in such a state that no professional carver -could produce satisfactory results with them. And yet the variety of -carving tools is so limited that if the difficulties of sharpening a -firmer and gouge are mastered the task is practically ended. - -If the tools should be unusually dull they must first be ground on a -grindstone, and as carvers’ tools are sharpened on both sides, they must -be ground on both sides. The firmers may be sharpened on the oil-stone -laid flat on the bench, but the gouges must be held in the hand, in order -to sharpen the inside curve with a slip. The outer curve can be sharpened -on the flat oil-stone, or held in the hand and dressed with the flat side -of a slip. Great care must be taken to give the tools a finished and -smooth edge. When they have reached the proper degree of sharpness it -will be an easy matter to cut across the grain of white pine, leaving a -furrow that is entirely smooth and almost polished. - -In the use of the oil-stone and slips, neat’s-foot oil, or a good, thin -machine oil, should be employed. Astral oil is too thin, but the oil -sold in small bottles for sewing-machines or bicycles will answer every -purpose. Water should not be used, as it would spoil the stones, and not -produce the sharp edge on the tools. - -The finest stones are the best for use, and although they take longer to -give the keen edge required, they will be found the most satisfactory in -the end. Avoid grit and dust on the stones, and before using them they -should be wiped off with an oiled rag. The beginner must not consider any -pains too great to make himself thorough master of the tools, and to keep -a perfect edge on all of them. - -The tools being in proper condition, the next step is to acquire a -knowledge of the best methods of handling them. It will require some -time and practice to become thoroughly familiar with the manner in which -tools are used, and, if it is possible, it would be well to watch some -carver at work. - -The chisels should always be held with one hand on the handle, with two -fingers of the other hand near the edge of the tool. This is to give -sufficient pressure at the end to keep it down to the wood, while the -hand on the handle gives the necessary push to make the tool cut. - - -A Carver’s Bench - -A carver’s bench is a necessity for the young craftsman, but if it is not -possible to get one, a heavy, wooden-top kitchen table will answer almost -as well. The proper kind of a bench gives greater facility for working, -since it is more solid and the height is better than that of an ordinary -table. Any boy who is handy with tools can make a bench in a short time -of pine or white wood, the top being of hard-wood. If the joiner-work is -not too difficult to carry out, it would be better to make the legs and -braces of hard-wood also, to lend weight and solidity to the table. - -[Illustration: FIG. 14.] - -The wood should be free from knots and sappy places, and as heavy as it -is possible to get it, so as to make a really substantial bench. The top -should measure four feet long and thirty inches wide, and not less than -one inch and a half in thickness. The framework must be well made, and -the corner-posts and braces securely fastened with lap-joints, glue, -and screws. The top of the bench should be thirty-nine inches high, and -to one side of the bench a carpenter’s vise may be attached, as shown -in Fig. 14. The jaw of the vise is seven inches wide, one and an eighth -inches thick, and thirty-four inches long. It is hung as described for -the carpenter’s bench (see Carpentry, Chapter I.). A wood or steel screw -may be purchased at a hardware store, and set near the top and into -the solid apron side-rail. The posts are four inches thick, and the -cross-pieces and rails should be of seven-eighth-inch hard-wood four -inches wide. The top overhangs the framework two inches all around, thus -forming a ledge, to which the plates of wood or panels may be bound with -the clamps and bench-screws. Where a clamp cannot be used, a cleat, -as shown in Fig. 11, is screwed fast to the top of the table, and the -projecting ear catches the edge of the wood and holds it securely. - -A coat of varnish or paint on the legs and braces will finish this bench -nicely, and it will then be ready for the young workman’s use. - - -Chip-carving - -To begin with, it is best to work on a simple pattern that can be -followed easily. - -[Illustration: _Fig. 15 A._] - -Get a piece of yellow pine, white-wood, or cypress seven-eighths of an -inch thick, six inches wide, and twelve inches long. On a piece of smooth -paper draw one-half of a pattern similar to the one shown in Fig. 15 A; -or you may use any other simple design that is free in line and open -in the ornament. Upon the wood lay a sheet of transfer-paper, with the -black surface down, and on top of the transfer-sheet the paper bearing -the design. Go over all the lines with a hard lead-pencil, bearing down -firmly on the point, so that the lines will be transferred to the wood. -Turn the design around and repeat the drawing, so that the wood will -bear the complete pattern. Clamp the wood to one side or corner of the -bench with three or four clamps. Do not screw the clamps directly on the -wood, but place between the jaw and the wood a piece of heavy card-board, -or another piece of thin wood, to prevent the clamps from bruising the -surface of the panel. - -First, with a small V, or gouge-chisel, cut the lines; after that the -leaves, using a flat, or spade, chisel. Two curved incisions will shape -out the leaf, and the angle through the centre describes the main vein. -The chipping may be shallow or deep, as a matter of choice, but more -effect may be had by cutting fairly deep. - -[Illustration: _Fig. 15 B._] - -The finished result will appear as shown in the illustration of the -chip-carved panel (Fig. 15 B). For light ornamenting or drawer-panels, -fancy boxes, and picture-frames, this form of carving may be made both -pleasing and effective. Moreover, its mastery leads naturally to the more -artistic relief-carving. - - -A Frame for a Small Clock - -[Illustration: _Fig. 16._] - -[Illustration: _Fig. 17._] - -Get one of the little nickel-plated clocks (sold at sixty cents and -upwards). Lay it down on a smooth piece of soft wood—pine or cedar—about -seven by eight inches. Mark around it closely with a lead-pencil, and -cut out the circular opening with your knife. If you happen to have a -fret-saw or suitable tools, you can make it of hard-wood. Smooth nicely -with sand-paper. The clock must fit closely into the opening. You will -find Fig. 16 very easy to do. Cut out the lines, being careful not to let -the tool slip when cutting with the grain. Dilute the walnut stain with -turpentine, and paint the design inside the lines; the grooves prevent -the color spreading. Let it dry. The next day, with a wad of cotton or -piece of canton flannel, rub on some varnish. Soft wood absorbs it very -rapidly at first until the pores are filled. When quite dry, sand-paper -nicely. Then rub again with varnish, a little at a time. Keep raw -linseed-oil near you in a cup; dip one finger of your left hand in this -when the work becomes sticky, and apply to the pad; it helps to spread -the varnish. Rub briskly with a circular motion. The varnish will dry -quickly, when it must have a final polish; this brings out the beauty of -the grain. If carefully done, your work will resemble inlaying. - - -Some Other Designs - -The daisy design (Fig. 17) is charming when finished, and has the -additional merit of being easy. Cut the daisy form from a visiting-card, -and mark around it. Stain the centre much darker than the petals. - -Table-tops, jewel-boxes, calendar frames, chairs, etc., may be purchased -already polished, and outlined in some dainty pattern. A finer tool (No. -11, 1/64) comes for this kind of work. Of course it cannot be stained, -but if desired the background may be stamped with a star-pointed “marker” -to give the design prominence. - -These patterns may be adapted for the decoration of glove-boxes, -bread-plates, knife-boxes, stools, blotting-books, card-cases, -match-boxes, music-portfolios, and many other things, which will sell -well at fancy fairs, or be highly appreciated as presents. - - -Relief-carving - -Relief-carving differs from the chip work in that the ornament is raised -instead of being cut in. Solid relief-carving, such as appears on panels, -box-covers, and furniture, is produced either by cutting the background -away or by carving the ornament separately and then gluing it onto the -surface of the article to be decorated. Of course, this latter process is -only a makeshift, and the first method is the really artistic one. - -It is best to begin with something simple and then go on to the more -complicated forms of ornamental work. A neat pattern for a long panel is -shown in Fig. 18 A. This panel is twelve inches long and four and a half -inches wide. - -[Illustration: _Fig. 18 A._] - -On a smooth piece of paper draw one-half of the design and transfer it -to the wood, as described for the chip-carved panel. Clamp the wood to a -corner of the bench and, with a small wooden mallet and both firmer and -gouge-chisels, cut down on the lines and into the face of the wood. Then, -with the gouges and grounding-tool, cut away the background to a depth -of one-eighth of an inch or more, until a result is obtained similar to -that shown in Fig. 18 B. The entire design and edge of the panel will -then be in relief, but its surface will be flat and consequently devoid -of artistic feeling. With the flat and extra flat gouge-chisels begin to -carve some life into the ornament. A little practice will soon enable the -young craftsman to observe which parts should be high and which should be -low. The intermediate surfaces should be left neutral, or between high -and low relief. This finishing process depends for its effect upon the -good taste and feeling of the craftsman; it is the quality that gives -artistic beauty and meaning to the work. The panel, when completed, -should have the appearance shown in Fig. 18 C. - -[Illustration: _Fig. 18 B._] - -As already stated, the general effect of relief-carving may be also -obtained through the “applied” method, a simpler and less tedious -process, but neither so artistic nor so substantial. - -[Illustration: _Fig. 18 C._] - -[Illustration: _Fig. 19 A._] - -The design is transferred to a thin piece of wood and cut out with a fret -or jig saw. Fig. 19 A shows a suitable pattern for this class of work. -The pieces are then glued in position on a thick piece of wood, and the -“feeling” carved in after the fashion already indicated. This “applied” -carving may be used on the panels of small drawers, cabinets, and boxes -of various sizes and shapes. The inventive boy will be able to design -patterns for himself, or they may be cheaply bought. Fig. 19 B shows the -effect of the finished work. - -[Illustration: _Fig. 19 B._] - - -Mouldings - -In Fig. 20 some designs are given for carved mouldings, and at the side, -end views are shown. - -Plain mouldings of various shapes may also be bought at a mill, or from a -carpenter, and may be given “life” with a little care and work. Both hard -and soft wood mouldings are available, but at first the softer woods will -be found the easier to work. - -A plain corner on a wooden picture-frame may be built up with blocks of -wood glued on as shown in Fig. 21 A. When carved this piece will have the -appearance of the finished corner shown in Fig. 21 B. The arms of chairs, -corners of furniture, and the like may be treated in this same manner. - -When flat and relief carving have been mastered, it would be well to -attempt something in figure and free-hand work, such as animals, fruit, -or heads. But it will take a good deal of practice on the simple and -conventional forms before the amateur will feel himself competent for -the more advanced art. As improvement in the flat work is noticed, the -ornament may be “undercut” to give it richness and boldness. - -[Illustration: _Fig. 20._] - -To finish wood in any desired color, stains may be purchased at a paint -or hardware shop. Over the stained surface, when dry, several thin coats -of hard-oil finish or furniture varnish should be applied. The back and -edges of a carved panel must always be painted to protect them from -moisture and dampness; warping and splitting are thereby avoided. Some -pieces of carving need only a coating of raw linseed-oil, while others -may be treated to a wax finish composed of beeswax cut in turpentine, -rubbed in with a cloth, and polished off. Another method of darkening oak -(before it is varnished) is to expose it to the fumes of ammonia, or to -paint on liquid ammonia, with a brush, until the desired antique shade is -obtained. The staining process, however, is preferable. - -[Illustration: FIG. 21 A. FIG. 21 B.] - - - - -Chapter III - -FRETWORK AND WOOD-TURNING - - -Nearly every boy has had, at one time or another, a desire to make -scroll-brackets, fretwork-boxes, and filigree wood-work of various sorts. -The art is naturally affiliated with other decorative processes in -wood-working, such as wood-turning, carving, and marquetry, or the art of -inlaying woods. Both fretwork and wood-turning are very old crafts, and -were practised by the ancient Egyptians, specimens of their work being -still extant. - -A great deal of amusement and pleasure may be had in the possession of -a scroll-saw, or “bracket machine,” as it was commonly known among boys -some years ago. And first, as to the implements required. - - -The Tools - -To those who can go to the dealer and pay for just what their fancy -dictates, there is no trouble to procure all the tools that may be needed -for the finest work; but others who cannot afford this luxury may get -along nicely with a very small outlay. In fact, in nearly every instance -known to the writer where the amateur has really rigged up his own -machine, he has become master of the art sooner. A number of years ago -the writer, then a school-boy, transformed an old sewing-machine table -into a scroll-saw and lathe, and to-day this homely old stand and crudely -put together machine does as good work, with as little effort, as the -finest and most expensive outfit. This machine, all complete, with the -drilling attachment, cost: old machine, one dollar; dozen saws, assorted, -twenty-five cents; new material, rivets, etc., sixty-five cents; drills -(still in use), fifteen cents; total, two dollars and five cents. - -This money was saved from building fires and taking up ashes, and the -first time the saw was run—one cold, stormy day in late November—there -was cut up material which, when put together and sold (playmates and -school-fellows being the customers), amounted to over three dollars in -cash, besides a few pocket-knives, bits of rare wood, and the like that -were taken in exchange. - -Making a fine scroll-saw from a sewing-machine is of itself an easy -matter. The balance-wheels should be retained, in order that all back -lash can be easily overcome. The two arms holding the saw are to be -geared from some wheel in the rear or connected with a belt. If the -wrist-pin (the crank, or pitman wrist) gives too long a motion, it can -be easily taken up by either drilling another hole nearer the centre or -using a bent crank-pin. In any event the cut should not be over one inch. - -Another method of shortening the stroke (and a very good one if the means -of making the other changes are not at hand) is by changing the bearing -of the arm. The nearer the saw the shorter the stroke. The clamp-screws -holding the saws should be adjustable, so that either a long or a short -saw-blade may be used. Those who break their blades (and there are none -who do not) will find great economy in using adjustable clamps, as the -short pieces can be used for sawing thin stuff, veneers, and the like. -The best kind of clamp is provided with a slit to receive the blade and a -set-screw for tightening. - -The tools necessary for hand-sawing are very simple and inexpensive, -consisting of a wooden saw-frame, one dollar; dozen saw-blades, twenty -cents; one clamp-screw, twenty-five cents; drill and stock, fifty cents; -total, one dollar and ninety-five cents. - -In selecting saw-blades be careful to buy only those with sharp and -regular-cut teeth. Saws are graded by number for hand-sawing. Numbers 0 -and 1 are the best sizes, unless for very delicate work, when finer ones -should be used. The larger blades have coarse teeth, which are liable -to catch in the work and tear it. Since, at the best, the motion of -the hand-saw is jerky, not nearly so nice work can be done as with the -treadle-saw, which has an even, steady gait. - -For all open-work it is necessary to have something to punch holes, so -that a start may be made on the inside. Many use an ordinary brad-awl, -but this is liable to split the wood. Besides, it is not possible to -punch a hole so smooth and nice as it can be drilled or bored; hence, a -drill is included in the list, and it will be found a very handy tool for -either hand or treadle saws. The most serviceable article of this kind is -the small German drill-stock, that can be bought with six drill-points, -assorted sizes, for fifty cents, or the small hand-drills, with side -wheel and handle, and provided with a small chuck to clutch the drill. - -From what I have said, it should not be inferred that any objections -are made to any of the beautiful little machines now to be bought at -moderate cost. By all means, when the expense can be afforded, these -should be used. The good ones will do the most delicate work, can be run -with great ease, and will cut from eight to twenty pieces at a time, -according to the thickness of the wood, leaving the edges of the work -perfectly smooth. In using treadle-machines, insert the saw-blades with -the teeth pointing downward and towards the front of the machine, and -guide the wood easily with the fingers, with the wrists resting firmly -on the table, being careful not to feed too fast or crowd against the -saw sideways. Otherwise the blades will be heated and broken, and they -will wear away the little wooden button set at the centre of the plate to -prevent the saw from touching the metal work-table. - - -The Practice of the Art - -Most boys know how to run a scroll-saw, or think they do, yet a few -practical hints should not come amiss. - -To begin with, the machine should be well oiled, all nuts, screws, and -bolts turned up tight, and the belts adjusted at sufficient tension to -run at a high rate of speed without slipping. Many machines, even in -large mills, are groaning and filing out their journals and bearings -simply because the belts are too tight. One of the first principles to -be mastered in applied mechanics is that of power transmission, and -right here the young workman has the best of opportunities to solve, in a -measure, a great mechanical problem—namely, a belt tight enough to drive -the machine and do the work, and loose enough to run easy and cause no -unnecessary friction or wear on the journals and boxings. - -For your first practice take some cigar-box wood (of which a good stock -should be kept), and trace upon the dark sides a series of angles and -curved lines. Never, under any circumstances, begin sawing without a -tracing, or a pattern of some kind, to saw to, for now is the time to -cultivate habits of accuracy. With no design or objective-point, nothing -but a bit of useless board will result; besides, you will form a habit of -working without a guide, a habit that has made more poor artisans than -the love of idleness and bad company. Lay the wood on the rest, or plate, -and see that it lies solidly. If it shakes, the wood is uneven and should -be straightened, for no one can saw a warped board and make accurate -work; besides, it is impossible to work in such wood without breaking -the saws. The wood being level, hold it down with the left hand, fasten -securely a No. 1 blade in the frame, and begin sawing, being careful to -keep the motion very high and feeding slowly, sawing out the tracing -lines, or keeping close to one side of them. If an ordinary hand-frame is -used, work it firmly in one direction, keeping the blade perpendicular, -and turning the wood so that the saw may follow the pattern. - -After you have thoroughly learned the motion of the machine, the cutting -of the saw, feeding, etc., try sawing a straight line, being careful not -to push or crowd the blade sideways, as this will not only make the lines -crooked, but will heat and ruin the blades, if it does not break them. -When you have become an adept in following a straight line, and cutting -the lines of a curve accurately, mark out several Vs and squares. To saw -a V begin at the upper end and saw down to the point; now back the saw -out, and saw from the other end down to the same point. If the line is -carefully followed, this will insure a sharp, clean-cut angle. To cut -out a square hole, saw down to the angle, then work the blade up and -down in one place rapidly until it becomes loose; then turn the wood at -right angles and saw carefully along the line to the other corner, when -the operation may be repeated. Just as soon as you can saw straight and -curved lines true to tracings, it is safe to begin good work with little -if any fear of spoiling lumber or breaking an undue number of saws. - - -The Preparation of the Work - -One of the simplest objects for a beginner to try his skill upon is a -wall-bracket such as shown in Fig. 1. A piece of cedar—the bottom and lid -of a cigar-box will answer the purpose excellently—from seven to eight -inches in length by six and a half in width is a convenient size. The -shelf is a semicircular piece either plain or scalloped in front, and its -support must be of light, open, but strong design to match one-half of -the lower design to the wall-plate. Hinges are sometimes placed to all -parts in order to make it easy to pack the bracket. But such additions -can only be made by the expert craftsman. - -The first thing to be done is to trace the design on a thin piece of -paper after it has been drawn roughly on a smooth sheet of brown paper. -When the tracing is complete, lay it face downward, and cover it with -powdered red chalk. The tracing is then imposed on the wood, with the -red side downward. With a blunt bodkin or lead-pencil we now draw firmly -along the lines, thus reproducing the tracing on the surface of the wood. -Having accomplished this, we remove the paper, and with pen and ink make -a complete drawing of the outlined design on the wood. - -In designing fretwork great care must be taken to get the two sides -of the pattern alike and in correct drawing. This can best be done by -drawing the design on tracing-paper, and doubling it over when, with a -little extra pressure of the pencil, a good design can be obtained on -both sides of the paper. - -When this has been accomplished pierce the wood at various points with a -drill. The holes thus made are to allow the saw to enter. The wood may -now be put in the clamp. Then with a moderately strong saw the young -beginner can make his first attempt. The frame must be held perfectly -straight and the arm worked steadily up and down. - -Turning the saw is always a difficult point with amateurs, but in reality -there is but little in the operation that cannot be mastered with a few -moments’ practice. The secret of turning neatly and without damaging -either saw or wood is to work very steadily up and down, but not forward, -when the turning-point has been reached. Then by a sharp and active -movement of the wrist and wood the saw should be turned, but not jerked, -and the new line commenced. Sometimes, however, the delicacy of the -pattern makes this impossible. The saw should then be pulled backward and -forward gently until a sufficiently large hole has been made. - -It is impossible, within the limits of this chapter, to give designs for -any considerable number of the articles that can be made in fretwork; -but with the descriptions just given, and the few accompanying patterns, -a boy who has any idea of drawing and designing can put parts of an -ornament together and so work out new and attractive variations. - - -A Match-safe - -[Illustration: FIG. 1. FIG. 2. FIG. 3.] - -The design for a match-safe is shown in Fig. 2, the wall-plate measuring -two inches and a half in width and seven inches high. One side of the -pattern should first be drawn in free-hand, then traced and transferred -to the thin wood and the lines gone over with a sharp-pointed, hard -pencil, so that it will be an easy matter to see them when sawing. - -The front plate of the match-safe is shown at B and one end at C. The -front is two and a half inches long and one inch wide, and the ends are -made in proportion, or about seven-eighths of an inch wide. These parts -are put together with slim steel nails and glue, having first drilled the -holes where the nails are to be driven to prevent them from splitting the -wood. - -Most of the modern scroll-sawing machines have movable beds, so that -bevel cuts can be made. This is done by tilting the bed or table -slightly, as shown in Fig. 3. As a result the work will have a narrower -face than the back, as shown at the right side of the bracket in Fig. 1. -However, in making the front, or bracket part, there should not be any -bevel-cutting, since it would look one-sided. Keep the bed flat in that -case, and make the regular cuts for straight work. - - -A Wall-bracket - -The simple bracket shown in Fig. 1 is an easy one to draw, and it may -be cut from holly, birch, oak, or any good wood about one-eighth of an -inch in thickness. The bracket or front-piece is half the back-plate, -omitting the top ornament. The shelf (A) may be rounded, scalloped, or -cut serpentine, as indicated by the dotted lines, and the three parts are -put together with fine nails, or screws, and glue. - - -A Fretwork-box - -For a glove or necktie box an attractive design is shown in Fig. 4, -A being the top and B the front or back. The ends should be made a -proportionate size, and a part of the traced ornament can be transferred -to them, so as to match the other parts. - -[Illustration: A GLOVE-BOX AND A T BRACKET - -FIG. 4. FIG. 5. FIG. 6.] - -A good size to make this box will be ten inches long, five inches wide, -and three inches deep. This should be the size of the main rib or -rectangle in the top, and out from it the scallops project three-quarters -of an inch all around. - -Lay out one-quarter of the cover design on a piece of smooth paper; -then make a tracing of it. With a piece of transfer-paper this quarter -should be gone over with a blunt lead-pencil, so that the lines will be -transferred to the wood. Take care when making a transfer to see that -the quarter has been accurately placed on the wood so that a perfect -rectangle will be had. - -Put this box together with glue and small, slim nails, and arrange a -bottom of thin wood to fit where the lower cross-rib of the sides is -shown. If the saw leaves ragged edges at the reverse side of the wood, -they may be cleaned off with fine sand-paper or a small file. - - -Some Other Designs - -Another design for a bracket is illustrated in Fig. 5; and in Fig. 6 -a T is shown that may be used for a bracket or a wall-hanger, along -the top edge of which small hooks may be arranged to hold a shoe-horn, -button-hooks, scissors, and other small bedroom accessories. - - -Wood-turning - -The common examples of wood-turning with which a boy is most familiar are -tops, balls, bats, dumb-bells, Indian clubs, broom-handles, and spools. -All of these objects are made in a lathe, and this is the self-same -machine that has been in use for centuries, with but few modifications. -Like the potter’s wheel, it is simplicity itself and needs no improvement. - -The object of a lathe is to cause a piece of wood or other material to -revolve from end to end, so that when a chisel or other sharp-edged tool -is held against the moving surface it will cut away that part of the -material at which the tool is directed. - -The boy who lives near a wood-working establishment, or mill, can gain -more knowledge in watching a wood-turner at work for half an hour than -he can learn from reading a book on the subject for many days. It is a -simple craft, but a firm hand and a true cut are the important factors in -making a boy a master of the lathe. - -Once the knowledge is gained, however, it is an easy matter to turn all -sorts of objects. - -A simple lathe may be made from a small table, a grindstone, a -trunk-strap, and several small parts that are easily gotten together. -Read how in his boyhood days the author constructed a small lathe. - -Between the legs of a table two bars were nailed across for supports to -the shaft, which was made of oak and measured three feet long and one -inch square. This just fitted the hole in a grindstone that was used for -the balance-wheel. Six inches from the ends of the shaft the corners were -cut away to form bearings on the cross-bars, which were hollowed out -to receive it. A leather strap was nailed over to keep it in position. -The grindstone was next placed on the shaft, near one end, between -the bearings, and wedged. Over it two brackets, four inches high, were -screwed in position on the table top, six inches apart, forming a support -for a shaft of a small wheel or pulley made of wood. In the end of an ash -shaft, one inch square and eight inches long, were three sharp points -made by driving in nails without heads, the projecting ends being filed -to points; these, forced against the block, held one end firmly enough -to turn. The places where the bearings came were cut in the form of a -cylinder three-quarters of an inch in diameter, and corresponding places -were hollowed in the supports (as shown at Fig. 8) to receive it, a small -piece of wood being screwed on over each, after the shaft and wheel were -put in position. - -A belt was made of an old trunk-strap, passed round the grindstone and -through two holes in the table over the little wheel, causing the latter -to revolve very rapidly when the former was turned. This was done by a -treadle put in the following manner: Two cranks were made (A in Fig. 7) -by a blacksmith and attached to the ends of the long shaft. They were -three inches long and had a knob on the end of the handle to prevent the -connecting-rods from slipping off. The latter were of hard-wood, with -a half-inch hole bored through near one end. They were then split six -inches, allowing them to be placed on the handles. A screw was then put -in to secure them, the lower ends being connected with a treadle made as -in Fig. 7. - -[Illustration: FIG. 7. FIG. 8. FIG. 9.] - -The second spindle at first was made immovable by inserting a piece of -quarter-inch wire in a wooden bracket, which was screwed to the table; -but finding it not always convenient to use blocks of the same length, -one was arranged to slide; it could be secured in any position with -thumb-screws. A long cut a quarter of an inch wide was first sawed in -the table in the line of the short shaft; then a bracket three inches -high was screwed to a short strip two inches wide, one inch thick, and -a foot long. A similar strip was placed beneath, through which two -thumb-screws passed. A piece of wire, filed to a point and driven in -the bracket, served for a centre. A movable block of wood three and a -half inches high was used for a tool rest, which by means of two small -bolts and thumb-screws was held fast to the table top. Slots cut in the -table top made it possible to move this rest forward or backward, and the -thumb-screws, or winged-nuts, as they are properly called, were tightened -at the under side of the table, as shown at Fig. 9. - -A great deal of pleasure may be had at little or no cost with a lathe of -this description. All sorts of small things may be turned, and when a boy -has mastered the craft it would be well to add an iron lathe to his stock -of tools, if the cost is at all within his means. - - - - -Chapter IV - -PICTURE MOUNTING AND FRAMING - - -The modern idea in framing pictures is to have the frame harmonize with -the subject, rather than to employ a stock moulding with set pattern -made by the mile, and cut up into frames of all sizes and for all sorts -of pictures. All the frames shown in the illustrations accompanying this -chapter were made at home, and from such simple materials as thin boards, -burlap, tea-chest matting, denim, wire, sheet-lead, harness-rings, and -brass-headed upholsterers’ tacks. - - -A Dutch Head Mounting - -For the study of a Dutch head a unique frame, or mounting, is shown in -Fig. 1. This is a board of thin wood of a size in proportion to the -photograph, the latter being nailed to the board with large, oval-headed -tacks painted black. - -The board is covered with green denim, the edges of which are drawn -over the back of the board and glued, or fastened with small tacks. The -photograph, a platinum print, is trimmed to an oval, and then mounted -on a white card. When the paste is dry the mount is also cut ovalwise, -following the line of the photograph, and leaving a white margin -half an inch in width. The picture is placed on the board so that the -side and top margins will be equal; it is then fastened in place with -upholsterers’ tacks driven three-quarters of an inch apart. - -[Illustration: _Fig. 1._ _Fig. 3._] - -These nails, as well as the other metal-work, are to be coated with a -mixture of dry lamp-black and shellac before they are driven on the -board. The nails should be painted some time before they are to be used, -so that the black coating will be thoroughly dry. After the nails are -driven in place it may be necessary to go over them with a small brush -and some of the black paint, to touch up places where the coating has -chipped off. - -The ornament below the picture and the hanger-straps are cut from -sheet-lead about one-sixteenth of an inch in thickness. The stems are of -ordinary iron wire, such as may be purchased at a hardware store for a -few cents. Each piece of the design is separate, and may be easily cut -from soft lead with an old pair of shears, and afterwards trimmed with a -pocket-knife or a small file. - -Drawings of the metal parts to this frame are shown in Fig. 2. A is the -strap at the top, where the hanger is attached; B, the scrolls forming -the hanger; C, one of the buds at the top of the stem of wire; D, the -flower at the middle of the frame under the picture; E, one of the long -leaves; and F, a shorter curved one. These are all painted black before -they are applied to the board; then they are caught with large and -small nails, the large ones for effect, the small and invisible ones to -securely attach the metal ornaments to the wood. - -Small staples made from pins with the heads cut off are used to hold the -wire stems in place, but at the outer ends the wire is caught under the -buds or flowers, where it is held in place with an upholsterer’s tack. - -The ornamental hangers are made from thin strips of stove-pipe iron -one-quarter of an inch wide, and may be shaped with a small pair of -pliers or bent with the fingers. (See Chapter V., Venetian and Florentine -Metal-work.) The long upper part of the strap-pieces are bent over and -caught at the back of the frame, and form a staple, into which the lower -loop of each hanger is made fast. - -If the large, oval-headed nails which hold the picture to the board -cannot be had at your hardware store, imitation heads may be cut from -lead, blackened, and fastened on with two or three fine steel-nails. - - -A Dark Card Mounting - -The mounting shown in Fig. 3 is constructed along the same lines as that -of Fig. 1, but the hangers are different, and the picture, having a -white edge, is mounted on a dark card. The nails are then driven on the -white band, in order to make them more conspicuous than they would be if -fastened on the outer margin. - -A line may be drawn on a piece of smooth brown paper indicating the size -of the frame, and another one to denote the location of the picture. The -design should then be drawn on the paper with lead-pencil, and the little -flowers, buds, and leaves fitted to this plan. The wire may also be -bent to conform to the lines of the drawing, so that it will be an easy -matter to apply the accurately fitted parts to the frame, where they are -fastened with small, oval-headed tacks. - -A strip of sheet-lead five inches long and one-half an inch wide is cut -V-shaped at the bottom, and the top is bent over a two-inch harness-ring, -then drawn down and fastened with a nail, to prevent it from releasing -the ring. These hangers are fixed at the top, midway between the picture -and the outer edge of the frame. Large-headed wrought-iron bellows-nails -are used on which to hang the picture; they are driven into the wall, -and, when necessary, the picture may be removed from them by simply -lifting the rings over the nail-heads. - - -A Triple Mounting - -[Illustration: _Fig. 4._] - -The long panel effect shown in Fig. 4 is a simple and pleasing mounting -for small photographs, or colored prints. A board is covered with -ordinary burlap, which is drawn over the surface and tacked at the back; -apparently it is held in place by the large, oval-headed tacks driven all -around the outer edge. A card-mount the size of the photograph is cut -away at the middle, leaving the outer edge about half or five-eighths of -an inch in width. This is laid over the photograph, and through it the -nails are driven which hold the photograph and the frame to the board. -The scroll-hangers at the top and the nail-head decorations add to the -artistic appearance of this frame. - - -Plain Framing - -For etchings, water-colors, or colored photographs and aquarelles, where -a wide mat is desirable, plain narrow frames should be used. These may -be made from moulding with the rabbet cut in by machine, but the boy -craftsman may use flat rails and make his own rabbet. - -First cut the joints with a mitre-box and saw; then with glue and -slim nails a good union is made, as shown at Fig. 5, the dotted lines -representing the long, slim nails. If a lap-point is preferred to a -mitre, both ends of the flat rails should be cut away, as shown at -Fig. 6, the union being made with glue and short screws driven in from -the back of the frame, taking care, however, not to puncture or deface -the face of the frame. Where a rabbet is to be made at the back of a -frame, the front inner edge should be bevelled, as shown at A in Fig. -7, so that there will not be too great a thickness of wood close to the -glass. A quarter of an inch out from the inner edge of the frame fasten -four square sticks with glue and small nails. These sticks should be -three-eighths of an inch square, and mitred at the corners, as shown -at B in Fig. 7. The glass can then lie on the back of the frame within -the space described by the small sticks, and over it the picture and -back-board are placed, the nails being driven in to hold them in place. - -[Illustration: FIG. 2. FIG. 5. FIG. 6. FIG. 7. FIG. 8. FIG. 9.] - - -A Sporting Mount - -For a picture in which horses are prominent, such as a race, a group of -horses’ heads, or a driving scene, an appropriate frame is suggested in -Fig. 8. - -The frame proper is made from narrow strips of wood, the face of which is -studded with oval-headed nails. This frame is then arranged on a large -board, and at the corners blocks, or separators, are fastened, which will -cause the frame to stand away from the large board for half an inch or -so, in order that the stirrup-strap and the whip-handle may pass under -it, as shown at A in Fig. 8. - -The frame is hung by means of large harness-rings caught at the top of -the frame with leather straps. These are carried about the back-board and -buckled at the front. The stirrup is suspended from the lower middle part -of the frame on a strap, which is caught about the back-board and runs -under the small front frame. - -Dark Flemish oak for the back-board, russet straps, and brass buckles -will make a pleasing combination; and if the picture is a colored one, it -will add greatly to the effect of the complete mounting. - - -A Round-robin Mounting - -For one large head-picture and a number of small ones a novel scheme for -mounting is shown at Fig. 9. - -This is a one-piece barrel-head covered with burlap or denim. The -photographs are cut circular and mounted on heavy white or cream-colored -card-mounts, then trimmed so that a margin half an inch wide will be left -all around. These are to be applied to the barrel-head with oval-headed -upholsterers’ nails, as suggested for Fig. 1. The hangers are made from -thin strips of iron, and should be as long as half the diameter of the -board. - - - - -Part II - -METAL-WORKING - - - - -Chapter V - -VENETIAN AND FLORENTINE METAL-WORK - - -In Italy, many years ago, there originated the pretty household art of -making small objects from metal strips bent into graceful curves and -scrolls, and then banded together. During the past few years American and -English boys have taken up this Venetian and Florentine metal-work, and -to-day the materials may be purchased at hardware stores in all the large -cities. - -The tools required are a pair of flat and a pair of round-nosed pliers, -or pincers, a pair of heavy shears, and a pair of wire-cutters; a small -bench-vise will also be useful. - -The materials include a few sheets of thin stove-pipe iron of good -quality (it may be purchased from a tinsmith), several yards of fine, -soft iron wire, and some heavier wire for framework. - -From the sheets of iron narrow strips are to be cut with the shears, and -for ordinary work they should be not more than three-sixteenths of an -inch in width; for heavier or lighter work the width may be varied. If it -is possible to obtain the prepared strips at a hardware store, it will be -better than making them at home, since it is a tiresome task to cut many -of the strips from sheet-iron. Soft, thin iron that will bend easily is -the only kind that is of use, as the hard or brittle iron breaks off and -it is impossible to bend it into uniform or even scrolls. - -A little patience and perseverance will be necessary at first until the -knack of forming scrolls has been mastered, but once learned it will then -be an easy matter to make many pretty and useful objects. - - -A Lamp-screen - -An attractive design for a lamp-screen is shown in Fig. 1 A. When -completed and backed with some pretty material it will be found a useful -little affair to hang against the shade of a lamp to shield one’s eyes -from the direct rays of a bright light. - -To begin with, form a square of six inches, and at the top where the ends -meet make a lap-joint by allowing one end to project over the other; then -bind them together with some very fine wire—about the size that florists -use. Inside of this square make a circle six inches in diameter, and wire -it fast to the square where the sides, bottom, and top touch it. - -Bend four small circles, and fasten one in each of the four angular -corners between the circle and square; then form the centre scrolls and -the hoop in the middle of the screen. - -To form a scroll like that shown in Fig. 1 bend a strip of metal in the -form of a =U=, as shown in Fig. 2, and with the round-nosed pair of -pliers begin to curl one end in, as shown in Fig. 3. When it has been -rolled far enough in to form one side of the scroll, it will appear as -shown in Fig. 4. By treating the other end in a similar manner the -finished result will be a perfect scroll like Fig. 1. Four of these -scrolls are to be made and banded to the circle and to each other, and in -the centre the hoop must be made fast with little metal bands. - -[Illustration: FIG. 1. FIG. 1 A. FIG. 2. FIG. 3. FIG. 4. FIG. 5. FIG. 6. -FIG. 7.] - -When uniting or binding two strips of metal together they may be fastened -with wire or bands, as a matter of choice. If the latter mode is -employed, short pieces of the metal strips are to be cut and partially -bent in the form of a clamp, as shown in Fig. 5. Bring the two sides -together and bend one ear of the clamp over them (Fig. 6), and if the -other ear is the proper length, bend that down in place, and squeeze all -together with the flat-nosed pair of pincers. The perfect joint will then -appear as shown in Fig. 7. When using metal clamps the ears should be of -such a length that, when pressed down over the united strips of metal, -the ends will just come together and not overlap. - -Having made the body part of the screen, form the scrolls of the top, and -bind them in place with wire or the little metal clamps. This top should -measure some three inches high from the top rib of the screen, and the -end scrolls should project about three-quarters of an inch beyond the -body of the screen at either side. - -For the sides and bottom form a frill of metal and fasten it to the -screen with wire; it should not be more than three-eighths or half an -inch in width, and can be bent with the round-nosed pincers and the -fingers. Better wear gloves for this part of the work. - -When the metal-work is finished it will be necessary to coat it with -black paint to improve its appearance and prevent its rusting. There -are several good paints that may be used for this purpose, but if they -are not easy to obtain an excellent coating may be made by dissolving a -little shellac in alcohol and adding dry lamp-black so it will be about -the consistency of cream. It should be applied to the metal with a soft -brush, and if it should become too thick it may be thinned by adding -alcohol. - -Two thin coats will be all that are required for ordinary purposes, but -if the metal-work is exposed to the weather, or any dampness that might -cause it to rust, a coat of red lead should be applied next the iron. Red -lead can be mixed with boiled linseed-oil to make a good metal paint. - -A backing of some pretty, light-colored silk is required to complete -the screen, using one, two, or three thicknesses to properly shield the -light. The backing should be attached to the grille, or framework, with -black silk, and it may be cut to fit either the round or square portion -of the framework. The stitches should be close together, to prevent the -goods drawing away from the metal ribs. - - -Pattern-making - -When constructing any piece of grille-work it is always best to have a -full-sized drawing to work over. For example, it is a simple matter to -lay out the plan for Fig. 1 A, and you may proceed as follows: Pin to a -lap-board a smooth piece of heavy brown paper, and with a soft pencil -draw a six-inch square. Inside this describe, with a compass, a six-inch -circle; then draw the four corner circles, and divide the larger Circle -into quarters. In each of these quarters draw, in free-hand, the scroll -shown in Fig. 1 A. The top is to be drawn in free-hand, but if it is -difficult to get both sides alike you may first draw one side; then -double the paper, and transfer the design by rubbing the back of the -paper. It will then be found an easy matter to bend and fit the scrolls, -since each member may be accurately shaped to conform to the lines, and -afterwards banded together. - - -A Standard Screen - -For a standard screen in the shape of a banner the design shown in Fig. 1 -A may be used, leaving off the top ornament, and suspending it from the -upper end of a supported stick with cord or wires, as shown in Fig. 8. - -The stick should be about eighteen inches high, and the scroll feet -should stand seven inches and a half up from the bottom. At the widest -part they should measure six inches across, and there should be four of -these feet to constitute a stable base. At the top of the stick (which -should be about one-quarter of an inch square) a scroll and a hook will -serve to support the screen. In a library or sitting-room, where one -large lamp is used to read by, one or two banner-screens will keep the -strong light from the eyes and the heat from the head without cutting off -the needed illumination from the book or work in hand. - - -A Candlestick - -The illustration shown in Fig. 9 gives a pleasing pattern for a -small-based candlestick. - -[Illustration: A STANDARD SCREEN AND A CANDLESTICK - -FIG. 8. FIG. 9. FIG. 10.] - -To begin with, secure an old tin or brass candlestick and rip off the -bottom, leaving only the sheath and collar at the top. Have a tinsmith -cut the lower end away, leaving about two inches of the top, and solder a -bottom in it. Cut a pine stick about four inches long and not more than -three-sixteenths of an inch square, or the same thickness as the width -of the metal strips from which the scrolls are to be formed. Punch a -small hole in the bottom of the socket, and drive a slim steel-wire nail -down through it and into the middle of one end of the stick, so that the -attached pieces will appear as shown in Fig. 10. The socket will hold a -candle, and the stick will act as a centre staff against which the four -scroll sides are to be fastened. - -A paper pattern should be used over which to bend the scrolls, and across -the bottom they should measure four and a half inches, and five or six -inches high. To the upper part of one side-scroll a handle should be -shaped and fastened, as shown in Fig. 9. - - -A Candelabra - -The design for a four-armed candelabra to hold five candles is shown in -Fig. 11. - -Cut two sticks a quarter of an inch square and ten inches long, another -one thirteen inches long, and a short piece two inches long. At the -middle of the ten-inch lengths cut laps, as shown in Fig. 12, and bore -a hole through the centre and into an end of the long stick. Drive a -slim nail down into the hole at the end of the stick, as shown in Fig. -13, and over it place the cross-arms, as shown in Fig. 14. In one end -of the short stick bore a hole, snug it over the top of the nail, and -drive it down so that it will fit securely on top of the cross-sticks. -The completed union will have the appearance of Fig. 15, and to this wood -frame the scroll and ornamental work is to be attached. - -[Illustration: A CANDELABRA - -FIG. 11. FIG. 12. FIG. 13. FIG. 14. FIG. 15. FIG. 16.] - -Lay out the plan of one side on paper, making the distance from the stick -to outer edge of the foot about four and a half inches. At the narrowest -place, near the top, the side should measure one and three-quarter inches -in width. The scrolls should be securely bound to the wood frame with -wire, and for candle sockets five six-pointed stars should be cut from -the pattern given in Fig. 16. They should be two and a half inches in -diameter, and bent to receive a standard-sized candle. A small screw -passed through a hole in the centre will fasten them to the wood arms, -and when placing them the wood should extend entirely under each socket, -as may be seen in Fig. 11. - -Canopy shades and holders should be made or purchased, and when complete -with candles and shades this candelabra should present a very pleasing -appearance. - - -A Fairy Lamp - -It will be found quite a simple matter to make a fairy lamp similar to -the one shown in Fig. 17. - -The bracket should be twelve inches high and five inches wide from -the back stick to the end of the projecting arm, on the end of which -the suspending hook is located. The arm should be placed about three -inches from the top, and both the arm and the upright are to be of wood -one-quarter of an inch square. It would be well to make a pattern of the -scroll-work over which to bend the metal in true shape. - -The scrolls should be securely bound to the wood ribs with wire instead -of metal clamps, since the weight of the candle-sconce would have a -tendency to open the clamps and weaken the support. - -For the lamp part, it will be necessary to have the socket of a -candlestick arranged as described for the candlestick in Fig. 9. The -stick at the bottom should be one and a half inches in length. Against -this the scroll-work is attached. Each side should measure two and -a half inches long and three inches high from the place where the -suspension-wire is attached to the bottom, where the pendants are -fastened. The four scrolls must be securely bound to the socket and stick -with wire, and from a screw-eye driven in the lower end of the centre -stick three drops, or pendants, may be hung. These pendants are in the -shape of bell-flowers, and may be of any size, cut from the diagram shown -in Fig. 18. They should be strung on a wire having a knot made in it -wherever it is desired to place a flower. - -From the scroll ends of each side-grille a wire is fastened and carried -up to a ring that hangs on the arm-hook. These wires form a light and -graceful mode of suspension, and near the upper end a canopy shade can -be made fast. Pink red, orange, light-green, or electric-blue candles -and shades always look well with the black iron-work of the bracket and -sconce. - - -A Burned-match Holder - -Fig. 19 gives a design for a small receptacle to be used for burned -matches or other small waste scraps. - -Notice that the drawing shows but one side of a three or four sided -affair. The outside frame should measure about three inches across at the -top, two inches at the bottom, and two and a half inches high. - -Small hooks should be fastened to each upper corner. From them small -chains extend up to a single ring that may be of wire; or a small iron -harness-ring may be employed for the purpose. - -The three or four sides forming the receptacle are to be securely bound -together with wire, and for a bottom a thin piece of wood or a sheet of -light metal can be sewed in with wire. Whether the bottom is of metal or -wood, it will be necessary to make small holes around the edge through -which the fine wire can be passed. The wire should be caught around the -bottom ribs of the sides, and manipulated in much the same manner that -cloth is attached with needle and thread. - -Each side should be backed with silk or other pretty material, and to -prevent burning or blackening from match ends the entire receptacle may -be relined with card-board, tin-foil, or asbestos paper. - -The links forming the chain are made of very narrow strips of the metal. -Fig. 19 A shows the construction of the centre, and B that of one -side. Two of the latter are to be made for each link and banded to the -centre, so that a finished link will appear like C in Fig. 19. The links -should be connected with little wire rings, or small brass rings may -be purchased at a hardware store. The latter, when painted black, will -appear as if made of iron. - -[Illustration: FIG. 17. FIG. 18. FIG. 19.] - -This same design can be carried out on a larger scale, and adapted as a -hanging jardinière in which a potted vine may be placed. If employed for -that purpose, an outlet for the water must be provided in the bottom. -Instead of using a clay flower-pot, it would be well to have a tinsmith -make a zinc inner box, with a small pipe through the bottom to convey -the waste water into a small cup that may be suspended underneath. As -the proportions of the box are enlarged, the links of the chain must -be made larger and stronger, so that the chain will be heavy enough to -support the weight; and instead of using wire or brass rings, it would -be advisable to employ small iron harness-rings. - - -A Photograph-frame - -Among the many pretty little objects that can be made from thin metal -strips, frames for small pictures are always serviceable and attractive -(Fig. 20). Black is not always a desirable color for a frame, and there -are several good enamel paints on sale. They may be procured in almost -any light shade, such as pink, blue, green, brown, and the pale yellows -or cream colors. Several successive thin coats of these enamel paints -will give the iron scrolls a pretty finish. - -It is hardly necessary to lay down a size for this frame, as it can -readily be adapted to any photograph or small picture. The proportions, -however, should be followed as closely as possible, so that the design -will work out about as shown in the drawing. - -This frame may be hung against the wall, or arranged as an easel for a -table, mantel-shelf, or wall-bracket. If the latter scheme is preferred, -a support may be made from narrow metal strips and attached to the back -of the frame with wire. This support should be of the design shown in -Fig. 20 A; it is attached by the top cross-bar to the back of the frame. -This cross-bar is of round iron, and the projecting ends are to be caught -with wire loops, which will allow the back leg to act as if arranged on -a hinge. To prevent it from going too far back, a wire or string at the -bottom will hold it the proper distance from the frame. - -[Illustration: FIG. 20. FIG. 20 A. FIG. 21. FIG. 22. FIG. 23.] - -The frame proper is made from a strip of metal half an inch wide, and -bent in angular form, showing less than quarter of an inch on each side -of an =L=. In the strip cut angle-notches with a pair of shears, as shown -in Fig. 21, thus forming the corners. The notches should be made half-way -across the width of the metal, so that the point of each angle will just -reach the middle of a strip. With a flat-nosed pair of pliers bend the -strip in the form of the oblong, so that each corner will appear like -Fig. 22. Join the frame at the bottom, allowing the metal to lap over an -inch at the ends, and make the union by punching little holes and passing -through small copper tacks that can be clinched or riveted. - -With a small bench-vise and a hammer, or with two pairs of pliers, -grasp the strip forming the frame and bend it in the shape of an =L= -all around, as shown in Fig. 23, taking care to match the edges of each -notch so that they will form a mitre, as shown also in Fig. 23. Where the -scrolls are attached to the side of this frame, they may be held in place -by small copper tacks passed through holes made in both scrolls and frame -and riveted. - - -A Handkerchief-box - -One of the most interesting branches of the light strap metal-work is in -making boxes of all shapes and sizes. The variety of designs that can be -employed is practically inexhaustible, but certain general principles -should be observed. For instance, a box to hold matches should be of -small and neat design, while in a larger box the ornament may be more -open and bolder, and the strips from which it is made should be heavier -and stronger. - -A handkerchief-box fashioned after the design shown in Fig. 24 is a -pretty as well as a useful article for a bureau or dressing-table. A is -the pattern for the top, and B represents one of the sides. - -It should measure eight or ten inches square and three inches deep, or -larger if desired, and the frame should be of wire or wood. If wood is -employed, sticks three-sixteenths of an inch square must be lap-jointed -at the angles, as shown in Fig. 25, and the union made with glue and -screws or fine steel-wire nails. - -[Illustration: FIG. 24 A. FIG. 24 B. FIG. 25. FIG. 26. FIG. 27.] - -If the box should be made of brass scrolls, it would be well to obtain -some brass rods about one-eighth or three-sixteenths of an inch square, -and bend them to form the framework. Where the ends meet, lap-joints -should be cut and wired. - -If the brass should be too hard to bend in a vise without breaking, the -part it is desired to work should be heated over a spirit-lamp or in a -gas flame for a moment or two; when cool, it will be soft and pliable. -If brass should be employed for the frame, the joints must be soldered -instead of wired. To solder them it will be necessary to have some -soldering solution, a spirit-lamp, and some wire solder. - -To unite the metal ends apply some of the soldering solution to the parts -with a piece of wood or an old camel’s-hair brush, and then hold them -over, or in the lamp flame, until they are quite hot. When sufficiently -heated touch them with the end of a piece of solder, and the heat of -the metal will instantly melt the solder, so that it will adhere to the -brass. To hold the parts together while they are being soldered, give -them a turn or two of fine iron wire. After they have been united and the -brass is cold, the wire may be removed and the rough parts of the solder -filed away. - -Small brass hinges may be screwed fast to the wood ribs to attach the lid -to the box, and if brass is employed for the frame and grille work the -hinges must be soldered to the frame. - - -A Sign-board - -For a sign-board an idea is suggested in Fig. 26. At one’s place of -business, in front of a cottage, or on a mile-post, it may be displayed -to good advantage. - -It is only a board on which sheet-iron or lead letters have been -fastened, and the edges bound with metal and large-headed nails. A rod -set at right angles to a post supports the sign-board, and to ornament -it some scroll-work is attached at the top. Scroll ornaments decorate -the sides and bottom of the board. These are fastened on with steel-wire -nails driven through holes made in the metal and into the edges of the -board. The ornamental scroll-work should be made of somewhat thicker and -wider iron strips than the more delicate articles for indoor use, and -all the iron should be given one or two coats of red-lead paint before -the black finish is applied. To prevent rust-marks from running down on -the wood board, it is necessary to coat the back part of the letters and -all iron straps which may lie against the wood. It is much better to use -sheet-lead for the letters, since it cuts easier, and will not stain the -wood with rust or corrosion marks. - - -Double Doorway Grille - -For a double doorway a pretty effect is shown in Fig. 27, where a long -grille is arranged at the top of a doorway, and under it the curtain-pole -is attached. - -The outer frame for a grille of this size should be made by a blacksmith -from an iron rod about three-eighths of an inch square. The inner frame -may be made of strip-iron three-eighths of an inch wide, and three inches -smaller all around than the larger one. The metal strips employed to form -the grille design should be three-eighths of an inch wide, and cut from -box strap-iron. - -The full-size drawing should be laid out on paper, over which it will be -an easy matter to shape the scrolls. If the grille should be too open -when the pattern is completed, some more scrolls may be added to fill the -spaces, taking care not to injure the general design of the pattern. - -The grille may be anchored to the wood-work of the casing with -steel-wire nails or staples, and several coats of black should be given -the iron to finish it nicely. - - -A Moorish Lantern - -Having gained by experience the knowledge and art of working in -strip-metal, and after successfully making a number of the smaller -objects already described, it is perhaps time to undertake the -construction of something larger and more elaborate. - -As an example of such work, a very beautiful design for a Moorish lantern -is shown in Fig. 28. It is not a difficult piece of work, nor is it -beyond the ability of any smart boy, but it must not be attempted before -a thorough knowledge of forming frames and scrolls and of pattern drawing -has been gained through experience in making more simple objects. - -In size this lantern is not limited, and it may be made from twelve to -thirty-six inches high, not including the suspension chain and rings and -the drop of flower-pendants at the bottom. - -For a lamp twenty inches high having six sides, each panel should be made -on a wire frame. The middle panels measure six inches high, four inches -wide at the top, and three inches at the bottom. The top panels are five -inches across at the widest place, and the lower ones four and a half -inches. One of the middle panels can be arranged to swing on hinges, in -order to place a lamp within the lantern, and also to make it possible -to line the inside of the lantern body with some plain silk or other -material. - -[Illustration: FIG. 28.] - -At the top and bottom scrolls are to be formed of the stout wire employed -for the ribs or framework. Under the crown top, at the six corners, -brackets may extend out for a distance of five inches, from which -sconces for tapers or small candles may be hung. Or these brackets may -be omitted, and in place of the hooks a small scroll may be formed at -the extending ends. Each little sconce is two inches deep and two and a -half inches in diameter, and in them candle-holders may be placed, over -which colored glass globes will appear to good advantage. From the top -of the lower lobe six arms support flower-drops four or five inches long, -and from the extreme bottom a pendant of flowers finishes off the whole. -No matter what size this lantern is made, the proportions should be -carefully preserved, or the effect will be spoiled. - -A long chain made up of links and rings may be used to suspend the -lantern. Should a more secure anchorage be desired, four chains may be -attached at four places on the ceiling of a room, from which anchorage -they all meet at the top of the lantern. - -The illustration shows the lantern in perspective, but it must be borne -in mind that it has six sides, and the patterns of the six sides, of -the top, middle section, and bottom are like those in the three front -sections that face the reader as he looks at the drawing. - - - - -Chapter VI - -METAL-BOUND WORK - - -Thin sheets of various metals may be used to great advantage in the -decoration of household furniture, either serving as artistic edgings, or -representing strengthening straps, hinges, etc. When finished off with -heavy wrought-iron or bellows nails, the effect is both striking and -pleasing. The art is not a difficult one to acquire, and the hints and -suggestions that follow should enable any smart boy to pick it up in a -comparatively short time. - - -A Metal-bound Box - -As a receptacle for photographs, picture-cards, and the other small -trifles that accumulate in a library or living-room, a box such as shown -in Fig. 1 will be found most useful. - -Obtain some smooth pieces of wood, not more than three-eighths or half -an inch thick, and construct a box eighteen inches long, ten wide, and -eight inches deep, including top, bottom, and sides. These parts are to -be glued and nailed together so as to form an enclosed box. Use a good -liquid glue and slim steel-wire nails to make the joints. When the glue -is dry, cut the box through all around the sides, one and a half inches -down from the top. The lid, or cover, is thereby cut loose, and it will -match the body of the box much more accurately than if made separately -and fitted. - -Plane and sand-paper the rough edges left by the saw, and attach the lid -to the back edge of the box with hinges. The outside of the box may be -stained or painted any desirable color, and when dry it will be ready to -receive the metal decorations. - -[Illustration: FIG. 1. FIG. 2. FIG. 3.] - -From a tinsmith obtain a few sheets of thin stove-pipe iron of good -quality, or a strip of thin sheet-lead; then, with a stout pair of -shears, cut some strips about one and a quarter inches wide to bind the -edges of the box. A strip is bent over so as to lap on both sides of a -corner. A metal band five-eighths of an inch wide will show on each side -and also on top. The metal is to be fastened on with brass oval-headed -upholsterers’ tacks, and the heads may be from a quarter to half an inch -in diameter. - -It will not be possible, perhaps, to drive these tacks through the metal -strips unless a hole is first punched. These small holes may be made -with a sharp-pointed awl at regular distances apart. This should be done -before the strip is laid on the wood, so as not to subject the box -joints to any more strain than necessary. - -To bind an edge, tack a strip of the metal along one side, bend it around -the first corner, and so on along each side until the two sides are -brought together, where a nail-head will almost hide the joint. At each -corner cut a =V= out of the strip, as shown in Fig. 2. The metal, when -fastened to one edge, will appear as shown at the right side of Fig. 3. - -When the nails have been securely fastened in, bend down the standing -edge of metal so that it will lie flat on the other side of the corner. -This may be done by beating it down with a light wooden mallet. Drive -nails along the strip corresponding in position to those first fixed, and -the edge will appear as shown at the left side of Fig. 3. - -Where the angle, or =V=, was cut out of the strip at the corners, the -metal will come together and form a good mitre. In the middle of this -joint drive a nail, the head of which will partially hide the line of -juncture. - -From the sheet iron or lead cut a few irregular strips of suitable -length, and fasten them to the box to represent hinge or binding straps. -The hasp and eye-plate may be made in the same manner. - -The box should be lined with Canton flannel, velour, leather, or any good -lining material. A band of webbing, or a chain, arranged on the inside -will prevent the cover from falling back too far. - - -A Wood-holder - -In a room where space cannot be spared for a large wood-box, a -wood-holder similar to the one shown in Fig. 4 is a useful piece of -furniture. - -This holder is twelve to fifteen inches square, fifteen inches high at -the front, and twenty inches high at the back, with the sides cut down, -as shown in the drawing. - -The wood is three-quarters or seven-eighths of an inch thick, and planed -on both sides and edges. Any of the hard woods may be employed to good -advantage in making the box part, but if it is to be painted rather than -left in the natural finish, the wood-work may be of pine or white-wood to -save expense. - -The metal binding is done in a similar fashion to that of the box in Fig. -1, and if iron is used for the straps they should be coated with black -paint. The strips should be two inches in width, and when bent around the -edges and corners one inch of metal must show on each side. - - -A Plant-box - -For large, growing plants, palms, and imitation trees, an attractive -plant-box is shown in Fig. 5. - -It can be made almost any size to meet the requirements of the plant that -is to live in it; but for general use it should measure twelve inches -square at the bottom, eighteen at the top, and from twelve to fourteen -inches high. - -The metal binding should be three-quarters or an inch wide on each side; -it need not be carried over the top edge unless desired. - -On two sides of the box ring-handles are to be fastened. These will be -made by a blacksmith at a small cost, and should be from two and a half -inches to four inches in diameter, according to the size of the box. - -[Illustration: FIG. 4. FIG. 5. FIG. 6. FIG. 7.] - -On the other sides a conventional design may be worked out with strips of -metal cut according to the required pattern. - -This box should be treated to several good coats of paint inside, and -finished as desired on the outside. Quartered oak with black metal -trimmings make a good combination; also mahogany, cherry, or redwood with -brass bindings. - -A zinc lining should be fitted to the box, with a vent-hole at the -bottom to drain off surplus moisture. No other metal than zinc should be -employed for the lining, since iron or tin will corrode or rust. Copper -tacks must be used to attach it to the wood. - - -A Coal-box - -Fig. 6 gives the design for an old English coal-box. - -It is a very simple affair to construct, since it can be made from an -ordinary box cut down at one end so as to form a projection or nose. - -The structural plan of the box is clearly shown in Fig. 7, and in size -it may be made to meet any requirement. For regular use, however, it is -fifteen inches wide, twenty inches long from back to end of the nose, and -about twelve inches high, not counting the ball feet, which will raise it -up two inches more. - -The box should be securely screwed together at the joints, and the lid, -or cover, must be fastened on with sheet-brass hinges. Paint or varnish -will give the wood-work a good finish, and the lining should be made with -several successive coats of asphaltum varnish or paint of a dark color. - -Brass, lead, or black iron binding will look well on this box, and with -large-headed nails the effect will be bold and pleasing. - -Four balls about two inches in diameter are to be turned and screwed fast -under the corners to serve as feet. To give a good purchase on the bottom -of the box, it would be well to flatten part of the surface on each ball. -One long screw will be sufficient to anchor each foot firmly if driven -through from the inside of the box into the ball. A little glue between -the joint will add greatly in making the union strong. - - -A Table-lamp - -The design for a table-lamp is shown in Fig. 8. - -Any boy who is handy with tools can put this lamp together from wood, -burlap, sheet-lead, wire, some oval-headed upholsterers’ tacks, four -claw-feet, and a lamp-fount. - -[Illustration: FIG. 8.] - -From boards about half an inch in thickness make a box seven inches -square at the top, ten at the bottom, and twelve inches high. In the top -of the box a round hole is cut to receive the lamp-fount. Five inches in -diameter will be about right for the hole, since that is the measurement -of the standard oil-pot. A flange, or rim, all around the upper edge of -the fount will prevent it from falling through the hole. If the burner -has a central draught it will be necessary to bore some large holes -through the bottom of the box to admit air for the under draught. - -With burlap, bagging, or canvas cover the entire outside of the box, the -material being fastened to the wood with glue and small, flat-headed -tacks at the edges. The glue must be spread evenly over the wood by means -of a rag pad, or, still better, a small photographic squeegee roller -may be employed. The covering material can be painted any good shade, -and when the paint is dry the box will be ready for the decorations and -trimmings. - -From sheet-lead, or iron, cut some strips one inch and a quarter wide, -and bind the corners and edges of the box, allowing about five-eighths of -an inch to show on each side. Fasten these strips on the edges of the box -with large, oval-headed upholsterers’ tacks, driven along each side at -even distances apart, as shown in the illustration. - -On a piece of smooth brown paper draw the outline of one side of the box, -and then sketch in the design for the metal torch and wreath. Over this -pattern it will be a comparatively easy matter to cut and fit each of -the separate parts of the design. These parts are to be of thin iron or -lead, but for the stems to the laurel wreath use pieces of iron wire, and -fasten them on with small staples. The staples may be made from pins with -the heads cut off. - -The pieces of metal forming these side designs are to be fastened to the -wood with oval-headed carpet tacks, and enough of them must be driven in -each piece to hold it firmly in place. When all the metal-work has been -applied, purchase at a hardware store four claw-feet, and screw one fast -under each corner of the box. They will be of brass, but when painted -black they will appear as if made of iron. - -All the metal parts of the lamp must be blacked to present a good -appearance. To make a good black finishing paint obtain at a paint store -a can of ivory black ground in oil. Thin it to the consistency of rich -milk with Japan dryer and spirits of turpentine mixed together, one -part of the former to two parts of the latter. Place them together in a -bottle and thoroughly mix them by shaking the bottle vigorously. A small -quantity only should be thinned at a time and as required, since it works -better when freshly mixed, and does not have the gummy appearance that an -old mixture presents. Two or three successive coats laid on with a soft -camel’s-hair brush will be sufficient to cover the iron well and give it -a good surface. When using the black take care not to smear it on the -box, as it would produce an untidy and messy appearance. - -With the addition of a pretty canopy shade, that can be arranged on a -wire frame, the effect will be most decorative and pleasing. - - -A Hanging-lamp - -For the dining-room or library, a hanging-lamp, such as shown in Fig. 9, -is both ornamental and useful. - -The box that holds the lamp is eight inches square at the top, five and -a half inches at the bottom, and five inches deep. It is covered with -burlap or other suitable material, or may be left plain or painted. - -A hole is cut in the top of the box to receive the fount, and if it is a -central-draught burner a large opening must be made in the bottom of the -box, with a perforated metal cap arranged to fit over it. - -From the top of the four corners, iron scrolls, that a blacksmith -can make, project four inches beyond the wood, and to these the -suspension-chains are fastened. The chains are made of one-inch iron -harness-rings and links three inches long, formed of narrow strips of -stove-pipe or box strap-iron less than a quarter of an inch in width, and -shaped as shown in Fig. 10. - -From the under side, and fastened at each corner of the box, hang four -small chains. They are united at the centre a few inches below the under -side of the box, and are finished off with a drop formed of metal lilies. -In order to form these flowers, cut from sheet-iron the petals, as -patterned in Fig. 11. Three different sizes should be drawn on a sheet of -iron with a piece of chalk or white crayon, after which they may be cut -out with a pair of shears and bent into form with the fingers. They are -to be hung together one below the other by means of small wires, fastened -to the centre of each flower through holes punched with a sharp-pointed -awl. - -A large paper or silk shade may be arranged on a wire frame to slip over -the chains, and to hold it in place it should be fastened to some of the -links with wire. - - -A Hanging-plant Box - -[Illustration: FIG. 9. FIG. 10. FIG. 11. FIG. 12.] - -For vines, small plants, or pretty blade grasses a design for a -hanging-plant box is shown in Fig. 12. - -This is not a very large affair, and it is made of thin wood not more -than three-eighths or half an inch in thickness. The box part measures -eight inches square at the top, six at the bottom, and ten inches high. - -The inside of the box is to be treated to several coats of paint or -asphaltum varnish to protect the wood, and the outside may be given two -coats of paint. The corners are then to be bound with metal strips, and -the design on each of the four sides worked out with hobnails painted -black. - -It is difficult to carry out such a design on four sides of a box unless -a pattern is used. To obtain the most accurate results it would be best -to draw the design with pencil on a smooth piece of paper, then make four -tracings of it on tissue-paper. The tracing should then be fastened to -the wood with pins and the tacks driven in, following the lines of the -design. - -When the tacks have been driven in part way, tear off the paper, and with -a flat-iron held against the inside of the box to drive against, hammer -the nails in so that the heads will lie snugly against the surface of the -wood. - -Each side is to be treated in the same manner, so that the four sides -will be alike. If the hobnails cannot be had at a hardware store, or from -a shoemaker, oval-headed upholsterers’ tacks may be used. Paint them -black before they are driven into the wood. - -At the top of the box, in the four corners, eyes are to be made fast, -into which the ends of the suspending chains can be caught. Four chains, -made from thin strips of metal and small harness-rings, are to be -fastened in place, as shown in the drawing. - - - - -Chapter VII - -DECORATIVE HARDWARE - - -Properly to complete even the simplest of cabinets or chests some -hardware will be needed, whether it be only a pair of strap-hinges and a -padlock or the most elaborate kind of ornamental fittings. Plain hinges -and a lock will answer every ordinary purpose, but a nice chest or -case should be finished off with ornamental hinge-straps, escutcheons, -lock-plates, or handles. - -These fixtures may be purchased at a hardware store and in some large -cities a very beautiful assortment of fancy hardware is displayed. But -it will be both cheaper and more satisfactory for the young craftsman -to make these fittings for himself, and the art is not a difficult one -to acquire. Some of the accompanying designs may appear at first sight -rather beyond the ability of the average boy, and so they would be if -they were cast in brass or bronze or cut from thick sheet-metal. But all -of them can be shaped from ordinary sheet-lead with a pair of old shears, -a few small chisels, and a light mallet. - -Scraps of sheet-lead, varying in thickness from one to three-sixteenths -of an inch, may be purchased from a plumber for five or six cents a -pound. For the ordinary fixtures of medium size the metal should be a -trifle less than one-eighth of an inch in thickness. For the heavier -hardware an old piece of lead pipe may be used by splitting or sawing it -open, and beating it out flat, on the surface of an old flat-iron, with -a hard wooden mallet. If sheet brass, copper, or zinc are employed, they -should be of the soft kind, so as to cut easily. If too hard, the pieces -may be softened or annealed by putting them in a fire until they are -cherry-red. They should then be drawn out and allowed to cool, when they -will be found quite soft and easy to work. - -The boy who owns a scroll-saw will find it an easy matter to jig out -these designs, whether the material be lead or one of the harder metals. -Special fret-saws may be purchased for this purpose, having finer teeth -and being more highly tempered than those used for wood-working. In -sawing metal you must be careful not to force the saw, and after cutting -an inch or two allow the blade to cool, otherwise it will break. - -If a hand jig-saw is the only tool available the metal should be held -in a vise. With very thin lead the dressing is best done by laying the -metal on a hard-wood block and cutting out with small chisels and a light -mallet. - -Three or four small wood-carving chisels, straight-edges, and gouges -will be found admirable tools for this work, and, as the lead does not -dull them, they will keep an edge for a long time. A wood-carving chisel -is ground on both sides, which makes it better for this work than a -carpenter’s chisel, which is ground only on one side. A light mallet, a -hard-wood block, a coarse file or two, and a knife with a small, sharp -blade will be the only other tools required. - - -Escutcheons - -The term escutcheon, as applied to hardware, means the ornamental metal -plate that is placed over a key-hole, and through which the key has to -pass in order to reach the lock. The name is applied also to the plate -behind a knocker, or that to which a ring or handle is attached. - -In Fig. 1 a few designs for small escutcheons are shown. Their actual -size should be in proportion to that of the drawer or door to which they -are to be attached. - -The design should be drawn to the proper size on a piece of brown paper, -then cut out with scissors and laid on a piece of metal, the outline -being scratched with a pin or drawn on with pen and ink. - -If the metal is sawed the edges will be rough, but they may be dressed -down with the files. If the lead is cut out the edges can be finished -with a knife-blade, as lead cuts easily and is pleasant to work in. It -sometimes happens that in cutting out the more delicate parts of the -design that the chisels will distort the metal or force it out of shape. -In this case the trueness may be restored by tapping the edges with a -small hammer. - -A small hand-drill will be found useful for boring holes in the metal, -through which screws or nails pass to secure the escutcheons to the wood. -If a drill cannot be had, a small awl will answer very well. - -Be careful that you do not make the key-hole too large. - -[Illustration: ESCUTCHEONS AND HINGE-STRAPS - -FIG. 1. FIG. 2. FIG. 5. - -FIG. 6. FIG. 7.] It should be only a trifle larger than the key, in -order to lead the latter easily. - - -Short Hinge-straps - -A single hinge is always made like a book, with two leaves and a back, -through which a pin is run to hold the leaves together. In door-hinges -the leaves are usually arranged so that when the door is closed the -leaves are out of sight. These hinges are called butts, while those -applied to the outside surface are called =T= or strap-hinges, and -sometimes plate-hinges. - -[Illustration: FIG. 3. FIG. 4.] - -The short hinge-straps shown in Fig. 2 are not intended as a part of -the hinge, but only as sham straps. Where a butt is mounted in the wood -these straps are arranged on either side of the back. Fig. 3 shows the -manner in which a butt is mounted in a door and jamb, and Fig. 4 shows -the reverse side with the back protruding, at one side of which the lead -strap is mounted. The inside, or parallel, lines of the straps are the -edges that butt against the hinge-back, and they are to be cut to fit the -width of the hinge. The size should also correspond generally to that -of the shape and dimensions of the door or box lid. For artistic effect -large sham nail-heads may be fastened over the nail or screw heads that -really secure the hinge to the wood. - -In some of the plain straps a very good imitation of hand-wrought iron -straps may be made by beating the surface of the lead with a hammer -having the face slightly crowned or rounded. The hammer-marks will show -up distinctly, and when the straps are painted black no one will know but -what they are really iron straps beaten out by hand. - -Another good effect may be secured by beating the edges down slightly -with a small hammer instead of dressing them with a file; this rounds -or flattens them, and eliminates the angular edge that is common in all -cheap hardware. - - -Long Hinge-straps - -For cabinet and chest doors, and doors that open into rooms, some long -hinge-straps are shown in Fig. 5, the proportions being correctly -indicated. - -If the jamb is sufficiently wide, straps may be placed on both sides of -the hinge-back. Usually, however, the jamb is too narrow. - -These straps, if made of lead, should be thicker than the short straps, -otherwise they will look weak. For a strap twelve to fifteen inches long -the metal should not be less than one-eighth of an inch thick, and for -some designs it would look better if quarter-inch material is used. - -It is quite as easy to saw out thick metal as thin, only it takes a -little longer time. The saw must be held straight and not allowed to -bind. Never force a saw through lead, as it will bind and check, and also -will pick up a thin lead coating, materially adding to the friction. If -the saw does not run easily, lubricate it with a little soapy water, and -afterwards wipe it off to prevent rust. When working with a scroll-saw on -which there is a table, or bed, the soapy water should be drawn along the -lines on the metal with a soft hair-brush. As the saw cuts it will take -up the water. - - -Drawer-pulls and Handle-plates - -Small drawer-pulls and handles may be purchased at any hardware store -for a few cents each, but they are usually very plain and unattractive. -Rings in heads and handles on plain plates are the best to purchase, as -then the heads may be mounted on fancy escutcheons, and the handles and -keepers removed from the plain plates and reset in lead mountings of -artistic design, wrought or sawed from lead or other ductile material. - -Drawer-pulls are generally arranged with a shank at the back of the -ring-head which passes into the wood, and into which a screw is driven -from the inside of the drawer. - -Handle-keepers are made in the same way. In designing fancy escutcheons -and plates, care must be taken to arrange the holes the proper distance -apart to receive the keeper-ends. - - -Door-plates - -On swing and sliding doors—and sometimes on plain doors—plates are -mounted above the lock on both sides. Their use is to protect the -painted or polished wood-work from finger-marks and similar defacements. -Quite elaborate plates are used on some doors, while others are mounted -with very plain ones. In Fig. 7 a variety of designs are shown. - -The average plate varies in length from six to twelve inches. In width -they measure from two and a half inches to three inches, and the metal -should be about one-eighth of an inch in thickness. - -Door-pull plates are made to receive the ends of a handle. The latter is -bolted to the reverse side of the door with countersunk nuts or flush -screws. The upper line of drawings in Fig. 7 are designed for this -purpose, and the two holes are spaced to line with the ends of the handle -that is to be inserted. In addition to the anchorage these plates will -get by being held to the wood under the handles, it would be well to make -a few holes at the edges, through which small nails may be driven. - - -Large Lock-plates - -In Fig. 8 several designs for large lock-plates are shown. In this -instance the knob and key-hole are placed in the same plate. This variety -of door hardware offers a broad field for the young designer. But be sure -and space the two holes so that the knob and key are in the right place. - -In the extreme right-hand plate (Fig. 8) an effect of continued scroll is -secured around the key-hole by cutting the ornament out of the body of -the plate. This is just the reverse of the scrolls forming the right side -of the plate, the ornament in this latter case being of the solid metal. -More “feeling” may be given to the solid scroll if an effect of relief is -worked out with some blunt tool and the mallet. This may be done with an -ordinary nail-punch or a blunt awl. For the veining use an awl or a dull -chisel, lightly tapping the tool with a wooden mallet. - -[Illustration: FIG. 8. FIG. 9.] - - -Door-knockers and Miscellaneous Ornaments - -Door-knockers and plates are made in a great variety of designs. The most -elaborate and richly ornamented knockers are cast in bronze and chased by -hand, but this work is not possible for the boy craftsman to accomplish -with his small outfit and limited knowledge of the higher grade of art -metal-work. - -The knocker-plates shown in Fig. 9 are cut from sheet-lead, but the rings -in the keepers (with the knob of metal at the lower side) must be made -from iron or other hard metal. A blacksmith will make these rings and set -them in a head, or keeper, which in turn is bolted to the inside of a -door. Where the knob of metal strikes the plate an iron nail with a large -head must be driven through the escutcheon and into the door, so that the -knob will strike upon it. Lead will not do for the ring or knob, nor as a -striking-plate, since it is too soft to sound sharply and distinctly. - -Sheet-lead ornaments in a great variety of designs may be made for -panels, the sides of cases, or for the decoration and embellishment of -wood-work in general. Wall-paper, carpet, upholstery, and other figured -fabrics will offer ideas from which to copy; but after a little practise -the young craftsman should originate his own designs, and not depend on -other people’s brains to furnish him with working patterns. - - - - -Chapter VIII - -WIRE-WORK - - -There are many pretty and useful articles that can be made for the -home, using simple tools and inexpensive materials. Who would imagine, -for instance, that such attractive objects as the ones shown in these -illustrations could be made from a few pieces of wire of different sizes? -Yet, with a little care and perseverance, you may quickly become an -expert in wire-working. - -To begin with, it is necessary to obtain several yards of soft iron wire -varying in sizes from No. 12 to No. 18, also a small roll of soft wire -about the size that florists employ to attach flowers to short sticks -when making up bouquets. - -The tools needed will be a flat and a round nosed pair of pincers, or -pliers (see Figs. 1 and 2), a wire-cutter, and a tack-hammer. You will -also need a sheet of smooth brown paper, and a soft lead-pencil with -which to draw the patterns. - - -A Bird-cage Bracket - -Begin by making simple things; then as you succeed in producing good work -you will be able to take up the more difficult patterns. A bird-cage -bracket is an easy object to start with. Enlarge the design shown -in Fig. 3 so that it will be sixteen inches high, with the hook-arm -projecting seven inches from the main upright rod. - -[Illustration: FIG. 1. FIG. 2. FIG. 3.] - -The pattern is to be drawn out the full size on smooth brown paper; then -the wire should be bent and shaped over the lines to conform to the -design. Use very heavy wire for the upright and projecting arm, and a -smaller size for all the scroll-work. The finest copper wire should be -used to bind the scrolls together, and so make tight unions where two -edges of wire come together and where the wires cross. - -This bracket should be firmly secured to the window-casing with two -staples. The staples should not be driven quite home, thus allowing the -bracket to be swung from one side to the other of the casing, as though -on hinges. This is especially desirable if the bracket is to be used for -a hanging-basket or pot of flowers, as it can then be moved against the -window or turned back to the wall, to permit of the window being opened -or cleaned. - -The iron wire should be given two coats of good black paint, or, if -desired, it may be gilded or silvered. An excellent black preparation for -iron may be made by thinning ivory-black ground in oil with equal parts -of Japan dryer and turpentine. Or you may try adding a little lamp-black -to brass lacquer or shellac. - -The paint should be applied to the iron with a soft hair brush, and the -first coat must be good and dry before the second one is applied. - -If brass wire is used instead of iron the joints should be soldered, to -lend additional strength. The soldering is an easy process and requires -only a little care. To do it nicely, obtain from a plumber a little -soldering solution in a bottle, and, with a piece of stick, place a drop -of solution on each union that has been bound with the fine brass wire. -Hold the union over a spirit-lamp flame, and when the wire has become -thoroughly heated touch the joint with a piece of wire solder; the latter -will instantly melt and adhere to the joint. If soldering solution is not -used the joint cannot be soldered, and if the wire is not hot enough the -solder will not melt. If the wire should be too hot the solder will melt -and fall off from the joint like a drop of water. A little experience -will soon enable one to become an expert solderer, and the process should -be employed wherever possible, as it strengthens the joints and unions, -and holds them rigidly in place. Galvanized or tinned iron wire can be -soldered in the same manner. - -The brass wire should be painted black the same as iron, but before any -paint is applied the superfluous solution should be washed off with -water, as paint will not hold if applied over the soldering solution. - - -A Photograph Easel - -Fig. 4 shows a design for a photograph easel that will make an attractive -table or mantel ornament if neatly constructed from wire of medium size. -It should not measure more than nine inches in height, and where the -lattice-work joins the lower cross-bar two hooks should be arranged on -which the photograph can rest. - -A back support, or prop, to the easel may be made of wire, and soldered -to the bar at the upper edge of the lattice-work. The lattice need not -be made of as heavy wire as the scroll-work, and where the strands cross -each other the junctions are to be securely bound with fine wire. - -Larger easels may be made for small-framed etchings, for panel -photographs, or for other purposes, but as the size of the easel is -enlarged the thickness of the wire should be increased to give additional -strength. - -By reducing the size of the lower scrolls this design would be quite -appropriate for a lamp-shade, and instead of the lattice-work a piece of -prettily colored silk or other translucent material may be inserted to -serve as the backing. - - -A Match-box - -An attractive design for a match-box is shown in Fig. 5. The total height -of the back piece should be nine inches, and the width three inches. The -match-receptacle should be an inch deep and project one and a half inches -from the wall. - -[Illustration: FIG. 4. FIG. 5. FIG. 6.] - -It should be lined with silk or other goods, to prevent the matches -falling through the open-work of the grille. Finished in black, with a -red or orange colored silk lining, this match-receptacle will be found -both useful and ornamental. - - -A Fairy Lamp - -A hanging fairy lamp, like the one shown in Fig. 6, makes a pretty -ornament for the parlor or living-room. - -The bracket part is made in a similar manner to the bird-cage bracket, -and should be of stout wire. The candle-sconce, or lamp part, is built up -of four sets of scrolls arranged about an old tin candlestick top, and -securely bound together with strands of fine wire closely wrapped. - -By using brass wire soldered at the unions a stronger construction is -possible. - -The sconce should be suspended from the bracket-hook by means of four -light wires. These latter may also support a canopy shade made over a -light framework of wire. - -Ordinary colored candles will look well in this fairy lamp. To keep the -colors in harmony it would be well to obtain candles of a tint that will -match the color of the silk shade. The lamp may be fastened to a door or -window casing, or perhaps to the sides of a mantel-piece. - - -A Picture-frame - -Fig. 7 shows the design for a picture-frame that is intended to -hang against the wall. The frame proper may be made of very narrow -picture-frame moulding around which the grille-work is arranged. Where -the latter touches the wood-work it is to be made fast with small -staples driven in the outer edge, and the ends clinched at the inside, or -rabbet, of the frame. Or fine wire may be used in place of the staples. - -[Illustration: FIG. 7. FIG. 8. FIG. 9.] - -If an all-iron effect is desired, the rabbet should be made of thin -stove-pipe iron or sheet-brass, bent into angular form and finally shaped -to the required size. Around it the grille-work is to be made and bound, -in about the same proportion as shown in the drawing. - - -A Glove-box - -A design for a glove-box is shown in Fig. 8. It should be ten inches -long, five wide, and three inches high. - -The bottom should be made of a thin piece of wood, and the entire inside, -including the top, should be lined with some handsome and substantial -material in bright colors. - -The four sides and the top should be made in separate pieces, and -afterwards bound securely together with fine wire. - - -A Window-grille - -Fig. 9 is a grille for the upper part of a window. It will be very -effective if constructed of heavy wire, the design being neatly carried -out. Variations of this grille may be made for doorways, transoms, and -skylights, and with the hints and drawings already given a bright boy -will soon be able to invent and work out his own designs. There are -dozens of other objects that may be made in iron-work, and these will -soon suggest themselves to the young craftsman. - - - - -Chapter IX - -GAS AND ELECTRIC SHADES - - -Shades for gas and electric fixtures are a necessity in almost every -house, and by the exercise of a little inventiveness they may be a part -of its ornament as well. In the suggestions and hints that follow the aim -has been to create from inexpensive material really artistic results. It -all depends upon the care and ability with which the young craftsman goes -to work. - - -A Simple Gas-shade - -Fig. 1 is a simple shade intended for a bracket gas-burner; in shape and -size it fits the rim that holds the ordinary glass globe. - -From covered hat-wire four or five forms are constructed like the -pattern, Fig. 1 A. They should be of such width at the bottom that when -attached together and bent in a circle they will fit in the rim that is -on the fixture. Each form is then covered with China silk of some light, -pretty shade, and bent over, as shown in the drawing. Some spangles are -sewed to the outer surface to form the design, or pattern, and the fine -lines are worked out with silk or laid on with gold thread. Between -each section some glass beads are strung, and the other details may be -gathered from the drawing. - - -Another Gas-shade - -In Fig. 2 another idea is shown for a gas-shade. Six frames of wire are -made, as shown at Fig. 2 A, and the ornament is formed of wire, and held -in place by means of very fine wire wound round the unions. When the six -sides have been made they are bound together so as to form a hexagon -(Fig. 2 B), and with stout wires this frame is made fast to a rim, inside -of which a glass shade may rest, if desired. - -The inside of this frame is lined with light silk, and to the lower edge -a glass-bead fringe three or four inches long is made fast, as shown in -the drawing. - - -A Metal Shade - -In Fig. 3 an odd shade is shown. It is cut from thin sheet-lead with a -small chisel and penknife blade, the metal being laid flat, as shown at -A, and the design being first drawn out with pen and ink. The ends of the -strip of lead are caught together with small copper tacks, which should -be driven down at the ends the same as rivets. - -In order to obtain the flare at the top, the lead should be beaten out -with a light tack-hammer or a round piece of hard-wood, until the proper -shape has been obtained. - -The metal-work should be painted black, and to lend a better finish the -filigree shade may be lined with pink or orange-colored China silk. - -[Illustration: FIG. 1. FIG. 2. FIG. 3. FIG. 4. FIG. 5. FIG. 6. FIG. 7. -FIG. 8. FIG. 9. FIG. 10.] - - -An Electric-light Screen - -In homes where electric lights are used it is often desirable to partly -hide or subdue the harsh light from the bright filament within the bulb. -A ground-glass bulb answers the purely utilitarian purpose, but there is -no reason why the screen should not be decorative also. - -In Fig. 4 an attractive design is shown. Four or five triangular wire -frames are made and filled with wire ornaments, as shown at Fig. 4 A, and -they are caught together at the sides so that they will form a cap, or -hood, over the bulb. A band of thin sheet-lead is run around the edge, -and to it the glass-bead fringe is sewed fast through small holes that -may be punched in the metal with a fine awl. - -The cap is lined with silk, and the beads should correspond with it in -color. - - -A Bell-shaped Shade - -In Fig. 5 a bell-shaped shade is illustrated. It is made up of five -sections, as described for the gas-shade in Fig. 1. - -The ornament may be embroidered or painted with water-colors, or the -sides may be left plain. A line of short glass-bead fringe around the -bottom will add to the appearance of the shade. - - -A Pear-shaped Shade - -In Fig. 6 the cap is cut from thin sheet-lead. The four or five separate -parts are caught together at the edges with fine wire drawn through small -holes, and all the metal-work is painted black. - -Long glass-bead fringe is attached to the lower edge of the cap, and the -ends are caught together at the bottom. - - -A Dome-shaped Shade - -For a dining-room, where a cluster of lights is used, a good idea for a -dome-shaped shade is shown in Fig. 7. - -This is made from a silk parasol lined with white. In order that the ribs -may hold it in shape, saw off the stick just below the catch and pass the -electric-light wire through the silk at the middle of the top. - -A number of panels are made of the same width as the distance between the -ribs; they are caught to each other and to the end of each steel rib with -fine wire. The panels are made of wire and covered with thin China silk, -which is ornamented with garlands and ribbons, either embroidered or -painted on, as shown in the drawing. Glass-bead fringe should depend from -the lower edge of these panels, and it should match in color the silk of -the parasol and the panels. - - -Another Dining-room Shade - -Another idea for a dining-room fixture is shown in Fig. 8. - -It consists of two wire hoops held about six inches apart, the edge of -a band of embroidered silk being caught over each hoop. These hoops -are suspended from a circular disk of wood, which in turn is supported -by means of the flexible wire that conducts current for the light. The -bulbs are enclosed in frosted glass globes, three or four of which are -suspended in a cluster at the centre of the hoop. A long silk or a -glass-bead fringe ornaments the lower edge of the band. - -Another way of arranging this fixture is to carry the globes to the -inside of the band. From four to seven of them may hang just inside the -band, which, in that case, may be made seven or eight inches wide instead -of six inches. - -The globes should be of a size to accommodate eight-candle-power lights. - -In making any of these shades it would be well to cut the forms from -card-board, and paste them together to form a pattern from which to shape -the metal parts. - - -A Canopy - -In Fig. 9 a canopy of thin metal strips and silk is shown. - -The strips are cut from thin stove-pipe iron, brass, or copper. The -soft metal is preferable to the hard, or spring, brass, as it can be -more easily bent and it will keep the shape better. A paper plan may be -drawn of one section, and the small scrolls fitted over it, then banded -together with fine wire. The bottom of this canopy is round, but the six -sides are slightly flattened at the middle, half-way between the top and -bottom. - -The inside of the canopy is lined with light silk, and silk or glass-bead -fringe is attached to the lower edge. - - -A Panel Shade - -Fig. 10 shows a simple shade made of four panels composed of covered wire -and thin silk. The ornamental design may be embroidered, or painted or -cut from colored silk and sewed on. - -This shade may be suspended from the socket by means of silk cords or -wires, and the open spaces at the top will permit some light to glow -above the shade. - - - - -Chapter X - -RELIEF ETCHING - - -In this era of practical craftsmanship there is a field for any unique -art that savors of originality and which will help to beautify the home -and its furnishings. - -Relief etching is one of these arts, and is a very old one, having been -employed by the workers on King Solomon’s temple, and perhaps in earlier -historical buildings. That was before the time of chemical treatment, -however, and when the beautiful effects were obtained by laborious -hand-work, a modification of which is handed down in the Turkish, -Russian, and Oriental hand-etched brasses and silver goods. - -Modern science and chemistry have superseded the old method, and many -beautiful pieces of relief etching are produced by the acid process, -which is much more beautiful in some respects than the tool-work. The -process is very simple, and any boy can become master of the art in a -short time and at a very moderate cost. - -The equipment necessary to the work will be a tray for the acid bath, a -small can of asphaltum varnish, three or four camel’s-hair brushes of -assorted sizes, a bottle of nitric acid, and some pieces of sheet brass -or copper less than one-eighth of an inch in thickness. - -For the acid bath a photographer’s porcelain or hard-rubber -developing-tray will be just the thing, but if not available a good pine -or white-wood tray can be made with sides two inches high. - -To protect the wood from the action of the acid, the tray should be -treated to several successive coats of asphaltum varnish—one each day -until the wood is thoroughly coated and the joints well filled. The wood -should be half or three-quarters of an inch thick, and screws should -be used at the joints and laps. A tray of this description can be made -at home, and when finished it should appear as shown in Fig. 1. If the -varnish is too thick when applying it, a little turpentine will thin it -properly. - -Small, flat subjects are best to begin with, such as hinge-plates, -panels, escutcheons, or tablets. For a drawer panel, Fig. 2 shows an -attractive and simple design that may be drawn on the metal with pen -and ink. If the ink creeps, the surface of the metal may be roughened -slightly with fine emery cloth. - -With the asphaltum varnish the design is then filled in so it will appear -as shown in Fig. 3 and allowed to dry, when, as a precautionary measure, -another coat should be given over the blackened surface, to avoid the -possibility of the acid biting through the thin places, or where the -varnish has missed the metal. The back and edge of the metal is coated -also, to prevent the acid from eating into it. - -All the surfaces of the metal not covered with the varnish will be -eaten or etched away and left with a granular surface resembling fine -sand-paper, while the painted or protected parts will be left intact and -with a smooth surface like the original face of the plate, as shown in -Fig. 4. - - -The Technique of the Process - -With an old woollen cloth dipped in turpentine, the surface of the plate -may be rubbed, after first washing off the acid. The black removed from -the ornament will tint the granulated surface of the background and lend -relief to the bright surface of the ornament. - -Almost any objects in metal, such as door-hinges, knobs, fireplace hoods, -name-plates, vases, candlesticks, panels, and tablets, can be decorated -by this process, and if artistically done the results will be very -effective. - -Sheet brass and copper may be purchased at large hardware stores or -supply houses for thirty cents a pound, and the sheets or panels can be -cut there with the shears to the exact size required. For the average -work, metal not more than one-sixteenth of an inch thick will be found -easy to handle; but for large panels or name-plate, pieces about -one-eighth of an inch thick are preferable. - -If the design shown in Figs. 2, 3, and 4 is too elaborate for the -beginners, some simple outline may be drawn, perhaps a flower design, -copied from some piece of embroidery work, or a figure design from a -wall-paper, carpet, or dress-goods pattern. The metal should be left to -dry for at least an hour after being painted with the varnish before it -is placed in the acid bath. - -The etching is done by placing the plate, face up, on the bottom of the -tray and covering it with acid. The ground-work or unpainted portions -of the metal may be bitten to any depth, but it is not desirable to -cut away too much, as it weakens the plate and cuts under the ornament, -unless it is carefully stopped out all around the edges of the design; -and that is too much of an undertaking for the young craftsman, since it -requires a great deal of time and careful work. - -[Illustration: FIG. 1. - -FIG. 2. THE DRAWING - -FIG. 3. THE PAINTING - -FIG. 4. THE ETCHING - -FIG. 5.] - -A little practice will determine just when the plate should be removed -from the solution, either for examination or final cleaning. Soft brass -or copper corrodes much faster than hard metal, which takes about three -times longer, and the process of corrosion will require from twenty -minutes to an hour, according to the temper of the metal and the strength -of the acid solution. - - -The Acid Solution - -To prepare the acid solution obtain a large, clear glass bottle and fill -it quarter full of pure water; into this slowly pour an equal quantity -of nitric acid, taking great care not to spill any of the acid, as it -acts instantly and will eat a hole in any cloth it falls upon or spatters -over. Wear old clothes and a canvas apron when mixing or handling the -acid, and never be in a hurry to get results quickly by the reckless use -of the biting fluid. If perchance the acid should touch the clothing, -apply a few drops of ammonia to the spot immediately, to neutralize the -acid and stop its action. The spot should then be sponged with clear -water and no stain will be perceptible. - -As the acid is added to the water (never add the water to the acid), -shake it occasionally to thoroughly mix it, and let the mixture stand for -a while to cool; then place a rubber cork in the bottle, label it Nitric -Acid Solution—POISON, and place it beyond the reach of small children. - -A solution that has been used should be poured from the tray into another -bottle, to be used again by adding a small quantity of fresh solution. -An old solution does not act as quickly as a new one, but for soft metal -plates it is preferable, as it does not require such careful watching. -The fumes of the acid, when at work, are disagreeable, so if possible it -is well to carry out this part of the process in the open air. After -the plate is immersed in the acid, do not handle it with the unprotected -fingers. - -Rubber gloves may be used for this purpose, but if a pair cannot be -had the plate may be raised from the tray bottom by means of a small, -sharp-pointed stick, and it should then be grasped with a pair of -pliers and immersed in water to stop the action of the acid. A plate -may be repeatedly removed from the bath to watch the progress of the -etching, but in doing so it must be handled with care, in the manner just -described. - -When the ground is etched deep enough, remove the plate from the acid and -give it a thorough washing in clean water; then with a soft cloth dipped -in turpentine rub off the entire surface of the plate. The turpentine -will dissolve the varnish and leave a film of it on the granular surface -of the metal eaten by the acid. As a result, the ground will be darkened -or oxidized, while the parts originally protected by the varnish will be -bright and smooth. The high parts can be brightened still more with metal -polish, or they may be buffed and lacquered by a metal finisher. - - -Some Typical Designs - -In Fig. 5 the face of a door-knob is shown in its etched state, the -pattern being drawn in varnish, as described. - -In Fig. 6 the side of the knob in Fig. 5 is shown; that is, if it should -have such a flat band all around. Plain brass knobs may be purchased at a -hardware store, and if they are lacquered the coating should be removed -with alcohol before the etching is done, as otherwise the acid would not -eat through the lacquer for some time. - -For an acid bath in which an object this shape is to be etched, a yellow -earthenware bowl may be used, or a low jar with a wide neck will answer -very well. The knob should be suspended in the acid by means of a piece -of waxed string tied about the shank. - -Hinges on cabinet doors may be greatly improved by making brass straps -for them, which should be applied to the wood so that they fit closely -against the sides of the hinges. - -[Illustration: FIG. 6. FIG. 7. FIG. 8. FIG. 9.] - -Designs for hinge-straps are shown in Figs. 7 and 8, and Fig. 9 is a -brass vase on the outside of which a floral design has been etched. - -Another design for the face of an oval brass door-knob is shown in Fig. -10. This is a simple pattern to draw on a knob with asphaltum varnish, -and its plain but bold ornament is quite as pleasing to the eye as a more -intricate pattern would be. - -A design for a short, high hinge-plate is shown at Fig. 11, and at Fig. -12 a long, narrow hinge-plate or hasp-strap is depicted. Many other -shapes of hasps and the patterns to ornament them may be designed by the -boy with some artistic ability, and he may be able to improve upon these -suggestions. - -[Illustration: FIG. 10. FIG. 11. FIG. 12. FIG. 13.] - -When making hinge-straps, escutcheons, or any articles from brass plates -or flat brass and copper, the edges should be shaped with a cold-chisel -and mallet on the upturned face of an old flat-iron. The uneven or ragged -edges may be trimmed off with a file and finished with emery cloth. - -An idea for a name-plate is shown in Fig. 13. This is seven inches long -and three inches wide. It is appropriate for a front door or the door of -a boy’s room, changing the name, of course, to that of the proper person. - -At the left of the drawing the finished plate is shown, while at -the other side the blackened letters and marginal line is depicted, -illustrating how the plate will look before it is etched. Or this last -may be the appearance of the plate after it is etched and before the -varnish has been removed with turpentine and a cloth. - - - - -Part III - -HOUSEHOLD ARTS - - - - -Chapter XI - -CLAY-MODELLING AND PLASTER-CASTING - - -The boy on whom nature has bestowed the natural talent and liking for -art-work will find clay-modelling a fascinating and pleasing branch to -follow. - -To become a perfect modeller, and finally a sculptor, requires years of -patience and perseverance, but to copy simple objects in clay is not a -difficult matter, and with some clay, a few tools, and the skeletons, -or supports, the amateur should not meet with any great obstacle if the -following descriptions and instructions are accepted and practised. - -Very few tools are necessary at the beginning, and Nos. 1, 2, 3, 4, -5, 6, 7, 8, 9, 10, and 11, shown in Fig. 5, are a full complement for -any beginner. The first four are wire tools, made of spring-steel or -brass wire, about which fine wire is wrapped. The ends of the wires are -securely bound to the end of a round wooden handle, and sometimes, for -convenience, two ends are made fast to a single handle. These tools are -called “double-enders,” and are used in roughing out the clay in the -first stages of the work. No. 5 is a boxwood tool with one serrated -edge, and is used for finishing. The tools shown in Nos. 6 and 7 are of -steel, and are of use on plaster, where others would not be sufficiently -durable. Nos. 8, 9, 10, and 11 are boxwood tools, a wire loop being -fastened in the end of No. 9. Any of these tools can be purchased at an -art-material store for a few cents each, except the steel tools, which -are more expensive. - -[Illustration: THE TOOLS - -_Fig. 5._] - -A stand, or pedestal, will be necessary on which to place the clay model, -unless perhaps it should be a medallion, which may be worked over on a -table. - -Fig. 6 is a stand that can be made by any boy from a few pieces of pine -two inches square and a top board one and a half inches in thickness. It -is arranged with a central shaft that may be raised or lowered, and to -the top of which a platform is securely attached. - -The movable shaft should have some holes bored through it from side to -side, through which a small iron pin may be adjusted to hold the platform -at a desired height. Clay can be purchased at the art stores by the -pound, or in the country a very good quality of light, slate-colored clay -may sometimes be found along the edges of brooks or in swampy places -where running water has washed away the dirt and gravel, leaving a clear -deposit of clay of the consistency of putty. - -Supports which the clay models are built upon can be made of wood and -wire, as the requirements necessitate. That for the head is shown in Fig. -1. Nearly every clay model of any size will need some support, as clay -is heavy and settles, and if not properly supported will soon become -distorted and the composition spoiled. You will also need some old soft -cloths that can be applied wet to the clay, a pair of calipers, and a -small trowel or spatula. - - -The Technique of the Art - -[Illustration: FIG. 1. FIG. 6.] - -To model well the art of drawing is indispensable. The art of -wood-carving is also a valuable one to the clay-modeller, but care must -be taken when making any casts of wood-carving to use glue moulds; -otherwise the carving would become firmly embedded in a plaster mould, -due to the undercut in the carved ornament. To begin with, choose some -simple object to copy, such as a vase or some small ornament; then, when -a satisfactory result has been obtained, select something a trifle more -difficult, such as a hand or foot. - -When copying a head, obtain a bust support on which to work the clay. A -very simple and strong one can be made from a piece of board, two sticks, -and a short piece of pipe wired to the top end of the upright stick (Fig. -1). - -To carry out the proportions of a bust similar to Fig. 4, the clay should -be packed about the support much after the manner shown in Fig. 2. This -will support the clay. - -With a lump of clay and the fingers form the general outline, as shown in -Fig. 2, for the head; then, with the wire tools, begin to work away the -clay in places, so as to follow the lines of the model. With the calipers -measurements may be taken from the plaster head and used advantageously -in the building up of the clay model. Turn the plaster model and clay -copy occasionally, so that all sides may be presented and closely -followed in line and detail. Fig. 3 shows the next stage, and Fig. 4 the -completed head. - -Modelling differs from drawing and painting in that every side of the -model is visible, while only the face of the painting is presented to -the eye, the impression of form and outline being worked out on a flat -surface. - -Having successfully mastered the head, next attempt a foot from a plaster -cast. Afterwards a more elaborate subject, such as a whole figure, can be -tried. - -With the wire modelling-tools and the fingers begin to work away the clay -to obtain the general outline and form; continue this in a rough manner, -until a perfect composition is obtained that compares favorably with -the original model; the finishing-touches may then be applied, and the -detail worked up more carefully. - -[Illustration: FIG. 2. FIG. 3. FIG. 4. FIG. 7. FIG. 8.] - -Never complete one part and leave the remaining ones until later; always -work up the model uniformly, adding a little here and there, or taking -away, as may be necessary, and so developing the whole composition -gradually. - -Moisten the clay occasionally with water sprayed on with a small -watering-pot or a greenhouse sprinkler, to keep it soft and ductile. -When not being worked upon it should be covered with wet cloths, to keep -it moist. - -As the work progresses the clay may be allowed to harden and consolidate, -but not to dry; if allowed to dry entirely the model may be considered -ruined, as the shrinkage of the clay around the support results in -fissures and fractures that cannot be repaired. - -By the time the amateur has acquired the knowledge to attempt a full-size -figure he will be able to invent the devices to support it. - -The support, or skeleton, must of course be adapted to line with the pose -of the figure, and should be of pipe and heavy wire or rods securely -anchored to the base-plate. - -The composition of flowers, fruit, foliage, animal life, and landscape is -an inexhaustible one, and some beautiful effects can be had in flat-work. -Good examples of this character of work may be found on all sides, and to -the genius the field of modelling is a broad one—without limit. - - -Glue and Gelatine Moulds - -When casting from hands, feet, or ornaments where undercut predominates, -the most successful mode is in the use of gelatine or glue. - -To cast a head similar to the one shown in Fig. 4 it will be necessary to -make a box frame large enough to hold the head. - -The cast is to be well oiled, and down the front and back, running around -under and back over the base block, strong linen threads are to be stuck -on with oil. Warm glue or gelatine is then poured in the box and left to -chill and solidify. - -When sufficiently cold the frame may be removed, leaving the solid block -of glue like hard jelly; then the ends of the threads are to be grasped -and torn through the gelatine, thus separating it in two or three parts. -The plaster head may then be removed, and the mould put together again -and surrounded by the frame to hold it in place. - -To make a plaster head this plaster of Paris may be poured into the mould -and left for a while, when, on removing the frame and taking the glue -mould away, a perfect reproduction of the original head will be found. - - -Hollow Casting - -When very large objects that would require a great deal of plaster are -cast, they are generally made hollow in the following manner: - -Obtain the glue mould by the process described, and into it pour a -quantity of thin plaster, having first oiled the surfaces that come -in contact with it. Turn the mould about and upside down, so that the -plaster will enter every part and adhere to the glue form. Allow it to -“set,” and again pour some plaster into the mould. This will adhere to -the first coating, and after it has set repeat the operation several -times, until a deposit, or coating, an inch or more in thickness has been -made. - -The glue mould on being removed will reveal a perfect plaster-casting -that, instead of being solid, is hollow, and in consequence is much -lighter. - - -Modelling a Foot - -To model a foot from a plaster cast, as shown at Fig. 7, it will be -necessary to lay or putty up the form in the rough, as suggested for the -bust in Fig. 2. Now rough out the form with the modelling-tools, so that -it will appear as shown in Fig. 8. A frame, or support, should be made -from a block and a stout piece of wire, as shown at Fig. 9, so that the -mass of clay, particularly that at the back of the foot, will not settle. - -[Illustration: FIG. 9. FIG. 10.] - -For full-length figures it is always necessary to construct a frame after -a rough front and profile drawing has been made. With this drawing in -sight, it will then be a comparatively simple matter to construct a wire -or iron pipe frame such as that pictured in Fig. 10. - - -Bas-relief Modelling - -Bas-relief work is another interesting department of clay-modelling. -This is one-sided in its effect, and the full, rounded appearance of the -statue or bust is reduced to a more flattened form with lower relief. A -familiar example of bas-relief is the head on a silver dollar, or the -raised ornament on silverware and pottery. Let us now begin with the -group of pears and leaves illustrated in Fig. 11. - -A small block or piece of wood is treated to a coat of shellac or paint; -then the clay is puttied on to roughly form the parts in the group. With -the modelling-tools the outline and form is gradually worked out; then -the surfaces are smoothed down, and the few little artistic touches given -here and there to lend life and character. - -Bas-reliefs can, of course, be cast any size, and from the original -plaster mould many duplicates in composition or _papier-maché_ may be -made. - -Garlands, festoons, sunbursts, panel ornaments, and cartouches can be -modelled in clay, and afterwards cast for architectural features in -interior decoration. A good example of the garland is shown in Fig. 12. -This is made up of flowers and ribbons, and with careful and patient work -the boy sculptor should be able to obtain results quite as pleasing in -detail as that illustrated. - -[Illustration: FIG. 11. FIG. 12.] - - -A Medallion Head - -After some experience in casting ornaments in bas-relief has been -obtained, it would be well to try a head or bust. - -A simple method of doing this is to take an ordinary school slate and -make the outline of a head on it. Within this outline you build up -roughly with your finger and thumb a cake of clay about half an inch in -thickness; then with your modelling instruments work it up as accurately -as your artistic skill will permit (see Fig. 13). - -When in the progress of your work you find it necessary to leave it for -a short time, be careful to cover it over with a wet cloth, and if for -a long time, put two wet cloths over it, and cover them in turn with -a sheet of newspaper. This is necessary to keep the clay from getting -hard and unfit for working. If at any time you find the clay getting too -stiff, sprinkle it with water shaken from a whisk-broom. To make the -moulds of your clay model you will require a little plaster of Paris, -some lard oil, and some soap, and then your outfit is complete. - -When your clay medallion is finished, build a wall of clay around it of -about an inch and a quarter in height, as shown in Fig. 13; then get a -teacupful of lard or olive oil, and add to it a good teaspoonful of any -kind of soap scraped fine. Put this on the stove and stir until it is -thoroughly mixed; then with a soft camel’s-hair brush lay a slight coat -over your entire work. - -You must now mix your plaster. If the surface of your medallion is, say, -one foot by six inches, you will require about two pounds of plaster to -about a quart of water. Sprinkle the plaster into the water, and then -watch it until bubbles have ceased to come to the surface. When no more -bubbles appear, stir it up well with a stick. The mixture should be about -the consistency of thick cream. The exact proportions you must find out -by experiment. This plaster cream you pour quickly over your medallion, -blowing gently with your mouth on the fluid as it spreads itself over -the face of your work; this is to prevent the formation of bubbles. In -a short time the plaster will become hard; you then remove your clay -wall, and lift the plaster mould, or matrix, from the clay. This you do -by passing a penknife all round between the plaster and the slate, after -which it lifts easily. You have now a perfect plaster mould. If you find -any small particles of clay adhering to it, wash them off with a soft -camel’s-hair brush and water. - -You now want to get a plaster cast from your matrix. To do this you lay a -coat of the soap and oil mixture with a camel’s-hair brush all over the -face of the mould, and then pour in the plaster just as you did before, -taking the same precautions to blow upon the plaster and to build a wall -of clay around the mould. - -You let this stand for half an hour until it is perfectly set, when you -can remove your casting by passing a thin-bladed knife all round between -the matrix and the casting. If it does not then lift easily, plunge -the whole thing in water for an instant, after which you will have no -difficulty in separating the two parts. - -You now have a plaster cast of your original work, which you can touch -up and finish off with sand-paper, or with the blade of a penknife if -necessary. - -You can, of course, make as many casts as you please from your mould, and -thus have very pretty little souvenirs to present to your friends. - -[Illustration: MEDALLION AND PLAIN CASTING - -FIG. 13. FIG. 14. FIG. 15. FIG. 16. FIG. 17.] - - -Coin and Metal Casts - -This same procedure may be employed when making moulds and casts from -coins, medals, and medallions. A narrow frame is made of wood, and at the -middle of this a medal is placed on the flat oiled surface of a board, a -slate, or a piece of marble, as shown at Fig. 14. The face of the object -is now prepared with the oil, and the plaster is poured as previously -described. If any number of reproductions are to be cast from the mould, -it would be well to give it one or two coats of thin shellac; then oil it -before each impression is made. - - -Plaster-casting in General - -It is not a difficult matter to reproduce in plaster almost any object -that has no undercut or parts that will not easily detach from a mould. -When making them, the first thing to do is to get a piece of board about -a foot square; that is to work on, so as not to soil the table. Then -you want a lump of clay about as big as a football, five or six pounds -of plaster of Paris—it only costs three cents a pound—and a half-dozen -wooden pegs. You also want a cup of warm melted lard, or Castile soap -dissolved in hot water, to rub over what you are going to copy, so as to -prevent the plaster sticking to it. - -Now, suppose it is an egg you want to copy. You rub it all over with your -melted lard, and lay it down on the piece of board. Pack clay around it -as high up as the middle of the egg, and as far out as half an inch from -the widest part. You must be particular about not putting clay higher -than the middle, because, if you get the clay too high, you can’t get the -egg out without breaking the mould. - -When you have the clay around the lower half of the model, smooth and -level it, and push two pegs in opposite corners, as shown in Fig. 15. Now -around the whole thing make a box or case of clay, with sides rising half -an inch higher than the model (Fig. 16). Mix plaster of Paris and water -together till you have it like molasses on a warm day; pour that into the -clay box, so that the model is covered, and the mixture even with the top -of the box. - -The plaster will set, or become hard, in a little while, and you then -tear the box away, and take out the model and plaster together, leaving -the first clay mould. Next put the plaster mould and model in a clay box -just as you did before, and pour plaster over it, first greasing the -model and upper surface of the mould. Before pouring on the plaster, roll -a small piece of clay in your fingers, and put it on the model (Fig. 17), -so that when you pour plaster over it, a hole will be left in it through -which you may pour plaster for the final cast. - -For the second time tear away the clay box, and gently separate the two -parts of plaster of Paris; take the model out, and you will have two -blocks of plaster, which, when brought together, will contain an exact -mould of the model (Fig. 18), and one block will have an opening in -it through which you can pour plaster. Before pouring in the plaster, -however, be sure to grease the insides of the mould. Then put the parts -together, using the pegs and holes as guides to a proper fitting, and tie -firmly with a piece of twine. Now pour the plaster in, and then shake -the mould gently in order to make the mixture settle in all the smaller -crevices. - -[Illustration: PLASTER-CASTING IN GENERAL - -FIG. 18. FIG. 19. FIG. 20.] - -Of course when you separate the parts of the mould now you will have a -perfect cast of your model. It will have a thin ridge running around it -where the mould was joined, but that is easily rubbed off with sand-paper. - -In a mould made from a hand you proceed in about the same way. The great -thing is to find the dividing line in the model; that is, the place where -the parts of the mould ought to join. In the egg it is easy enough, for -you can divide it into two equal parts; but you take a hand, and you have -to make the line around each finger just where it is broadest (Fig. 19), -and build the clay up to that line. The wrist-hole in a hand-mould makes -a good hole to pour the plaster in (Fig. 20), and, after all, a hand is -easy to make. - -These simple directions should make it easy for the amateur modeller -to acquire the first principles of the art. There are several good -compositions in which the young craftsman can work besides plaster of -Paris, such as “Kiln Cement,” “Carton-pierre,” “Papier-maché,” “Plaster -Compounds,” “Artificial Marble,” and “Concrete.” - - -How to Find and Mount Signets - -There is nothing prettier or more attractive, hanging on the walls -of one’s parlor or chamber, than a group of signet impressions in -sealing-wax of various colors, artistically arranged and handsomely -mounted; while the pleasure to be derived in seeking them is quite as -keen as that which the coin or stamp hunter enjoys, without the expense -attached to them, for our seals cost comparatively nothing. The outfit -is simple, consisting of a dozen sticks of sealing-wax in different -colors—black, brown, red, gold, white, and green, making a charming -combination with any other shades that take the fancy of the collector. -A light wooden or strong pasteboard box to carry the articles, a box of -matches, a white taper (cut in half for convenience’ sake), and, later -on, a piece of stiff white card-board (16 × 22, 22 × 28 being good sizes) -to mount them on. - -Keep in the bottom of the box containing the wax a dozen or more pieces -of thick, white, unruled writing-paper cut into ovals, circular, oblong, -and square shapes, varying in size from one-half inch in width to two -inches in length. This is all that is required. Now for our hunt. As you -meet friends and acquaintances, notice their rings and watch-charms. When -any are discovered with a figure, crest, handsome monogram, or initial on -it, borrow it, and make your impression. This is accomplished by laying -a piece of your writing-paper, at least half an inch larger than the -seal to be used, on some smooth surface like a table. Then take a stick -of wax between the thumb and forefinger of the right hand; with the left -hand a match or taper, and bring them together just on the paper where -the wax melts sufficiently to drop freely. Rub the end of the sealing-wax -quickly over the middle of the paper. Then moistening the seal with the -tongue to prevent the stone adhering to the burning wax, press it firmly -into the hot bed prepared for it, a second or so, being careful to lift -it straight up when taken off, thus securing a clean edge. If this is -properly done a fine impression of your subject is secured. Repeat this -operation several times, taking different-colored wax for duplicates, -which will enable you to make exchange with other collectors, who are -unable to get these same figures, but have others not in your collection. - - - - -Chapter XII - -PYROGRAPHY - - -Pyrography, or fire-etching, is by no means a modern art, but one -that was practised many centuries ago both in civilized and barbarous -countries. In Europe, during the early ages, this work was executed with -a poker inserted in the fire and heated red hot; but as the iron must -have cooled quickly, the task of embellishing a panel was a tedious and -laborious one. - -A knowledge of drawing will be very helpful to the young pyrographer, as -the object can be sketched in lead-pencil and followed with the heated -iron or platinum-point. - -Of the various materials that may be used on which to etch the ornament, -wood and leather have been found the most satisfactory, since they retain -the deep, rich brown-and-black tones given by the heated iron, and yield -more readily under the tool than other materials. - -If wood is employed, such as oak, birch, maple, holly, and cherry, -it should be selected with a pretty grain and as free from knots -as possible; but if leather is used, a good quality of oak-tanned -sole-leather will give the best results; although for light work a -pleasing effect can be had by employing a stout Suède and etching on the -rough side. - -The etching-tools are few and simple, and are shown in the illustrations. - -Fig. 1 depicts a set of irons that can be made by a boy from pieces -of round iron a quarter of an inch in diameter and having the points -fashioned with a file. The ends of the irons can be inserted in -file-handles that may be purchased at a hardware store for a few cents -each. - -[Illustration: _Fig. 1._ _Fig. 2._] - -A is a sharp-pointed iron for outlining; B is a round-pointed one for -broader work; C is a stub for bold work, and measures three-eighths of an -inch in diameter; D is a curved background tool, and is used for burning -in the grounds, or shading, in order to make the design stand out boldly. - -With these tools and a spirit-lamp and rest, such as is shown in Fig. 2, -some very good work can be done; and to complete the set a sharp-edged -eraser may be added to scrape away the wood, if perchance it should have -been touched by mistake with a hot iron. - -To begin with, it is best to carry out a simple design—to decorate a -panel, a drawer front, or the sides to a small wooden box. The pattern -must first be drawn out in full size on a piece of smooth brown paper, -and then transferred to the face of the wood by the use of colored or -black transfer-paper, sheets of which can be had at an art or stationery -store for a few cents each. - -To reproduce the design, lay the transfer-paper face down on the wood, -and over it the drawing face up; pin it fast, and go over all the lines -with a lead-pencil, bearing down to impress them on the face of the wood. -Having gone over all the lines, unpin one corner and raise both sheets of -paper to see that the impression is good. If not, replace the paper and -redraw the faint or unmarked lines. - -Fig. 3 is a simple and attractive design for the embellishment of a -panel, of a small drawer, or as one of the sides to a box. - -If the tools shown in Fig. 1 are used, fill the spirit-lamp half full of -alcohol and light it, then place the pointed iron A on the rest in such a -position that the point will be enveloped by the blue flame, where, after -remaining a minute, it will become red hot. Remove it and trace the lines -in the wood with the hot point until all of them have been gone over, -and as a result the wood will have the appearance of Fig. 4. The iron -will necessarily require reheating continually, and to save time it would -be well to have two or three irons of each shape, as they cost but a few -cents, and are easy to make. - -[Illustration: _Fig. 3._ _Fig. 4._] - -After the outlining has been done, the background should be burned in -with the curved iron D. Fig. 5 illustrates the manner in which this may -be accomplished; the left side is partly finished, and shows the simple -and effective mode of lining or “dragging” the ground. The right side is -a finished ground, where the cross-strokes may be seen with an occasional -oblique stroke to lend added density. It is not always possible to -complete a ground until the ornament is shaded, and what may seem to be -a finished background before the shading will sometimes afterwards prove -too weak or flat, and will necessarily require going over in places to -strengthen and darken it. - -[Illustration: _Fig. 5._] - -[Illustration: _Fig. 6._] - -Fig. 6 is a piece of finished work where the ornament is shaded to give -it character, and where also the background has been retouched in some -places to give it a stronger feeling. This illustration is a good example -of pyrography, and gives the relative tones of high light and shadow. - -Before beginning on an ornamental piece of work, it would be well to -practise on clear pine or white-wood, and to become dexterous in the -use and manipulation of the tools, and to find the ones best adapted to -certain kinds of work. The round-pointed tools B and C, shown in Fig. 1, -are good grounders, and where large work and bold patterns are carried -out they will be found of use. - -As some very fine work is possible in fire-etching, the art can be -applied in many ways to decorate pieces of useful and ornamental -furniture about the house. - -Charming pictures can be produced on holly and white mahogany; designs -of fruit and flowers and conventional patterns may be applied to panels, -tables, screens, frames, glove and handkerchief boxes; and on maple -bedroom furniture designs in pyrography lend a pleasing and artistic -appearance. - -When working on leather do not cut out the form until after the work is -finished, but pin the material flat on a board to hold it firmly while -operating with the hot irons. - -The entire design should be drawn on the face of the leather with a soft -lead-pencil, and afterwards gone over with the burning-points. When the -work is completed the piece of leather should be removed from the board, -and the outline cut with a sharp penknife or a pair of scissors. - -It may be desirable to varnish and polish some specimens, and it is -possible to do so by coating the surface with a thin spirit varnish or -thin furniture polish. This will bring out the density of the burned -lines, and enrich a design that on certain woods might seem flat. Too -much varnish must be avoided, and only a very thin coat will be necessary -to obtain the desired result. - - -A Platinum-point Outfit - -In preference to the hand-made irons, which must be heated each time -before using, the modern devotees of the fire-etching art use the -gasolene lamp and platinum-point apparatus. These outfits may be -purchased at the art shops for a comparatively small sum, but the young -craftsman may want to make his own apparatus. With the exception of the -platinum-point and its metal holder, this is quite possible. - -The parts of a gasolene outfit are the bulb, rubber tubing, -platinum-point and handle, reservoir-bottle, metal union-cork, and a -spirit-lamp. The latter may be purchased at a drug or hardware store for -a few cents; but a good-working one can be made from a square or round -bottle, a cork with a hole through it to receive a piece of brass tubing, -and a piece of round lamp-wicking. (See Fig. 7). - -Heat a piece of wire red hot, and burn a hole through the cork large -enough to slip in a piece of brass tubing a quarter of an inch in -diameter. Pass the lamp-wick through the tubing, and allow an inch or -two of wicking to rest at the bottom of the bottle. This lamp should be -filled half full of alcohol, and it is used to heat the platinum-point at -first; after that the rush of gasolene vapor will keep the tool red hot. -The gasolene reservoir is a square bottle with a fairly large neck into -which is fitted the metal union-cork. If it is not possible to purchase -this cork, then one can be made as shown at B in Fig. 8. - -[Illustration: FIG. 7. FIG. 8. FIG. 9. FIG. 10. FIG. 11. FIG. 12. FIG. -13. FIG. 14. FIG. 15. FIG. 16.] - -From a solid piece of lead one and a half inches long, three-quarters of -an inch wide, and one and a quarter inches deep, cut a lug, with a knife -and file, having two projecting ears as shown at C in Fig. 8. The lower -part is half an inch in diameter and three-quarters of an inch long. With -a hot iron burn a hole in a cork so that the lower end of the lug will -fit within it, as shown at D in Fig. 8. With a small drill bore a hole in -the end of each ear. These holes should run through towards the middle of -the lug, taking care, however, not to bore too far, since the holes must -not meet. Bore two holes up through the lower part of the lug so that -each will meet one of the holes bored through the ears, as shown by the -dotted lines at A in Fig. 8. By this construction the air forced through -a tube connected with one ear travels through that ear and down into the -bottle; then up through the other hole and out at the opposite ear, where -another tube is attached that leads to the platinum-point. The end of an -old syringe can be used for the supply bulb, and for the pressure bulb -there is nothing better than the inner bladder of a football, if it can -be provided with an extra tube so that air may be forced in at one end -while it is escaping at the other. This rubber balloon can be inflated to -twice its normal size if care is taken not to blow it up too large. As a -precaution against its destruction, it would be well to make a protective -net from cotton string with a small mesh. This is easily done by making a -wire hoop the diameter of the bladder when blown to its safe size; then -loop cotton string over it, as shown in Fig. 9, and tie the knots forming -the meshes as shown at the left side of the same drawing. Continue the -work until a cylindrical net is formed about three or four inches longer -than the size of the inflated bladder. With a draw-string the open ends -of the net can be drawn together after the bladder is placed within it. -The outlet of the bladder is connected by a rubber tube to one ear of the -cork, and another tube leads from the opposite ear to the platinum-point -and holder. - -The holder is simply a piece of brass tubing at one end of which a -coupling is made fast. This tube is pushed through a cork handle, or the -covering can be made by burning holes through corks and slipping them -over the tube, at the same time using thick shellac to act as a glue and -hold the corks to each other and to the brass tube. The cork covering -should be heavier near the point end, because the tube becomes hot from -the superheated platinum-point. This handle should be three-quarters -of an inch in diameter, and gradually tapered to half an inch at the -back, as shown at Fig. 10. The brass tube should be five inches long and -the cork handle about four inches in length. Half an inch of the tube -projects beyond the back, or top, of the handle, and over this end a -piece of rubber tubing is slipped. A complete outfit should contain three -points—one sharp, one round, and one curved. These can be purchased at -almost any art store, and should appear as shown in Fig. 11, A being the -sharp point, B the round one, or grounder, and C the curved, sharp-ended -point that is used for fine work and light lines in shading or background. - -A good platinum-point can be bought for one dollar and a half; but better -ones will cost all the way from two dollars to five. If a boy has points -B and C in his outfit, he can do some very good work; but should it be -possible to have one only, then the curved point C should be the choice, -since with that tool almost everything can be done. - -The principle of the gasolene pyrographic outfit is very simple. The -reservoir-bottle is filled half full of gasolene, or benzine (62°), -which can be had at a paint store for twenty-five cents a gallon. The -union-cork stopper is then pushed down, and the platinum-point screwed -in place at the end of the handle. Light the spirit-lamp and hold the -platinum-point in the flame until it is cherry-red; then squeeze on the -supply-bulb and fill the pressure-bag. The air forced through the first -section of rubber tubing goes down through one hole in the cork, picks -up some gasolene vapor from the reservoir-bottle, and passes along the -second section of tubing to the point, where it escapes through a very -small hole at the side. Directly the vapor reaches the flame it ignites, -and the hot point is kept in its heated state so long as the pressure of -the bulb forces the gasolene vapor out through the hole. - -Do not bear hard on the wood when working. The heated metal will char the -wood easily if gentle pressure and several strokes are used. Points A and -B (Fig. 11) can be used on all sides and on end, but point C should be -used only on its curved edge, as shown at A in Fig. 12; never as shown at -B. - -When both hands are needed for the work of holding the material and -tool, a convenient foot device can be made, as shown in Fig. 13. This -is a pressure-jack made from two boards, the upper one being cut and -hinged, as shown in the drawing. The boards are twelve inches long and -three inches wide, the short end of the top one being attached to the -bottom plate with glue and screws. The wood should be three-quarters or -seven-eighths of an inch thick, and it may be given a coat of shellac or -varnish to improve its appearance. - -If a constant supply of air-pressure can be had without the bothersome -hand or foot bulbs, it makes it so much easier to master the art of -pyrography. - -Any ingenious boy who has a foot pump, such as are used for bicycle or -automobile tires, can get an old boiler from a plumber and rig up a -pressure-tank such as is shown at Fig. 14. A small pressure-gauge should -be screwed fast on top of the boiler, and two outlets with brass cocks -should be constructed out of one-eighth-inch gas-pipe, the fittings -being purchased at a gas-fitter’s or a supply house. By means of the -pump compressed air can be stored in the tank, and the pressure will -be registered on the gauge. Twenty to twenty-five pounds will be quite -enough pressure for an old boiler, although sixty pounds is the standard -to which most of them are tested when new. The advantage of the two -outlet-pipes will be appreciated when working, because each can lead to -a different sort of point, and this will save the time and bother of -changing points frequently for different parts of the work. - - -The Practice of Pyrography - -Basswood, deal, and white-wood are the material most commonly employed -for this work, since the grain is close and the color even. Almost -any soft wood, however, can be used, and the boy who has mastered the -craft of carpentry can make his own boxes, frames, stools, chairs, and -miscellaneous wooden objects, and then embellish them with designs drawn -in lead-pencil, the lines of which it will be an easy task to follow with -the hot platinum-point. - -Small picture-frames can be made from one piece of wood, but they are -better, and will last longer, if made from two pieces. For a small round -frame a pretty pattern is shown in Fig. 15. This can be made from six to -twelve inches in diameter, and the frame proper should be from two to -four inches wide, having an opening for the picture from two to four -inches in diameter. The easiest way to make a frame is in two pieces, as -shown in Fig. 16, the left side representing a narrow frame and the right -a wider one. - -From holly or basswood one-eighth or one-quarter of an inch thick cut -a disk six inches in diameter, and at the middle cut an opening three -inches in diameter. Strike the circle with a compass; then use a fret-saw -to do the cutting. From pine or white-wood half an inch in thickness -cut a disk five and a half inches in diameter and at the middle a hole -four inches in diameter. Lay the thin disk down on a table, and after -applying glue to one surface of the smaller but thicker disk place it, -glue-side down, on the larger disk, taking care to have the grain of the -two pieces run in opposite directions. See that the disks are adjusted so -that one is centred directly over the other; then impose a piece of board -on top of the frame, and put fifteen or twenty pounds of flat-irons or -other heavy weights on the board to press the two wood pieces together. -Leave them for several hours; then remove the weights and clean off the -hard glue that may have oozed out from between the disks. Give the back -of the frame two coats of shellac to prevent the wood from absorbing -moisture, and it will then be ready for the design and the pyrographic -ornamentation. By using the two pieces of wood, a rabbet is thereby -formed for the glass and picture. If the frame had been made from one -piece it would have necessitated the cutting of a rabbet. The design of -holly leaves and berries is a pretty one, and quite simple to draw and -burn. - - -A Few Suggestive Designs - -A long picture-frame with three oval openings is shown in Fig. 17. This -is made from two pieces of wood, as described for Fig. 15, and then -embellished with the design and pyrographically treated. - -[Illustration: FIG. 17. FIG. 18. FIG. 19. FIG. 20. FIG. 21.] - -In Fig. 18 an idea for a stool is shown. This little piece of furniture -can be made of white-wood by the boy who has learned to handle tools. The -legs are two inches square and fifteen inches high. The side-boards are -each twelve inches long, four inches wide at the ends, and three inches -at the middle; they are arched or crowned, as shown in the drawing. -Blocks of wood are glued and screwed to the inner edge of each end, and -these in turn are made fast to the upper parts of the legs. The top is -sixteen inches square, with the corners cut out, so that it will fit down -on the top of the side-rails and between the tops of the legs. Strips of -wood three-quarters of an inch square should be glued and screwed to the -under side of the seat at the four sides, and these in turn must be made -fast to the top inner edges of the side-rails. - - -Leather-work - -When embellishing leather, select the quality that is best adapted to -pyrography. It must not be too thin, as the hot point would quickly -perforate and cut it. Cowhide, Suède, calf, sheepskin, heavy kids, and -binding leathers are best adapted to this work. Purses, bags, mats, -boxes, travelling-rolls, and valises are made in leathers that are -admirably adapted to pyrography, and these should be purchased rather -than made, for leather-working is a craft that would not interest the -average boy. - -An heraldic pattern for a small pigskin or cowhide purse is shown in Fig. -19, and Figs. 19, 20, and 21 are designs adapted to different kinds of -purses, wallets, and bill-books. It is, of course, impossible to lay down -any specific sizes for these patterns, as the sizes of leather goods vary. - -To improve the appearance of floral patterns, it is desirable to tint -or stain flowers, leaves, berries, and stems in their natural colors. -This can be done on the unfinished wood, either before or after the -outlines and background are burned. Oil or aniline stains may be used for -this purpose. If a dead finish is desired, the wood can be left without -further treatment, except for a thin coat of beeswax and turpentine. If -a glossy finish is preferred, the wood must be treated to several thin -coats of white shellac; then a finishing coat of white dammar-varnish -is applied and left to dry for several days. The inside of boxes should -be “grounded” and shellacked, and at the top and bottom pads made of -card-board, cotton-filling, and silk should be glued fast. - - - - -Chapter XIII - -BOOKBINDING AND EXTRA-ILLUSTRATION - - -There must be many boys who would like to know the simple methods of -binding books, so that they can do it without the aid of machinery or -costly tools. They are probably aware that when the material of a book -comes from the hand of the printer, it consists of a number of large -sheets that are commonly twenty inches long and fifteen broad. Eight -pages of the book are printed on each side of a sheet in such a peculiar -order that when the sheet is properly folded the pages will be correctly -arranged by the numbering. To see how this is, take a sheet of paper -that measures fifteen inches by twenty. With a ruler and pencil draw -lines across the sheet so as to divide it into eight equal parts. Each of -these parts is a page. Number them as shown in Fig. 1. Turn them over and -number the pages on the other side as shown in Fig. 2. Now to fold the -sheet, lay it on the table with the side up that has on it 2, 15, etc.; -bring page 3 over upon page 2, creasing the sheet in the middle. Then the -four pages lying upward will be numbered 4, 13, 12, 5. Bring page 5 over -on page 4, and crease in the middle again. Pages 8 and 9 will now lie -upward. Fold 9 over on 8, and the sheet will be folded as it should be, -and is now called a signature. In a book there may be twenty or thirty, -or more such signatures, which are numbered so that the binder will know -in what order to place them. These numbers are placed at the bottom of -the first page in each signature. - - -The Tools - -Before beginning the work of binding, a few preparations must be made, -and first of all a press is indispensable. This is very easily made. -Take two pieces of board, of some close-grained hard-wood, about one -and a quarter inches thick and a little larger than any book you are -likely to undertake to bind. Eighteen by twenty inches will be found -the most useful size. Lay your boards together, and with an inch auger -bore through both three holes at each end of the boards about an -inch back from the edge. Now make six pegs of hard-wood—white oak is -excellent—about six inches long, and fit them tightly into one of your -two boards, on one side of it; that is, the pegs should all stand out -at one side. (Fig. 4.) When this is done, carefully work down the size -of the pegs until they will pass freely through the holes in the other -board, so that the two boards may be separated or brought close together -as required. The loose or movable board (Fig. 5) should be fitted with a -backstay or two, so that it will stand edgewise on a table, and the two -boards together will thus form a sort of upright press or vise. - -[Illustration: THE PRACTICE OF BOOKBINDING - -_Fig. 1._ _Fig. 2._ _Fig. 3._ _Fig. 4._ _Fig. 5._] - -In order to furnish your press with power, you must now pass four large -iron “wood-screws” loosely through the blank outer edge of the movable -board into holes in the corresponding edge of the other board, where they -should “bite.” When a book is put into the press it is a very easy matter -to tighten the screws so as to hold it firmly. This simple, inexpensive, -and easily made press may be improved in various ways; screws with -winged nuts may be used, etc., but in its simplest form it will be found -sufficient for all the demands the amateur binder is likely to make on it. - -Next in importance to the press is the hammer, and this is the only tool -you will be likely to have to buy. It should be heavy, weighing at least -twelve or fourteen pounds, and should be rounded at the ends. This is -used for beating and compressing the books, shaping their backs, etc. -If you live near a foundry it is quite easy to make a model of wood or -clay and have a hammer cast. In any case, it is not an expensive tool—any -blacksmith can hammer one out in a short time. - -The glue-pot may be almost any little crockery dish, but it should never -be put on the stove. If you have no regular glue-pot, you can melt your -glue in an old cup placed in a saucepan of boiling water. - -Besides the press, hammer, and glue-pot, you must have a pair of scissors -and a few simple but sharp-cutting tools. When these things are all -prepared you are ready to bind your book. - - -The Practice of the Art - -After removing everything that is not to be included in your volume, -place the “signatures” or parts together in regular order, striking the -backs gently on the table or bench to get them even. Then place them on -a block and beat with the hammer so as to flatten and compress them as -much as possible. Then they should be put very carefully into the press -and the screws tightened firmly, so as to hold the volume steady. The -back should project about one inch above the edge of the press. Now, with -a common hand-saw, cut four slits across the back at regular intervals, -not deeper than the teeth of the saw. Take the book from the press, and -into each of these slits or nicks lay a piece of stout cord or twine (not -too thick), and to these cords all the signatures forming the book must -be fastened with pack-thread. A necessary aid to this sewing process is -a small square frame of light wood. The cords must be tied to this below -and above, as shown at Fig. 3, and the lower part of the frame must be -sufficiently broad and flat for the book to lie upon it. After the cords -are laid into or passed through their respective nicks, you must open the -leaves regularly and find the middle of each signature, and then pass, -with a needle, the pack-thread along the inside, but twisting it around -each cord in succession as you go along, making it fast at the end with -a hitch or knot. This is much easier than it sounds, and with a little -practice may be done very quickly. When you have finished the sewing cut -away the cords, leaving an inch and a half or so on each side, which is -left to make the attachment to the cover. This completes the first stage -of the binding. - -The book must now be replaced in the press, and its back covered with a -good coat of glue melted in the manner already described. Leave it in -the press until the glue is thoroughly dry. In the mean time measure the -breadth of the back and go ahead with the preparation of your cover, -which may be made as follows: - -Cut two pieces of thin pasteboard a little larger than your book. Also -cut a piece of cloth—calico, linen, or muslin—so much larger than both -pieces of pasteboard either way as to allow for the back and the turning -in. Down the middle of this paste three or four strips of the same goods -to strengthen the back. Carefully measure the length and breadth of the -back, and lay your pasteboard covers on the table, leaving the space of -the back between them. Now put on your cloth, turning it around the edges -of the covers, carefully avoiding creasing or wrinkling, and lightly -glue it fast as shown at Fig. 10. Your cover is now made and must be -allowed to dry. Next take your book from the press, unravel and soften -the projecting ends of the cord, and wet them with strong glue. Lay the -book down carefully on its back into the cover and glue down the cords to -the sides. The book should be supported in this position, which can be -done in any number of ways, and a slip of cloth glued down over the cords -to hold them steady. Then paste over all this a sheet of white or fancy -paper to line each cover, and when the job is dry your work is done. - -Nothing has been said about cutting the edges of the book, as that is -usually done on a machine; but if you are able to trim them clean with -a sharp knife, so much the better. To do this, place the book into -the press before putting on the cover, bringing up each edge of the -three exposed ones successively, and while held there firmly, cut them -carefully with a sharp knife or shoemaker’s cutting-tool. Any little -inequalities may afterwards be taken down with sand-paper. The edges -when cut may be spattered with any color desired by using a common -tooth-brush and water-colors. - -[Illustration: FIG. 6. FIG. 10.] - -To put on the title in gilt letters, the binder applies a little of the -white of an egg over the space where the letters are to be. When this is -dry, rub the leather with a rag slightly greased, and then lay on the -gold-leaf. Next take common type used by printers, heat them a little, -and stamp on the letters. The heat makes the gold-leaf stick where it is -wanted, and the rest is rubbed off with a rag. All the gilt ornamentation -on book covers may be put on in a similar manner. - -To get a clear understanding of these directions the boy craftsman should -examine different kinds of books very closely; and if he has an old and -valueless one he can take it to pieces and put it together again. Perhaps -he can improve its condition. At least he will learn some of the minor -details. He must remember that in bookbinding, as in all other arts, -patience and repeated trials are requisite for acquiring the skill that -produces neat and handsome work. - - -Rebinding Books - -It is not always possible for a boy to purchase cloth-bound volumes of -his favorite authors, as they cost quite a little money. But he may often -procure them in paper covers, and if he is careful to select stitched -books, rather than those simply caught together with wire or “wire -sewed,” as they are termed, it will be possible for him to rebind them in -cloth at a slight expense. - -To begin with, strip off the paper cover, taking care not to tear the -printed title on the cover, nor that at the back of the book, if it is -possible to save it. Both of these will be useful in the rebound volume. -With a penknife and sand-paper remove as much as possible of the paper -cover that has been glued to the back of the book, taking care not to cut -away any of the stitching; otherwise the book would fall apart. The book -in this condition, ready for its “case” or cover, is shown in Fig. 6. If -the signatures have been caught together with wire, remove the latter -with a pair of pliers; then sew the pages as already described. Get two -pieces of white paper the same thickness and quality of which the book is -made, and fold them over once, as shown in Fig. 7. With paste or liquid -glue attach one at each side of the book by running the paste along one -side of the folded edge of paper for a quarter of an inch, as shown by -the shaded line in Fig. 7. This is called “tipping,” and where a page -or two have become detached or not properly bound in, this method is -employed to reset it. - -When these pages are in place, trim them so as to correspond to the size -of the book; then glue the back of the book well and attach a piece -of crash to the back as shown in Fig. 8. The crash should be a trifle -shorter than the height of the book, or about half an inch at each end, -and there should be at least an inch of the material on either side of -the book, as shown in the illustration. This material is known as “crash” -in the bookbinding trade, but it is nothing more than a coarse-thread -cloth with open mesh, and it is sold in dry-goods stores under the name -of crinoline. - -From clay-board or stiff card-board, binders’ board, or strawboard, cut -two pieces an eighth of an inch wider and a quarter of an inch longer -than the actual size of the book. These are for the front and back -corners. Lay the binding material—buckram, cloth, or leather—on a table -or smooth board face down. Now, with a lead-pencil, mark two parallel -lines through the middle, as far apart as the thickness of the book plus -the thickness of the covers, as shown at A A in Fig. 9. Then mark a line -across one end at right angles to these, as shown at B. Apply glue to the -covering material and place the card-boards on the spaces C C, so that -the inner edge and top of each board will line with the pencil-marks A -and B. Press the boards down with the fingers; then turn the cloth and -boards over and press with a dry cloth, rubbing over the surface to drive -down the cloth in any place where it does not seem to have adhered. With -scissors or a knife cut off the corners as shown at D, taking care not to -approach too close to the corner of the boards. Leave about one-eighth -of an inch of cloth beyond the corners, so that it will cover them when -the edges of the cloth are turned over. These edges should be about half -an inch in width. After applying glue to them, lap them over on the -card-boards, as shown at Fig. 10, and rub them with the soft cloth to -drive out all air from between these edges and the boards. - -[Illustration: REBINDING AN OLD BOOK - -FIG. 7. FIG. 8. FIG. 9. FIG. 11.] - -When the four sides are finished, the cover or case is ready to receive -the book. Lay the case open on a table, just as you see it in Fig. 10, -and apply glue to the space between the card-boards, and also on the -card-boards for an inch or so from the inner edges. Now take the book -in hand, and place it so that the back will rest on the space of cloth -between the boards, leaving an equal projection of the cover above and -below the board, or about one-eighth of an inch. With the fingers press -the projecting flaps of crash down on the glued surface of the cards -at either side of the book; then lift both covers up to the sides of -the book (still allowing it to rest on its back), and with both hands -press the covers together as hard as you can. Hold it in this position -for a few seconds; then carefully lay the book on its side and place a -flat-iron upon it for five minutes. - -At the end of this time carefully lift one cover and apply glue or paste -to the first fly-leaf (that is one of the pages you tipped in), and press -it against the inside of the cover, taking care, however, not to allow -the paper to wrinkle. Turn the book over and repeat this on the other -side; then replace the flat-iron and leave the book under pressure for -a day or two; or, better yet, arrange it in between the pressure-boards -described for Figs. 4 and 5, and leave it there overnight. - -If the first page has adhered to the glue about the edges of the crash, -it will be necessary to carefully pull it away, taking care not to tear -this first page or lining sheet, nor to disturb the crash. If liquid -glue is used, it will not set hard enough in the five minutes to render -it impossible to remove the paper. If hot glue is employed, it will not -be necessary to close the book and press it, for the glue will set very -quickly, and the first and last pages may be pasted and laid over the -inside of the covers at once, so that when placed under pressure and left -there the crash, glue, and paste can set and dry at the same time. - -The object of pasting the blank pages to the inside of the covers is to -make a good finish to the binding, and also to lend additional strength -to the attachment of book and case. Fancy end-papers and richly tinted -or colored ones are often used as linings, as you can see in many books. -These are always tipped in as described, so that they will be the first -and last pages in the book. - -From the paper cover (which you removed from the book before binding it) -cut the title, and, with glue, apply it to the front cover near the top, -as shown in the illustration of the finished book (Fig. 11). If the back -title has been preserved that can be pasted along the back. - - -How to Extra-illustrate a Book - -Every one knows how much more interesting is an illustrated book than -one without pictures. What a satisfaction it would be to us if we could -illustrate our favorite books ourselves! What pleasure we would take -in it! This is entirely possible. It is a comparatively easy matter -to illustrate a book, or, in the case of a book that already contains -pictures, to extend and increase the illustration by means of old prints, -engravings, and pictures gathered from various sources, and bound in with -the leaves of the book. This is called “extra-illustrating,” and has long -been a favorite amusement of collectors. - -A book that is carefully and judiciously extra-illustrated is not -only much more attractive in appearance, but its value is greatly -increased, and the amount of pleasure and instruction to be gained by the -extra-illustration of one book is a rich reward for the trouble and time -it costs. - -The first thing to be done in the extra-illustration of a book which -has been selected for the purpose is the collection of the pictures. -This will often take some time, and should never be done in a hurry. -Old magazines and illustrated papers will supply many of the necessary -pictures, while old books and the shops devoted to the sale of old prints -and engravings will furnish others. - -Suppose _The Three Musketeers_ to be the book chosen. A portrait of -the author should be selected for a frontispiece. Other portraits, -representing the author at different ages, may be used in the book; but -that which serves as the frontispiece should be one made about the time -he wrote the book. - -The other illustrations should consist of pictures referring as nearly as -possible to the scenes and incidents described in the story. Pictures of -an author’s home or portraits of members of his family are always useful; -but no picture, however interesting in itself, should be included if it -does not bear directly upon the scenes in the book, or is not in some way -connected with the author. - -When a sufficient number of illustrations have been selected, they should -be mounted ready for binding. This is the difficult part, and must be -done with great care. - -Take a sheet of strong paper, as nearly as possible the same color and -weight as the paper upon which the book is printed, and cut it the exact -size of the page of the book. Then trim your print close to the work, -being careful to see that the edges are perfectly straight. Cut out from -your sheet of paper a hole exactly the shape of the print, but an eighth -of an inch smaller on all sides. This opening should not be exactly in -the middle of the page, but a little above the middle and a little to the -left, so as to give wider margins at the bottom and on the right. Now gum -or paste the edges of the print on the under side with great care, and -place it over the opening so that it is even on all sides. As there is -a difference of only a sixteenth of an inch on the four sides, it is a -delicate matter to place the print on the mount accurately, but after a -little practice it can be done quite easily and quickly. - -After the prints are mounted, they should be pressed until dry. Then -the cover of the book should be carefully removed with the aid of a -sharp knife. Never mind about ruining the blank pages or fly-leaves, for -they will be replaced by the binder when he puts the cover on again; -but care should be taken to avoid cutting or tearing any of the printed -pages. When the cover is removed, it will be found that the book is put -together in sections laid one on top of another. These sections consist -of sixteen or some other number of pages each, and a section is known in -a printing-office as a “signature.” The threads that sew the book should -be cut, and the signatures should be carefully separated from each other. - -Then the mounted prints should be laid in as nearly as possible opposite -the incidents they illustrate. The prints should always be inserted face -up, and the sidewise full pages with the bottom of the picture towards -either the outside or inside margin of the book. Now your book is ready -for the binder. Perhaps your extra-illustration has been so extensive as -to increase the bulk of the book so much that the original cover will not -go on again, and perhaps enough has been added to make the one volume -into two, in which case your binder can supply you with simple covers at -a very slight expense. - -Books of travel, or stories of hunting, fishing, etc., may be beautifully -illustrated by photographs. Unmounted prints are to be desired, although -it is possible to take prints off mounts by a liberal soaking in warm -water. The soft-finished photographs, such as bromide and platinum -prints, are vastly better than the shiny albumen prints. - -Photographs should be mounted in the same way as other prints, except -that no openings are to be made in the mounts. The prints should be -pasted on flat and pressed until dry. Albumen prints have a tendency to -curl up, and it will require a pretty stiff paper to keep them flat. -This is one of the reasons why platinum or bromide prints are so much -better. When albumen prints are used they must be mounted wet, and -should afterwards be burnished, which can be done by any professional -photographer. An amateur photographer can have the fun in many cases of -making the pictures himself for the book he wants to extra-illustrate, -and the finished work will have an added interest and value to him. - -The use of photographs, especially if many are included, will greatly -increase the thickness of a book, and it will generally be found -advisable to have the binder make it into two volumes of equal size. - - -A Circulating Library - -In a small town, or in a residential section of a city where most of the -young people are acquainted with one another, a circulating library may -be formed at a nominal cost. This can be done in two ways: the first plan -is for the members to contribute the books—from one to ten volumes—as may -be agreed upon. Many people hesitate to lend books, because they “fly -off and never come home to roost,” but by the circulating-library system -law and order can be maintained. One of the most successful libraries of -this kind was carried on for a number of years in a New York town. The -young people, in due time, became married men and women, but through the -association of the library they continued to hold together like a great -big family. - -A regular set of by-laws were established and lived up to. Books could be -drawn each week, on a day set for this purpose. A librarian was selected, -and in his house the bookcase was located. There were three locks on the -case. The key of one was held by the librarian, another by the president, -and the third by the secretary and treasurer. Regular dues were assessed -on each member—twelve cents a year at first; then fifty-two cents, and -finally one dollar. Books kept over two weeks were charged for at the -rate of one cent a week, doubling each week for four weeks. This fine -made it imperative for the subscribers to return books at the end of -three weeks or suffer a heavy penalty. - -Another popular scheme was carried out by the children in the Glenwood -section of Greater New York. They held a fair some years ago, and made -quite a little money. They then purchased paper-covered books by good -authors and rebound them in cloth. A bookcase was constructed that held -over one hundred volumes, and the same co-operative plan was inaugurated -that has just been described. - - - - -Chapter XIV - -MAGIC LANTERNS AND STEREOPTICONS - - -Boys who have cameras, and who have made good collections of views, -portraits, and other interesting pictures, may find a great deal of -pleasure in entertaining friends with stereopticon exhibitions of -their work. The necessary plates and materials may be purchased at -any camera or photographic supply store, and with a little patient -practice excellent lantern slides may be made. A good magic lantern or -stereopticon is a luxury, but for the ambitious boy there is a way to -make one at home with but little outlay of money beyond the cost of the -lenses and lamp. - - -A Home-made Magic Lantern - -A box, some thin boards, an ordinary central-draught or duplex-burner -lamp, a reflector, some nails and screws, a pair of condensing-lenses, -and a projector are the materials necessary. - -Make a box of half-inch wood, twelve inches long, eleven inches high, -and seven inches wide, outside measure. Cut a round hole four and -three-fourths inches in diameter at the front of the box, the middle of -the hole being eight inches above the inside bottom. Make a door at the -back of the box, and fasten a reflector just opposite this hole. - -Cut a hole in the top of the box for a lamp-chimney to come through. Nail -a piece of half-inch wood eight inches long to the front of the box three -inches from the bottom (see Fig. 1). We will call this the deck. Fasten a -piece of wood fourteen inches long and four inches wide on either side of -the box and deck-piece (see Fig. 2). Perforate the bottom of the box with -holes half an inch in diameter, to afford the necessary draught to the -lamp. Elevate the box on two cross-sticks an inch wide (see Fig. 2 B B). - -[Illustration: FIG. 1. FIG. 2. FIG. 3. FIG. 4. FIG. 5. FIG. 6. FIG. 7.] - -From an optician or camera supply house obtain a pair of four-inch -condensers mounted in a brass barrel, and a quarter-size projector with -a rack and pinion. Mount the condensers in the hole in front of the box, -supported by means of a block (Fig. 3), fastened on the inside front of -the box (see Fig. 4). - -In order to adapt the focus of the lenses according to the distance the -lantern is from the screen, a sliding front is necessary (see Fig. 5). -Cut a base-block scant seven inches wide and six inches long, fastening -to it, three and one-half inches from the front, an upright piece of wood -high enough to be even with the top of the lantern-box. When the base is -resting on the deck in front of the box two small angle-brackets will -steady the upright and make it rigid (see Fig. 5). Cut a hole in this -upright board so that the centre of the projector mounted in it lines -exactly with the centre of the condensing-lenses. This is an important -point; if the lenses are not carefully mounted opposite one another the -picture will not be clear. Now fit a piece of wood one-fourth of an inch -in front of the main box, fastening it at the top with a strip of tin. -There must be a hole three inches square cut in this board, the middle -of which must line with the centre of condensing-lens. In the opening -between this board and the box slip a thin piece of board for the slides -to rest on. Set a double-wick lamp or central-draught burner within the -box at the proper height, so that the brightest part of the flame will be -in direct line with the centre of the reflector and the condensing-lenses. - -The principle of the magic lantern is the reflection of the light through -the condensing-lenses, which pick up all the light possible and throw it -through the slide, which is located directly in front of it. The light -is then taken up by the projector, and the pencils of light are thrown -onto the screen, at the same time magnifying the picture. This principle -is shown by the dotted lines in Fig. 6, which show also the relative -position of the lamp, lenses, and reflector. - -To keep in the light that would escape through the top opening in the -box, put a piece of common stove-pipe (small) over the lamp-chimney. Cut -a cap from a piece of tin (Fig. 7 A), the ears extending down inside the -chimney to hold the cap in place, when the cap-piece is bent in a half -circle as shown at Fig. 7 B. - -To cover the space between the lantern-top and the moving front board a -piece of black cloth can be used. Or if you have an old camera-bellows it -may be made fast to the back of the projector-lens board and to the front -of the slide-board located close to the box. It is not necessary to have -an absolutely light-tight bellows; indeed, a very good one can be made -from some wire hoops with black cloth sewed to them. - -In Fig. 8 the wire hoops are shown, and in Fig. 9 the finished bellows, -with the cloth stitched in place, is ready to be attached to the boards -with small tacks or staples. - -When all the parts are assembled, and the lantern is complete (except the -bellows, which has been omitted so that the working parts may be more -clearly shown), the lantern will appear as in Fig. 10. - - -A Stereopticon - -The cost of a good stereopticon will range from twenty-five to -seventy-five dollars, and that sum places it beyond reach of the average -boy. The following instructions and illustrations will enable any smart -boy, who is handy with tools and light materials, to make a high-grade -stereopticon with lamp and mechanism that is capable of doing really good -work. - -[Illustration: FIG. 8. FIG. 9. FIG. 10.] - -The materials needed for its construction will be some sheet Russia -iron, thin mahogany or cherry boards three-eighths of an inch in -thickness and six inches wide, some round-headed brass screws, small -hinges, a camera-bellows, and the necessary lenses and lamp. The tools -include a light pair of metal shears, a fine-tooth saw and a compass-saw, -a small hammer, plane, and screw-driver, and a light cold-chisel. - -To begin with, obtain a board twenty inches long, six inches wide, and -three-eighths of an inch in thickness to serve as the base-board. Treat -this board to several successive thin coats of shellac, and rub down the -last coat with fine sand-paper to give it a smooth surface. Cut another -piece six inches wide, eight and one-eighth inches long, and in it make -a round hole about four and a half inches in diameter, through which the -case that contains the condenser-lenses may pass and fit snugly. This -board is to be placed nine inches from one end of the base-board, and -fastened to it in a standing position with long, slim screws driven into -the lower end through the underside of the base-board. Fig. 11 shows the -arrangement of these boards, also the runners and sheet-iron hood. - -From a sheet of Russia iron cut a piece nine and a half inches wide and -twenty-three inches long, and have a tinsmith roll one edge over a piece -of wire so as to stiffen it. With a rule and piece of chalk divide and -mark off the sheet into three divisions, the end ones measuring eight and -a half by nine inches and the middle one six by nine inches. - -[Illustration: CONSTRUCTION OF THE STEREOPTICON - -FIG. 11. FIG. 12. FIG. 13. FIG. 14 A. FIG. 14 B.] - -Lay the sheet on a board at the edge of a table so that a chalked line is -directly over the sharp edge, and, holding it down firmly with one hand, -bend the iron down with the other, forming a right angle. Bend the iron -on the remaining line in a similar manner, and the hood is formed. - -In the top of this hood, at the middle, mark off an oblong two inches -wide and six inches long; then cut out the piece of iron with a -cold-chisel and a hammer, laying the sheet-iron on the upturned surface -of an old flat-iron. File or emery-paper the edges of the opening to -render them smooth, then cut an opening in one side, three and a half -inches high by four inches long, for a door. - -Through the top hole a lamp-chimney may project that the surplus heat may -be carried upward. For the side opening a sheet-iron door should be made -and hung in place with small brass hinges, and a brass lever catch to -keep it closed. - -This catch is a simple little affair, and consists of a thin piece of -spring brass, in one end of which a hole has been made, while at the -other a little knob handle is riveted. One end is attached to the door, -and to the hood beside the door a catch of thin brass is riveted fast, -into which the lever catch can drop. - -To stiffen the door, the edges should be bound with narrow brass strips, -securely fastened with small rivets, or escutcheon pins, that can be -adapted as rivets by cutting them to the required length. - -Two runners half an inch wide and three-eighths of an inch in thickness -are to be screwed fast to the uncovered top of the base-board, four and -a half inches apart, as shown in Fig. 11. From sheet-iron cut two strips -half an inch in width and ten inches long, and fasten a piece to the top -of each runner, using the same screens to hold them in place that secure -the runners to the base-board. One-eighth of an inch of each strip will -project over the inner edges of the runners, as shown in Fig. 12, and -this edge will serve to hold the wooden slide-holder and objective-lens -board in the proper position on the base-board. - -Make a sheet-iron door six inches wide and seven inches high, with the -edges rolled over a wire to stiffen them, and in the bottom of the door, -at the centre, cut an opening half an inch wide and two inches high. -This will allow the door to be closed over a gas-pipe that may project -for a short distance from the rear of the enclosure. Attach this door to -the back of the hood with two small hinges riveted at the top, as shown -in Fig. 13, and across the under side of the base-board, and two inches -from either end, screw battens of wood in which pins have been set. These -battens will raise the lantern up from a table or box on which it may -rest, and allow a draught to pass up through holes made in the base-board -inside the enclosure formed by the iron hood. These draught-holes will -be necessary for either oil or gas light, and they can be bored about as -shown in Fig. 13. - -Two small wooden runners must be fastened to the base inside the -enclosure, a distance of four and a half inches apart, and between them a -lamp or gas-jet tray will slide. - -From the thin mahogany cut three pieces four and a half inches wide and -seven inches long. In the middle of these, and four inches from one end, -make a centre dot, and with a compass-saw cut a hole in one of them three -and a half inches in diameter, and in another cut a hole three and a half -inches square. - -In the third board make a hole the diameter of the objective lens; then -with screws and glue fasten the first two boards together, as shown -in Fig. 14 A, so that a space of three-quarters of an inch will remain -between them. The height of this opening should be four and a quarter -inches, and the holes in the middle of the boards should be centred. -These two boards and separation blocks are to be fastened in an upright -position to a narrow piece of three-eighth-inch board the same length as -the width of the upright boards, as shown in Fig. 14 A; and at the outer -edges a saw-cut at the joint will allow this frame to slide back and -forth between the runners, so that the iron edge may fit in the saw-cut. - -To the inside of the front board two springs should be attached with -screws at one end of each; these springs may be shaped from corset -steels, and they should be bent in a curved position, as shown at -the lower end of the opening in Fig. 14 A. Their use is to hold -the slide-carrier back against the rear board and firmly in place. -Slide-carriers may be purchased at an optical supply house, and they -are made in several shapes; the most convenient ones, however, are the -sliding wooden holders that accommodate two slides. - -The remaining board is to be mounted on a block and held in place by two -angle strips, as shown in Fig. 14 B; and to enable it to slide between -the runners it should receive saw-cuts also. Procure a camera-bellows -four inches square, or in its absence employ a piece of black silk -or gossamer cloth, and attach it to the frames, as shown in Fig. 16, -with small curtain tacks and glue. Having mounted these boards on the -base-board between the runners, the box is then ready to receive the -lenses and lamp. - -From a manufacturer of optical goods purchase a pair of -four-and-a-half-inch diameter condensing-lenses mounted in a tube, and a -quarter-size four-inch back-focus double-objective lens mounted in a tube -with rack and pinion adjustment. - -[Illustration: FIG. 15. FIG. 16.] - -The condenser-lenses should occupy the hole in the front of the box, -where the tube can be firmly held in place by the inside edge of the -hole. The objective lenses are to be attached to the face of the front -board in the position shown in Fig. 16; and by means of the sliding-board -and bellows the lenses can be adjusted to meet any short-focus -range—that is, a distance of fifteen or twenty feet from the sheet on -which the picture is thrown. - -For use in small rooms a duplex-burner, or central-draught lamp, can be -used, and a plan showing the position of lamp, reflector, and lenses is -shown in Fig. 15. - -A represents the reflector placed behind a lamp having duplex wicks. The -centre of the reflector should be directly in line with the centre of -the lenses, and the lamp must be placed so that a portion of the flame, -three-quarters of an inch above the top of the wicks, will line with -centre of reflector and lenses. The light is brightest in oil-lamps, from -three-quarters to an inch above the wicks, and, as only a small portion -of the light is of use, the most brilliant part of the flame should be -employed for projection through the slide and lenses. - -B B are the wicks of the lamp, and the fount should be placed so that an -imaginary line drawn through the centre of reflector and lenses would -pass through the forward edge of one wick and the rear edge of the other. -By arranging the wicks at the angle shown on the plan, the greatest -advantage can be had from the light. - -The positions of the condensing-lenses are shown at C C, and D represents -a slide in position at the front of them. E E gives the position of -the objective lenses, and the dotted lines F, G, and H, drawn from the -reflector edges crossing at the light, passing through the condensers -and slides, and out through the objective lenses, show the manner in -which the rays of light are collected and thrown through the transparent -picture and lenses, and so on through space, until it rests against the -large sheet. - -To complete the stereopticon an oval chimney is to be made, and fitted -with a flange so that it may be held to the top of the iron hood with -four little iron buttons or lap-hooks riveted to the top of the hood. -This chimney should be four inches long by two inches wide at the bottom, -and one and a half inches square at the top, and eight or ten inches -high. At the top arrange a light-cap about as shown in Fig. 16, so that -the light from the lamp or gas-jet will not throw rays up against the -wall and weaken the picture on the sheet. - -Precaution must be taken to stop out all surplus light other than that -projected through the lenses, since the useless rays tend to weaken -the round disk of light on the screen, and render the picture weak and -neutral in tone, instead of sharp and vigorous. The wood-work should -be given two or three coats of shellac, and the iron parts should be -blackened. - -Dissolving views cannot be shown in a single lantern, but if two lanterns -are fitted with the same kind of lenses, and placed side by side, so that -the disks on the sheet are uniform in diameter, it will then be possible -to obtain some very beautiful dissolving effects. - - -Lantern Slides by Contact-printing - -Many amateurs have an idea that it requires a great deal of skill to -make lantern slides, but any one who can produce a good negative can -soon learn how to make a good lantern slide. The simplest way is by -contact-printing. - -Select a negative free from spots, scratches, or pinholes. It must have -fine detail in the shadows, and no harsh contrasts of light and shade. -The regulation size of a lantern slide is 3¼ × 4 inches, so choose a -negative which will still make a good picture if all but the portion -included in these dimensions is blocked out. Cover the part of the -negative which is to be blocked out with black needle-paper, or paint it -with non-actinic paint, applying it to the glass side of the negative. -The negative is placed in a printing-frame, and then by means of a red -light the slide-plate is placed over the part to be printed from, the -film side towards the negative. - -If one has a lantern, the light of which is suitable for printing slides, -cover the negative, open the door of the lantern, and then, holding the -printing-frame about fifteen inches from the light, expose from five -to twenty seconds, according to the density of the plate. A plate that -prints quickly will need but five or eight seconds, but a denser plate -will require a much longer exposure, often as long as thirty seconds. -Cover the plate as soon as it is printed, close the lantern, remove the -slide from the frame, and place it face up in the developing-tray. Turn -the developer over it quickly, taking care that the whole surface of the -plate is covered immediately. Any developer that makes good negatives -will make good lantern slides. A weak developer is to be preferred to one -which brings out the image quickly. Develop till the detail is well out; -wash and fix same as a negative. - -As every imperfection in a plate is magnified many times when thrown upon -the screen, great care must be taken in the developing, fixing, washing, -and drying. When the slides are washed, take a piece of clean surgeon’s -cotton and wipe the film very gently, then place to dry where no dust -will settle on the surface. - -If there are any spots on the plate after washing and before drying, -they may be removed with ferricyanide of potassium in solution. Tie a -small piece of surgeon’s cotton to the end of a glass rod, dip it into -the solution, and touch the spot very lightly. Rinse the plate at once, -and if the spot has not entirely disappeared repeat the operation. The -ferricyanide works very quickly, and must be rinsed off as soon as -applied. - - -Lantern Slides by Reduction - -If your negatives are larger than 3½ × 3½, and it is desired to get the -entire picture on the slide, then the reduction process will have to -be resorted to. For this work you can use your camera if it has a long -bellows, and the work should be done in a room where a window is towards -the north. - -Obtain a piece of board five feet long and ten or twelve inches wide, -and at one end of it erect the negative-board, as shown at Fig. 17. The -negative-board or holder should be twelve or fifteen inches square, with -an 8 × 10 rabbeted hole at the middle of it, and supported with two -brackets, as shown at Fig. 17 B. Kits can be made or purchased to fit in -the opening reducing to 6½ × 8½, 5 × 8, 5 × 7, 4¼ × 6½, 4 × 5, and 3¼ × -4¼. With this range of sizes any negative from 3¼ × 4¼ to 8 × 10 can be -held in the board. Now arrange two strips of wood at each edge of the -long base-board, so that the camera can slide forward and backward on a -platform built to support it, as shown at Fig. 17 D. - -The camera should be made fast to this moving platform with wood cleats -and screws, and it should be mounted high enough so that the centre of -the lens will be exactly on a line with the centre of the opening in -the upright board, as shown by the dotted line in Fig. 17. At the upper -corners of the plate-board arrange slim, steel-wire nails with the heads -cut off, and bore holes near the ends of sticks three-quarters of an inch -square so that they will fit down over the nails, as shown at Fig. 17 E. -The other ends of the sticks should rest on the top of the camera. Over -these sticks a dark cloth should be thrown when making photographs of -negatives, to keep out light and prevent the high light from the window -affecting the action of the lens. - -To make a reduction of a large negative, fill the plate-holders with -3¼ × 4 lantern-slide plates, having obtained kits to fit your holders; -then clamp a negative upside down on the board, as shown at A. Mark the -lantern-slide size with a lead-pencil on the ground glass of your camera, -taking care to centre it; then move your camera forward or backward and -operate the bellows until the correct size has been obtained. Focus as -sharp as you can; then stop down your lens with the smallest diaphragm. -Experience will dictate the proper length of time for exposures. No -definite rule can be laid down, for the varying conditions of light, -rapidity of plate, and state of the weather—all will have to be taken -into consideration. - -[Illustration: FIG. 17. FIG. 18. FIG. 19. FIG. 20. FIG. 21. FIG. 22. -FIG. 23.] - -Lantern slides made by reduction are always sharper and better than -contact slides, and whenever possible they should be made after this -fashion, even from films which may be held flat between two plates of -clear glass. A piece of white tissue-paper should be pinned against the -window towards which the camera points, so that a blank white light will -be beyond the negative, thereby avoiding the possibility of picking up -any false lights or shadows. - -Lantern slides should always be masked, so that the actual sight-opening -through which the lantern-light is projected will be two and -three-quarters inches wide and two and a half inches high. A mask form -can be purchased or made from sheet-brass. The opening and the other -dimensions should be of the same size as the lantern-slide plate, or 3¼ × -4 inches. The masks should be cut from black needle-paper with a rotary -cutter, having first prepared a number of the blanks of the proper size; -then the openings can be cut as shown in Fig. 18. A smaller mask for the -central part of slides can be made two inches wide and two and a half -inches high, as shown in Fig. 19, and for portraits an oval mask is the -best (see Fig. 20). Covering-glasses or crystals are necessary in making -slides. Old lantern slides can be cleaned and used for this purpose, or -some very thin, white glass may be cut into 3¼ × 4-inch plates. - -To mount slides lay a mask against the film-side of the plate, or -positive, and over this place a clean, clear covering-glass, as shown -at Fig. 21. With binding-tape (which comes in white and black) first -bind one edge, as shown at Fig. 22, arranging the paper tape so that an -equal margin will be visible on both sides. Bind the opposite edge, and -then cut away the projecting ends of the binding. Proceed to close the -short ends in a similar manner, and as a result you will have a finished -slide, as shown in Fig. 23. Some slide-makers begin at one corner and -run a strip of binding all around the edge without cutting it. This is -a little difficult to do at first, but if you have a clamp that has a -compression-screw and will turn on its axle, it simplifies matters -greatly. Some amateurs prefer black binding-tape, others white. The white -tape with black masks makes a neat-looking slide, and if the margin is -wide enough the title of the picture may be written on it. - - - - -Chapter XV - -PRINTING, STAMPING, AND EMBOSSING - - -Every boy, at one time or another, gets an attack of printers’ -fever, and then he will not be satisfied until he makes or purchases -a printing-press. There are, of course, many different kinds of -printing-presses. One of the simplest forms is shown in the drawing -of the flat-bed press (Fig. 1), which is very easy to make and to -manipulate. A flat board one and one-half inches thick, twelve inches -wide, and eighteen inches long will form a substantial bed on which to -fasten the frame and pressure-plate. The frame is made of hard-wood -strips seven-eighths of an inch wide and three-fourths of an inch high. -These are glued and screwed fast to the bare board, forming an enclosure -five and one-half by six and one-half inches, and large enough to -accommodate a chase four by five inches. A chase is always measured from -the _inside_. From one-half to five-eighths of an inch all around should -be allowed for the thickness of the metal of which the chase is made. - -The pressure-plate is cut from wood one and one-fourth inches thick, -and the same size as the _outside_ measure of the frame attached to the -bed-board. A stout lever fourteen inches long is screwed and glued fast -to the top of this board, which is then attached to the rear strip of -the frame by means of three stout iron hinges, so that when closed down -the pressure-plate will fit closely to the top of the frame. - -The type as it is set up in the chase will stand face up in the frame, -and the card to be printed is caught with gauge-pins to the inside of the -pressure-plate, as shown in the drawing. The type, having been inked with -the roller, gives the impression to the card when the pressure-plate is -brought down and held against the type by means of the lever. - -The gauge-pins that hold the card in place are made of metal or of -ordinary pins. Several forms of pins are shown at Fig. 2. A is made from -an ordinary pin, while B and C are other forms cut from thin sheet-brass -and then bent into shape with small pliers. - -Fig. 3 shows a chase five by seven inches, of cast-iron, which can be -purchased at a printers’ stock house for a nominal price. When the types -are set up they are blocked into position in the chase, and two wedges, -made with bevelled edges to bear against each other, are tapped with a -light hammer on the thick ends, so as to wedge the type in place. These -are called quoins (Fig. 4). - -Fig. 5 shows a small proof-roller made of glue and molasses. It may be -purchased at a printers’ shop for a few cents. - -A piece of glass or marble will answer very well for an ink-plate or -slab, and after using them both the slab and roller should be thoroughly -cleaned with benzine. The cleaning must be done directly after printing, -else the ink dries on the roller and thus spoils it. - -[Illustration: A SIMPLE HAND-PRESS AND ACCESSORIES - -FIG. 1. FIG. 2. FIG. 3. FIG. 4. FIG. 5. FIG. 6.] - -A composing-stick (Fig. 6) may be made from thin wood three inches wide -and nine inches long, with a sliding jaw (as shown at A) made of thin -wood and caught to the edge with a metal strip loose enough to permit the -jaw to be easily moved back and forth. - -The types, being first set up in the composing-stick, are then -transferred to the chase, and clamped in with blocks of wood and quoins. - - -An Upright Press - -The upright press (Fig. 7) is on the same principle as the flat-bed, but -the chase is held in a vertical position, and the back against which it -rests is braced to the base-board. This press can be made a little larger -than the flat-bed, and will accommodate a chase measuring five by seven -inches. At the rear of the sides of the base-board angular cuts must be -made with a saw, and corresponding cuts should be made near the top of -the upright board which supports the chase. With a sharp chisel cut the -wood away between these cuts (Fig. 7). Cut the brace-pins also at each -end (Fig. 8 A). A lap-joint is the result, and when fastened with glue -and screws a firm anchorage and support is obtained for the upright board. - -The pressure-plate is of wood one and one-fourth inches thick, and -attached to the strip at the bottom of the upright or chase-board by -means of stout iron hinges. Care must be taken when placing these hinges -to arrange them so accurately that not a fraction of an inch difference -is perceptible at either side or at the top or bottom. Otherwise, uneven -pressure will give unsatisfactory results. A lever is made and attached -to the pressure-plate as described for the flat-bed press, and a block -may be fastened to the base-board for the lever to rest on, as shown in -the drawing. - - -A Lever-press - -A perfect wooden lever-press is shown in the large illustration (Fig. 9), -which is drawn so clearly that only the measurements will be required to -understand its construction. - -[Illustration: FIG. 9.] - -The base-board of this press is twenty inches long, ten inches wide, and -one and one-fourth inches thick. The upright board against which the -chase rests is ten inches wide, eight inches high, and one and one-fourth -inches thick. The pressure-plate is the same width and thickness, but -is seven inches high, and bevelled at the bottom, as shown in the side -elevation (Fig. 12). The upright board is placed six inches from one end -of the base-board, and is fastened in place with screws that are driven -up from the underside of the base-board, with side-braces let in to the -edges of the boards, as shown in Fig. 8. - -The pressure-plate is hinged at the bottom to a piece of wood, which -acts as a platform for the lower edge of the chase to rest on. It is -seven-eighths of an inch thick and two and one-half inches wide. Strips -are glued and screwed at either edge of the upright board to hold the -sides of the chase, and at the top the chase is held with a brass -spring-clip that can be made and screwed to the wood. Four inches from -the pressure-plate base three blocks are arranged to support the lever, -which is connected to the back of the pressure-plate with a tongue of -iron one-fourth of an inch thick, three inches long, and one inch wide -(Fig. 10). Quarter-inch holes are bored at each end just two inches apart -from centre to centre. Two blocks of wood are screwed to the back of the -pressure-plate one fourth of an inch apart, and a quarter-inch hole made -in each, to receive a bolt, which also passes through one hole in the -iron tongue. - -The wooden lever is fourteen inches long, one and one-half inches square -at one end, and at the other it is rounded, so as to make it easier on -the hands. The square end is rounded off and cut in with a saw, as shown -in Fig. 11, and one inch in from the end a quarter-inch hole is made. - -The blocks that hold the lever are set one and one-half inches apart, -and a bolt passes through the upper end of them and through the lever -near the end of the iron tongue. The hole in the lever through which the -bolt passes is two inches from the end hole, and when spaced properly -the inside of the pressure-plate should be seven-eighths of an inch from -the face of the chase-board when the handle and tongue are in a straight -line, as shown in the side elevation of the press (Fig. 12). - -[Illustration: FIG. 7. FIG. 8. FIG. 10. FIG. 11. - -FIG. 12. SIDE ELEVATION OF WOODEN LEVER-PRESS] - -Metal type, electrotypes, engravings, and printers’ plates are always -made seven-eighths of an inch high. When making a press always bear this -in mind, and if necessary the pressure-plate can always be built up with -hard paper to meet the face of the type if sufficient pressure is not had -at first. - -Type, spaces, quads, rule, blocks, ink, and a small roller can be -purchased from any printer if there is not a printers’ stock house in the -town where you live. If the printer is accommodating, he will answer all -your questions about your printing-press, and help you with any details -about which you are uncertain. - - -Stamping - -Stamping, or the process of imprinting without the aid of a hand or -power-press, is as old as the hills. Away back in the early ages the art -of stamping was carried on by means of wooden or stone blocks, on the -face of which characters, letters, and various other signs were engraved. -Patterns or figures in colors were imprinted on fabrics, parchment, and -leathers; and in some of the walls of the ruined houses in Pompeii and -Herculaneum there are found well-preserved examples of the stamper’s art, -where figures of a running pattern are repeated at regular intervals. -Both oil and water-color pigments may be used for stamping; but if the -imprint is to be made on paper or leather, then printers’ ink, diluted -with a small portion of benzine, should be used. - -Every boy may have an imprint of his initials cut on wood, and use it in -stamping his papers, school-books, and other property. In the Far East -every prominent merchant has his private signet, and always, when signing -his name to documents, he certifies it with his stamp, which is placed -beside or across the name, as shown in Fig. 13. - -In China and Japan these stamps are called “chops,” and are used with a -red, brown, or blue ink-paste, which dries hard and indelible on paper, -leather, or soft wood. - -The author’s imprint so interested a wealthy Japanese merchant a few -years ago, that when he returned to Yokohama he had a handsome ivory, -bone, and silver “chop” cut by a good maker in that city, and sent it -over the sea as a souvenir of his visit to this country. Fig. 14 gives -the imprint, and Fig. 15 is a drawing showing the shape of the “chop.” -The body part is of ivory and the inlay of silver, while the cap, which -fits over the engraved die, is of black bone. - -Any boy can make a signet of boxwood or maple for stamping paper and -wood. For use on leather he can cut his dies in soft copper, which, when -heated, will burn the imprint in the leather. - -In Fig. 16 four ideas for imprints are shown. In B and C the initials are -combined, while A and D are arrangements of scrolls and lines which will -be understood as belonging to a certain person, just as trade-marks are -the known marks of certain manufacturers. - -In order to cut a wood-stamp, it will be necessary to have some fine -carving-chisels, a vise, and sand-paper. Maple, boxwood, or other -close-grained wood can be used, and it is best to cut the die on the end -rather than on the side of the wood. Cut your block the size required; -then draw the reverse of the design, as shown at Fig. 15. Cut this as -deep as you need it, so that ink or marking-paste will not clog the low -parts; then, when the face is properly finished, the die will stamp an -impression as shown at Fig. 14. For large dies it will be necessary to -use the wood on the side, as otherwise the blocks would be heavy and hard -to handle. Souvenir books or engrossed memorials may be embellished with -corner ornaments, as well as with capital letters and borders in red, -blue, or gold. Any boy who is interested in this branch of craftsmanship -can get ideas and designs from gift books, calendars, show-cards, -circulars, and the host of illuminated and embellished printed matter -that is in circulation. When making these selections, however, avoid -the commonplace printing-house patterns, and favor those to be found in -the best magazines, art books, and hand-books of ornament such as are -shown in Fig. 17, the several parts of which are a miscellaneous lot of -ornaments and letters that can be easily copied by the young die-cutter. - -[Illustration: FIG. 13. FIG. 14. FIG. 15. FIG. 16. FIG. 17. FIG. 18.] - -Diluted printers’ ink is excellent for stamping, and when used it should -be spread on a cloth stretched over several thicknesses of flannel and -cotton cloth and made in the form of a pad, as shown at Fig. 18. This is -a block of wood over which the thicknesses of fabric are laid, the top -layer being drawn over the edge and tacked underneath. This block is then -placed in a flat box of wood with a hinged cover, so that the pad may be -kept enclosed when not in use, and so prevent the ink from drying out. -After using the pad a cloth wet with benzine should be laid over the pad; -then the lid should be closed and hooked down. - - -Embossing - -In embossing the ornament is raised in low relief, and so lends a rich -effect to paper, card, leather, or other ductile material. Embossing -is generally done under heavy pressure, and with moisture or heat to -facilitate the work. Papers, thin leathers, and some fabrics can be -treated in this manner by the boy craftsman after he has mastered the -art of making dies. The mode of making bas-reliefs was fully explained -in Chapter XI, and for embossing a very low relief is necessary, since -otherwise the paper would split or break away on the raised parts. After -a well-modelled ornament is obtained, it will be necessary to make a hard -casting from it in plaster, and then a casting from this, so that for the -work you will have a sharp, clear bas-relief and an intaglio—one the -expressed design and the other impressed. Make these of hard plaster, and -give their surfaces a coat or two of shellac. - -To press a piece of paper or leather, dampen it on both sides with a -sponge or wet cloth, and heat the dies in an oven. Place the paper over -the bas-relief, cover with the intaglio, and apply pressure. Or place -some weight on top of the dies and leave them there for half an hour. -On removing the paper you will find a perfect bas-relief which, when -thoroughly dry, will hold its shape. Book, card, and mounted leather-work -is treated in a hot press, but only for a second or two—just enough to -drive the dies together, heat the material, and cause it to hold its -shape. - - - - -Part IV - -ROUND ABOUT THE HOUSE - - - - -Chapter XVI - -A HOUSE GYMNASIUM - - -All healthy-minded boys are interested in physical development; it is -the instinct which leads them to climb high trees and scale precipitous -cliffs, generally at the expense of some anxiety to the minds of their -parents and guardians. But these amusements are more in the nature of -“stunts,” pure and simple; the logical and rational field of athletic -culture is the gymnasium. In the large cities, and at schools and -colleges and Y.M.C.A. societies, there are opportunities in abundance for -gymnastic exercises. The purpose of this chapter is to show the boy who -has to stay at home, or who lives in a small country village, what can be -done in the way of rigging up a barn floor or a spare room like the one -shown in Fig. 1. He can also make most of the apparatus; for, with a few -exceptions, all the principal pieces are simple in construction and not -beyond the ability of the average boy. - -For indoor exercise the outfit must necessarily consist of those pieces -of the gymnasium equipment that can be used when in a standing or sitting -attitude, for the confined space of the average room will not admit of -running, jumping, or leaping with the pole or from a spring-board. In -preparing a list of the pieces of equipment suitable for a boy’s “gym,” -some of the familiar ones have been omitted, as they are either beyond -the ability of the average boy to make or they are too cumbersome for -the home. The apparatus that is described and illustrated is simple and -practicable and can be made at a much lower cost than the prices charged -at the shops. - -[Illustration: _Fig. 1._] - - -Dumb-bells - -Wooden dumb-bells weighing a pound each may be purchased for about -fifty cents a pair, but the boy who is interested in making his entire -equipment can use croquet-balls with broom-handles, or one-inch -curtain-pole sticks, for handles (Fig. 2). - -[Illustration: FIG. 2. FIG. 3. FIG. 4.] - -To make these dumb-bells, obtain some old croquet-balls and clamp -them, one by one, in the vise of a carpenter’s bench. Then, with a -one-inch bit, bore a hole through each ball, as shown in Fig. 3. Cut a -broom-handle or a one-inch curtain-pole in lengths twelve or thirteen -inches long, and in the end of each make a saw-cut, as shown in Fig. 3 -B. Smear the end of the stick with glue and drive it through the hole in -the ball, keying it firmly in place by driving a wedge into the end of -the stick, just as hammer-heads are fastened to prevent their coming off. -Repeat for the second ball. Some glue should be placed in the saw-cut, so -as to hold the wedge when it is driven home. To make the handle easier -to grip, it should be bound with linen or cotton fish-line; then the -balls may be painted or varnished, and the line given a coat of black -varnish, which will set the cord binding and harden it. Several sets of -these balls may be made for the “gym” and hung upon the wooden rail that -extends around the room. - -In the absence of iron bells, a heavy pair of dumb-bells may be made of -gas-pipe handles and flanges with screw-holes fastened into wood blocks -four inches in diameter (Fig. 4). The gas-pipes, an inch in diameter, -may be had at a plumber’s shop or gas-fitters’, and they should be five -inches long, threaded at both ends, and screwed into flanges which have -been fitted with threads to receive them. These flanges are bored with -holes, so that ordinary screws may be passed through them and into the -wooden ends. The gas-pipe should be bound with line and painted or -varnished, or the entire bell may be painted black to simulate iron. - - -Indian Clubs - -A good pair of Indian clubs, weighing from two to three pounds each, -would cost at the shops about one dollar a pair; but the boy who can -handle tools may cut out a very serviceable pair of clubs from wood four -inches square or round, with the club, or butt, ends fifteen inches high. - -Two pieces of spruce, chestnut, or apple wood are to be cut, as shown -in Fig. 5. The upper end should be tapered so that it is one and a half -inches in diameter, and leaving the base about two and a half inches in -diameter. - -The tapering is done by holding the wood in a vise and gradually shaving -away the wood with a sharp-bladed draw-knife or spokeshave, turning the -wood frequently so as to cut the butt evenly and as true as possible. -With a brace-and-bit a one-inch hole is bored in the top of each club -three inches deep, and into it a broomstick-handle is driven and held in -place with glue and a few steel-wire nails. Wooden balls are bored and -glued to the top of the handles, and given an additional purchase with -small nails. The handles may be bound with fine line and the exposed -wood-work painted any desirable color. - -Half a dozen sets of these clubs will add materially to the equipment of -the household “gym”; and it would be advisable to make them in several -sizes—say from one to three pounds each. - - -Calisthenic Wands and Ball-bars - -These wands, three to five feet long, may be cut from any hard-wood, or -the same lengths of a one-inch curtain-pole will answer quite as well. -Plain square sticks may be planed octagonal in shape, or rounded, as a -matter of choice (Fig. 6 A). - -The ball-bar (Fig. 6 B) may be made as described for the dumb-bells, by -boring croquet-balls and attaching them to the ends of a bar with wedges. - -In many schools calisthenic exercises with wands, dumb-bells, and -ball-bars are regularly taught; and the boy who has provided his own -gymnasium with the simple apparatus required will find pleasure in -rehearsing the school instructions at his home. - - -Swinging-rings - -Exercising and swinging rings are usually from six to ten inches in -diameter, outside measure, and they may be purchased at the shops for one -or two dollars a pair, according to the size and finish. - -A blacksmith will make you a pair of rings, eight inches in diameter, -out of five-eighth-inch round iron, for about fifty cents; and with a -fine file and emery cloth they may be smoothed down so that they will not -chafe the hands. Some rings are nickel-plated, but they are used only by -professionals in their exhibition work. - -[Illustration: FIG. 5. - -FIG. 6. WAND A BALL-BAR B - -FIG. 7. FIG. 8. FIG. 9.] - -The rings should give a good grip, and there is nothing better for this -than to bind them with tire-tape, or sew leather around them, making the -seam at the outside, as shown in Fig. 7. The sewing should be done with -doubled and waxed linen thread; if this should prove too difficult, a -shoe or harness maker will help you out for a small sum. - -In Fig. 8 a triangle is shown having the lower side bound with tape or -leather. This triangle is six inches across the bottom, eight inches -high, and is made from half-inch round iron. As the lower side is a -straight bar, it is somewhat easier to grip than the segment of a circle. - -The rings, or triangles, should be suspended by means of ropes, at the -lower ends of which straps are provided so that they will hold rings, -rods, or trapeze bars. A harness-maker will make these straps for fifteen -or twenty cents each, of substantially heavy leather. They should be -provided with a stout buckle and a loop under which to slip the strap -end, as shown in Fig. 9. The rope ends, through which the straps are -caught, may be spliced or formed into a loop-end and bound tightly with -twine to make a strong union, as also shown in Fig. 9. - - -Trapeze Bars - -For the house gymnasium a trapeze bar should measure four feet long and -one and three-quarter inches in diameter; it should be cut with a path at -each end, as shown in Fig. 10, so that the strap may be wrapped around it -and drawn tight. The bar should be made of seasoned hickory. The wood may -be bought from a wheelwright or wagon-maker, and then dressed down with a -plane and spokeshave. The arrangement for the suspension is shown in Fig. -10 B. - -The adjustable flying trapeze, as shown in Fig. 11, is made from -trunk-straps, provided with two extra loops, and a four-foot bar cut from -two-inch hickory and shaped with a spokeshave. At the ends, paths are -cut to receive the straps, and, if possible, have the bar turned in a -lathe to insure a more accurate job. Small rings at the upper ends of the -ropes or straps, and hooks driven securely into the ceiling-beams, will -afford the needed suspension. - -[Illustration: FIG. 10. FIG. 11. FIG. 12.] - - -Parallel Bars - -The regulation parallel bars are usually supported on iron pipe-standards -bolted to a heavy base, and steel heads are provided to grip the bars. -But this fitting is beyond the ability of a boy to construct without the -aid of a plumber, and the wooden frame base and bars shown in Fig. 12 -will answer quite as well. - -The bars are of hickory, five and a half feet long and two inches in -diameter. The uprights that support them are of oak, ash, or other -hard-wood, two and a half inches square and forty-two inches long. The -lower ends of the uprights are set into bases of heavy hard-wood two -inches thick, ten inches wide, and three and a half feet long. Square -holes are cut in the middle of these bases, two feet apart, so that -eight inches of wood will extend beyond the holes at each end, and so -provide a surface on which to screw the bracket-ends that act as braces -to the uprights. The holes should be cut with a brace-and-bit all the way -through the bases, and then trimmed with a mortise-chisel and mallet, -taking care to make them very accurate, and so prevent any play to the -uprights when once set up. - -The stepping-plank is also of hard-wood, twelve inches wide, one and a -half inches in thickness, and long enough to span the cross-planks. The -distance between uprights should be about four feet. The stepping-plank -should have a two-inch block under the middle to prevent it from -springing; it is to be attached securely to the cross-plates with large, -flat screws driven into holes that have first been bored out with a -bit. Hollows are cut out in the top of each upright with a compass-saw, -and the sides slightly tapered to the edges of the U cuts, so as not to -interfere with the hands when using the bars. Fasten the bars to the -uprights with two slim screws at each side, driven through the uprights -and into the under sides of the bars. Do not put a screw or nail down -through the bars and into the top of the uprights, for this will weaken -the bars, and if the weight is suddenly transferred to the extreme ends -they might snap off. - -At a hardware store purchase four iron brackets with eight-inch tops -and ten or twelve inch sides. Invert them and screw the tops to the -base-boards and the sides to the outer edges of the uprights, to insure -added rigidity. - -A coat or two of paint will improve the appearance of the uprights and -base; but do not coat the bars with anything. They should be polished -with an oiled rag until smooth enough for use. - - -A Floor Horizontal Bar - -The complete apparatus is shown in Fig. 13. The hickory bar, one and -three-quarter inches in diameter and four feet long, is supported on -hard-wood uprights two inches thick, three inches wide, and as high as -the bar is desired—say from five to six feet, according to the stature -of the boys who are to use it. At the lower end the uprights are held in -position by two half-inch iron pins driven into the bottom. These fit -into holes made in the floor in a corresponding position, as shown at A -in Fig. 14. The upper ends of the uprights are cut with a compass-saw to -receive the bar, and the edges are tapered to meet the edges of the U -cut, as shown at B in Fig. 14. When the bar is in place it is held with -straps made of one-eighth by one inch iron. They should be provided with -screw-holes, as shown at C in Fig. 14. The ear-plate attached to each -upright under the bar (and to which the stanchion wires are fastened) is -made of one-inch tire-iron a quarter of an inch thick; it is bolted to -the wood as shown at D in Fig. 14. A blacksmith will make the strap and -ear-plates for a small sum; and at a hardware store staple or eye plates -may be purchased and screwed to the floor, into which the turn-buckles -can be caught. - -Four turn-buckles and some stout wire form the stanchions; and the -floor-plates should be located so that they not only brace the structure -forward and backward, but also from side to side, as may be seen at the -right side of Fig. 13. If the plates are five feet apart, they should be -eighteen inches out from each upright. - -[Illustration: FIG. 13. FIG. 14.] - -The particular advantage of this bar over a swinging one lies in its -absolute rigidity. Also, when not in use, it may be cleared away by -loosening the turn-buckles and unhooking them, lifting the pins out of -the floor and carrying off the frame bodily. - - -Striking-bags - -There are various kinds and shapes of striking-bags to be had at the -shops, but a converted Rugby football will answer very well for home use. -Remove the bladder and sew two large bone buttons to the leather cover -at each end, as shown in Fig. 15. The bladder should then be replaced, -inflated, and the cover laced up tightly. - -Leather straps, in the ends of which button-holes have been made, are -caught over the buttons to form loops to which the ends of the suspension -and draw ropes are attached. These straps are reinforced with a patch -of leather sewed at the middle, as shown in Fig. 16. The patches will -strengthen the straps and prevent them from stretching too much when the -ropes are drawn taut. - -Between the ball and the floor a spring, or some stout rubber bands, -should be placed so as to make the ball rebound quickly when struck. - -The portable striking-bag (Fig. 17) is attached to the top of a staff, -and is made of leather or canvas and stuffed with paper wads. Or a -bladder, inflated the same as a football, may be used. The bag or cover -for a bladder should be made of strips of leather or canvas sewed -together. The inflated bag is then covered by a stout leather cap. Straps -of canvas or leather are sewed to this cap and brought down below the -bag, where they are attached to the staff with a thong or cord, as shown -in Fig. 17. - -[Illustration: STRIKING-BAGS - -FIG. 15. FIG. 16. FIG. 17.] - -The regulation portable bags are mounted on an iron base, but in our -home-made apparatus a plate of hard-wood will have to answer. From oak, -ash, or other hard-wood, two inches thick, cut a base fifteen inches -square, and round off the edges on the upper side. Make a hole in each -corner through which to pass a screw, and a large hole at the middle to -receive a spiral spring. The staff (about the size of a broomstick) is -screwed down into the top of the spring for five or six inches, or enough -to hold it securely; and at the bottom the spring is held in the block -with screws or nails driven through the wires of the spring and into the -wooden base. - -When using the bag it should be fastened to the floor with two or three -screws, so that it will not topple over. As it is struck it bends over -from the bottom, and the spring, if stiff enough, will cause it to -immediately rebound or come to an erect position. - -A striking-bag and disk, like the one shown in Fig. 18, may be made from -wood and leather, a few thumb-nuts, and a pair of braces. To make the -adjustable disk, obtain two pieces of white-wood or pine three inches -wide, two feet long, and one and a quarter inches in thickness. Also two -other pieces, each an inch thick, three inches wide, and thirty inches -long. The first pieces are the wall-plates, and laps are to be cut one -and a half inches in from each end, as shown in Fig. 19, to receive the -upright pieces. - -In the middle of each lap a bolt two and a half inches long is to be set. -This projects through a slot cut in the upright pieces, and at the outer -end of the bolt a thumb-nut and washer will make it possible to clamp -the uprights fast to the wall-plates, so that the disk may be raised or -lowered to any required position. - -Two slots, as wide as the thickness of the bolts, are cut in each upright -with a bit and compass-saw; and on the uncut space, at the middle of the -frame, a disk twenty-one inches wide and twenty-six inches long is made -fast with screws and short angle-brackets attached to the under side of -the rear corners. This disk should be made of hard-wood one and a half -inches in thickness, and it is braced from above with two irons that -extend from the top of the disk to the upper ends of the uprights. A -blacksmith will make these for a few cents each, and they, as well as the -other hardware, should be painted black to give them a good appearance. - -[Illustration: FIG. 18. FIG. 19. FIG. 20. FIG. 21.] - -The bag is shaped like an inverted balloon, and is made of six pieces of -leather, or canvas, five and a half inches wide and fifteen inches long, -sewed together at the edges. Each piece should be shaped as in Fig. 17, -and when they are sewed together a round cap should be made fast to the -large extremity to secure the ends of the side-pieces. A patch is sewed -along the edges of two sides to strengthen them and to pass the lacings -through, as shown at the lower left-hand side of Fig. 20. This method -of construction gives an opening through which to pass a filling of -rubber scraps and bits of leather. If a rubber bladder is to be inserted -and inflated, this opening will not be required, for the bladder, when -collapsed, may be pushed into the opening at the neck. - -One inch below the top of the neck some slits are to be made in the -leather, through which the throat-laces are interwoven, as shown in Fig. -21. After the knot at the end of the suspension-rope has been inserted in -the throat of the bag, the laces are drawn tight and tied. This is the -best means of attaching the bag to the rope from which it is suspended; -and by means of a hollow stick, which projects down five inches below -the under side of the disk, the bag may be centred and held rigidly. As -a result it flies up at varying angles from this centre-drop when struck -from different sides. - -The suspension-stick may be made from a piece of inch-and-a-half -curtain-pole, the hole being bored out with a bit. The stick should be -inserted through a hole made in the disk eleven inches in from the outer -or projecting edge. It should be of such a size that it will be necessary -to drive the stick in with a mallet to make it fit snugly. A coat or two -of white paint will finish the wood-work nicely, or it may be given a -coat of varnish. - - -A Medicine-ball - -A medicine-ball should be ten inches in diameter, and should weigh from -three or four to six or eight pounds, according to the size of the boys -and girls who use it. The case of a round football may be used, or a -leather case may be made of six pieces and two ends, so that it will -lace up, as shown in Fig. 22. The case is stuffed with small balls made -of pebbles or small stones wrapped in newspaper. The newspaper makes a -soft cushion, and does not allow the hard edges of the stones to come in -contact with the leather. Larger or smaller stones may be used according -to the weight desired, or sand wrapped in paper may be used in place of -the stones. - -[Illustration: FIG. 22. FIG. 23. FIG. 25. FIG. 26.] - -If the case is to be made, obtain some russet leather from a shoemaker -and cut six pieces, fourteen inches long and six inches wide, as shown -in Fig. 23. With doubled linen thread sew the edges together so that the -seam is at the inside, as shown at the lower end of Fig. 23. Reinforce -two sides of adjoining strips with a patch of leather sewed securely -all around the edges and through the middle. Punch holes along the patch -half an inch from the edge, through which to lace the draw-strings, as -shown at the left-hand side of Fig. 23. At the open ends of the leather -case sew on circular patches, four inches in diameter, to securely hold -the ends of the six leather sides. The case will then be ready for the -filling. - -By substituting a bladder for the filling, this medicine-ball may be -used as a volley-ball. The volley-ball is played over a net, either in -the “gym” or out-of-doors, in a fashion similar to Badminton. It may be -played by any number of persons at the same time, the object being to -keep the ball in motion over the high net. - - -Pulley-weights and Exercisers - -No apparatus for home exercise covers the field so generally and -thoroughly as the chest-weights, or pulley-weights. No instructions are -necessary, for the boy who uses the apparatus can follow his own idea -for strokes, and every muscle in the body may be easily and pleasantly -exercised, there being sufficient variation in the movements to relieve -them of monotony. - -An exerciser similar to the one in Fig. 24 may be constructed out of a -piece of plank, two pulleys, a pair of sash-weights, and some cotton rope -or clothes-line. - -[Illustration: FIG. 24.—AN EXERCISING WEIGHT] - -Obtain a piece of pine or spruce plank twelve or fourteen inches wide, -five feet long, and one and a quarter inches thick; also another piece to -form the foot, so that it will project six inches from the base of the -plank. Two blocks of wood, four inches long, two inches wide, and an inch -thick, will be necessary for the pulleys to swing on. Attach these to -the upper end of the plank by means of hinges, as shown in Fig. 25. They -should stand out from the board, and in from the edges, the distance of -the width of the hinge-leaf, as also shown in Fig. 25. Plate-pulleys are -screwed fast to the front edges of these blocks, through which the ropes -pass that raise the weights. - -The foot-board should be padded with hair or excelsior and covered with -leather or burlap, so that the weights may drop on it without making any -noise. - -From two old tin pails remove the handles and bend the wires around so -that a rope may be passed through the eyes at the ends, as shown in Fig. -26. At a hardware store purchase a pair of five-pound sash-weights, and -pass the rope ends through the eyes. They should then be spliced or -bound with fine line. When the ropes are reeved through the pulleys, a -knot should be made in each one, so that it will chock in the top of the -pulley and allow the weights to just reach and lightly rest upon the -foot-pad. Therefore, when the handles are released the weights will not -fall about on the floor as they would otherwise do. The ropes should be -about five feet long from the eyes of the weights to the handles. That -is quite sufficient to give a good long stroke while bending the body -forward or from side to side. - -This exerciser may be screwed fast to the rail that should extend all -around the “gym,” and also into the floor at the foot to steady it. -Lighter or heavier weights may be employed, as the strength of the -boy will warrant, but light weights are preferable to heavy ones for -continued use. - - -An Attic Gymnasium - -In Fig. 27 a good idea is given for the arrangement of an attic -gymnasium; it shows the locations of the paraphernalia in a room about -fourteen by sixteen feet. A smaller room may be arranged in a somewhat -similar manner, but each piece of apparatus must be cleared away directly -it is out of use. - -[Illustration: _Fig. 27._] - -Across the top of the room, from a window-casing to a batten screwed fast -to the opposite wall, a ladder may be suspended. Over the window-casing -it would be well to attach a batten, so that the ladder will not spring -out of place. A rope hanging from one end will make it possible to reach -the rings. - -A strip or band of wood four or five inches wide should be nailed all -around the room four feet above the floor, against which to place parts -of the gymnasium equipment, and on which to hang dumb-bells, Indian -clubs, wands, and ball-bars, as shown in the illustration. - -Under the trapeze or rings it is well to place an old mattress, a useful -thing in the event of a fall. If the room is wide enough, double sets -of hooks may be driven in the ceiling-beams from which both a flying -trapeze and rings may be suspended. When one or the other is in use, the -extra apparatus may be drawn up or to one side of the room. A light room -is always more cheerful than a dark one, and plenty of ventilation is -necessary in the home gymnasium. - - - - -Chapter XVII - -A MINIATURE THEATRE - - -A miniature theatre, equipped with curtain, flies, drops, wings, and -several good sets of scenery, is an unfailing source of interest and -amusement. It has long been popular in Paris even as a professional -form of entertainment. Fig. 1 gives the front elevation of a miniature -theatre; and Fig. 2, a side view, illustrates the location of the working -parts, and the manner of arranging the wings, drops, and flies. - -[Illustration: FIG. 1.] - -This theatre must be made of such a size that when it is placed at one -end of a room the audience will have a good view of the fore, middle, and -back ground. A good size for the stage is four feet wide and five feet -long over all, the front being slightly curved, as shown at B in Fig. -3. The proscenium should be four feet wide, three feet high, and with a -sight-opening three feet wide and thirty inches high. - -The proscenium is made from three boards seven inches wide and -seven-eighths of an inch thick. The upper corners are bevelled and -mitred, so that the inner edges will be recessed, as shown in the plan -drawing Fig. 3 A A. The top-rails are caught at the front to the top of -the proscenium with screws, and are supported at the rear and middle by -uprights, the lower ends of which are let into the sides or edge of the -stage, and then made fast with glue and screws, as shown at C C C C in -Fig. 3. Cross-braces at the back and middle of the top are screwed to the -top-rails for strength. Bracket or brace pieces are caught at the rear of -the last rail and to the rear of the last uprights midway between stage -and top, and are made fast with glue and screws, as shown in Fig. 4. -These will hold the framework securely in position. - -Gas, electric light, or candles may be used for the footlights. If gas -is employed a small pipe should run along under the front of the stage. -Over this pipe a tin cornice is arranged with holes made through it every -three inches. These holes should be just large enough to admit gas-jets -which project through it, as shown in Fig. 5. The supply of gas can be -controlled at one side by means of a key, so that the lights may be -lowered or turned up full. If candles are used they should be arranged on -a board, so that as they burn lower and lower the board can be raised. If -electric lights are available, they are the best of all, since the danger -of fire is reduced to a minimum. The small sockets, wire, and lamps used -for Christmas-trees can be employed, and will give very good results. - - -Scenery and Equipment - -After the constructional work of the stage and frame is complete, it -will be necessary to make the scenery and equipment. It will be best to -have two curtains, the first a fancy one which can be painted on muslin -or a window-shade. Window-shades come printed with pictures on them, -and these can be strengthened with oil paints diluted or thinned with -benzine. A very pretty outer curtain can be made from a printed Japanese -silk panel, such as are for sale in the art and dry goods-stores. This -can be sewed on a plain piece of goods, and the upper end made fast to a -shade-roller, as shown in Fig. 9. The main curtain may be of denim, stout -muslin, or any suitable cloth or fabric. It is nailed to a round stick (a -curtain-pole is preferable), which is cut at the ends as shown in Fig. 6. -The draw-string is wound in this groove, and so the curtain is raised and -lowered. The shade-roller curtain is the outer one, and is attached to -the frame at the top, and just back of the proscenium, as shown at B in -Fig. 2. The main curtain is just inside the outer one, and is made fast -to a stick near the outer curtain-roller. When down, the roller rests on -the stage just back of the proscenium, as shown at C in Fig. 2. When the -curtain is rolled up to the top of the proscenium-opening, a few turns of -cord are taken about each end of the roller in the groove. The cords then -pass through screw-eyes to the back of the stage-frame, where they can -be held on a small cleat. Both cords pass through the same eyes, so that -the pair of strings may be operated by one hand. The drop-curtains at the -back of the stage are painted on window-shades, the rollers of which are -hung on blocks at the under side of the top-rails and close to the rear -uprights, as shown at A A A in Fig. 2. - -[Illustration: DETAILS OF STAGE - -FIG. 2. FIG. 3. FIG. 4. FIG. 5.] - -The flies are strips of muslin painted to represent sky in out-door -scenes and ceilings in interior sets. The flies are tacked on a stick, -the ends of which project beyond the body part of the fly so that they -may rest on the top-rails of the stage-frame, as shown in Fig. 7. The fly -part drops down two or three inches below the upper framework, so as to -be visible to the spectators. The wings are of card-board or stiffened -muslin tacked on frames, the bottoms of which rest on the stage. The -upper part is held between the runners, or cross-rails, fastened to the -under side of the top-rails, as shown in Figs. 1 and 2. - -The front and back of a wing is shown at Fig. 8. The front, A, is the -smooth side on which the tree or other feature can be painted. The back, -B, shows how the frame is made to support this piece of scenery. The -frame should be constructed of pine sticks three-quarters of an inch wide -and half an inch thick. Where they cross each other laps should be cut -out of each piece, so that one will lie flat in the lap of the other. The -surfaces of all the sticks being on one plane, the frame offers a flat -surface for the material to back against. - -An independent piece of scenery, such as the house, tree, fence, and -bushes shown in Fig. 10, will have to be built upon a frame, and a foot -must be provided so that it will stand on the stage independent of any -top, bottom, or side braces. The manner of doing this is shown in Fig. -11, the two feet being “loaded” with pieces of lead at the ends of the -feet so that the house cannot topple forward. Very pretty scenes can be -made from card-board and of stiffened goods, such as crinoline, over -which the painting can be done. Books, magazines, and photographs can be -drawn on to offer suggestions for scenery and interiors, and the smart -boy, who has some idea of perspective, can design and make some most -attractive stage-settings for this miniature theatre. - - -The Puppets - -The actors and actresses should be celluloid or _papier-maché_ dolls, -their feet being attached to thin strips of wood, which can lie flat on -the stage and be operated from the sides. When the stage is on a line -with the eyes of the audience, these thin strips will hardly be noticed. -Jointed dolls may be used for the actors who have occasion to sit during -the performance, but it is difficult to bring about the change of posture -without destroying the illusion. Trap doors and other pieces of stage -machinery may be added as found necessary, and there is no limit to the -ingenuity that may be exercised in equipping our miniature stage. - -[Illustration: SCENERY SETS - -FIG. 7. FIG. 8. FIG. 9. FIG. 10. FIG. 11.] - -Of course the speaking parts are taken by boy and girl performers, who -stand on either side of the stage, and are concealed from the view of the -spectators by screens or curtains. The stage-manager and his assistant -stand still closer in, so as to manipulate the puppets. A curtain-bell -arranged under the stage, and rung by a knocker or electric apparatus, -adds to the realism. - -This theatre is to be mounted on two horses, and it must so be screened -off that nothing is visible but the proscenium, fore-stage, and -footlights. This curtaining may be done with heavy muslin, or Canton -flannel of dark color, or any material through which light will not show. - - - - -Chapter XVIII - -FITTING UP A BOY’S ROOM - - -When once a boy realizes what may be done in the way of fitting up his -den or room, he is sure to take an interest in the subject. A certain -amount of manual skill and artistic feeling are, of course, desirable, -but these qualities may be cultivated, and to a much greater extent than -one would at first be willing to believe. - -The color schemes, designs, and general suggestions in artistic -handicraft that may be carried out in fitting up a boy’s room are almost -without limit; but the following ideas are all practical, and the -illustrations and explanations should enable the young craftsman to get -satisfactory results at the minimum of labor and expense. - -In the selection of woods from which to build furniture, the natural -product of the locality in which the boy lives must be taken into -consideration. Some States grow pine, white-wood (cottonwood), poplar, -or cypress, while in others spruce, hemlock, maple, and fir will be -found easier to obtain. In the Far West, gumwood, redwood, cedar, and -cypress form the staple supply. The cost of the wood is a matter to be -considered, and often the more artistic result may be secured by using an -inexpensive wood, since the beautiful grain of the finer varieties can -only be brought out by the skilled and experienced workman. Many woods -have an open and broad grain that, if carefully filled and varnished -over, will give a very pleasing effect. Chestnut, butternut, quartered -oak, and ash have this quality, and all of them are adapted to furniture -construction and room trimmings. For chairs and other furniture, spruce, -apple-wood, and cypress will give good results; and all of them have a -pretty grain when stained and varnished. Ash is harder, and makes good, -solid furniture. If not found too difficult to work, it will prove a very -satisfactory and serviceable wood for chairs, tables, benches, and other -pieces of furniture that are subjected to hard usage. - -In the construction of the various pieces of furniture illustrated, -the simple rules of carpentry are to be followed, and only the lap, -mortise-and-tenon, and tongue-and-groove joints are employed. These -joints must be well made, however, so that perfect unions will result, -for every piece of furniture will rack in time if not properly braced. -For this reason only the plain joints are advocated for the young -workman; and nothing has been said about the dowel, key, and other -joints that are frequently employed by cabinet-makers in the general -construction of furniture. These latter require much more care and -accurate fitting, and for the open and exposed joint the simple forms are -far better. - - -A Plain Chair - -Of all the pieces of furniture in the house, chairs are the ones most -used, and, as they are subjected to hard usage, they should be well -constructed and the joints carefully made. - -In the plain chair shown in Fig. 1 the front legs are sixteen inches -high, the back supports are thirty-four inches high, and all of them are -one and three-quarter inches square. All the side-rails and the four -that support the seat are two inches wide and three-quarters of an inch -in thickness, so that the laps cut in the corner-posts (Fig. 2, A and -B) will correspond in width and depth. The cross-cuts are made with a -fine saw, and the wood removed with a broad firmer-chisel, taking care, -however, not to cut deeper than three-quarters of an inch when removing -the wood. Use a mallet to help the chisel, but do not seek to take out -too much at one time; better try three or four times, and take a moderate -bite each time, than run the risk of having a large chunk come out and -bring with it some of the wood that should be left for the rail-end to -lap against. - -The rail at the front is eight inches above the floor, and those at the -sides are four inches. At the back the distance is ten inches from the -floor to the under side of the cross-rail. Take care to make the saw-cuts -inside the two-inch mark, so that the rails will fit snugly into the -corner-posts without any play. There is nothing so annoying in a chair as -to have it loose-jointed and rickety. - -A wooden seat sixteen inches square, with the rear corners cut out to fit -around the back posts, is nailed or screwed fast to the top edges of the -upper rails all around; and for the back a twelve-by-sixteen-inch piece -is cut and screwed fast in the laps cut at the upper ends of the back -posts, as shown in Fig. 2 B. - -To make a comfortable back and seat, cover the wood with curled hair from -an old mattress, or some cotton and dried moss; then tack unbleached -muslin over it to hold it in place. For the final covering use burlap, -denim, cretonne, or other stout fabric, that can be had at a dry-goods -store for fifteen or twenty-five cents a yard. Draw it down and turn it -under all around the edges of the back and seat, fastening with small -tacks driven at regular distances apart. - -Large, oval-headed upholsterers’ tacks painted black will appear to good -advantage if driven about two inches apart along the edge of the goods. -If they cannot be had, or are too expensive, a very good substitute may -be made from sheet-lead or an old piece of lead pipe split open and -beaten out flat. - -From the sheet of lead cut disks three-quarters of an inch round with -a cold-chisel, on the upturned face of an old flat-iron. With a small -hammer beat the edges to resemble a hand-wrought nail-head, similar to -those you may have seen in an old hand-bellows in a blacksmith-shop. -These are to be painted black, and applied to the wood with slim, -steel-wire nails, the heads of which will be invisible if they are driven -well into the lead. The heads of the screws that fasten the lap-joints -can be hidden with these mock nail-heads, as shown in the drawing. - -A good black paint for the metal parts of furniture is made by adding -dry lamp-black to some brass lacquer or shellac, so it will have the -consistency of cream. It is then applied with a soft-hair brush to the -surface of the metal, on which it will dry quickly. It often requires two -or three days for oil paint to dry on metals, and it lasts no longer -than the lacquer or shellac coating. Several small nails driven around -the edge of the mock nail-heads will hold them in place, and to all -appearances they will look like the large-headed, wrought bellows-nails. - -[Illustration: FIG. 1. FIG. 2. FIG. 3. FIG. 4. FIG. 5.] - - -An Odd Chair - -For studying or reading, the chair shown in Fig. 3 will be found a useful -piece of furniture. - -The wood is three-quarters or seven-eighths of an inch in thickness, -planed on both sides, and may be finally stained and varnished or -painted. The front posts are fourteen inches high and four inches wide, -while the back ones are thirty-four inches high, three inches wide at the -top, and eight inches wide at the bottom. The side-rails are twenty-eight -inches long, three inches wide at the front, and six inches across the -widest place near the rear. The side-rails are fastened outside the rear -uprights and inside the front posts, as shown at Fig. 3. At the back, -near the foot, the chair is held together with a plate of wood six inches -wide and eighteen inches long, screwed fast to the lower edge of the high -posts, as shown in Fig. 4. - -The top of the rear uprights are bound together with a piece of two-inch -curtain-pole, with a saw-cut in the end to the shoulder, as shown in Fig. -5. After it is in place, glue-covered wedges are driven into the saw-cuts -to make a key, and so hold the joint securely. Between the front ends of -the side-rails a similar piece is placed; or a two-inch square piece of -wood, with the front top edge rounded off, may be substituted. - -The seat and back is composed of one piece of leather, fabric, or even -carpet, caught to the front and top cross-pieces, and adjusted so as to -form a comfortable support to the body. - -This chair can be made with a shifting back by rounding off the lower -ends of the back uprights and attaching them to the side-rails with bolts -and washers, one bolt to a side. With two or three corresponding holes -in the side-rail and upright, pegs can be fitted into them, or a rod -passed through from side to side of the chair, in fashion similar to the -well-known Morris chair. The pegs must be stout, or the rod substantially -heavy, since the leverage is great and would snap off light pegs or bend -a thin rod. - - -A Morris Chair - -One of the most comfortable pieces of furniture in a boy’s room is a -Morris chair, and if properly constructed it should last almost for a -lifetime. - -Fig. 6 gives a good idea for a solid affair that can be made twenty -inches wide and twenty inches deep from outside to outside of -corner-posts. The posts are two inches square and twenty-three inches -high, and in the front and back ones laps are cut to receive three-inch -rails, with the upper edges sixteen inches above the floor. At the lower -part of the sides, five inches above the floor, two-inch rails are let -into the posts. From these side-rails to the under side of the arms four -flat balustrades are mounted and held in position to the lower rails with -screws and glue. At the upper end they are mortised into the under side -of the arms for half an inch. Two more rails are let into the posts at -the inside and on a line with the rails, at front and back, that support -the seat and to which the leather is to be attached. - -A frame twenty-two inches high is made for the back and covered with -leather stretched tight and nailed all around the edges with large, -oval-headed upholsterers’ tacks. The back is hinged to the rear rail -of the chair, and held in position with a cross-rod, which in turn is -supported by wooden pins driven into the end of the arms, as shown in the -illustration. The arms are wedge-shaped, five inches broad at the front -and two inches at the rear, where the ends are rounded. They are held to -the tops of the corner-posts with long, slim screws, the heads of which -are covered with the imitation nail-heads described in the making of the -plain chair (Fig. 1). - -[Illustration: FIG. 6. FIG. 7. FIG. 8.] - - -A Settle - -For the side of a room, where there is space to accommodate it, a settle -is a comfortable piece of furniture, and Fig. 7 gives some good lines -that can easily be followed. - -The back of this settle is forty-two inches long and thirty-two inches -high. The seat is sixteen inches above the floor and eighteen inches -deep. The front plates are each six inches wide, twenty-five inches high, -and seven-eighths of an inch thick. They are attached to the front and -side rails of the settle with stout screws and glue, and a line of screws -is driven through the front plate and into the edge of the one it laps -against, as shown at Fig. 8, which is one end of the settle frame. - -The leather forming the seat is drawn over the front and back rails -(which are each six inches wide), and is nailed to the wood, as shown in -the illustration. The leather is applied to the back in the same manner, -and, to hold the edges down, glue may be used. - -A chair may be constructed in similar fashion with the same height and -depth dimensions, but twenty-four inches wide over all, the side-plates -under the arms being four inches wide. - - -A Box-desk - -In the illustration of a box-desk (Fig. 9) an idea is shown that the -young craftsman can easily work out. - -Obtain a box twenty-four inches long, eighteen inches wide, and twelve -inches deep. It should be made of planed boards. At the joints drive in -a few screws to make them more secure. Cut two pieces of wood thirty-six -inches long, four inches wide, and seven-eighths of an inch thick, and -attach them to the rear edges of the box when it is stood on end, -allowing the lower ends to extend down four inches below the bottom of -the box. These will form the back feet. For the front ones, cut two -pieces of wood fourteen inches long and six inches wide, rounding off one -end, and cutting the bottom out three inches, thus allowing the remaining -wood to be three inches wide, as shown at Fig. 10. These are fastened to -the lower edges of the box at the sides with screws and glue. - -[Illustration: FIG. 9. FIG. 10. FIG. 11. FIG. 12.] - -Two shelves, ten inches wide, and as long as the inside width of the box, -are to be cut and fastened six inches apart, leaving a ten or twelve -inch space at the bottom for high books, or a place to put the feet when -sitting at the desk. A top twenty-two inches wide and eighteen inches -deep is made fast to the top of the box, and if a slant is desired the -back of the top board may be propped up for an inch or two with a strip -of wood. On the ends of the side-rails that project above the desk-top -a ledge six inches wide may be made fast for ink-bottles, pencils, and -other accessories. Attached to the upper edges of the box brackets of -wood may be arranged to support the projecting edge of the desk-top. - -Stain and varnish, or paint, will add the finishing touch to this -box-desk. - - -A Writing-table - -Two boxes, a drawer, and a broad top can be easily transformed into the -writing-table shown in Fig. 11. If well put together and decorated with -artistic hinge-straps and escutcheons, the boxes are entirely hidden from -sight. - -Two boxes, each twenty-two inches long, fifteen inches deep, and ten -inches wide (outside measure), are placed on end and made fast under a -broad top forty-five inches long and eighteen inches wide. Three inches -of the top will project beyond the boxes at the ends and front. This -will leave a space nineteen inches wide between the boxes. At the bottom -a ledge eight or ten inches wide must be made fast to the bottom of the -boxes, on which to rest the feet when writing at the table. This ledge -will also serve as a brace, and help to hold together the bottoms of the -boxes. - -Legs six inches high are cut from wood seven-eighths of an inch thick, -and fastened under the four corners at the front of the boxes. At the -back, the foot-piece is a board ten inches wide, screwed fast to the -lower rear ends of the boxes, so that six inches of it will project down -to the floor to correspond with the legs in height. A shallow drawer is -made to fit between the boxes, and a slide on runners is attached with -screws near the top. - -Doors ten inches wide and twenty-two inches high are hinged to the outer -sides of the boxes, and from sheet-lead the hinge-plates or straps and -the escutcheons are cut with a light cold-chisel and mallet, as shown at -Fig. 12, A and B. (For other designs, see Chapter VII., on Decorative -Hardware.) The front hinge-plates are eight inches long and four inches -wide across the scrolls, and the shorter ends are four inches in length. -The flat edges that butt against the hinges must be made to correspond -with the hinges in width, but they are no part of the hinges proper, -being purely for effect. This hardware is coated with the black metal -finish. It is then fixed in place with large-headed nails or with -steel-wire nails. - -A top board, with half-circular supports, can be made and attached to the -rear of the desk-top if thought desirable. - - -A Whatnot - -For trinkets, books, and the general assortment of odds and ends that a -boy is sure to possess, the whatnot shown in Fig. 13 will be found useful. - -It is fifty-four inches high, twenty wide, and twelve inches deep. The -cap projects two inches beyond the sides and front. The side-boards are -cut up at the bottom, the angle of the coves being ten inches above the -floor. Near the top a corresponding effect is obtained by cutting out -pieces of wood in the form of shields. The side-ledges are thirty-six -inches above the floor, twelve inches long, and seven wide. They are -supported by two brackets at each side, five inches wide at the top and -six inches deep, cut as shown in the illustration, and made fast with -glue and screws. - -[Illustration: FIG. 13. FIG. 14. FIG. 15.] - -The ledge over the drawers is forty inches above the floor, and each -drawer is five inches deep. The lower ledge or shelf is twelve inches -above the floor, and the front edge is cut in with a compass-saw. - -All the wood-work is of stock seven-eighths of an inch thick, and the -edges of the shelves are butted against the side-boards, through which -screws are passed, the real heads being afterwards covered with the mock -nail-heads. The usual stain and varnish will treat the wood nicely and -lend a good finish to this useful bit of furniture. - - -A Treasure-chest - -For stamps, coins, minerals, and other valuable possessions, the -treasure-chest shown in Fig. 14 is just the thing. - -To give the chest an appearance of strength and security, the doors -should be made of wood one and a quarter inches thick, while the legs and -feet should be of one-and-a-half inch stock. The box is thirty inches -long, eighteen inches high, and twelve inches deep (inside measure), and -the top projects an inch and a half over the ends and front when the -doors are closed. The legs are twenty-eight inches high and twelve inches -wide. At the lower ends feet are cut from wood the same thickness as the -legs, and made fast to them with screws. A cross-rail six inches wide and -cut in at the under edge is mortised and tenoned into the legs twelve -inches above the floor; while across the top of the legs a board twelve -inches wide is securely fastened, and braced at the back with a four-inch -rail, to prevent this base from racking with the weight of the chest. - -Shelves and divisions are arranged, according to requirement, within the -chest. To close it, two doors are swung on stout hinges, against which -lead hasps are mounted to lend an appearance of strength. These are cut -from stout sheet-lead, and applied with large-headed upholsterers’ nails -painted black. The front hasp-ends should be ten inches long and the -return ends five inches in length. Over the key-hole a long hasp may -be placed, with a corresponding one on the other door to complete the -decorative effect. - - -Studying-table and Stool - -For service and comfort when studying or writing, two useful pieces of -furniture are shown in Fig. 15. - -The top of the table is twenty-four inches wide and forty-two inches -long. It can be made from three or four boards of pine or white-wood -glued together at the edges and battened at the under side. The front -legs should be twenty-seven inches high and two and a half inches square. -The rear legs are thirty-nine inches high, and where the table-top -joins them laps are cut out on two sides for a depth of one inch, and a -corresponding notch is cut from the corner of the ledge so as to fit into -the lap. The lower rail at the back is six inches wide, and the lower -side-rails are four inches wide. The shelf attached to the top of the -rear posts is seven inches wide and forty-two inches long. It need not be -more than seven-eighths of an inch in thickness, and the front ends of it -may be supported with short bracket sticks which rest on the table-top -close to the rear posts. - -At both the front and back brace-strips are let into the legs and the -edge of the table, as shown in Fig. 15; these pieces are eighteen inches -long and bevelled at both ends. - -To accurately cut the laps in the legs and table-top, lay a strip across -in the proper place, and mark the lines with a pencil; then with a saw -cut slowly and accurately on this line to the proper depth. With a chisel -cut the wood away and let in the brace-strips, when they can be securely -fastened with glue and screws. At both ends shelves may be attached to -the posts and the braces, as shown in the illustration. These will make -good book-ledges or convenient places for pencil and pen boxes, extra -pads, and school trappings. Books may rest on the table under the top -shelf. To prevent their falling off at the back, a rail two inches wide -is attached to the rear posts and supported at the middle by a short -upright block which also acts, as a brace to the middle of the top shelf. - -The stool is eighteen inches high, sixteen inches long, and fourteen -inches wide. The corner-posts are two inches square, and the rails are -two inches wide and three-quarters of an inch thick. At the sides the -top-rails support the seat, which is a piece of cowhide attached with -nails and glue, over which imitation nail-heads are made fast. The lower -rails, at front and back, are three inches above the floor, and the lower -side-rails are eight inches above the floor. Stain and thin shellac will -finish this wood-work nicely. - - - - -Chapter XIX - -PAINTING, DECORATING, AND STENCILLING - - -There are very few crafts that a boy takes hold of with so much -confidence as painting. In the average boy’s mind it merely means getting -a pot full of paint, a brush, and daubing it on. This is painting in one -sense of the word, but not painting as a real craftsman should do it. - -Good painting is a skilled trade, just as are horseshoeing, plumbing, or -bricklaying. But this manual is not intended to be an artisan’s guide; -all that can be done is to lay down certain principles, and to give the -practical hints that may make a boy’s efforts in this line worth while. - -It is not necessary that a boy should know how to make paints; that is -a branch of manufacture that requires years of experience, improved -machinery, and chemical and mineral formulæ. A boy should know, however, -what paints are made of, how prepared, and how they are mixed, so that he -will be able to work with intelligence and success. - -The basis of all good paint suitable for wood-work is lead or zinc. Some -painters prefer all lead for outside work, while others take two-thirds -of lead and one-third of zinc, and then add the coloring dust or ground -colors to get the required shade. Both white-lead and zinc are ground in -linseed-oil, and can be purchased in cans, or kegs, ranging in weight -from one-pound tins to five-hundred-pound kegs. Zinc is sold in the same -kind of packages, and the cost in small quantities is about ten cents -a pound. Inside shades of any color are generally made of two-thirds -zinc and one-third white-lead; then the dust or ground colors are added -to tone down the white to any desired shade. Pure boiled linseed-oil -and good turpentine should be used to thin paints. Benzine, naphtha, -kerosene, or other oils should never be used in the preparation or -thinning of paints unless for special purposes. - -To make the best paint for outside use, take two pounds of white-lead and -one pound of white-zinc, and mix them thoroughly, adding whatever oil -is necessary to render the mixture about the consistency of rich cream. -If coloring matter is to be added, it is best to use the ground colors -rather than the dry dusts, because the colors ground in oil are much -finer, and will mix better with paint than the dusts. Colors ground in -oil may be purchased at a paint store for ten or fifteen cents a pound. -A portion of the color should be thinned first with turpentine, and then -added to the pot of mixed white, stirring the mixture while the coloring -is added. - -If the paint should not be thin enough to lay on the wood, you may add -small portions of turpentine until it is the right consistency. A little -experience is the best teacher in this matter, and to make sure, it is -well to ask a painter. Painters, and all masters of arts and crafts -nowadays, are much more easily approached than they were a few years ago, -and a boy who really wants to know, and who goes about it in the right -way, can generally get the knowledge or advice he is seeking. When making -paint for inside use, take the proportion of two parts of zinc to one -part of lead, then mix and thin with oil to the consistency of rich milk -or thin cream. - -Before new wood-work is painted, all knots or sappy places should be -given a coat or two of shellac to “set” the sap. The priming, or first -coat, should be composed of equal parts of boiled linseed-oil and -white-lead for outside, or zinc with some turpentine for inside work. -When this is dry one or two coats are to be laid on, taking care to apply -the paint evenly and to work it into all cracks, crevices, and corners. -The secret of good work is not in daubing a whole lot of paint on the -surface to be covered, but in laying it on evenly and in a thin coating, -so that it will neither gum nor run. Two or three thin coats are always -better than one thick one, and the extra time spent in putting the thin -coats on, and in going over the work several times, will be amply repaid, -because the work will last. The thick coat will dry unevenly, and in time -will chip, crack, and peel off. - -When painting over old wood-work, it is always best to scrape or remove -as much of the old paint as possible. Then sand—paper everything smooth, -and wash all surfaces of painted wood-work with a sponge and sapolio, -or other good scouring soap. If there should be any glossy surfaces -to the wood-work it is best to give them a washing with a very strong -solution of washing soda. A saturated solution of the soda is best. This -is made by adding washing soda to water (about a pound to two quarts), -and mixing or stirring it until the water has taken up all the soda it -will hold. After the soda-water has been applied to the wood-work, be -careful to wash it all off with clear water, changing the bucket of water -frequently, so that no traces of soda will be left on the wood-work. -Follow these directions explicitly, and do not try your own way nor trust -to luck to have the new job look well and last. There is an old saying -that “A little putty and paint hide a multitude of sin,” but get rid of -as much of the “sin” as you can before the new coat is put on. The soda -bath is particularly necessary on old furniture that has been varnished -several times. Paint will not hold on varnished surfaces unless the -varnish is first cut with soda-water or some of the prepared paint and -varnish removers. - -It is always best to mix your own paints rather than to purchase -“ready-mixed” paints or “prepared paints” at a store. There are, of -course, a great many reputable makers of mixed paints, and you may use -their preparations if you so desire. But my advice to the young craftsman -is to purchase the raw materials of a good dealer and learn how to mix -his own paints. - -When you have finished using your brushes they should be washed out—first -with turpentine, then rubbed out in kerosene oil and laid away for future -use. If they are to be used again within a few days, it will not be -necessary to wash them out, and they may be allowed to stand in water. -Bore a hole through the handle, and slip through a stout wire so that -the ends of it will rest on the top edge of a can. The brush should then -be placed in the can so that it will hang on the wire but not touch the -bottom, as shown in Fig. 1. Then water is put in until it just covers -the bristles, as shown at A. Never drop a brush into a pail or can of -water for even so short a time as overnight. The brush sags and causes -the bristles to curve, as shown at B, and it is then a hard matter to -get them straight again. The several kinds of brushes that a boy will -need for his work are shown in Fig. 2. A is a regular wire-bound bristle -brush which can be had at a paint or hardware store in several sizes; -B is known as a “sash tool”; C is a flat floor or varnish brush; D is -a sizing, kalsomine, or whitewash brush; and at E a round-liner or -stipple brush and a flat tool are shown. For light work the tin-ferruled, -cedar-handle flat bristle brush can be had in sizes ranging from one to -six inches in width. - -[Illustration: FIG. 1. FIG. 2.] - -There is nothing that freshens up a room so much as repainted wood-work, -newly papered or tinted walls, and kalsomined ceilings; and while it may -not be possible for a boy to become an expert paper-hanger, it is quite -within his ability to tint walls and ceilings, paint wood-work, and -varnish the floors. If he has any artistic faculty whatever he can do a -great deal of effective decorating, and this is a subject that we will -now discuss at greater length. - - -Decorating - -There is no secret in the art of decorating. Good judgment, good -craftsmanship, and common-sense, coupled with the use of the best -materials, will always bring about good results. - -The schemes that are shown in the illustrations on the following pages -are those that any boy can carry out; and with a fair knowledge of -carpentry, painting, and other crafts he will find it an enjoyable task -to change his room into one containing characteristic features of his own -invention or creation. - -A very simple effect is shown in Fig. 3, and for this room it will not be -necessary to remodel or change any of the wood-work. After removing all -old paper from the walls with hot water and a sponge (and cleaning off -the ceiling also), the walls and ceiling should be given a coat of size. -This is made by dissolving a handful of good ground or flake glue in a -pailful of water, and then painting it on the wall with a wide brush. -Do not slop the size over the floor, nor have your brush too wet with -the glue-water when you are using it. Try to work it in well rather than -attempt to lay it on thick. When it is dry you can kalsomine, paper, or -tint over the walls, and the size will help to hold the covering material -in place. The wood-work in this room is painted white or a light shade of -any color that is easily washed and kept clean. If paper is to be used on -the side walls, some very good patterns can be selected at a stock house -that will not cost more than twenty-five cents a roll. - -[Illustration: FIG. 3—A BOY’S ROOM] - -The pattern shown in this scheme is in stripes and running vines. Above -the picture-moulding the wall is tinted or papered with a light-buff -paper. With some apple-green fresco-paint the laurel-bush tops are drawn -in above every other stripe, if they are wide enough apart. This makes a -good finish to broad stripes that would otherwise stop at the moulding. -A small desk can be built in one corner. It has a hinged top, and within -it writing-materials may be kept. Above the desk a book-ledge may be -attached to the wall with two brackets. Simple curtains at the windows -and a painted or stained and varnished floor, with a carpet rug at the -centre, will complete the decorating of this room. The cost should not -exceed ten dollars. - - -Decorating a Bedroom - -Of the many attractive schemes for the decoration of the bedroom, there -are none so pleasing and lasting as the plain paper and an ornamental -frieze. - -A full-pattern paper soon becomes tiresome, and while there are thousands -of pretty figured papers adapted to bedrooms, at least one-half of the -bedrooms in our homes are overdone or poorly papered. Small figures and -as nearly neutral shades as possible should be used, as they are restful -to the eyes, particularly in time of sickness. In Fig. 4 a pleasing -scheme is shown, and while its beauty lies in its simplicity, it is quite -as inexpensive as it is attractive. - -[Illustration: FIG. 4—A BEDROOM] - -Pink is the general tone, and the wood-work is painted cream color or -light ivory. Four feet and six inches above the floor a rail is run -around the room, and between it and the surbase vertical strips are made -fast to divide the wainscot into panels. - -Plain cartridge or ingrain paper is hung on the wall above the surbase, -and between the rail and picture-moulding a lighter-pink paper is -applied. This may be a finely figured paper, or a narrow, satin-striped -paper that can be had at twenty-five to fifty cents a roll. A border -paper with garlands and ribbons, to match the shade of the others, may -be had by the yard or roll in several widths. Light shades of soft green -or robin’s-egg blue, with white wood-work, always make an effective and -cheerful combination. - -An artistic effect for the door may be secured by making thin panels for -the upper and lower sections, and covering them with a fabric or burlap -as near the shade of the paper as it can be matched. These are attached -to the door with a few large, oval-headed nails painted black. Sheet-lead -escutcheons and hinge-straps can be made and applied to the wood with -oval-headed upholsterers’ nails painted black. Any other metal-work in -the room is to be coated black. - -Pink, black, and cream, or pale-green, black, and ivory color make -pleasing and cheerful combinations for bedroom decoration, and they do -not become tiresome. - -A feature in this scheme is the mode of suspending small pictures from -the rail by means of harness-rings and large-headed nails painted black. -The larger pictures hung above the rail are arranged so that the bottom -of each is on a line with or touches the rail. - - -A Boy’s Room - -The arrangement and scheme for one side of a model boy’s room is shown in -Fig. 5. In this attractive room the wood-work is white, or very light in -color, and the walls a soft, light-tea or olive green. The border above -the picture-moulding is a light shade of old pink ingrain paper on which -the wreath and garland border is painted in fresco colors or stencilled. - -At one side of the room a generous chest of drawers can be built in -a corner, and three feet up from the floor a long drop-ledge may -be made fast to the wall and arranged so that hinge-brackets will -support it. When not in use for drawing or studying, the brackets can -be folded in against the wall and the ledge dropped down. Above this -ledge, and extending from the chest of drawers to a window or door, a -compartment-nest of shelves may be made from three boards with shorter -ones for partitions. This is supported every two feet of its length with -brackets screwed securely to the under side of the bottom shelf and -to the wall. At the top it is also secured with small strips of metal -screwed fast to the back edge of the top shelf, and through which screws -pass into the wall. Short curtains of some light material may be hung -from a wire stretched along the under side of the top shelf and caught up -to it in one or two places with staples. - -[Illustration: FIG. 5—A BOY’S STUDY ROOM] - -The floor in a boy’s room should be of stained and varnished narrow -boards over which a rug can be thrown. This makes it possible for the -outer edges of the floor to be wiped up frequently, and does not allow -dust to settle at the corners or edges as it would in a carpet. All the -metal-work, such as gas-brackets, hinges, hasps, escutcheons, handles, -and catches, should be given a coat or two of black finish, which will -lend them the appearance of being wrought iron. - - -Another Boy’s Room - -The panelled wainscot in Fig. 6 is formed of vertical strips of wood four -inches wide and four feet high, mounted above the surbase. On top of -these a six-inch band of wood is carried all around the room, on which a -five-inch ledge is mounted, the latter being supported on brackets which -line with the centre of the vertical strips. The doors, door and window -casings, surbase, and wainscot-rails are painted white, and all the -hardware is black. - -Hinge-straps of lead are cut and fastened to the doors and casings with -large, oval-headed nails. To cover the panels in the doors, one large -panel is made from thin wood. It is covered with burlap and nailed fast -to the side of the door facing the room, with large-headed nails, or -mock nail-heads not less than one inch in diameter. Four-inch ledges are -placed over the door and window casings. These are supported by brackets -at the ends that line with the middle of the casing uprights. - -The walls above the wainscot-ledge are papered, and the panels in the -wainscot are covered with burlap glued to the wall. The burlap on the -panels and doors may be in a coffee or light-brown color, and the paper -should then be a light shade of old green. The ceiling is tinted light -buff. - -[Illustration: FIG. 6—ANOTHER BOY’S ROOM] - - -A Nursery - -If a boy has some younger brothers or sisters, he can fix up their room -or nursery in some such manner as shown in Fig. 7. The walls are to be -cleaned and sized; then the wood-work is painted white, and a toy ledge -or rail is made fast with small brackets, two feet and six inches up from -the floor, or about on a line with the window-sills. - -The lower part of the wall is to be covered with dark-colored burlap, and -above the ledge a lighter-colored burlap or denim is applied with heavy -paste, to which a handful of glue has been added. - -Another but narrower rail is made fast to the wall about on a line with -the middle rib of the windows. Above that the walls and ceiling are -painted in imitation of the blue sky with fleecy white clouds floating -about. Paint in some birds flying in the air, and one or two perched on -the tops of the window and door casings. If this work is well done it -will have a very realistic appearance. Pictures may be hung above the toy -ledge and under the top strip by means of large rings painted black. - - -Stencilling - -The art of stencilling, although a very old one, is constantly being -revived through the efforts of amateur craftsmen. Many of the art -textiles now to be had in the art and dry-goods stores have printed -patterns in imitation of this style of decoration. Nothing in the way of -machine-printing, however, can equal the hand-stencilled fabrics. - -[Illustration: FIG. 7—A NURSERY] - -Simple figures are easily stencilled on fabrics, papers, or walls, and -the beginner will be wise in using the small, clearly defined figures; -then, as proficiency is acquired, the more intricate and ornate patterns -and designs may be employed. Every young craftsman should cut his own -stencil-plates from fibre or oil-board. It should be about the thickness -of two ordinary calling-cards, and stiff enough to hold its shape. The -design is drawn directly on the material, or on a piece of brown paper, -and then transferred to the board. With a sharp knife-blade the outline -is carefully cut, taking care to leave the bridges which are necessary -to hold the parts together. This is clearly shown in Fig. 8, which is a -small stencil for a fleur-de-lis. In Fig. 9 A the effect is shown after -the pigment has been applied to the fabric or wall. If the ornament had -been printed or stamped, however, it would have been made without any -breaks, or as shown in Fig 9 B. - -Fresco colors should be employed for stencilling on walls, but on fabrics -aniline colors or diluted oil-paints may be used to good advantage. -When preparing colors for fabrics, the tube oil-paints, or body colors -ground in oil, should be employed. They should be thinned with benzine, -and placed in the bottom of a dish or saucer, so that the stencil-brush -will take up the colors at the tip ends of the bristles. Fresco colors -for walls should be used thick, or about the consistency of rich cream, -while those of oil or aniline need not be thicker than milk. Regular -stencil-brushes must be used for this work. Such brushes may be had at -any paint store, and will appear as shown in Fig. 10. Stencil-brushes are -round, something like a shaving-brush, but the bristles are stiffer and -are stubbed or cut square at the ends. - -[Illustration: FIG. 8. FIG. 9. FIG. 10. FIG. 11. FIG. 12. FIG. 13.] - -When cutting your stencils, keep turning the oil-board so that you -always make the cut towards you. Lay the material on a smooth piece of -close-grained wood, or a sheet of zinc, and hold your knife with the -blade in a vertical position, and not to one side or the other. Do not -make bevelled cuts. Straight ones are necessary or there will be smeared -edges. - -For a stencil-plate to make the garland and ribbon border shown in the -frieze of the room (Fig. 4), a one-half section only is necessary (see -Fig. 11). The full length of a garland is marked on the wall by indicated -dots, with chalk or pencil; then the half garlands are stencilled -all around the room. When completed, the stencil-plate is carefully -wiped off; then it is reversed and the remaining halves are done. The -stencil-plate for the wreath ribbon and garland border shown in the room -(Fig. 5) is illustrated at Fig. 12. This is a half garland and wreath, -and is used as described for Fig. 11. The stencil-plate shown in Fig. 13 -can be used as the frieze or border in Fig. 6. This is an empire design, -and its dignity and beauty make it a fitting ornament for any room in a -house. - - - - -Chapter XX - -NOOKS FOR BOOKS - - -There is always a demand in the house for convenient places in which -books, pamphlets, magazines, and papers may be kept, thus avoiding the -necessity of scattering them over tables and shelves that are properly -reserved for other things. Regular bookcases are suitable for a library, -arranged especially for the purpose of harboring books, but for the -sitting-room, bedroom, or hall the odd rack, shelf, hanging cabinet, or -convenient nook is an acceptable addition to the ordinary furniture. - -Among the following illustrations may be found a variety of ideas in book -receptacles. Any of them can be made at home by the boy craftsman, of -inexpensive materials that may be at hand, or cheaply purchased from a -carpenter. - -All of these designs are entirely practical, and may be constructed with -the aid of ordinary tools, the joints, laps, and matched edges being of -the simplest forms. The staining, decorating, and finishing of these -pieces of odd furniture are easily within the average boy’s ability, and -if the instructions are carefully followed the results should be most -satisfactory. - - -A Wall-rack - -Of these designs the wall-rack (Fig. 1) is perhaps the easiest to -construct, since it is formed of but three shelves and some narrow rails. - -A convenient size will be from twenty-seven to thirty-six inches long, -twenty inches high (from top to bottom shelf), and eight inches deep. -The extreme height from top to bottom, along the middle wall strip, is -about thirty-eight inches. The wood should be three-quarters of an inch -in thickness, planed on both sides, and free from knots or sappy places. -The strips, excepting the centre-piece at the back, measure two and a -half inches in width, and where one crosses another a lap is cut in each, -as shown in Fig. 2. This may be done with a fine saw and chisel, and the -joint held firmly with glue. Where the shelves join the uprights at the -ends a groove is cut in the end-rails to receive the ends of the shelves, -as shown in Fig. 3. The curved sections of the rails, the back-board, -and the tops of the upright strips at the back should be cut with a -compass-saw and afterwards sand-papered or dressed down with a wood-file. -All the edges of the wood-work should be rounded by means of a small -plane or sand-paper, since sharp corners are not desirable on useful -furniture. - -Long screws should be driven through the end-strips and into the ends -of the shelves to hold them firmly in place. To cover the screw-heads -and lend them the appearance of being large, wrought-headed nails, -false heads should be made from scraps of thick sheet-lead and attached -to the wood with slim, steel-wire nails. To make these heads, disks -three-quarters of an inch in diameter are cut from sheet-lead with a -cold-chisel and mallet, the work being imposed on the upturned face -of an old flat-iron. With a light hammer the edges are beaten to give -them the appearance of anvil-made nails, such as were used years ago in -decorations, and on antique chests, doors, leather-covered furniture, and -walls laid in tooled leather. These nails were hand-made, and crude but -artistic in appearance; they are always effective when used in connection -with leather and wood-work. - -[Illustration: FIG. 1. FIG. 2. FIG. 3. FIG. 4.] - -The ornament under the lower shelf of the rack is drawn on the bare -wood, and tinted in colors to match the natural flowers and leaves. -Use oil-paints thinned slightly with turpentine, so as to give the -appearance of a stain or dye rather than of an opaque color. All the -wood-work is then stained some desired shade, and the outline of the -ornament is either burned pyrographically or lined with dark-brown paint -in imitation of a burned line. A bluish-gray is a pretty color for this -wall-rack, and it can be made by thinning Payne’s gray and adding a small -proportion of any good blue, such as cobalt, ultramarine, or cerulean. -The stain should be applied thin, with a flat brush, and then partially -wiped off with a soft rag. When dry, a coat or two of shellac will give a -lustre to the stain, hold the color, and render an egg-shell gloss to the -wood-work. (See Chapter XII. for instruction in Pyrography.) - - -A Book-nest - -A book-nest of quaint shape is shown in Fig. 4. It is formed of a -back-board, two shelves, three brackets, and two slats that connect the -shelves at the ends. This is a small piece of furniture and is intended -to fill a small space; it should be from eighteen to twenty-four inches -long. The shelves should be ten inches apart, and the under side of the -lower one is supported by a long bracket, at the middle of which small -corner shelves are arranged, as shown in the illustration. Holes may be -made in these brackets, through which the stems of pipes can be inserted. -The curved parts of the wall-plate are cut with a compass-saw and -finished off with a wood-file. - -It is not necessary that this home-made furniture should be absolutely -smooth or the lines perfectly straight. A slight variation from -the manner in which shop-made furniture is constructed adds to the -effectiveness of these book-racks and holders, and gives them the -rough-and-ready artistic appearance that is characteristic of the -“mission” and other popular styles of modern craftsmanship. - - -Another Book-rack - -A simple arrangement of shelves in the form of a book-rack is shown in -Fig. 5. Where there is room to accommodate a small standing receptacle of -this nature, this design will be found both useful and ornamental. - -The top shelf is about forty-two inches high from the floor, and in -width the rack may be made to fill the available space, say from two to -four feet. The corner-posts are of wood two inches square, and where the -shelves are attached portions of the wood are cut away, as shown in Fig. -6. The shelf corners are cut out in such a manner that half an inch of -the shelf edge enters the post, where it is held in place by means of -glue and screws. - -The screw-heads are covered with false nail-heads of lead. These, when -finished, should be painted a dead black in imitation of wrought iron. An -old green or a weathered oak color would be appropriate for this rack. - - -A Corner-nook - -For the corner of a room where space is valuable an idea is suggested for -a corner-nook (see Fig. 7). This is nothing more than a well-made box -arranged with wall-plates that extend down below the bottom of the box, -and to which the ornamental wood-work over the box is attached. - -[Illustration: FIG. 5. FIG. 6. FIG. 7.] - -The wings, or angle-shelves, and the brackets at the sides should be -made to conform with the general proportions of the design. The working -construction is so clearly shown that it is not necessary to minutely -describe the smaller details. The shelves should be nine inches apart, -and the width of the box must be governed by the space that can be -allotted to it. The ornament at the bottom of the wall-plate is painted -on, and then outlined with a dark-brown paint or burned. The wood-work is -tinted an olive-green, or other desirable color, then shellacked. - - -A Book-tower - -An odd but useful piece of furniture is shown in the illustration of a -book-tower (Fig. 8). It is suitable for the corner of a room where the -available space is limited. - -This tower should be twelve or fourteen inches square and about seven -feet high. The corner-posts are two inches square and the shelves -three-quarters or seven-eighths of an inch in thickness. The shelves are -let into the posts (as shown in Fig. 6) and securely fastened with long -screws. The side slats are of thin wood. They are let into the edges -of the shelves, where they may be fastened with glue and long, slim, -steel-wire nails. Each joint or attachment should be finished with a lead -nail-head, which should be painted black. - -A very good dead-black paint for metals is made by thinning shellac to -the consistency of milk, then adding some dry lamp-black until it is -about the thickness of cream. This is applied in thin coats with a soft, -flat brush. If one coat does not thoroughly cover the metal, another may -be applied after the first one is absolutely dry. - -Around the top of this book-tower a rail is arranged three or four inches -above the top shelf, to serve as a guard for articles of bric-à-brac -placed thereon. With the arrangement of slats shown in the drawing, the -books are distributed in such a manner that the titles may be read from -both directions instead of from one side only. - - -Hanging-shelves - -A unique design for hanging-shelves is shown in Fig. 9. - -For general use the rack should be thirty inches long, the ends thirty -inches high, and the shelves seven inches wide. The space between the -shelves should be ten or eleven inches, while the total height of the -middle back strip is thirty-six inches. The other parts should be made -in proportion to the drawing, and where the shelves join the sides -mortises should be cut, through which to pass tongued ends, the latter -being fashioned on the shelf ends, as shown in Fig. 10. With a brace and -bit holes are made to receive wooden pins, or keys, that will lock the -wood-work together. - -[Illustration: FIG. 8. FIG. 9. FIG. 10.] - -Olive-green will be an appropriate color for the wood-work. When attached -to the wall, care should be taken to anchor it firmly and with heavy -screws to the studs behind the plaster. - - -A Book-castle - -[Illustration: FIG. 11.] - -In the design for a book-castle (Fig. 11) the shelves and rails are -arranged in such a manner that books may be slipped in from the front -and also from both sides. The lower shelf is devoted to large volumes, -portfolios, or serial publications in large sheets. The top shelf and the -one under it are for volumes of medium size, while the small deck above -the shelves makes a convenient receptacle for magazines. - -The wood-work should be stained and varnished, or painted to match the -trim of the room. - - -A Book-chair - -A novel idea is shown in the illustration of a book-chair (Fig. 12). A -Morris chair may be made over on this plan, if the side spindles are -removed and the receptacle is constructed beneath the seat. A very low -Morris chair cannot be used, however, since the available space between -the seat-rail and the floor is too cramped. Both sides of the chair are -arranged to receive books, and at the front a wooden panel is fitted -below the seat-rail, as shown in Fig. 13. - -Cushions of burlap, tapestry cloth, or canterbury cloth may be made to -fit the seat and back; they are held on with straps. The cushions may -be filled with feathers, curled hair, cocoa fibre, moss or even cotton -batting. Javanese kapok is perhaps the best of the lower grade material. -It costs twenty-five cents a pound, and takes about two and a half pounds -for a chair. - -The ornament at the front of the chair is painted on and outlined with -the pyrographic point; or a dark-brown line may be painted on with a fine -brush. - - -A Book-table - -For a library or sitting-room, the book-table shown in Fig. 14 will be -found a convenient and useful piece of furniture. - -A good size for this table is: length, forty-two inches; width, -twenty-four inches; and height, thirty inches. The drop-shelves at the -ends should be nine inches below the top of the table, while the drawer -need not be more than four inches deep. The legs are two and a half -inches or three inches square. The slats at the sides of the bookshelves -are let into the table-top and the shelf (see Fig. 15) and apparently -anchored by means of large nail-heads. The top is attached to the frame -by means of cleats screwed fast to the top inner edges of the rails. -Through these cleats screws are passed up and into the under side of the -table-top, as shown in Fig. 16. - -[Illustration: FIG. 12. FIG. 13. FIG. 14. FIG. 15. FIG. 16.] - -White-wood is a good material of which to make the table, since it takes -a stain nicely. Finish with a coat or two of shellac. - - -A Magazine-rack - -A convenient rack for magazines and periodicals is shown in Fig. 17. - -The rack has three shelves and an enclosure at the top to hold extra -large pamphlets. The two uprights and the cross-strip at the top are -three-quarters of an inch thick and two and a half inches wide. The -uprights are twenty-four inches long, and the cross-piece measures -eighteen inches from tip to tip. Four inches from the top the uprights -are cut, as shown in Fig. 18 A, so that a lap-joint can be formed. The -uprights are spaced ten inches apart from the inside edges, making the -total width fifteen inches. - -[Illustration: FIG. 17. FIG. 18. FIG. 19.] - -From half-inch wood cut three shelves fifteen inches long and six inches -wide; also two corner-posts from wood an inch square. Cut the end of -each shelf as shown in Fig. 18 B, so that one notch will fit against the -upright and the other against the corner-post. From the half-inch wood -cut two brackets three inches long and two and a half inches wide at the -top, as shown at Fig. 18 C. These hold up the bottom shelf, and the other -shelves are supported in turn by the corner-posts and the back, to which -the shelves are securely attached with screws and glue. The corner-posts -are fifteen inches high, and near the top laps are cut half an inch deep -and one inch wide into which a cross-rail will fit. Three thin slats one -inch in width and six inches long are made fast across the front, and -above the top shelf, to form the pamphlet or periodical rack. The nail -and screw heads may be covered with brass upholsterers’ tacks painted -black to suggest the idea of a large nail, or imitation wrought-iron -nail-heads may be made by cutting disks out of sheet-lead and slightly -beating the edges so as to imitate the hammer-marks of wrought-iron work. -These disks are secured to the wood with slim steel nails, the heads of -which, when driven in with a light hammer, become imbedded in the soft -lead. A subsequent coating of black paint will conceal the nail-heads -completely. - - -A Box Book-case - -Fig. 19 is an idea for a receptacle for a few books, bric-à-brac, and -some magazines to hang against the wall. Boxes of various sizes may -be used for this purpose, according to the available wall space, but -for general use two shoe-cases should be cut down so as to make them -thirty inches high and seven inches deep. In each one two shelves can be -arranged. - -The boxes are held together at top and bottom with boards seven inches -wide and thirty-six inches long. Between the boxes a shelf may be -fastened about midway between the top and bottom boards. A wooden back -is not necessary to this case, as the wall itself will answer the -purpose; but around the top edge a strip of cornice-moulding is to be -mitred at the corners and attached with long, slim nails or screws. -Under the lower corners wooden brackets may be fastened to the wall, or -when the shoe-cases are being cut down one side may be trimmed, with the -compass-saw, in the form of a bracket end. A rod fastened at the top and -under the moulding will support light curtains, but this last feature may -be omitted at pleasure. - - -A Nursery Book-rack - -A nursery is not quite complete without some receptacle for the -accommodation of the children’s scrap and picture books. A simple and -useful design is shown in Fig. 20. - -A well-made box of thin boards, planed on both sides, forms the basis for -this bookcase. It should be of medium size and not more than seven inches -deep. Remove one side or the top, so as to leave it open at the front, -and arrange a shelf in the open space. The box should be at least sixteen -inches high to accommodate two rows of books, and it would be better to -have it eighteen inches. Two brackets eight inches high and six inches -wide at the top are placed under each end of the box. Across the top, at -the back, a wall-plate is cut and attached with two slim screws that pass -down through the narrow part near the ends and into the back of the box -at the top. Around the top of the box a narrow strip of moulding should -be mitred and fastened with steel-wire nails. The wood-work may then be -given a coat of stain and shellac. Across the front of the box and at the -top a brass or iron rod may be attached at the ends, from which curtains -are suspended by means of rings. - -[Illustration: FIG. 20. FIG. 21.] - -When fastening this case to the wall, it would be well to drive two or -three screws through the back of the box and into the wall-studding, -otherwise the weight of books might tear it away from its bracket -anchorage. - - -Another Book-rack - -In Fig. 21 an odd shape for a book-rack is shown. - -This is also made from a box by removing one side and resetting it -closer to the other side. A portion of the lower end is sawed off, and -a part of the bottom is cut away so as to form a small, quarter-circular -bracket. The extending upper end of the box is supported with a short -bracket, as the illustration clearly shows, and under the box two large -brackets ten inches deep and the width of the back and side support the -rack in position. Two wall-plates four inches high at the angle are -attached at the top of the box with screws. A curtain-rod is attached -at the top of the case from which a curtain may be hung, and the ledge -formed by the top of the case and the quarter-circular bracket will -accommodate a few pieces of bric-à-brac or a photograph frame or two. If -the box is high enough, two shelves may be arranged so that three lines -of books can be accommodated; otherwise one shelf will have to suffice. - - -A Handy Piece of Furniture - -A place to put books and a place to keep bats, golf-clubs, -lacrosse-sticks, and other things that are always around, is a convenient -possession. - -Here is a solution of the problem: The case shown in Fig. 22 should be -about five feet six inches high and three feet wide. The shelf across -the top would hold a number of books, and underneath are two beautiful -tuck-away places. If, my friend, you are a college boy, the curtain could -be of your college colors; the rest of the case stained a becoming color. -The door is fastened by a big wooden latch, and a pair of iron hinges -would add very much to the style of the bookcase. - -If, however, you are of a studious frame of mind, and have been -fortunate enough to collect a number of books, the second case would -probably be more to your liking. - -[Illustration: FIG. 22. FIG. 23.] - -We will suppose that you have already a desk. Make two upright rows of -bookshelves far enough apart to allow the desk to be placed between them. -Shut off the lower part of the shelves, on each side, with a door, which -may be decorated with iron hinges or blackened metal. These false hinges -are of course placed against the real ones on which the door swings, and -are purely ornamental. These little closets make fine places in which -to store unsightly books and magazines which look untidy but which one -always wants to keep. There is a shelf over the top of the desk on which -could be placed a row of plates, a tankard, or photographs; and a poster -or nice little etching would give interest to the big panel. This panel, -by-the-way, need not be made of wood, but could be closed in by a piece -of colored burlap or buckram. The case would then have to be braced by -three slats of wood nailed across the back behind the buckram. When -completed it will appear as shown in Fig. 23. - - -A Book-ledge and Stool - -Two interesting and useful pieces of furniture are shown in the drawing -of a book-ledge and stool (Fig. 24), and as the main shelf is but -fourteen inches wide it will not occupy a great deal of space in a room. - -The main shelf is forty-two inches long, fourteen wide, and one inch -and a quarter thick. The side pieces, or legs, supporting it are twelve -inches wide and thirty-three inches high, with V-shaped pieces cut from -the foot of each one. These pieces are thirty-six inches apart, and -arranged between them, and twenty inches above the floor an under ledge -eight inches wide is fastened with long screws and brackets. Nine inches -above the main ledge a top shelf is supported on side legs, which, in -turn, are propped at the outside with wood braces, or blocks, six inches -high and four inches wide at the bottom. The side supports are placed the -same distance apart as the underside pieces, and are held in position on -the top of the main ledge with short dowels, or pegs, driven in their -under end, and which fit into holes bored in a corresponding position in -the ledge. This upper section may be omitted, however, if the plain ledge -is preferred. - -The stool is twelve inches square and twenty-two inches high. The top -is covered with a stout square of leather caught all around the edges -with nails and imitation nail-heads. The lower rails that bind the posts -together are one and three-quarter inches wide and seven-eighths of an -inch thick. The posts are one and three-quarter inches square, and the -rails are let into them three inches up from the floor. The top rails are -the same width, and all let into the top of the posts with the lap-joint -union, where they are glued and screwed fast. Small brackets under these -rails will add an element of support, and they can be dressed out of -seven-eighths-inch wood with a compass-saw, and made fast with glue and -screws. These brackets are comparatively small, being two and a half -inches wide and four inches deep, but they must be cut accurately to fit -well. - -[Illustration: FIG. 24.] - - - - -Chapter XXI - -CLOCKS AND TIMEPIECES - - -Among the many useful and attractive pieces of furniture that a boy can -make to help furnish a home, clocks and timepieces offer a good field -for endeavor. Now, a clock is more often looked at than any other piece -of furniture; consequently, it should be a thing of beauty rather than -a distracting eyesore. And, since it is no more expensive to construct -a clock on good lines than on poor ones, there is no reasonable excuse -for the inartistic, commonplace designs that are displayed for sale by -jewelers, department stores, and house-furnishing shops. - -Several good designs for simple and artistic cases are shown on the -following pages, and none of them are too intricate to be made at home -by the boy who has gained some knowledge in the handling of tools. -There is nothing in their construction that requires the services of a -cabinet-maker, and the movements may be had from a clock-manufacturer, or -perhaps taken out of an old or unsightly case. For instruction in the use -of the pyrographic-point, see Chapter XII. - -Thin white-wood or pine boards, sheet-lead, stain, and shellac are some -of the simple materials needed; and the tools required will be those -that may be found in every household, such as a saw, hammer, plane, awl, -square, mallet, compass-saw, and brace and bit. Some steel-wire nails, -glue, sand-paper, and black paint will complete the list of necessaries, -and the various small accessories may be had at a hardware store at a -nominal outlay. - - -A Bracket-clock - -A design for a simple bracket-clock is shown in Fig. 1, and the case is -so plain in construction that any smart boy can easily make it from thin -pieces of board half an inch in thickness, half a yard of burlap, and -some sheet-lead. - -The box part of the clock is eight inches square and three and a half -inches deep. The brackets are extensions of the sides, cut as shown in -Fig. 2 A; they drop eight inches below the bottom-board of the case. The -dial and glass frame measure six inches in diameter, and to fit them to -the box it will be necessary to cut a hole in the front of the case five -and a half inches in diameter, as shown in Fig. 2 B. The shelf-top to -the box is bevelled at the under side, and is attached by means of glue -and nails; it overhangs one and a half inches at the front and ends. -The sides and front of the box are then covered with tinted burlap in a -soft, old-green, red, or tan shade, and the exposed wood-work is stained -a color to match. When dry it is given a coat or two of thin shellac to -lend a lustre to the grain and stain. - -To hide the joint between the cap and the body of the clock, a round -piece of wood, such as a dowel, should be inserted and nailed fast; or a -narrow strip of picture-moulding can be used. - -[Illustration: FIG. 1. FIG. 2. FIG. 3.] - -If it is impossible to find the large nails that bind the corners at a -hardware store, they may be made from sheet-lead. Disks half an inch -in diameter are cut from the lead by means of a small cold-chisel and -mallet. The edges of the disks are beaten with a tack-hammer to give them -the appearance of a rough, hammer-headed nail. These disks are painted -with a dead-black paint, made by adding a small portion of dry lamp-black -to thin shellac, and applying it to the metal-work with a soft brush. -These heads are attached to the clock, as shown in the illustration, at -regular distances apart, with thin, small-headed, steel-wire nails, which -when driven in and painted with the black preparation become invisible. - -The movement, which may be of either the spring or weight kind, is -attached to the back of the case before the dial is made fast, and the -pendulum-rod is dropped through a slot cut in the bottom-board. - -If the mounting is bothersome, however, a clock-maker will arrange it -and adjust the dial and space the hands properly. - -A metal hanger at the top and two long, slim screws driven through the -bottom of each bracket will hold this clock in place against the wall. - - -A Mantel-clock - -A simple but artistic mantel-clock is shown in Fig. 3. It is seven inches -wide, thirteen inches high, and three and a half inches deep. It is made -from thin white-wood, pine, cypress, or almost any soft wood. - -The top, or cap, is of half-inch wood, and it projects one and a half -inches beyond the front and sides. A small moulding, or a dowel, is cut -and mitred around the top under the cap. At the bottom the feet are made -by cutting out pieces of the wood with a compass-saw. A small pendulum -movement is mounted against the back before the dial and glass frame are -set in place. - -The ornament on the front and sides is outlined with pencil, and after -the wood-work is stained a soft-brown, an old-green, or any desired -shade, the lines of the ornament are pyrographically burned. Or they may -be painted with a dark-brown paint in imitation of pyrography. Below the -ornament a half-inch band of sheet-lead is laid around the body of the -clock and held on with large, oval-headed upholsterers’ nails painted -black. - - -A Wall-clock - -An attractive wall-clock is shown in Fig. 4, page 327. With a movement -having a fifteen-inch pendulum, the case should be ten inches wide, -twenty-four inches high, and four inches deep. A circular opening is made -at the upper end of the box, and an oblong one at the lower end through -which the pendulum may be seen. The box is covered with burlap in some -desirable shade; it is applied with glue and large-headed nails, or dummy -heads. - -The ornamental design is cut from sheet-lead and applied with slim, -steel-wire nails. The frame around the lower opening is cut from lead and -applied over a piece of glass which is cut and fitted to the opening. The -stems to the buds are made of thin telegraph wire, bent to the proper -shape, and applied with small staples made from pins. - -The top is cut from white-wood five-eighths of an inch thick; it -overhangs the sides and front two inches. Where the top is applied to the -body of the clock, the joint is hidden with a small strip of moulding, or -a dowel mitred at the corners, and attached with slim, steel-wire nails. - -The large nail-heads all along the edges are made from sheet-lead beaten -to represent wrought-iron bellows-nails, and fastened on with thin, steel -nails, and afterwards painted black. - -The bottom of the box should be arranged on hinges, and caught with a -small bolt so that it may be dropped in order to start the pendulum, and -also to adjust the screw at the bottom of the rod. - -A pleasing combination of colors for this case will be light, olive-green -burlap, black metal-work, and old-brown wood-work. The pendulum-ball -may be of bright brass or blackened. Equally effective are combinations -of red burlap and brass trimmings, or old-gold-colored burlap and -Pompeian-green metal-work, made by tinting all the metal parts with a -light and dark olive-green paint blended together on the parts. - - -A High Wall-clock - -For the space over a mantel, or wherever it may be convenient to hang -it, a substantial high wall-clock is shown in Fig. 5. It is ten inches -wide, thirty inches high at the front, and four inches deep, with the -bracket-ends and the fancy top-pieces extending five or six inches beyond -the body of the clock at top and bottom. - -In construction it is somewhat on the lines of the “mission” furniture, -the pieces being tongued and pinned, with a heavy slatted front. - -The wood-work is five-eighths of an inch in thickness. The cross-rails -are two inches in width, and the upright ones and the lattice are one and -a quarter inches in width. The ends of the cross-pieces are shaped as -shown in Fig. 6. When passed through mortises cut in front of the side -boards they are held in place with wooden pins. - -At the back, near the top and bottom, two-inch cross-strips are let into -the side boards. The ends should project two inches beyond the boards at -both sides, and holes are made in them through which screws are passed to -anchor the clock to the wall. - -An eight-day movement, with a twelve-inch pendulum, is made fast to a -back-board, and on the front-board, to cover a hole eight inches in -diameter, a large dial and glass are fastened. - -[Illustration: HANGING AND MANTEL CLOCKS - -FIG. 4. FIG. 5. FIG. 6. FIG. 7.] - -The ornament at the sides and on the front-board around the dial is cut -with a carving-chisel, and tinted to darken the lines. Stain and varnish -will be a desirable finish; or the stain alone may be used should an old, -dull appearance be desired. - - -An Odd Mantel-clock - -The design for a mantel-clock that is odd in shape and striking in -appearance is shown in Fig. 7. It is seven inches wide at the top, -underneath the cap, and ten inches across at the base. In width it varies -from three inches at the top to four and a half inches at the base. - -The case is made from three-eighths-inch white-wood and joined with -glue and nails. The top is of core-moulding that may be had at a -carpenter-shop or planing-mill. It is mitred to fit at the front and ends. - -The metal straps are of lead and the ornament is tinted and outlined. -A great deal of the beauty of this design is in its coloring, and, -unfortunately, this cannot be reproduced. The wood-work is in light -golden-brown, the buds in orange, toning down to a deep red at the base, -or similar to the colorings of the California poppy. The stems and leaves -are in several shades of green, and the entire ornament is lined by the -pyrographic-point, or painted with a line in dark brown. The straps, -nails, and glass frame are in dead black, and the cap-moulding is in a -darker shade of brown than that employed for the body color of the case. -A pale, old-pink dial, on which black numerals are painted, completes -this harmonious color-scheme. - - -A Shelf-clock - -A quaint clock is shown in Fig. 8, and it is quite as simple to construct -as it is in appearance. - -It is fourteen inches wide, twelve inches high, and four and a half -inches in depth. A six-inch dial and glass are mounted on the front, and -in the bottom of the movement-box a narrow slot is cut to accommodate the -swing of the pendulum-rod. - -[Illustration: FIG. 8. FIG. 9. FIG. 10.] - -White-wood boards three-eighths of an inch in thickness are fastened to -corner-posts, having the two upper sides cut away as shown in Fig. 9. -Laps are cut at the lower end of each corner-post into which the rail -fits, as also shown in Fig. 9. - -The same general description given for the other cases applies to this -one, and after the ornament is stained and lined the surface of the wood -may be lightly lined from top to bottom with the pyrographic-point. - - -An Old-style Timepiece - -A case of old-fashioned design is shown in Fig. 10. - -The top measures eight inches square; the waist is five inches wide and -twelve inches long; and the base is six inches high and twelve inches -long. Two bars are fastened from the top to the base; they pitch at a -slight angle. - -The average depth is four inches, and the top, or head, extends out over -the waist for a quarter of an inch, or enough to make a break in the -straight line of the front. - -The ornamentation is carried out as described for the other designs, -and if properly constructed this clock should present a very unique -appearance. - - - - -Chapter XXII - -SCREENS, SHOE-BOXES, AND WINDOW-SEATS - - -Among the many convenient pieces of furniture that a boy can make for the -home, there are, perhaps, none that are so handy and generally useful as -screens, shoe-boxes, and settles of various kinds. - -Screens in particular are of so many and varied designs that it would be -quite impossible in this short chapter to give more than a few of the -simpler forms; but they will serve as hints for others. - - -A Light-screen - -One of the easiest screens to make, and perhaps the most generally -useful, is that shown in Fig. 1. This is a light-screen, which may be -easily taken from one room to another. - -Four rails of pine or white-wood are cut and tapered at one end for the -tops, and slightly cut away at the other for the bottom, as shown in the -illustration. The rails are four feet six inches long, two and a half -inches in width, and seven-eighths of an inch thick. Dowels five-eighths -of an inch in diameter are used for the cross-sticks. They can be -purchased at a hardware store or from a cabinet-maker, and should be -cut twenty-four inches long. Holes are to be bored in one edge of each -strip, into which the dowels are driven, and fastened with glue and small -nails. Four or five dowels will be sufficient for each wing, and they -should be spaced evenly, the first one four inches below the top of the -rails and the bottom one ten inches above the floor. - -The wings are fastened together with two or three hinges, so that the -screen may be folded and stood in a closet or behind a door when not in -use. - -Some pretty figured material, such as China silk, silkoline, cretonne, or -printed cotton goods may be used for the covering, which is to show on -both sides of each wing. It should be from three to five feet wide, so -as to allow for some fulness. One end of the goods is tacked to the top -dowel; then it is passed around the bottom dowel and brought up to the -top, where it is again tacked fast. Some narrow gimp and brass nails will -hide the edges of the goods at the top, and to hold the material in place -a few tacks may be driven along the bottom dowel. - -The wood-work should be painted, or stained and varnished, before the -covering material is put on. If a dull finish is desired, some dark -paint may be thinned with turpentine and rubbed on with a soft cloth, -then partially wiped off and allowed to dry. It will not be necessary to -varnish or shellac the surface, but a little beeswax can be dissolved in -turpentine and rubbed on. - - -A Fire-screen - -When an open fire is burning on the hearth a screen that will protect the -eyes from the glare, and yet allow the heat to reach the lower part of -the body and the feet, is a useful piece of furniture. - -A simple screen of this description is shown in Fig. 2, and for a -living-room or bedroom it should measure thirty-six inches long, -forty-two inches high, the screen proper being eighteen or twenty inches -wide. - -[Illustration: FIG. 1. FIG. 2. FIG. 3. FIG. 4. FIG. 5. FIG. 6. FIG. 7. -FIG. 8.] - -The uprights are of wood two inches square, and the cross-rails are -seven-eighths of an inch thick and two inches wide. The joints are -mortised and tenoned, and held with screws and glue, while the apparent -fastenings are large, round, mock nail-heads. The feet are cut from -hard-wood seven-eighths of an inch in thickness, as shown in Fig. 3, and -attached to the bottom of the upright posts with glue and screws, the -vertical edges of the feet being let into a lap cut in the posts. Each -foot will then measure eighteen inches across at the bottom, and twelve -inches high from the floor to the top of the lap cut in the posts. - -Leather, burlap, denim, tapestry-cloth, or any good covering fabric, may -be used for the screen. This material should be tacked on the top and -bottom rail with large upholsterers’ tacks painted black. - -A design may be lightly drawn on the fabric with a pencil, and afterwards -painted in oil or water colors, or the ornament may be stencilled on with -aniline colors, as described in Chapter XIX. - - -A Shoe-screen - -For a bedroom a convenient screen is shown in Fig. 4. This is properly -called a shoe-screen, since there is a ledge made fast to the lower part -of it to serve as a rest for the foot when lacing or buttoning shoes. -There are also two rows of pockets on the inside of the screen, into -which shoes, slippers, and sandals can be slipped. - -A convenient size to make this screen is three feet six inches high and -two feet six inches wide. The foot-ledge should not be more than fourteen -inches above the floor and six inches wide. The frame may be made -from any easily worked wood, since when it is painted, or stained and -varnished, nothing but the grain will show. The uprights should be three -inches wide, seven-eighths of an inch thick, and three feet three inches -long. Lap or dowelled joints should be made at the top corners, and at -the foot of both pieces notches are to be cut in with saw and chisel, as -shown at Fig. 5. The foot-pieces may then be driven up in place and made -fast with screws or slim nails driven through the projecting ends of the -side uprights and into the feet. The feet are of wood seven-eighths of -an inch thick, sixteen inches long, and six inches high. The pattern may -be drawn with lead-pencil on the wood; then, with a compass-saw, cut the -wood on the lines, having first clamped the piece in a vise to hold it -securely. The foot-shelf is made fast to the screen after the covering -material is in place, and at both ends it is supported with brackets, the -lower ends of which are made fast with screws. - -A cross-rib should be made fast in the screen-frame midway between the -top-rail and the one to which the ledge is attached, and a line of tacks -is driven through the covering material and into the frame on both sides. -This is to give a better finish, and also to support the rows of pockets -when full of shoes. - -The strip of denim for the pockets is seven inches wide and hemmed on -both edges. It is then caught to the covering material so that generous -pockets will be formed, each one being large enough to accommodate a pair -of shoes. - -The front of the screen may be covered with a fancy-figured material -fastened on with small tacks; over this a gimp to match the material can -be laid and held down with large-headed tacks, such as may be purchased -at upholstery supply stores. The painting, staining, or varnishing -should, of course, be done before the fabric, or covering material, is -made fast to the frame. - - -A Bedroom-door Screen - -At night it is often agreeable to have a bedroom door left open. Yet one -does not want to sleep in an actual draught, and a screen such as is -shown in Fig. 6 will be found most useful. - -This screen is in one piece, six feet six inches high and eighteen inches -wide. The frame is made from pine, white-wood, or any other wood to match -the trim of the room. Two cross-rails are fixed so as to remain equal -distances apart, thus forming three panels to the screen. Hinges are -arranged at one edge, which in turn are made fast to the door-casing, -so that when the screen is not in use it can be thrown back against the -wall; or, if thought preferable, eyes may be driven in the casing and -hooks in the edge of the screen, so that it may swing as if on hinges, -and yet be lifted off at will and set away in a closet. An eye on the -door and a hook on the screen will serve as a fairly secure fastening -against intrusion. Any pretty material that matches the paper of the room -may be used to cover this screen, and the edges should be bound with gimp -and large-headed tacks to give it a good appearance. - - -A Heavy Fire-screen - -For a dining-room, living-room, or library, an attractive design for a -heavy fire-screen is shown in Fig. 7. This is constructed of oak, ash, or -other hard-wood. It is thirty-six inches wide, forty-two inches high, and -the rails and feet are one and one-eighth inches thick. The uprights and -cross-rails are four inches wide, and the top and bottom of each upright -are cut as shown in Fig. 8. - -The cross-rails should be mortised in the uprights, or they may be made -fast by butting one end against an edge and securing the joint with -dowels. The feet are fourteen inches across at the bottom and fifteen -inches high. They are glued and screwed in the laps cut at the lower -ends of the uprights, and the screw-heads are covered with imitation -wrought-iron nail-heads beaten from sheet-lead and attached with -steel-wire nails, the heads of which are invisible when driven into the -lead. - -The side of the screen which faces the fire should be covered with -burlap, denim, or other stout cotton fabric. The outer side of the screen -should be faced with leather, on which the ornamental design is followed -out with stains and pyrography (see Chapter XII). - -The leather should be caught to the frame with tacks placed two inches -apart, and also glue. Over the tacks imitation lead heads may be secured -with slim, steel nails. - - -A Window-seat with Under Ledge - -In the drawing of the window-seat with under ledge (Fig. 9) an odd but -useful piece of furniture is shown. It is made from two boards fourteen -inches wide and forty inches long, two end-pieces fifteen inches wide and -twenty-two inches high, and four brackets eight inches on the right-angle -edges. These latter are necessary to brace the top and ends, as shown in -Fig. 10 A A. - -The top shelf, or seat, is eighteen inches high from the floor, and the -under ledge is made fast eight inches below it. The fastening is made -with screws and liquid glue, and allowed to stand several hours before -the drapery is attached. - -For the upholstery material the dry-goods stores offer quite a variety -of stuffs from which to choose. The least expensive are burlap, denim, -cretonne, and some of the heavy, cotton, printed goods. Other fabrics, -richer in appearance and more lasting, are velour, tapestry-cloth, rep, -and brocade. Goods of this class will cost from fifty cents to several -dollars a yard. - -[Illustration: FIG. 9. FIG. 10. FIG. 11. FIG. 12.] - -To upholster this seat, obtain some curled hair from an old mattress, -and spread it over the top board, having first tacked a piece of -unbleached muslin along one edge of the seat. When a sufficient quantity -of the hair is on the board, draw the muslin over it, and tack it down -along the other edge and at the ends. Over this the fabric can be drawn -and tacked. - -The end boards are covered with plain goods of the same color as the seat -and flounce, and the edges are bound with gimp an inch wide, held down -with large, oval-headed upholsterers’ tacks painted black. Across the -back of the seat (the part that goes against the wall or window-base) -plain goods can be drawn and tacked, or it may be left open. - -The front is provided with a flounce made by shirring the goods on a -stout cotton cord and tacking it along the front of the top board, then -covering the tacks with gimp and nails, as shown in the drawing. A coat -of paint or shellac at the inside will finish the wood-work, and it will -then be ready for use. - - -A Shoe-box Seat - -A shoe-box seat is easily made and upholstered, and will be an acceptable -addition in any bedroom (see Fig. 11). The sides are eighteen inches -wide, thirty-six inches high at the back, and twenty-two inches at the -front. The seat and ledge under it are each eighteen inches square, and -the boards forming the back extend down to the floor. The parts are put -together with screws and glue; then the seat is upholstered with curled -hair, as described for the window-seat (Fig. 9). - -The framework for this seat could be made from a box with the bottom and -one side removed. The arms should be cut from a separate piece of wood -and screwed fast, as shown in Fig. 12 by the line along the shaded side. - -Plain or figured goods may be used for the covering material. It is drawn -and caught with tacks at the edges; then the joints may be hidden with -gimp and large-headed tacks. If it is possible to procure some English -bellows-nails they will add an artistic effect to the trimming. If they -cannot be had, very good imitation heads may be cut from sheet-lead -with a pair of old scissors or shears. After beating them about the -edge to flatten them and lend a hand-forged effect, these disks should -be attached to the wood with long, slim finishing-nails of steel wire, -which, when driven into the heads, become imbedded in the lead and are -not seen. They should be painted black with a solution of shellac in -which some dry lamp-black has been mixed to the consistency of cream. -Apply with a soft brush. - - -A Dressing-room Settle - -In the illustration for a dressing-room settle (Fig. 13) a comfortable -piece of furniture is illustrated, and in Fig. 14 its construction is -clearly indicated. - -The ends are three feet high and sixteen inches wide. The back-boards -extend from the top of the ends down to the floor, and are attached with -screws. The seat and under ledge should be from thirty to forty-eight -inches long, according to the space it will occupy against the wall or -under a window. - -The upholstering is done as described for the other pieces of furniture, -save that a more elaborate ornamentation is suggested for the end-pieces. -The design is drawn in free-hand, and then embroidered on with heavy -linen thread. Mother or elder sister will have to help out with the -needle-work. - - -A Short Settle - -[Illustration: FIG. 13. FIG. 14. FIG. 15. FIG. 16.] - -A short settle with under ledge (Fig. 15) is another comfortable piece of -bedroom or sitting-room furniture. In Fig. 16 the constructional diagram -is shown for the arrangement of its sides, back, and under ledge. - -The ends are sixteen inches wide and twenty-three inches high. The back -extends down to the floor, and above the ends it curves or rounds over, -extending up about five inches higher than the tops of the ends. Under -the seat a strip of wood two and a half inches in width is attached at -both ends, and the front edge of the seat is screwed fast to it. This -acts as a support, and obviates the necessity of a brace block. - - -A Foot-rest - -When putting on shoes it is convenient to have a short bench on which to -rest the foot, and while a hassock will answer well enough, it is not so -good as a bench or so easily handled. - -Fig. 17 shows a neat foot-bench that is easy to construct from four -pieces of wood. In Fig. 18 page 345 the plain bench is shown, while at B -a view of the inverted bench is given so that the cross-bar may be seen. - -The top board is eighteen inches long, ten inches wide, and an inch -thick. The ends, or legs, are seven inches high and eight inches wide, -with a V notch cut in from the bottom of each. These feet are set -fourteen inches apart, so that there will be two inches of overhang at -each end of the bench; that is, the top will extend two inches over the -legs at each end. The brace shown at Fig. 18 B is two inches wide, twelve -and a half inches long, and an inch in thickness. - -The four parts are put together with glue and screws; then the top is -padded with curled hair and upholstered as already described. - - -A Combination Shoe-box and Seat - -From two canned-goods boxes the combination shoe-box and seat may be -made, as shown in Fig. 19, Fig. 20 being the structural plan. - -The left-hand box in Fig. 20 has the lid removed, and a shelf is inserted -so as to divide it into two compartments. The other box is provided with -a hinged lid. Instead of making the hinges fast to the edge of the box, -a strip an inch or two wide should be attached to the rear of the box, -and to this the lid is hinged, as shown in Fig. 20. The two boxes are -screwed together, and a back is provided for the one on the right. The -board forming this back should extend the entire length of the two boxes, -and should be secured to them with stout screws. The tops of the boxes -are padded with hair, and the sides are covered with upholstery material -of any desirable color and quality, the edges being bound with gimp and -nails. - -The inside of the low box and the under side of the lid should be -provided with denim pockets, as shown at Fig. 21. These pockets are -formed by tacking a strip of denim to the wood and allowing fulness -enough to accommodate a pair of shoes or slippers. - -It furnishes the inside of such boxes nicely to line them with unbleached -muslin tacked at the corners and edges. Where wood is exposed in the -ledge and shelf seats a coat of paint or shellac is desirable. - - -A Double Shoe-box and Seat - -Three well-made boxes, two of a size and one longer, will make the -foundation for a double shoe-box and seat, such as is shown in Fig. 22. - -[Illustration: FIG. 17. FIG. 19. FIG. 22. FIG. 24. FIG. 26.] - -In Fig. 23 the structural arrangement is indicated. The end boxes are -provided with two shelves each, and the middle one is fitted with a -back-board, which is rounded over at the top and projects about six -inches above the top of the end boxes. - -The middle box is provided with a lid and hinges which are made fast to -a back strip, so that when the lid is raised it will not fall again, but -will stand out an inch or two from the back-boards. - - -A Curved-back Window-seat - -Fig. 24 illustrates a useful piece of furniture. The box part, or frame, -is thirty-eight inches long, sixteen inches wide, and fifteen inches -high, and the top of the back is fourteen inches above the seat. The -structural plan is shown in Fig. 25. - -Four inches from the bottom a ledge is arranged, and at the middle a -division-brace is placed. The unions may be made with nails, but screws -are preferable. - -[Illustration: FIG. 18. FIG. 20. FIG. 21. FIG. 23. FIG. 25. FIG. 27.] - -The back is made from two boards shaped into a curve with a draw-knife -and plane and held together with battens, as shown by the dotted lines -in Fig. 25. The battens extend down behind the back of the box, and -the ends are made fast with screws to support the back. The back and -seat are padded with curled hair and covered with unbleached muslin, -over which the upholstery material is drawn and tacked to the edges. A -valance of some pretty figured goods to match the seat and back is made, -and tacked around the upper edge of the box. Wide gimp and large-headed -upholsterers’ tacks will finish the edge of the seat and back, and it -would be well to give the wood-work a coat or two of paint or stain. - - -A Window-seat and Shoe-box - -In the illustration of the window-seat and shoe-box (Fig. 26) a -substantial and useful piece of furniture is illustrated. - -It is made of three boxes screwed together, as shown in Fig. 27. The -lid of the middle box is hinged, and the end boxes are stood on end. -One end box is shorter than the other, and in both of them shelves are -arranged for shoes, slippers, or sandals. A back is made of two boards -and attached at the rear of the boxes. The top of each box and the face -of the back are padded with curled hair or moss filling that may be had -from an upholsterer, and covered with some upholstery material. Buttons -and string are caught down into the top of the padded surface to give -the tufted effect shown in the illustration, and the sides and fronts of -the boxes are hidden with valances. Gimp and large-headed nails finish -the edges as shown, and when the wood-work is given a coat of paint this -window-seat and shoe-box is ready for use. - - - - -Chapter XXIII - -HOUSEHOLD CONVENIENCES - - -In and around the house there is opportunity for the creation of a number -of useful articles that can be made by any boy who is at all handy with -tools. For example, the tops of doorways and windows in a dining-room may -be improved by the addition of narrow shelves, or ledges, on which old -plates, slim jugs, or some quaint old bottles may rest. - -These ledges may be made from pine, white-wood, cypress, or other wood to -match the trim. The wood should not be more than half or five-eighths of -an inch in thickness, as shown at Fig. 1. The shelves should be three or -four inches in width, with a straight front, or slightly curved, as shown -in Fig. 2. This curve is called a serpentine line, and may be shaped -with a draw-knife; or, if the wood is soft, it can easily be cut with a -compass-saw and finished off with a draw-knife and sand-paper. - -Two brackets cut from wood the same thickness as the shelf will support -it at either end. These are cut three inches wide at the top and from six -to eight inches long, in the shapes shown in Fig. 3. - -It gives a more attractive finish to extend the ends of the ledge two or -three inches beyond the door or window trim, as shown in the illustration -of Fig. 1. - - -A Plate-rail - -For cups and small pitchers a plate-rail may be arranged around the walls -of a dining-room, as shown at Fig. 4. - -A wall-plate six or eight inches wide is made fast to the wall about -five feet up from the floor, and to it, at intervals of twenty to -thirty inches, brackets are screwed fast. These are cut in one of the -forms shown in Fig. 3, and are three inches wide. The top shelf is four -inches wide, and is laid on the tops of the brackets and pushed back -against the wall, where the rear edge is screwed fast to the top edge -of the wall-plate. Where the rail meets a doorway or window-casing the -corner is rounded, as shown in the illustration. This may be done with a -compass-saw and small plane. A narrow strip of wood is nailed fast to the -top of the rail about two inches out from the wall, to prevent the plates -from sliding off. - -A narrow plate-rail may be attached to the wall higher up, or about in -the position occupied by a picture-moulding. Shorter brackets should -support it, and they may be attached directly to the wall without the aid -of a wall-plate, since the latter would give a heavy appearance to a rail -at that height. - - -A Cup and Plate Rack - -It is hardly advisable to give definite dimensions for the cup and plate -rack (Fig. 5), since it should be designed in accordance with the amount -of wall room that may be available. The rack shown in Fig. 5 is intended -for a wall space three feet wide and seventy-two inches high. The two -uprights are made of white-wood thirty-nine inches high, three inches -wide, and half an inch thick. The lower ends are tapered, as shown in -the drawing, and the upper ends are fashioned with a compass-saw. The -brackets are six inches wide, nine inches long, and half an inch from the -outer edge a depression is cut in the top to receive a half-inch dowel. - -[Illustration: FIG. 1. FIG. 2. FIG. 3. FIG. 4. FIG. 5. FIG. 6. FIG. 7. -FIG. 8.] - -The shelves on which the plates rest are three inches wide and -twenty-one inches long. The dowels extend from three to six inches over -each end, as shown in the drawing. From their under-sides cups may be -suspended on hooks screwed into the wood. The front edges of the shelves -are provided with a strip of wood fastened on with slim, steel-wire -nails, to prevent the plates from, sliding forward, as shown in Fig. 6, -which is a plan of the arrangement of bracket, shelf, and dowel. The -dowels can be had at a hardware store for two or three cents each, and -from a quarter of an inch to the diameter of a small curtain-pole. - - -A Cup and Plate Pyramid - -The cup and plate pyramid (Fig. 7) is another attractive dining-room -feature and is very simple to construct. Three of the shelves are cut -with a serpentine front, as shown in Fig. 8 A, and measure twenty-six, -twenty-two, and eighteen inches respectively; while the top one is twelve -inches long and cut as shown in Fig. 8 B. The shelves are six inches wide -at the middle, and three of them are two and a half inches wide at the -ends. - -Short brackets one and a half inches wide and two and a half inches long -support the shelves at the ends. Under the middle of the bottom shelf -a large bracket five and a half inches wide and eight inches long is -cut and made fast with long, slim screws driven down through the bottom -shelf. A notch is cut at the front of each shelf, and a corresponding one -in the staff that binds the shelves together, so that they are spaced, -from the bottom up, eleven, ten, and nine inches apart. Slim, steel-wire -nails two inches long will secure the brackets to the wall, or long, -slim screws may be used. - - -A Butler’s Tray - -For the house that is not built with a butler’s pantry, or for the mother -who does her own housework, the tray and drop-ledge shown in Fig. 9 will -be found a very convenient piece of dining-room furniture. - -[Illustration: FIG. 9. FIG. 10. FIG. 11. FIG. 12.] - -Two brackets on hinges will support the shelf when it is up. When it is -dropped the brackets fold in against the wall, as shown in Fig. 10. - -The ledge and brackets are of pine wood three-quarters of an inch -thick and planed on all sides and edges. The tray is of white-wood -five-eighths of an inch thick, and put together securely with glue and -screws. The ends and handle-grips are cut with a compass-saw and finished -with sand-paper; then the tray is stained and varnished to match the -shelf and brackets. - -Back of the drop-shelf a strip of wood two inches wide is fastened to -the wall by means of a wall-plate securely screwed to the studding, and -two vertical plates one inch thick make an anchorage for the brackets. -The latter are attached by means of flat hinges, and the shelf proper is -also hinged to the two-inch wall-plate. All these parts must be screwed -very solidly together if the safety of the household crockery is to be -considered. - - -Cup-pins and Brush-rack - -In the butler’s pantry or near the kitchen sink it is sometimes -convenient to have a brush-rack and some cup-pins, on which cups, -drinking-glasses, and small hollow-ware may be kept. - -These are easily made, as the illustration (Fig. 11) will show. The -cup-pins are dowels sawed in five-inch lengths, and then made fast to a -square pine stick with slim screws passed through holes that have first -been made with an awl. The rack is then attached to the wall with screws -passed into the studs or uprights behind the plaster. - -The brush-rack is made from two pine sticks, one of which is cut out in -places, as shown in Fig. 12. The two sticks are then screwed together and -supported on brackets. Brushes kept in a drawer or on a shelf do not dry -properly, so that it is always best to place them where they have a free -circulation of air. - - -Lock-shelves - -In a cellar or store-room it is often convenient to have a portion of -the shelves arranged so that their contents can be locked up. For this -purpose Fig. 13 shows a slat door arranged in front of several shelves -and hung on hinges. At the lower edge a hasp and eye may be made fast, so -as to make a padlock available. - -[Illustration: FIG. 13. FIG. 14.] - -The slats are from one-half to seven-eighths of an inch thick and two -inches wide; they are fastened to battens with clinch-nails or screws -driven from the inside. A smart boy can make any number of these doors so -as to lock up a whole lot of shelving, but for convenience of handling -they should not be more than four feet long. - - -A Vegetable-bin - -For a corner of the cellar, and where it is convenient to the staircase, -a very useful vegetable-bin may be made from a few boards and slats -(Fig. 14). The bin may be of any width and length, but for a house of the -average size, it need not be more than six feet long and eighteen inches -wide each compartment being from sixteen to eighteen inches wide. - -The front, back, and ends are ten inches high, and two of the partitions -are the same height. The partitions for the potato and turnip -compartments should extend eighteen inches above the top of the bin, -since these vegetables bulk largely. The bin rests on two battens nailed -to the brick or stone foundation-walls of the cellar, two feet above the -floor. At the exposed corner a foot, or leg, twenty-four inches long, -supports it. The bottom of the bin is made of long slats nailed an inch -apart, so that the dirt from the vegetables will fall through to the -floor, from which it can be easily swept up. The ventilation from the -slat bottom prevents the vegetables from decaying as quickly as they -would in a box or barrel with a tight bottom. - -Across the tops of the high partitions, and propped up at the exposed end -of the bin, a shelf or ledge ten inches wide will accommodate cabbages, -lettuce, bunches of carrots and beets, parsnips, and various other -vegetables. In the illustration only five compartments are shown in the -main part of the bin, but a bin of almost any length can be constructed -according to the space available and the requirements of the family. - - -A Spoon-bar and Saucepan-rack - -For the kitchen, a rack on which to hang spoons, ladles, saucepans, cups, -and other small accessories to the culinary department is shown in Fig. -15. - -It can be made to fit any wall space in a kitchen, but the brackets -should be twenty inches high and ten inches wide at the top. They may be -made from most any wood one and a half inches square, and put together -with lap-joints. Three rails, seven-eighths by two inches, are attached -to the inside of the front bracket-rails or supports, with long, slim -screws or steel-wire nails. All the wood-work is painted two coats of -white enamel, or any color to match the wood-work of the kitchen. Brass -screws or galvanized nails are driven in the bars at regular distances -apart, on which to hang the utensils, and the rack is then to be securely -attached to the wall. - - -A Medicine-chest - -Every house should contain a medicine-chest, where the necessary boxes -and bottles containing the family medicines may always be found in time -of need. Chests may be made in any size and shape, and adapted to the -spaces they may occupy on a wall or in a bath-room closet. - -A convenient chest is shown in Fig. 16, and in Fig. 17 is given the plan -of construction. For the average household it should be made eighteen -inches wide and twenty-four inches high, with two shelves arranged so -that the space between the lower one and the bottom of the box will be -eight and a half inches. The space between the upper one and the top -should be six inches, and between shelves seven and a half inches. The -top and bottom wall-plates should measure four inches wide, and they are -attached to the top and bottom of the box by means of screws driven into -the edge of each through the top and bottom of the box. - -[Illustration: FIG. 15. FIG. 16. FIG. 17. FIG. 18. FIG. 19.] - -A door is made from three pieces of board across the ends of which -battens are made fast, as shown in the plan drawing. This is attached -to the box by means of hinges, and a catch at the other side will keep -it closed. The wall-plates and sides of the chest should be stained and -varnished, and the door covered with burlap glued fast or tacked at the -inner side. The letters, ornament, and imitation nail-heads are cut from -sheet-lead, scraps of which can be purchased at a plumber’s shop, shaped -with a shears, or an old knife, and light mallet, and afterwards trimmed -with a penknife blade or a file. They may be attached to the door with -slim, steel-wire nails, and painted black with a coating made by adding -dry lamp-black to thin shellac, and applying it in one or two thin coats -with a soft-hair brush. - -Be careful to anchor this chest securely to the wall, as bottles are -heavy and their weight must be taken into consideration. - - -A Convenient Plant-tray - -In the illustration of a convenient plant-tray (Fig. 18) an idea is -suggested for a receptacle that will accommodate several small pots in -the lower tray and a large pot, or jardinière, on the middle deck. - -The tray is thirty-six inches long and twelve inches wide and at the ends -is four inches deep. But at the middle the sides are eight inches high, -and support the stage or deck, which is thirteen inches square. - -The tray is made of wood three-quarters of an inch thick and planed on -both sides. - -The legs are two inches square and twenty-four inches long, and at the -bottom they are slightly tapered with a draw-knife and plane. - -They are fastened to the inner side of the tray at the corners with long, -slender screws driven down through the bottom of the tray and into the -top of the legs. - -Bracket-braces are let into the legs in lap-cuts made with saw and -chisel, as shown at Fig. 19, and at the ends rails are let in between the -legs to hold them rigidly. - -The screws attaching these joints may be covered with mock nail-heads. -The ornament at the side of the tray is cut from sheet-lead with a stout -pair of shears, painted black, and applied to the wood with flat-headed -tacks or gimp-nails. - - -An Indispensable Clothes-press - -The available room in any clothes-closet can be more than doubled by -adopting clothes-hangers and a rod. Fig. 20 shows the plan of a closet -seen from above. - -The projections around the outer edge represent hooks, while the bar -through the middle and the cross-sticks represent the space gained. - -Fig. 21 shows the usual rail and shelf, but under them are the bar and -hangers that represent the new feature. This is a great improvement upon -the ordinary closet, even when drop-hooks are used under the shelves for -the support of hangers carrying clothes. The work necessary for this -arrangement is very simple. - -Obtain two sockets and a small curtain-rod, and fit the rod into -the sockets screwed to the wall under the hook-rail, taking care to -drive long, slender screws through the plaster. From a hardware or -house-furnishing store obtain a number of coat-hangers composed of a wood -bar and iron hook. These can be had at all prices from two for five cents -to twenty-five cents each, or if it is impossible to purchase them they -can be sawed out of wood by any boy and provided with iron-wire hooks. -The bars are eighteen inches across and slightly curved at the top, like -one’s shoulders. Underneath the bars, near the ends, small hooks may be -screwed into place, on which trousers may be hung by using clamps (Fig. -22). In this manner from four to six suits can be hung to every running -foot of the pole. - -This method will keep the coat or trousers in shape. If loops are sewn -fast to the skirt-band, the skirt will hang on the two lower hooks much -better than on a single hook, when this system is applied to mother’s or -sister’s closets. - -[Illustration: FIG. 20. PLAN OF CLOSET - -FIG. 21. FIG. 22.] - -This device is so simple and useful that once tried it will always be -used, and where economy of space is a feature, this idea is a valuable -one for both the city and country house. - - -A Divan - -A comfortable divan banked up with pillows is always an inviting addition -to a room, and helps to furnish it. In Fig. 23 an idea is given for a -piece of furniture that will serve a double purpose—that is, a couch and -a skirt or trousers press, with a compartment for shirt-waists or fancy -waistcoats. - -In Fig. 24 the box, or framework, is shown. It is five feet six inches -long, twenty-eight inches wide, and fifteen inches high. - -The tray is ten inches deep, and divided into a long and short -compartment. This is supported by the ends, which are fifteen inches -high, and made from several pieces of board with matched edges. -Corner-brackets at front and back lend additional strength, and prevent -the frame from racking. - -The top, or lid, is made from several matched boards held together with -two or three battens; it opens on three or four stout hinges securely -screwed into the wood of the back. - -A valance is made of some good upholstery material, and tacked all around -the upper edge of the box. For the couch proper use a mattress which is -to be placed on the lid, and covered with the cloth used for the valance. -This should be tacked securely to the under side of the lid. This will -hold the mattress in place and make a good finish for the edges of the -top. - -[Illustration: LOUNGE AND CORNER DRESSING-TABLE - -FIG. 23. FIG. 24. FIG. 26.] - -Make a few holes through the lid, and with a long needle pass a string up -through them, through a stout button and down again, where the string is -to be tied around a tack, and then the tack is driven in so as to hold -the string securely. This will give a tufted effect to the cushion top, -and will make the mattress more secure. - -Run a line of gimp or narrow belting around the top of the box over the -tacks that fasten the valance, and with large, oval-headed upholsterers’ -tacks make a line of heads three inches apart all around the sides and -front. This will make an effective finish. - - -A Corner Dressing-table - -A very pretty dressing-table for the corner of a girl’s room is shown in -the illustration (Fig. 25). This can be made by a boy for his sister, or -by a girl with a liking for such work. As shown in Fig. 26, it is built -up on a sugar barrel, which is thirty inches high and twenty-four inches -across at the widest place. When it is inverted, screws or nails can be -driven through the bottom to hold the triangular ledge or table-top in -place. - -Three boards should be cut to form a quarter of a circle thirty inches -long on the two straight sides, as shown in Fig. 26 A. The sweep, or -curved edge, is one-quarter of a five-foot circle. Fig. 26 A also shows -how this quarter-circle is placed on the top of the barrel. - -To keep the boards together, two battens thirty inches long are nailed or -screwed underneath the straight edges. - -Screws rather than nails should be used in fastening the quarter-circle -to the barrel. They will not pull out or work loose so readily as nails. - -The canopy top is supported on a framework consisting of three sticks, -each three feet long, and a triangular top made of three short sticks, -as Fig. 26 shows. At the top the sticks are joined as shown in B, and -the lower ends are attached to the table-top with long, slim, steel-wire -nails. - -[Illustration: FIG. 25.] - -If the color scheme of the room is pink, pale-green, or canary color, -this same color may be carried out in the drapery. Sateen or colored -cotton goods may be overlaid with a dotted swiss or scrim, and tacked -to the framework. At the bottom a valance is made and caught to -the circular edge of the ledge, which is covered with gimp held by -brass-headed tacks. - -The upper sticks of the frame are bound with strips of white muslin -before the drapery is attached. This is to prevent the wood from showing -through the goods, and also to make an anchorage in which some stitches -can be taken, if necessary, to hold the canopy drapery in place. - -For this top it will be necessary to have two swiss or thin scrim -coverings, between which one thickness of the colored material is laid. -Both sides of the drapery will be seen, and it is necessary to show the -colored goods on both sides. - -A shirred band of the goods may be arranged along the top stick of the -canopy, and bows at the corners of the top and the edge will add to its -appearance. - -An oval or square mirror in a white or light enamelled frame can be -suspended by wires from the top. - - * * * * * - -The directions as to methods and the suggestions of designs given in -this book open a broader and more inviting field, it is believed, than -has been accessible in similar form before. That there is need of a new -handy-book comprehensive, well tested, and designed on practical modern -lines seems to be indicated by the popularity of the preceding volumes in -this series: Harper’s _Outdoor Book for Boys_ and Harper’s _Electricity -Book for Boys_, which, together with Harper’s _How to Understand -Electrical Work_, form the modern “Boy’s Own Library.” - - -THE END - -*** END OF THE PROJECT GUTENBERG EBOOK HARPER'S INDOOR BOOK FOR -BOYS *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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