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diff --git a/old/68650-h/68650-h.htm b/old/68650-h/68650-h.htm deleted file mode 100644 index 31f4f71..0000000 --- a/old/68650-h/68650-h.htm +++ /dev/null @@ -1,10937 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta charset="UTF-8" /> - <title> - The Project Gutenberg eBook of Harper’s Indoor Book For Boys, by Joseph H. Adams. - </title> - - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - - <style> /* <![CDATA[ */ - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2,h3,h4 { - text-align: center; - clear: both; -} - -h2.nobreak, h3.nobreak { - page-break-before: avoid; -} - -hr.chap { - margin-top: 2em; - margin-bottom: 2em; - clear: both; - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -img.w100 { - width: 100%; -} - -div.chapter { - page-break-before: always; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -table { - margin: 1em auto 1em auto; - max-width: 40em; - border-collapse: collapse; -} - -td { - padding: 0.25em 0.25em 0 2.25em; - text-align: justify; - vertical-align: top; - text-indent: -2em; -} - -.tdc { - text-align: center; - padding: 0.75em 0.25em 0.5em 0.25em; - text-indent: 0; - font-weight: bold; -} - -.tdpg { - vertical-align: bottom; - text-align: right; - padding: 0.25em; - text-indent: 0; -} - -.tdsub { - font-size: 90%; - padding: 0 0.25em 0.25em 4em; - text-indent: 0; -} - -.box { - margin: 3em auto; - padding: 0.5em; - max-width: 20em; - border: 2px solid black; -} - -.caption { - text-align: center; - margin-bottom: 1em; - font-size: 90%; - text-indent: 0em; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.figcenter { - margin: auto; - text-align: center; -} - -.larger { - font-size: 150%; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-variant: normal; - font-style: normal; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.allsmcap { - font-variant: small-caps; - font-style: normal; - text-transform: lowercase; -} - -.tb { - margin-top: 2em; -} - -.titlepage { - text-align: center; - margin-top: 3em; - text-indent: 0em; -} - -.x-ebookmaker img { - max-width: 100%; - width: auto; - height: auto; -} - -/* Illustration classes */ -.illowp100 {width: 100%;} -.illowp50 {width: 50%;} -.x-ebookmaker .illowp50 {width: 100%;} -.illowp55 {width: 55%;} -.x-ebookmaker .illowp55 {width: 100%;} -.illowp60 {width: 60%;} -.x-ebookmaker .illowp60 {width: 100%;} -.illowp65 {width: 65%;} -.x-ebookmaker .illowp65 {width: 100%;} -.illowp75 {width: 75%;} -.x-ebookmaker .illowp75 {width: 100%;} -.illowp83 {width: 83%;} -.x-ebookmaker .illowp83 {width: 100%;} -.illowp93 {width: 93%;} -.x-ebookmaker .illowp93 {width: 100%;} - - /* ]]> */ </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Harper's indoor book for boys, by Joseph H. (Henry) Adams</p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Harper's indoor book for boys</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Joseph H. (Henry) Adams</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: July 30, 2022 [eBook #68650]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>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.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK HARPER'S INDOOR BOOK FOR BOYS ***</div> - -<p><span class="pagenum"><a id="Page_i"></a>[i]</span></p> - -<h1>HARPER’S INDOOR BOOK FOR BOYS</h1> - -<p><span class="pagenum"><a id="Page_ii"></a>[ii]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_iii"></a>[iii]</span></p> - -<div class="figcenter illowp55" id="illus001" style="max-width: 31.25em;"> - <img class="w100" src="images/illus001.jpg" alt="" /> - <p class="caption">WOOD-WORKING</p> -</div> - -<p><span class="pagenum"><a id="Page_iv"></a>[iv]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_v"></a>[v]</span></p> - -<p class="titlepage larger">HARPER’S<br /> -INDOOR BOOK<br /> -<span class="smaller">FOR BOYS</span></p> - -<p class="titlepage"><span class="smaller">BY</span><br /> -JOSEPH H. ADAMS</p> - -<p class="center smaller">AUTHOR OF<br /> -“HARPER’S ELECTRICITY BOOK FOR BOYS”<br /> -AND JOINT AUTHOR OF<br /> -“HARPER’S OUTDOOR BOOK FOR BOYS”</p> - -<p class="titlepage">WITH MANY ILLUSTRATIONS</p> - -<div class="figcenter titlepage illowp55" style="max-width: 14.0625em;"> - <img class="w100" src="images/cover-illus.jpg" alt="" /> -</div> - -<p class="titlepage">HARPER & BROTHERS PUBLISHERS<br /> -NEW YORK AND LONDON<br /> -MCMVIII</p> - -<p><span class="pagenum"><a id="Page_vi"></a>[vi]</span></p> - -<div class="box"> - -<p class="center smaller">Copyright, 1908, by <span class="smcap">Harper & Brothers</span>.</p> - -<p class="center smaller"><i>All rights reserved.</i></p> - -<p class="center smaller">Published April, 1908.</p> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_vii"></a>[vii]</span></p> - -<h2 class="nobreak">CONTENTS</h2> - -</div> - -<table> - <tr> - <td></td> - <td class="tdpg smaller">PAGE</td> - </tr> - <tr> - <td>INTRODUCTION</td> - <td class="tdpg"><a href="#INTRODUCTION">xi</a></td> - </tr> - <tr> - <td colspan="2" class="tdc"><a href="#Part_I">Part I</a><br />WOOD-WORKING</td> - </tr> - <tr> - <td>CHAPTER I—CARPENTRY</td> - <td class="tdpg"><a href="#Chapter_I">3</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER II—WOOD-CARVING</td> - <td class="tdpg"><a href="#Chapter_II">38</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">Method and Material—Tools—A Carver’s Bench—Chip-carving—A - Frame for a Small Clock—Other Designs—Relief-carving—Mouldings</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER III.—FRETWORK AND WOOD-TURNING</td> - <td class="tdpg"><a href="#Chapter_III">56</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER IV—PICTURE MOUNTING AND FRAMING</td> - <td class="tdpg"><a href="#Chapter_IV">71</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">A Dutch Head Mounting—A Dark Card Mounting—A - Triple Mounting—Plain Framing—A Sporting Mount—A - Round-robin Mounting</span><span class="pagenum"><a id="Page_viii"></a>[viii]</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td colspan="2" class="tdc"><a href="#Part_II">Part II</a><br />METAL-WORKING</td> - </tr> - <tr> - <td>CHAPTER V.—VENETIAN AND FLORENTINE METAL-WORK</td> - <td class="tdpg"><a href="#Chapter_V">81</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER VI.—METAL-BOUND WORK</td> - <td class="tdpg"><a href="#Chapter_VI">103</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">A Metal-bound Box—A Wood-holder—A Plant-box—A - Coal-box—A Table-lamp—A Hanging-lamp—A Hanging-plant - Box</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER VII.—DECORATIVE HARDWARE</td> - <td class="tdpg"><a href="#Chapter_VII">115</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER VIII.—WIRE-WORK</td> - <td class="tdpg"><a href="#Chapter_VIII">125</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">A Bird-cage Bracket—A Photograph Easel—A Match-box—A - Fairy Lamp—A Picture-frame—A Glove-box—A - Window-grille</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER IX.—GAS AND ELECTRIC SHADES</td> - <td class="tdpg"><a href="#Chapter_IX">133</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER X.—RELIEF ETCHING</td> - <td class="tdpg"><a href="#Chapter_X">139</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">Equipment—The Technique of the Process—The Acid - Solution—Some Typical Designs</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td colspan="2" class="tdc"><a href="#Part_III">Part III</a><br />HOUSEHOLD ARTS</td> - </tr> - <tr> - <td>CHAPTER XI.—CLAY-MODELLING AND PLASTER-CASTING</td> - <td class="tdpg"><a href="#Chapter_XI">151</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">Tools and Methods—The Technique of the Art—Glue - and Gelatine Moulds—Hollow Casting—Modelling a<span class="pagenum"><a id="Page_ix"></a>[ix]</span> - Foot—Bas-relief Modelling—A Medallion Head—Coin - and Metal Casts—Plaster-casting in General—How - to Find and Mount Signets</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XII.—PYROGRAPHY</td> - <td class="tdpg"><a href="#Chapter_XII">170</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">Fire-etching on Wood and Leather—Explanation of - Methods—A Platinum-point Outfit—A Variety of Work - on Wood—Suggestive Designs—Leather-work</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XIII.—BOOKBINDING AND EXTRA-ILLUSTRATION</td> - <td class="tdpg"><a href="#Chapter_XIII">186</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">Sheets and Signatures—The Tools—The Practice of the - Art—Rebinding Books—How to Extra-illustrate a - Book—A Circulating Library</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XIV.—MAGIC LANTERNS AND STEREOPTICONS</td> - <td class="tdpg"><a href="#Chapter_XIV">203</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">A Home-made Magic Lantern—A Stereopticon—Lantern - Slides by Contact-printing—Lantern Slides by Reduction</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XV.—PRINTING, STAMPING, AND EMBOSSING</td> - <td class="tdpg"><a href="#Chapter_XV">222</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">A Simple Flat-bed Press—An Upright Press—A Lever-press—Stamping—Embossing</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td colspan="2" class="tdc"><a href="#Part_IV">Part IV</a><br />ROUND ABOUT THE HOUSE</td> - </tr> - <tr> - <td>CHAPTER XVI.—A HOUSE GYMNASIUM</td> - <td class="tdpg"><a href="#Chapter_XVI">237</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XVII.—A MINIATURE THEATRE</td> - <td class="tdpg"><a href="#Chapter_XVII">259</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">Arrangement and Lighting—Scenery and Equipment—The - Puppets<span class="pagenum"><a id="Page_x"></a>[x]</span></span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XVIII.—FITTING UP A BOY’S ROOM</td> - <td class="tdpg"><a href="#Chapter_XVIII">267</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XIX.—PAINTING, DECORATING, AND STENCILLING</td> - <td class="tdpg"><a href="#Chapter_XIX">283</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">How to Mix and Use Paints—Schemes of Decoration—Decorating - a Bedroom—A Boy’s Room—Another - Plan for a Room—A Nursery—Stencilling</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XX.—NOOKS FOR BOOKS</td> - <td class="tdpg"><a href="#Chapter_XX">302</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XXI.—CLOCKS AND TIMEPIECES</td> - <td class="tdpg"><a href="#Chapter_XXI">321</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XXII.—SCREENS, SHOE-BOXES, AND WINDOW SEATS</td> - <td class="tdpg"><a href="#Chapter_XXII">331</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> - <tr> - <td>CHAPTER XXIII.—HOUSEHOLD CONVENIENCES</td> - <td class="tdpg"><a href="#Chapter_XXIII">347</a></td> - </tr> - <tr> - <td class="tdsub"><span class="smcap">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</span></td> - <td class="tdpg"></td> - </tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_xi"></a>[xi]</span></p> - -<h2 class="nobreak" id="INTRODUCTION">INTRODUCTION</h2> - -</div> - -<p>The success of Harper’s <i>Outdoor Book for Boys</i> 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.</p> - -<p>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<span class="pagenum"><a id="Page_xii"></a>[xii]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_xiii"></a>[xiii]</span> -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.</p> - -<p>Here, as in the <i>Outdoor Handy Book</i>, 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 <i>Indoor Book for -Boys</i>.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<h2 class="nobreak" id="Part_I">Part I<br /> -<span class="smaller">WOOD-WORKING</span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<h3 class="nobreak" id="Chapter_I">Chapter I<br /> -<span class="smaller">CARPENTRY</span></h3> - -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_5"></a>[5]</span> -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.</p> - -<h4>Tools</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_6"></a>[6]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>The Work-bench</h4> - -<p>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.</p> - -<p>To begin with, obtain four spruce or white-wood sticks,<span class="pagenum"><a id="Page_7"></a>[7]</span> -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.</p> - -<div class="figcenter illowp75" id="illus002" style="max-width: 31.25em;"> - <img class="w100" src="images/illus002.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span> - <span class="smcap">Fig. 5.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_8"></a>[8]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_9"></a>[9]</span> -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).</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_10"></a>[10]</span> -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.</p> - -<p>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.</p> - -<h4>A Tool-rack</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_11"></a>[11]</span></p> - -<h4>A Tool-cabinet</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.<span class="pagenum"><a id="Page_12"></a>[12]</span> -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.</p> - -<div class="figcenter illowp65" id="illus003" style="max-width: 31.25em;"> - <img class="w100" src="images/illus003.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 7.</span> - <span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span> - <span class="smcap">Fig. 10.</span></p> -</div> - -<p>On the inside of the outer door some tool-pegs may be -arranged. Near the bottom a bitt-rack should be fitted,<span class="pagenum"><a id="Page_13"></a>[13]</span> -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.</p> - -<h4>A Tool-chest</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_14"></a>[14]</span> -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.</p> - -<p>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.</p> - -<h4>Joints</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.<span class="pagenum"><a id="Page_15"></a>[15]</span> -This joint will be found useful in furniture work, and also -for frame construction in general.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_16"></a>[16]</span></p> - -<div class="figcenter illowp55" id="illus004" style="max-width: 31.25em;"> - <img class="w100" src="images/illus004.jpg" alt="" /> - <p class="caption">JOINTS, RABBETS, AND BENCHES</p> - <p class="caption"><span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span> - <span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span> - <span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span> - <span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 18.</span> - <span class="smcap">Fig. 19.</span> <span class="smcap">Fig. 20.</span> - <span class="smcap">Fig. 21.</span> <span class="smcap">Fig. 22.</span> - <span class="smcap">Fig. 23.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_17"></a>[17]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Low Bench</h4> - -<p>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.</p> - -<h4>A High Bench</h4> - -<p>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<span class="pagenum"><a id="Page_18"></a>[18]</span> -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.</p> - -<h4>A Step-bench</h4> - -<p>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.</p> - -<p>Two or three coats of paint will finish these benches and -make them fit for use about the house.</p> - -<h4>A Shoe-box</h4> - -<p>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.<span class="pagenum"><a id="Page_19"></a>[19]</span> -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.</p> - -<div class="figcenter illowp60" id="illus005" style="max-width: 25em;"> - <img class="w100" src="images/illus005.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 24.</span> <span class="smcap">Fig. 24 A.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_20"></a>[20]</span> -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.</p> - -<div class="figcenter illowp100" id="illus006" style="max-width: 31.25em;"> - <img class="w100" src="images/illus006.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 25.</span> <span class="smcap">Fig. 26.</span> - <span class="smcap">Fig. 27.</span></p> -</div> - -<p>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.</p> - -<h4>A Shoe-blacking-box</h4> - -<p>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<span class="pagenum"><a id="Page_21"></a>[21]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_22"></a>[22]</span> -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.</p> - -<p>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.</p> - -<h4>A Shoe-blacking-ledge</h4> - -<p>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.</p> - -<p>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.</p> - -<h4>An Easel</h4> - -<p>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).</p> - -<p>Obtain four pieces of clear white pine six feet long, two<span class="pagenum"><a id="Page_23"></a>[23]</span> -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.</p> - -<div class="figcenter illowp93" id="illus007" style="max-width: 31.25em;"> - <img class="w100" src="images/illus007.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 28.</span> <span class="smcap">Fig. 29.</span> - <span class="smcap">Fig. 30.</span> <span class="smcap">Fig. 31.</span> - <span class="smcap">Fig. 32.</span> <span class="smcap">Fig. 33.</span> - <span class="smcap">Fig. 34.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_24"></a>[24]</span> -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.</p> - -<h4>A Clothes-tree</h4> - -<p>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.</p> - -<p>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.</p> - -<p>At a hardware store purchase eight hooks and arrange -them in alternating pairs, as shown in the drawing. The<span class="pagenum"><a id="Page_25"></a>[25]</span> -wood-work should be shellacked or painted to give it a -finished appearance.</p> - -<p>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.</p> - -<h4>Hanging Book-shelves</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_26"></a>[26]</span> -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.</p> - -<p>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.</p> - -<h4>A Corner Cabinet</h4> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<div class="figcenter illowp55" id="illus008" style="max-width: 31.25em;"> - <img class="w100" src="images/illus008.jpg" alt="" /> - <p class="caption">HANGING BOOK-SHELVES AND CHAIR CABINET</p> - <p class="caption"><span class="smcap">Fig. 35.</span> <span class="smcap">Fig. 35 A.</span> - <span class="smcap">Fig. 36.</span> <span class="smcap">Fig. 37.</span> - <span class="smcap">Fig. 38.</span> <span class="smcap">Fig. 39.</span> - <span class="smcap">Fig. 40.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_28"></a>[28]</span></p> - -<p>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.</p> - -<h4>A Chair</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_29"></a>[29]</span> -the cross-pieces fit the laps so snugly that a mallet is necessary -to help drive the strips home.</p> - -<p>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.</p> - -<h4>A Table</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_30"></a>[30]</span> -may be made twelve inches wide and long enough to -extend two or three inches over the cross-strips.</p> - -<p>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.</p> - -<h4>A Settle</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_31"></a>[31]</span> -varnished if the wood has a pretty grain. Cushions and a -sofa-pillow or two will add to the comfort of this commodious -seat.</p> - -<div class="figcenter illowp93" id="illus009" style="max-width: 31.25em;"> - <img class="w100" src="images/illus009.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 41.</span> <span class="smcap">Fig. 42.</span> - <span class="smcap">Fig. 43.</span> <span class="smcap">Fig. 44.</span> - <span class="smcap">Fig. 45.</span></p> -</div> - -<h4>A Suspended Settle</h4> - -<p>A suspended settle (Fig. 44) is a convenient piece of -piazza furniture, and not a difficult thing for the young -carpenter to make.</p> - -<p>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<span class="pagenum"><a id="Page_32"></a>[32]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Coal and Wood Box</h4> - -<p>A combination box for coal and wood may be made from -an ordinary shoe-box, the sides and one end being cut down<span class="pagenum"><a id="Page_33"></a>[33]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Flat-iron Holder</h4> - -<p>A rack of shelves to hold flat-irons may be made of white-wood -or pine seven-eighths of an inch thick, the several<span class="pagenum"><a id="Page_34"></a>[34]</span> -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.</p> - -<div class="figcenter illowp75" id="illus010" style="max-width: 31.25em;"> - <img class="w100" src="images/illus010.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 46.</span> <span class="smcap">Fig. 47.</span> - <span class="smcap">Fig. 48.</span> <span class="smcap">Fig. 49.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_35"></a>[35]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>An Umbrella-stand</h4> - -<p>An umbrella-stand does not occupy much space, and it is -a convenient receptacle for umbrellas, canes, ball-bats, and -golf-clubs (Fig. 48).</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_36"></a>[36]</span> -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.</p> - -<p>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.</p> - -<h4>A Plant-box</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_37"></a>[37]</span> -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.</p> - -<h4>A Final Word</h4> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p> - -<h3 class="nobreak" id="Chapter_II">Chapter II<br /> -<span class="smaller">WOOD-CARVING</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_39"></a>[39]</span> -not be carved until the first principles are learned in the -softer woods.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Tools</h4> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_40"></a>[40]</span> -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.</p> - -<div class="figcenter illowp65" id="illus011" style="max-width: 31.25em;"> - <img class="w100" src="images/illus011.jpg" alt="" /> - <p class="caption">A <span class="smcap">Fig. 1.</span></p> - <p class="caption">B <span class="smcap">Fig. 2.</span></p> - <p class="caption">C <span class="smcap">Fig. 3.</span></p> - <p class="caption">D <span class="smcap">Fig. 4.</span></p> - <p class="caption">E <span class="smcap">Fig. 5.</span></p> - <p class="caption">F <span class="smcap">Fig. 6.</span></p> - <p class="caption">G H I J K L M N O P Q R</p> -</div> - -<p>A flat felt or denim case should be made for the tools, so<span class="pagenum"><a id="Page_41"></a>[41]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_42"></a>[42]</span> -or jig-saw the fret-saw will not be necessary. A -glue-pot will also be found useful.</p> - -<div class="figcenter illowp75" id="illus012" style="max-width: 31.25em;"> - <img class="w100" src="images/illus012.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span> - <span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span> - <span class="smcap">Fig. 13.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_43"></a>[43]</span> -so limited that if the difficulties of sharpening a firmer and -gouge are mastered the task is practically ended.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The tools being in proper condition, the next step is to -acquire a knowledge of the best methods of handling them.<span class="pagenum"><a id="Page_44"></a>[44]</span> -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.</p> - -<p>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.</p> - -<h4>A Carver’s Bench</h4> - -<p>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.</p> - -<div class="figcenter illowp93" id="illus013" style="max-width: 31.25em;"> - <img class="w100" src="images/illus013.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 14.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_45"></a>[45]</span> -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.</p> - -<p><span class="pagenum"><a id="Page_46"></a>[46]</span></p> - -<p>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.</p> - -<h4>Chip-carving</h4> - -<p>To begin with, it is best to work on a simple pattern that -can be followed easily.</p> - -<div class="figcenter illowp100" id="illus014" style="max-width: 31.25em;"> - <img class="w100" src="images/illus014.jpg" alt="" /> - <p class="caption"><i>Fig. 15 A.</i></p> -</div> - -<p>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,<span class="pagenum"><a id="Page_47"></a>[47]</span> -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.</p> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus015" style="max-width: 31.25em;"> - <img class="w100" src="images/illus015.jpg" alt="" /> - <p class="caption"><i>Fig. 15 B.</i></p> -</div> - -<p>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,<span class="pagenum"><a id="Page_48"></a>[48]</span> -this form of carving may be made both pleasing and effective. -Moreover, its mastery leads naturally to the more artistic -relief-carving.</p> - -<h4>A Frame for a Small Clock</h4> - -<div class="figcenter illowp65" id="illus016" style="max-width: 15.625em;"> - <img class="w100" src="images/illus016.jpg" alt="" /> - <p class="caption"><i>Fig. 16.</i></p> -</div> - -<div class="figcenter illowp100" id="illus017" style="max-width: 25em;"> - <img class="w100" src="images/illus017.jpg" alt="" /> - <p class="caption"><i>Fig. 17.</i></p> -</div> - -<p>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<span class="pagenum"><a id="Page_49"></a>[49]</span> -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.</p> - -<h4>Some Other Designs</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_50"></a>[50]</span> -other things, which will sell well at fancy fairs, or be highly -appreciated as presents.</p> - -<h4>Relief-carving</h4> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus018" style="max-width: 31.25em;"> - <img class="w100" src="images/illus018.jpg" alt="" /> - <p class="caption"><i>Fig. 18 A.</i></p> -</div> - -<p>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<span class="pagenum"><a id="Page_51"></a>[51]</span> -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.</p> - -<div class="figcenter illowp100" id="illus019" style="max-width: 31.25em;"> - <img class="w100" src="images/illus019.jpg" alt="" /> - <p class="caption"><i>Fig. 18 B.</i></p> -</div> - -<p>As already stated, the general effect of relief-carving may -be also obtained through the “applied” method, a simpler<span class="pagenum"><a id="Page_52"></a>[52]</span> -and less tedious process, but neither so artistic nor so substantial.</p> - -<div class="figcenter illowp100" id="illus020" style="max-width: 31.25em;"> - <img class="w100" src="images/illus020.jpg" alt="" /> - <p class="caption"><i>Fig. 18 C.</i></p> -</div> - -<div class="figcenter illowp100" id="illus021" style="max-width: 31.25em;"> - <img class="w100" src="images/illus021.jpg" alt="" /> - <p class="caption"><i>Fig. 19 A.</i></p> -</div> - -<p>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<span class="pagenum"><a id="Page_53"></a>[53]</span> -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.</p> - -<div class="figcenter illowp100" id="illus022" style="max-width: 31.25em;"> - <img class="w100" src="images/illus022.jpg" alt="" /> - <p class="caption"><i>Fig. 19 B.</i></p> -</div> - -<h4>Mouldings</h4> - -<p>In Fig. 20 some designs are given for carved mouldings, -and at the side, end views are shown.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_54"></a>[54]</span> -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.</p> - -<div class="figcenter illowp75" id="illus023" style="max-width: 31.25em;"> - <img class="w100" src="images/illus023.jpg" alt="" /> - <p class="caption"><i>Fig. 20.</i></p> -</div> - -<p>To finish wood in any desired color, stains may be purchased<span class="pagenum"><a id="Page_55"></a>[55]</span> -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.</p> - -<div class="figcenter illowp100" id="illus024" style="max-width: 31.25em;"> - <img class="w100" src="images/illus024.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 21 A.</span> <span class="smcap">Fig. 21 B.</span></p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_56"></a>[56]</span></p> - -<h3 class="nobreak" id="Chapter_III">Chapter III<br /> -<span class="smaller">FRETWORK AND WOOD-TURNING</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<h4>The Tools</h4> - -<p>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<span class="pagenum"><a id="Page_57"></a>[57]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_58"></a>[58]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_59"></a>[59]</span> -cents, or the small hand-drills, with side wheel and handle, -and provided with a small chuck to clutch the drill.</p> - -<p>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.</p> - -<h4>The Practice of the Art</h4> - -<p>Most boys know how to run a scroll-saw, or think they -do, yet a few practical hints should not come amiss.</p> - -<p>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,<span class="pagenum"><a id="Page_60"></a>[60]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_61"></a>[61]</span> -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.</p> - -<h4>The Preparation of the Work</h4> - -<p>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.</p> - -<p>The first thing to be done is to trace the design on a thin<span class="pagenum"><a id="Page_62"></a>[62]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_63"></a>[63]</span> -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.</p> - -<p>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.</p> - -<h4>A Match-safe</h4> - -<div class="figcenter illowp100" id="illus025" style="max-width: 31.25em;"> - <img class="w100" src="images/illus025.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_64"></a>[64]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Wall-bracket</h4> - -<p>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.</p> - -<h4>A Fretwork-box</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_65"></a>[65]</span></p> - -<div class="figcenter illowp55" id="illus026" style="max-width: 31.25em;"> - <img class="w100" src="images/illus026.jpg" alt="" /> - <p class="caption">A GLOVE-BOX AND A T BRACKET</p> - <p class="caption"><span class="smcap">Fig. 4.</span> <span class="smcap">Fig. 5.</span> - <span class="smcap">Fig. 6.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_66"></a>[66]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Some Other Designs</h4> - -<p>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.</p> - -<h4>Wood-turning</h4> - -<p>The common examples of wood-turning with which a boy -is most familiar are tops, balls, bats, dumb-bells, Indian<span class="pagenum"><a id="Page_67"></a>[67]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Once the knowledge is gained, however, it is an easy -matter to turn all sorts of objects.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_68"></a>[68]</span> -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.</p> - -<p>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.</p> - -<div class="figcenter illowp83" id="illus027" style="max-width: 31.25em;"> - <img class="w100" src="images/illus027.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_69"></a>[69]</span> -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<span class="pagenum"><a id="Page_70"></a>[70]</span> -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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_71"></a>[71]</span></p> - -<h3 class="nobreak" id="Chapter_IV">Chapter IV<br /> -<span class="smaller">PICTURE MOUNTING AND FRAMING</span></h3> - -</div> - -<p>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.</p> - -<h4>A Dutch Head Mounting</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_72"></a>[72]</span> -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.</p> - -<div class="figcenter illowp83" id="illus028" style="max-width: 31.25em;"> - <img class="w100" src="images/illus028.jpg" alt="" /> - <p class="caption"><i>Fig. 1.</i> <i>Fig. 3.</i></p> -</div> - -<p>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<span class="pagenum"><a id="Page_73"></a>[73]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_74"></a>[74]</span> -into which the lower loop of each hanger is made -fast.</p> - -<p>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.</p> - -<h4>A Dark Card Mounting</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_75"></a>[75]</span> -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.</p> - -<h4>A Triple Mounting</h4> - -<div class="figcenter illowp100" id="illus029" style="max-width: 31.25em;"> - <img class="w100" src="images/illus029.jpg" alt="" /> - <p class="caption"><i>Fig. 4.</i></p> -</div> - -<p>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<span class="pagenum"><a id="Page_76"></a>[76]</span> -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.</p> - -<h4>Plain Framing</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_77"></a>[77]</span> -the small sticks, and over it the picture and back-board -are placed, the nails being driven in to hold them in place.</p> - -<div class="figcenter illowp83" id="illus030" style="max-width: 31.25em;"> - <img class="w100" src="images/illus030.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 2.</span> <span class="smcap">Fig. 5.</span> - <span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 7.</span> - <span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span></p> -</div> - -<h4>A Sporting Mount</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_78"></a>[78]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Round-robin Mounting</h4> - -<p>For one large head-picture and a number of small ones -a novel scheme for mounting is shown at Fig. 9.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_79"></a>[79]</span></p> - -<h2 class="nobreak" id="Part_II">Part II<br /> -<span class="smaller">METAL-WORKING</span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_80"></a>[80]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_81"></a>[81]</span></p> - -<h3 class="nobreak" id="Chapter_V">Chapter V<br /> -<span class="smaller">VENETIAN AND FLORENTINE METAL-WORK</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_82"></a>[82]</span> -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.</p> - -<p>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.</p> - -<h4>A Lamp-screen</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>To form a scroll like that shown in Fig. 1 bend a strip -of metal in the form of a <b>U</b>, 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<span class="pagenum"><a id="Page_83"></a>[83]</span> -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.</p> - -<div class="figcenter illowp75" id="illus031" style="max-width: 31.25em;"> - <img class="w100" src="images/illus031.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 1 A.</span> - <span class="smcap">Fig. 2.</span> <span class="smcap">Fig. 3.</span> - <span class="smcap">Fig. 4.</span> <span class="smcap">Fig. 5.</span> - <span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 7.</span></p> -</div> - -<p>When uniting or binding two strips of metal together -they may be fastened with wire or bands, as a matter of<span class="pagenum"><a id="Page_84"></a>[84]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_85"></a>[85]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>Pattern-making</h4> - -<p>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<span class="pagenum"><a id="Page_86"></a>[86]</span> -shaped to conform to the lines, and afterwards -banded together.</p> - -<h4>A Standard Screen</h4> - -<p>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.</p> - -<p>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.</p> - -<h4>A Candlestick</h4> - -<p>The illustration shown in Fig. 9 gives a pleasing pattern -for a small-based candlestick.</p> - -<p><span class="pagenum"><a id="Page_87"></a>[87]</span></p> - -<div class="figcenter illowp55" id="illus032" style="max-width: 31.25em;"> - <img class="w100" src="images/illus032.jpg" alt="" /> - <p class="caption">A STANDARD SCREEN AND A CANDLESTICK</p> - <p class="caption"><span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span> - <span class="smcap">Fig. 10.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_88"></a>[88]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Candelabra</h4> - -<p>The design for a four-armed candelabra to hold five candles -is shown in Fig. 11.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_89"></a>[89]</span></p> - -<div class="figcenter illowp50" id="illus033" style="max-width: 31.25em;"> - <img class="w100" src="images/illus033.jpg" alt="" /> - <p class="caption">A CANDELABRA</p> - <p class="caption"><span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span> - <span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span> - <span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_90"></a>[90]</span></p> - -<p>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.</p> - -<p>Canopy shades and holders should be made or purchased, -and when complete with candles and shades this candelabra -should present a very pleasing appearance.</p> - -<h4>A Fairy Lamp</h4> - -<p>It will be found quite a simple matter to make a fairy -lamp similar to the one shown in Fig. 17.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_91"></a>[91]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Burned-match Holder</h4> - -<p>Fig. 19 gives a design for a small receptacle to be used for -burned matches or other small waste scraps.</p> - -<p>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.</p> - -<p>Small hooks should be fastened to each upper corner.<span class="pagenum"><a id="Page_92"></a>[92]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter illowp65" id="illus034" style="max-width: 31.25em;"> - <img class="w100" src="images/illus034.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 18.</span> - <span class="smcap">Fig. 19.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_93"></a>[93]</span> -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<span class="pagenum"><a id="Page_94"></a>[94]</span> -rings, it would be advisable to employ small iron harness-rings.</p> - -<h4>A Photograph-frame</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_95"></a>[95]</span></p> - -<div class="figcenter illowp75" id="illus035" style="max-width: 31.25em;"> - <img class="w100" src="images/illus035.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 20.</span> <span class="smcap">Fig. 20 A.</span> - <span class="smcap">Fig. 21.</span> <span class="smcap">Fig. 22.</span> - <span class="smcap">Fig. 23.</span></p> -</div> - -<p>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 <b>L</b>. 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<span class="pagenum"><a id="Page_96"></a>[96]</span> -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.</p> - -<p>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 <b>L</b> 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.</p> - -<h4>A Handkerchief-box</h4> - -<p>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.</p> - -<p>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.</p> - -<p>It should measure eight or ten inches square and three<span class="pagenum"><a id="Page_97"></a>[97]</span> -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.</p> - -<div class="figcenter illowp100" id="illus036" style="max-width: 31.25em;"> - <img class="w100" src="images/illus036.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 24 A.</span> <span class="smcap">Fig. 24 B.</span> - <span class="smcap">Fig. 25.</span> <span class="smcap">Fig. 26.</span> - <span class="smcap">Fig. 27.</span></p> -</div> - -<p>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.</p> - -<p>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;<span class="pagenum"><a id="Page_98"></a>[98]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Sign-board</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_99"></a>[99]</span> -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.</p> - -<h4>Double Doorway Grille</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The grille may be anchored to the wood-work of the casing<span class="pagenum"><a id="Page_100"></a>[100]</span> -with steel-wire nails or staples, and several coats of black -should be given the iron to finish it nicely.</p> - -<h4>A Moorish Lantern</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_101"></a>[101]</span></p> - -<div class="figcenter illowp55" id="illus037" style="max-width: 21.875em;"> - <img class="w100" src="images/illus037.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 28.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_102"></a>[102]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_103"></a>[103]</span></p> - -<h3 class="nobreak" id="Chapter_VI">Chapter VI<br /> -<span class="smaller">METAL-BOUND WORK</span></h3> - -</div> - -<p>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.</p> - -<h4>A Metal-bound Box</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_104"></a>[104]</span> -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.</p> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus038" style="max-width: 31.25em;"> - <img class="w100" src="images/illus038.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span></p> -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_105"></a>[105]</span> -strip is laid on the wood, so as not to subject the box -joints to any more strain than necessary.</p> - -<p>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 <b>V</b> 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.</p> - -<p>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.</p> - -<p>Where the angle, or <b>V</b>, 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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Wood-holder</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_106"></a>[106]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Plant-box</h4> - -<p>For large, growing plants, palms, and imitation trees, an -attractive plant-box is shown in Fig. 5.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_107"></a>[107]</span></p> - -<div class="figcenter illowp75" id="illus039" style="max-width: 31.25em;"> - <img class="w100" src="images/illus039.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 4.</span> <span class="smcap">Fig. 5.</span> - <span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 7.</span></p> -</div> - -<p>On the other sides a conventional design may be worked -out with strips of metal cut according to the required pattern.</p> - -<p>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.</p> - -<p>A zinc lining should be fitted to the box, with a vent-hole<span class="pagenum"><a id="Page_108"></a>[108]</span> -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.</p> - -<h4>A Coal-box</h4> - -<p>Fig. 6 gives the design for an old English coal-box.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Brass, lead, or black iron binding will look well on this -box, and with large-headed nails the effect will be bold and -pleasing.</p> - -<p>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<span class="pagenum"><a id="Page_109"></a>[109]</span> -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.</p> - -<h4>A Table-lamp</h4> - -<p>The design for a table-lamp is shown in Fig. 8.</p> - -<p>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.</p> - -<div class="figcenter illowp55" id="illus040" style="max-width: 21.875em;"> - <img class="w100" src="images/illus040.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 8.</span></p> -</div> - -<p>From boards about half an inch in thickness make a -box seven inches square at the top, ten at the bottom, and<span class="pagenum"><a id="Page_110"></a>[110]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_111"></a>[111]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>With the addition of a pretty canopy shade, that can be -arranged on a wire frame, the effect will be most decorative -and pleasing.</p> - -<h4>A Hanging-lamp</h4> - -<p>For the dining-room or library, a hanging-lamp, such as -shown in Fig. 9, is both ornamental and useful.</p> - -<p><span class="pagenum"><a id="Page_112"></a>[112]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_113"></a>[113]</span></p> - -<h4>A Hanging-plant Box</h4> - -<div class="figcenter illowp65" id="illus041" style="max-width: 31.25em;"> - <img class="w100" src="images/illus041.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span> - <span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span></p> -</div> - -<p>For vines, small plants, or pretty blade grasses a design -for a hanging-plant box is shown in Fig. 12.</p> - -<p>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.<span class="pagenum"><a id="Page_114"></a>[114]</span> -The box part measures eight inches square at the top, six -at the bottom, and ten inches high.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_115"></a>[115]</span></p> - -<h3 class="nobreak" id="Chapter_VII">Chapter VII<br /> -<span class="smaller">DECORATIVE HARDWARE</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_116"></a>[116]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_117"></a>[117]</span> -hard-wood block, a coarse file or two, and a knife with a -small, sharp blade will be the only other tools required.</p> - -<h4>Escutcheons</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Be careful that you do not make the key-hole too large.</p> - -<p><span class="pagenum"><a id="Page_118"></a>[118]</span></p> - -<div class="figcenter illowp55" id="illus042" style="max-width: 31.25em;"> - <img class="w100" src="images/illus042.jpg" alt="" /> - <p class="caption">ESCUTCHEONS AND HINGE-STRAPS</p> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 5.</span> <span class="smcap">Fig. 6.</span> - <span class="smcap">Fig. 7.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_119"></a>[119]</span> - -It should be only a trifle larger than the key, in order to -lead the latter easily.</p> - -<h4>Short Hinge-straps</h4> - -<p>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 <b>T</b> or strap-hinges, and sometimes -plate-hinges.</p> - -<div class="figcenter illowp100" id="illus043" style="max-width: 25em;"> - <img class="w100" src="images/illus043.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span></p> -</div> - -<p>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.<span class="pagenum"><a id="Page_120"></a>[120]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Long Hinge-straps</h4> - -<p>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.</p> - -<p>If the jamb is sufficiently wide, straps may be placed on -both sides of the hinge-back. Usually, however, the jamb -is too narrow.</p> - -<p>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.</p> - -<p>It is quite as easy to saw out thick metal as thin, only it<span class="pagenum"><a id="Page_121"></a>[121]</span> -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.</p> - -<h4>Drawer-pulls and Handle-plates</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Door-plates</h4> - -<p>On swing and sliding doors—and sometimes on plain -doors—plates are mounted above the lock on both sides.<span class="pagenum"><a id="Page_122"></a>[122]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Large Lock-plates</h4> - -<p>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.</p> - -<p>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.<span class="pagenum"><a id="Page_123"></a>[123]</span> -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.</p> - -<div class="figcenter illowp65" id="illus044" style="max-width: 31.25em;"> - <img class="w100" src="images/illus044.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_124"></a>[124]</span></p> - -<h4>Door-knockers and Miscellaneous Ornaments</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_125"></a>[125]</span></p> - -<h3 class="nobreak" id="Chapter_VIII">Chapter VIII<br /> -<span class="smaller">WIRE-WORK</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Bird-cage Bracket</h4> - -<p>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<span class="pagenum"><a id="Page_126"></a>[126]</span> -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.</p> - -<div class="figcenter illowp50" id="illus045" style="max-width: 25em;"> - <img class="w100" src="images/illus045.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_127"></a>[127]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_128"></a>[128]</span> -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.</p> - -<p>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.</p> - -<h4>A Photograph Easel</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>By reducing the size of the lower scrolls this design would -be quite appropriate for a lamp-shade, and instead of the<span class="pagenum"><a id="Page_129"></a>[129]</span> -lattice-work a piece of prettily colored silk or other translucent -material may be inserted to serve as the backing.</p> - -<h4>A Match-box</h4> - -<p>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.</p> - -<div class="figcenter illowp83" id="illus046" style="max-width: 31.25em;"> - <img class="w100" src="images/illus046.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 4.</span> <span class="smcap">Fig. 5.</span> - <span class="smcap">Fig. 6.</span></p> -</div> - -<p>It should be lined with silk or other goods, to prevent the<span class="pagenum"><a id="Page_130"></a>[130]</span> -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.</p> - -<h4>A Fairy Lamp</h4> - -<p>A hanging fairy lamp, like the one shown in Fig. 6, makes -a pretty ornament for the parlor or living-room.</p> - -<p>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.</p> - -<p>By using brass wire soldered at the unions a stronger -construction is possible.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Picture-frame</h4> - -<p>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<span class="pagenum"><a id="Page_131"></a>[131]</span> -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.</p> - -<div class="figcenter illowp83" id="illus047" style="max-width: 31.25em;"> - <img class="w100" src="images/illus047.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_132"></a>[132]</span></p> - -<h4>A Glove-box</h4> - -<p>A design for a glove-box is shown in Fig. 8. It should be -ten inches long, five wide, and three inches high.</p> - -<p>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.</p> - -<p>The four sides and the top should be made in separate -pieces, and afterwards bound securely together with fine -wire.</p> - -<h4>A Window-grille</h4> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_133"></a>[133]</span></p> - -<h3 class="nobreak" id="Chapter_IX">Chapter IX<br /> -<span class="smaller">GAS AND ELECTRIC SHADES</span></h3> - -</div> - -<p>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.</p> - -<h4>A Simple Gas-shade</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_134"></a>[134]</span> -laid on with gold thread. Between each section some glass -beads are strung, and the other details may be gathered -from the drawing.</p> - -<h4>Another Gas-shade</h4> - -<p>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.</p> - -<p>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.</p> - -<h4>A Metal Shade</h4> - -<p>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.</p> - -<p>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.</p> - -<p>The metal-work should be painted black, and to lend a<span class="pagenum"><a id="Page_135"></a>[135]</span> -better finish the filigree shade may be lined with pink or -orange-colored China silk.</p> - -<div class="figcenter illowp65" id="illus048" style="max-width: 31.25em;"> - <img class="w100" src="images/illus048.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span> - <span class="smcap">Fig. 5.</span> <span class="smcap">Fig. 6.</span> - <span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span></p> -</div> - -<h4>An Electric-light Screen</h4> - -<p>In homes where electric lights are used it is often desirable -to partly hide or subdue the harsh light from the<span class="pagenum"><a id="Page_136"></a>[136]</span> -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.</p> - -<p>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.</p> - -<p>The cap is lined with silk, and the beads should correspond -with it in color.</p> - -<h4>A Bell-shaped Shade</h4> - -<p>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.</p> - -<p>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.</p> - -<h4>A Pear-shaped Shade</h4> - -<p>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.</p> - -<p>Long glass-bead fringe is attached to the lower edge of -the cap, and the ends are caught together at the bottom.</p> - -<p><span class="pagenum"><a id="Page_137"></a>[137]</span></p> - -<h4>A Dome-shaped Shade</h4> - -<p>For a dining-room, where a cluster of lights is used, a -good idea for a dome-shaped shade is shown in Fig. 7.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Another Dining-room Shade</h4> - -<p>Another idea for a dining-room fixture is shown in Fig. 8.</p> - -<p>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.</p> - -<p>Another way of arranging this fixture is to carry the globes -to the inside of the band. From four to seven of them may<span class="pagenum"><a id="Page_138"></a>[138]</span> -hang just inside the band, which, in that case, may be made -seven or eight inches wide instead of six inches.</p> - -<p>The globes should be of a size to accommodate eight-candle-power -lights.</p> - -<p>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.</p> - -<h4>A Canopy</h4> - -<p>In Fig. 9 a canopy of thin metal strips and silk is shown.</p> - -<p>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.</p> - -<p>The inside of the canopy is lined with light silk, and -silk or glass-bead fringe is attached to the lower edge.</p> - -<h4>A Panel Shade</h4> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_139"></a>[139]</span></p> - -<h3 class="nobreak" id="Chapter_X">Chapter X<br /> -<span class="smaller">RELIEF ETCHING</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_140"></a>[140]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_141"></a>[141]</span> -surface like the original face of the plate, as shown in -Fig. 4.</p> - -<h4>The Technique of the Process</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_142"></a>[142]</span> -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.</p> - -<div class="figcenter illowp83" id="illus049" style="max-width: 31.25em;"> - <img class="w100" src="images/illus049.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span></p> - <p class="caption"><span class="smcap">Fig. 2.</span> THE DRAWING</p> - <p class="caption"><span class="smcap">Fig. 3.</span> THE PAINTING</p> - <p class="caption"><span class="smcap">Fig. 4.</span> THE ETCHING</p> - <p class="caption"><span class="smcap">Fig. 5.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_143"></a>[143]</span> -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.</p> - -<h4>The Acid Solution</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_144"></a>[144]</span> -open air. After the plate is immersed in the acid, do not -handle it with the unprotected fingers.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Some Typical Designs</h4> - -<p>In Fig. 5 the face of a door-knob is shown in its etched -state, the pattern being drawn in varnish, as described.</p> - -<p>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<span class="pagenum"><a id="Page_145"></a>[145]</span> -before the etching is done, as otherwise the acid would not -eat through the lacquer for some time.</p> - -<p>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.</p> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus050" style="max-width: 31.25em;"> - <img class="w100" src="images/illus050.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 7.</span> - <span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span></p> -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_146"></a>[146]</span> -to ornament them may be designed by the boy with some -artistic ability, and he may be able to improve upon these -suggestions.</p> - -<div class="figcenter illowp65" id="illus051" style="max-width: 31.25em;"> - <img class="w100" src="images/illus051.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 10.</span> <span class="smcap">Fig. 11.</span> - <span class="smcap">Fig. 12.</span> <span class="smcap">Fig. 13.</span></p> -</div> - -<p>When making hinge-straps, escutcheons, or any articles<span class="pagenum"><a id="Page_147"></a>[147]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_148"></a>[148]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_149"></a>[149]</span></p> - -<h2 class="nobreak" id="Part_III">Part III<br /> -<span class="smaller">HOUSEHOLD ARTS</span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_150"></a>[150]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_151"></a>[151]</span></p> - -<h3 class="nobreak" id="Chapter_XI">Chapter XI<br /> -<span class="smaller">CLAY-MODELLING AND PLASTER-CASTING</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_152"></a>[152]</span></p> - -<div class="figcenter illowp50" id="illus052" style="max-width: 31.25em;"> - <img class="w100" src="images/illus052.jpg" alt="" /> - <p class="caption">THE TOOLS</p> - <p class="caption"><i>Fig. 5.</i></p> -</div> - -<p><span class="pagenum"><a id="Page_153"></a>[153]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_154"></a>[154]</span></p> - -<h4>The Technique of the Art</h4> - -<div class="figcenter illowp83" id="illus053" style="max-width: 31.25em;"> - <img class="w100" src="images/illus053.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 6.</span></p> -</div> - -<p>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,<span class="pagenum"><a id="Page_155"></a>[155]</span> -select something a trifle more difficult, such as a hand or -foot.</p> - -<p>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).</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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;<span class="pagenum"><a id="Page_156"></a>[156]</span> -the finishing-touches may then be applied, and the detail -worked up more carefully.</p> - -<div class="figcenter illowp83" id="illus054" style="max-width: 31.25em;"> - <img class="w100" src="images/illus054.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 2.</span> <span class="smcap">Fig. 3.</span> - <span class="smcap">Fig. 4.</span> <span class="smcap">Fig. 7.</span> - <span class="smcap">Fig. 8.</span></p> -</div> - -<p>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.</p> - -<p>Moisten the clay occasionally with water sprayed on -with a small watering-pot or a greenhouse sprinkler, to<span class="pagenum"><a id="Page_157"></a>[157]</span> -keep it soft and ductile. When not being worked upon it -should be covered with wet cloths, to keep it moist.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Glue and Gelatine Moulds</h4> - -<p>When casting from hands, feet, or ornaments where undercut -predominates, the most successful mode is in the use of -gelatine or glue.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_158"></a>[158]</span> -gelatine is then poured in the box and left to chill and -solidify.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Hollow Casting</h4> - -<p>When very large objects that would require a great deal -of plaster are cast, they are generally made hollow in the -following manner:</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_159"></a>[159]</span></p> - -<h4>Modelling a Foot</h4> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus055" style="max-width: 31.25em;"> - <img class="w100" src="images/illus055.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_160"></a>[160]</span></p> - -<h4>Bas-relief Modelling</h4> - -<p>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.</p> - -<p>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.</p> - -<p>Bas-reliefs can, of course, be cast any size, and from the -original plaster mould many duplicates in composition or -<i>papier-maché</i> may be made.</p> - -<p>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.</p> - -<div class="figcenter illowp65" id="illus056" style="max-width: 31.25em;"> - <img class="w100" src="images/illus056.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span></p> -</div> - -<h4>A Medallion Head</h4> - -<p>After some experience in casting ornaments in bas-relief -has been obtained, it would be well to try a head or bust.</p> - -<p><span class="pagenum"><a id="Page_161"></a>[161]</span></p> - -<p>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<span class="pagenum"><a id="Page_162"></a>[162]</span> -your modelling instruments work it up as accurately as your -artistic skill will permit (see Fig. 13).</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_163"></a>[163]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_164"></a>[164]</span></p> - -<div class="figcenter illowp55" id="illus057" style="max-width: 31.25em;"> - <img class="w100" src="images/illus057.jpg" alt="" /> - <p class="caption">MEDALLION AND PLAIN CASTING</p> - <p class="caption"><span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span> - <span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span> - <span class="smcap">Fig. 17.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_165"></a>[165]</span></p> - -<h4>Coin and Metal Casts</h4> - -<p>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.</p> - -<h4>Plaster-casting in General</h4> - -<p>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.</p> - -<p>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.</p> - -<p>When you have the clay around the lower half of the<span class="pagenum"><a id="Page_166"></a>[166]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_167"></a>[167]</span></p> - -<div class="figcenter illowp50" id="illus058" style="max-width: 31.25em;"> - <img class="w100" src="images/illus058.jpg" alt="" /> - <p class="caption">PLASTER-CASTING IN GENERAL</p> - <p class="caption"><span class="smcap">Fig. 18.</span> <span class="smcap">Fig. 19.</span> - <span class="smcap">Fig. 20.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_168"></a>[168]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.”</p> - -<h4>How to Find and Mount Signets</h4> - -<p>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<span class="pagenum"><a id="Page_169"></a>[169]</span> -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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_170"></a>[170]</span></p> - -<h3 class="nobreak" id="Chapter_XII">Chapter XII<br /> -<span class="smaller">PYROGRAPHY</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_171"></a>[171]</span></p> - -<p>The etching-tools are few and simple, and are shown in -the illustrations.</p> - -<p>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.</p> - -<div class="figcenter illowp65" id="illus059" style="max-width: 31.25em;"> - <img class="w100" src="images/illus059.jpg" alt="" /> - <p class="caption"><i>Fig. 1.</i> <i>Fig. 2.</i></p> -</div> - -<p>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<span class="pagenum"><a id="Page_172"></a>[172]</span> -curved background tool, and is used for burning in the -grounds, or shading, in order to make the design stand out -boldly.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_173"></a>[173]</span> -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.</p> - -<div class="figcenter illowp65" id="illus060" style="max-width: 31.25em;"> - <img class="w100" src="images/illus060.jpg" alt="" /> - <p class="caption"><i>Fig. 3.</i> <i>Fig. 4.</i></p> -</div> - -<p>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<span class="pagenum"><a id="Page_174"></a>[174]</span> -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.</p> - -<div class="figcenter illowp100" id="illus061" style="max-width: 31.25em;"> - <img class="w100" src="images/illus061.jpg" alt="" /> - <p class="caption"><i>Fig. 5.</i></p> -</div> - -<div class="figcenter illowp100" id="illus062" style="max-width: 31.25em;"> - <img class="w100" src="images/illus062.jpg" alt="" /> - <p class="caption"><i>Fig. 6.</i></p> -</div> - -<p>Fig. 6 is a piece of finished work where the ornament is -shaded to give it character, and where also the background<span class="pagenum"><a id="Page_175"></a>[175]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_176"></a>[176]</span> -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.</p> - -<h4>A Platinum-point Outfit</h4> - -<p>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.</p> - -<p>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).</p> - -<p>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<span class="pagenum"><a id="Page_177"></a>[177]</span> -is not possible to purchase this cork, then one can be made -as shown at B in Fig. 8.</p> - -<div class="figcenter illowp100" id="illus063" style="max-width: 31.25em;"> - <img class="w100" src="images/illus063.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span> - <span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span> - <span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span> - <span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span></p> -</div> - -<p>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.<span class="pagenum"><a id="Page_178"></a>[178]</span> -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.</p> - -<p>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<span class="pagenum"><a id="Page_179"></a>[179]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_180"></a>[180]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Any ingenious boy who has a foot pump, such as are used -for bicycle or automobile tires, can get an old boiler from a<span class="pagenum"><a id="Page_181"></a>[181]</span> -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.</p> - -<h4>The Practice of Pyrography</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_182"></a>[182]</span> -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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_183"></a>[183]</span></p> - -<h4>A Few Suggestive Designs</h4> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus064" style="max-width: 31.25em;"> - <img class="w100" src="images/illus064.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 18.</span> - <span class="smcap">Fig. 19.</span> <span class="smcap">Fig. 20.</span> - <span class="smcap">Fig. 21.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_184"></a>[184]</span> -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.</p> - -<h4>Leather-work</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_185"></a>[185]</span> -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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_186"></a>[186]</span></p> - -<h3 class="nobreak" id="Chapter_XIII">Chapter XIII<br /> -<span class="smaller">BOOKBINDING AND EXTRA-ILLUSTRATION</span></h3> - -</div> - -<p>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,<span class="pagenum"><a id="Page_187"></a>[187]</span> -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.</p> - -<h4>The Tools</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_188"></a>[188]</span></p> - -<div class="figcenter illowp55" id="illus065" style="max-width: 31.25em;"> - <img class="w100" src="images/illus065.jpg" alt="" /> - <p class="caption">THE PRACTICE OF BOOKBINDING</p> - <p class="caption"><i>Fig. 1.</i> <i>Fig. 2.</i> <i>Fig. 3.</i> - <i>Fig. 4.</i> <i>Fig. 5.</i></p> -</div> - -<p><span class="pagenum"><a id="Page_189"></a>[189]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>The Practice of the Art</h4> - -<p>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<span class="pagenum"><a id="Page_190"></a>[190]</span> -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.</p> - -<p>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<span class="pagenum"><a id="Page_191"></a>[191]</span> -the back and go ahead with the preparation of your cover, -which may be made as follows:</p> - -<p>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.</p> - -<p>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.<span class="pagenum"><a id="Page_192"></a>[192]</span> -The edges when cut may be spattered with any color desired -by using a common tooth-brush and water-colors.</p> - -<div class="figcenter illowp100" id="illus066" style="max-width: 31.25em;"> - <img class="w100" src="images/illus066.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 10.</span></p> -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_193"></a>[193]</span> -for acquiring the skill that produces neat and handsome -work.</p> - -<h4>Rebinding Books</h4> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_194"></a>[194]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_195"></a>[195]</span></p> - -<div class="figcenter illowp55" id="illus067" style="max-width: 31.25em;"> - <img class="w100" src="images/illus067.jpg" alt="" /> - <p class="caption">REBINDING AN OLD BOOK</p> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span><span class="smcap">Fig. 11.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_196"></a>[196]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_197"></a>[197]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>How to Extra-illustrate a Book</h4> - -<p>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<span class="pagenum"><a id="Page_198"></a>[198]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Suppose <i>The Three Musketeers</i> 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.</p> - -<p>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<span class="pagenum"><a id="Page_199"></a>[199]</span> -it does not bear directly upon the scenes in the book, or is -not in some way connected with the author.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_200"></a>[200]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_201"></a>[201]</span> -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.</p> - -<p>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.</p> - -<h4>A Circulating Library</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_202"></a>[202]</span> -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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_203"></a>[203]</span></p> - -<h3 class="nobreak" id="Chapter_XIV">Chapter XIV<br /> -<span class="smaller">MAGIC LANTERNS AND STEREOPTICONS</span></h3> - -</div> - -<p>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.</p> - -<h4>A Home-made Magic Lantern</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_204"></a>[204]</span> -inches above the inside bottom. Make a door at the back -of the box, and fasten a reflector just opposite this hole.</p> - -<p>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).</p> - -<div class="figcenter illowp83" id="illus068" style="max-width: 31.25em;"> - <img class="w100" src="images/illus068.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span> - <span class="smcap">Fig. 5.</span> <span class="smcap">Fig. 6.</span> - <span class="smcap">Fig. 7.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_205"></a>[205]</span></p> - -<p>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).</p> - -<p>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.</p> - -<p>The principle of the magic lantern is the reflection of the -light through the condensing-lenses, which pick up all the<span class="pagenum"><a id="Page_206"></a>[206]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Stereopticon</h4> - -<p>The cost of a good stereopticon will range from twenty-five -to seventy-five dollars, and that sum places it beyond<span class="pagenum"><a id="Page_207"></a>[207]</span> -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.</p> - -<div class="figcenter illowp75" id="illus069" style="max-width: 31.25em;"> - <img class="w100" src="images/illus069.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span> - <span class="smcap">Fig. 10.</span></p> -</div> - -<p>The materials needed for its construction will be some<span class="pagenum"><a id="Page_208"></a>[208]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_209"></a>[209]</span></p> - -<div class="figcenter illowp60" id="illus070" style="max-width: 31.25em;"> - <img class="w100" src="images/illus070.jpg" alt="" /> - <p class="caption">CONSTRUCTION OF THE STEREOPTICON</p> - <p class="caption"><span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span> - <span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14 A.</span> - <span class="smcap">Fig. 14 B.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_210"></a>[210]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_211"></a>[211]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>In the third board make a hole the diameter of the objective -lens; then with screws and glue fasten the first<span class="pagenum"><a id="Page_212"></a>[212]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_213"></a>[213]</span></p> - -<p>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.</p> - -<div class="figcenter illowp65" id="illus071" style="max-width: 31.25em;"> - <img class="w100" src="images/illus071.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_214"></a>[214]</span> -is, a distance of fifteen or twenty feet from the sheet on -which the picture is thrown.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_215"></a>[215]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Lantern Slides by Contact-printing</h4> - -<p>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.</p> - -<p>Select a negative free from spots, scratches, or pinholes.<span class="pagenum"><a id="Page_216"></a>[216]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_217"></a>[217]</span> -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.</p> - -<p>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.</p> - -<h4>Lantern Slides by Reduction</h4> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_218"></a>[218]</span> -so that the camera can slide forward and backward -on a platform built to support it, as shown at Fig. 17 D.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_219"></a>[219]</span></p> - -<div class="figcenter illowp75" id="illus072" style="max-width: 31.25em;"> - <img class="w100" src="images/illus072.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 18.</span> - <span class="smcap">Fig. 19.</span> <span class="smcap">Fig. 20.</span> - <span class="smcap">Fig. 21.</span> <span class="smcap">Fig. 22.</span> - <span class="smcap">Fig. 23.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_220"></a>[220]</span> -light will be beyond the negative, thereby avoiding the possibility -of picking up any false lights or shadows.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_221"></a>[221]</span> -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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_222"></a>[222]</span></p> - -<h3 class="nobreak" id="Chapter_XV">Chapter XV<br /> -<span class="smaller">PRINTING, STAMPING, AND EMBOSSING</span></h3> - -</div> - -<p>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 <i>inside</i>. 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.</p> - -<p>The pressure-plate is cut from wood one and one-fourth -inches thick, and the same size as the <i>outside</i> 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<span class="pagenum"><a id="Page_223"></a>[223]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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).</p> - -<p>Fig. 5 shows a small proof-roller made of glue and molasses. -It may be purchased at a printers’ shop for a few cents.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_224"></a>[224]</span></p> - -<div class="figcenter illowp55" id="illus073" style="max-width: 31.25em;"> - <img class="w100" src="images/illus073.jpg" alt="" /> - <p class="caption">A SIMPLE HAND-PRESS AND ACCESSORIES</p> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span> - <span class="smcap">Fig. 5.</span> <span class="smcap">Fig. 6.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_225"></a>[225]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>An Upright Press</h4> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_226"></a>[226]</span> -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.</p> - -<h4>A Lever-press</h4> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus074" style="max-width: 31.25em;"> - <img class="w100" src="images/illus074.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 9.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_227"></a>[227]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_228"></a>[228]</span> -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).</p> - -<div class="figcenter illowp93" id="illus075" style="max-width: 31.25em;"> - <img class="w100" src="images/illus075.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 10.</span> <span class="smcap">Fig. 11.</span></p> - <p class="caption"><span class="smcap">Fig. 12.</span> SIDE ELEVATION OF WOODEN LEVER-PRESS</p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_229"></a>[229]</span></p> - -<p>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.</p> - -<h4>Stamping</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_230"></a>[230]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_231"></a>[231]</span> -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<span class="pagenum"><a id="Page_232"></a>[232]</span> -several parts of which are a miscellaneous lot of ornaments -and letters that can be easily copied by the young die-cutter.</p> - -<div class="figcenter illowp83" id="illus076" style="max-width: 31.25em;"> - <img class="w100" src="images/illus076.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span> - <span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span> - <span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 18.</span></p> -</div> - -<p>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.</p> - -<h4>Embossing</h4> - -<p>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,<span class="pagenum"><a id="Page_233"></a>[233]</span> -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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_234"></a>[234]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_235"></a>[235]</span></p> - -<h2 class="nobreak" id="Part_IV">Part IV<br /> -<span class="smaller">ROUND ABOUT THE HOUSE</span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_236"></a>[236]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_237"></a>[237]</span></p> - -<h3 class="nobreak" id="Chapter_XVI">Chapter XVI<br /> -<span class="smaller">A HOUSE GYMNASIUM</span></h3> - -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_238"></a>[238]</span> -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.</p> - -<div class="figcenter illowp100" id="illus077" style="max-width: 31.25em;"> - <img class="w100" src="images/illus077.jpg" alt="" /> - <p class="caption"><i>Fig. 1.</i></p> -</div> - -<h4>Dumb-bells</h4> - -<p>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).</p> - -<p><span class="pagenum"><a id="Page_239"></a>[239]</span></p> - -<div class="figcenter illowp100" id="illus078" style="max-width: 31.25em;"> - <img class="w100" src="images/illus078.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 2.</span> <span class="smcap">Fig. 3.</span> - <span class="smcap">Fig. 4.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_240"></a>[240]</span></p> - -<p>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.</p> - -<h4>Indian Clubs</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_241"></a>[241]</span> -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.</p> - -<p>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.</p> - -<h4>Calisthenic Wands and Ball-bars</h4> - -<p>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).</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Swinging-rings</h4> - -<p>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.</p> - -<p>A blacksmith will make you a pair of rings, eight inches<span class="pagenum"><a id="Page_242"></a>[242]</span> -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.</p> - -<div class="figcenter illowp93" id="illus079" style="max-width: 31.25em;"> - <img class="w100" src="images/illus079.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 5.</span></p> - <p class="caption"><span class="smcap">Fig. 6. WAND A BALL-BAR B</span></p> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_243"></a>[243]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>Trapeze Bars</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_244"></a>[244]</span> -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.</p> - -<div class="figcenter illowp100" id="illus080" style="max-width: 31.25em;"> - <img class="w100" src="images/illus080.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 10.</span> <span class="smcap">Fig. 11.</span> - <span class="smcap">Fig. 12.</span></p> -</div> - -<h4>Parallel Bars</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_245"></a>[245]</span> -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.</p> - -<p>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.</p> - -<p>At a hardware store purchase four iron brackets with -eight-inch tops and ten or twelve inch sides. Invert them<span class="pagenum"><a id="Page_246"></a>[246]</span> -and screw the tops to the base-boards and the sides to the -outer edges of the uprights, to insure added rigidity.</p> - -<p>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.</p> - -<h4>A Floor Horizontal Bar</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_247"></a>[247]</span></p> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus081" style="max-width: 31.25em;"> - <img class="w100" src="images/illus081.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span></p> -</div> - -<p>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.</p> - -<h4>Striking-bags</h4> - -<p>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<span class="pagenum"><a id="Page_248"></a>[248]</span> -end, as shown in Fig. 15. The bladder should then be replaced, -inflated, and the cover laced up tightly.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_249"></a>[249]</span></p> - -<div class="figcenter illowp50" id="illus082" style="max-width: 31.25em;"> - <img class="w100" src="images/illus082.jpg" alt="" /> - <p class="caption">STRIKING-BAGS</p> - <p class="caption"><span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span> - <span class="smcap">Fig. 17.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_250"></a>[250]</span> -bottom the spring is held in the block with screws or nails -driven through the wires of the spring and into the wooden -base.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_251"></a>[251]</span> -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.</p> - -<div class="figcenter illowp65" id="illus083" style="max-width: 31.25em;"> - <img class="w100" src="images/illus083.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 18.</span> <span class="smcap">Fig. 19.</span> - <span class="smcap">Fig. 20.</span> <span class="smcap">Fig. 21.</span></p> -</div> - -<p>The bag is shaped like an inverted balloon, and is made<span class="pagenum"><a id="Page_252"></a>[252]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_253"></a>[253]</span> -paint will finish the wood-work nicely, or it may be given -a coat of varnish.</p> - -<h4>A Medicine-ball</h4> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus084" style="max-width: 31.25em;"> - <img class="w100" src="images/illus084.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 22.</span> <span class="smcap">Fig. 23.</span> - <span class="smcap">Fig. 25.</span> <span class="smcap">Fig. 26.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_254"></a>[254]</span> -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.</p> - -<p>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.</p> - -<h4>Pulley-weights and Exercisers</h4> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_255"></a>[255]</span></p> - -<div class="figcenter illowp50" id="illus085" style="max-width: 31.25em;"> - <img class="w100" src="images/illus085.jpg" alt="" /> - <p class="caption"><span class="allsmcap">FIG. 24.—AN EXERCISING WEIGHT</span></p> -</div> - -<p><span class="pagenum"><a id="Page_256"></a>[256]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_257"></a>[257]</span> -as the strength of the boy will warrant, but light -weights are preferable to heavy ones for continued use.</p> - -<h4>An Attic Gymnasium</h4> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus086" style="max-width: 31.25em;"> - <img class="w100" src="images/illus086.jpg" alt="" /> - <p class="caption"><i>Fig. 27.</i></p> -</div> - -<p>Across the top of the room, from a window-casing to a -batten screwed fast to the opposite wall, a ladder may be<span class="pagenum"><a id="Page_258"></a>[258]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_259"></a>[259]</span></p> - -<h3 class="nobreak" id="Chapter_XVII">Chapter XVII<br /> -<span class="smaller">A MINIATURE THEATRE</span></h3> - -</div> - -<p>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.</p> - -<div class="figcenter illowp65" id="illus087" style="max-width: 31.25em;"> - <img class="w100" src="images/illus087.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span></p> -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_260"></a>[260]</span> -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<span class="pagenum"><a id="Page_261"></a>[261]</span> -stage and top, and are made fast with glue and screws, as -shown in Fig. 4. These will hold the framework securely in -position.</p> - -<p>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.</p> - -<h4>Scenery and Equipment</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_262"></a>[262]</span></p> - -<div class="figcenter illowp55" id="illus088" style="max-width: 31.25em;"> - <img class="w100" src="images/illus088.jpg" alt="" /> - <p class="caption">DETAILS OF STAGE</p> - <p class="caption"><span class="smcap">Fig. 2.</span> <span class="smcap">Fig. 3.</span> - <span class="smcap">Fig. 4.</span> <span class="smcap">Fig. 5.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_263"></a>[263]</span></p> - -<p>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,<span class="pagenum"><a id="Page_264"></a>[264]</span> -or cross-rails, fastened to the under side of the top-rails, as -shown in Figs. 1 and 2.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>The Puppets</h4> - -<p>The actors and actresses should be celluloid or <i>papier-maché</i> -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.</p> - -<p><span class="pagenum"><a id="Page_265"></a>[265]</span></p> - -<div class="figcenter illowp55" id="illus089" style="max-width: 31.25em;"> - <img class="w100" src="images/illus089.jpg" alt="" /> - <p class="caption">SCENERY SETS</p> - <p class="caption"><span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span> - <span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span> - <span class="smcap">Fig. 11.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_266"></a>[266]</span></p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_267"></a>[267]</span></p> - -<h3 class="nobreak" id="Chapter_XVIII">Chapter XVIII<br /> -<span class="smaller">FITTING UP A BOY’S ROOM</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_268"></a>[268]</span> -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.</p> - -<p>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.</p> - -<h4>A Plain Chair</h4> - -<p>Of all the pieces of furniture in the house, chairs are the -ones most used, and, as they are subjected to hard usage,<span class="pagenum"><a id="Page_269"></a>[269]</span> -they should be well constructed and the joints carefully -made.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_270"></a>[270]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_271"></a>[271]</span> -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.</p> - -<div class="figcenter illowp65" id="illus090" style="max-width: 31.25em;"> - <img class="w100" src="images/illus090.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span> - <span class="smcap">Fig. 5.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_272"></a>[272]</span></p> - -<h4>An Odd Chair</h4> - -<p>For studying or reading, the chair shown in Fig. 3 will be -found a useful piece of furniture.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>This chair can be made with a shifting back by rounding<span class="pagenum"><a id="Page_273"></a>[273]</span> -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.</p> - -<h4>A Morris Chair</h4> - -<p>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.</p> - -<p>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.</p> - -<p>A frame twenty-two inches high is made for the back and -covered with leather stretched tight and nailed all around<span class="pagenum"><a id="Page_274"></a>[274]</span> -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).</p> - -<div class="figcenter illowp93" id="illus091" style="max-width: 31.25em;"> - <img class="w100" src="images/illus091.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 7.</span> - <span class="smcap">Fig. 8.</span></p> -</div> - -<h4>A Settle</h4> - -<p>For the side of a room, where there is space to accommodate -it, a settle is a comfortable piece of furniture,<span class="pagenum"><a id="Page_275"></a>[275]</span> -and Fig. 7 gives some good lines that can easily be followed.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Box-desk</h4> - -<p>In the illustration of a box-desk (Fig. 9) an idea is shown -that the young craftsman can easily work out.</p> - -<p>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<span class="pagenum"><a id="Page_276"></a>[276]</span> -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.</p> - -<div class="figcenter illowp100" id="illus092" style="max-width: 31.25em;"> - <img class="w100" src="images/illus092.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span> - <span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_277"></a>[277]</span> -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.</p> - -<p>Stain and varnish, or paint, will add the finishing touch -to this box-desk.</p> - -<h4>A Writing-table</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_278"></a>[278]</span> -made to fit between the boxes, and a slide on runners is -attached with screws near the top.</p> - -<p>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.</p> - -<p>A top board, with half-circular supports, can be made and -attached to the rear of the desk-top if thought desirable.</p> - -<h4>A Whatnot</h4> - -<p>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.</p> - -<p>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.<span class="pagenum"><a id="Page_279"></a>[279]</span> -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.</p> - -<div class="figcenter illowp65" id="illus093" style="max-width: 31.25em;"> - <img class="w100" src="images/illus093.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span> - <span class="smcap">Fig. 15.</span></p> -</div> - -<p>The ledge over the drawers is forty inches above the floor, -and each drawer is five inches deep. The lower ledge or<span class="pagenum"><a id="Page_280"></a>[280]</span> -shelf is twelve inches above the floor, and the front edge is -cut in with a compass-saw.</p> - -<p>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.</p> - -<h4>A Treasure-chest</h4> - -<p>For stamps, coins, minerals, and other valuable possessions, -the treasure-chest shown in Fig. 14 is just the thing.</p> - -<p>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.</p> - -<p>Shelves and divisions are arranged, according to requirement, -within the chest. To close it, two doors are swung<span class="pagenum"><a id="Page_281"></a>[281]</span> -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.</p> - -<h4>Studying-table and Stool</h4> - -<p>For service and comfort when studying or writing, two -useful pieces of furniture are shown in Fig. 15.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_282"></a>[282]</span></p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_283"></a>[283]</span></p> - -<h3 class="nobreak" id="Chapter_XIX">Chapter XIX<br /> -<span class="smaller">PAINTING, DECORATING, AND STENCILLING</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_284"></a>[284]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_285"></a>[285]</span> -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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_286"></a>[286]</span> -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.</p> - -<p>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.</p> - -<p>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.<span class="pagenum"><a id="Page_287"></a>[287]</span> -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.</p> - -<div class="figcenter illowp100" id="illus094" style="max-width: 31.25em;"> - <img class="w100" src="images/illus094.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_288"></a>[288]</span> -he can do a great deal of effective decorating, and this is a -subject that we will now discuss at greater length.</p> - -<h4>Decorating</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_289"></a>[289]</span></p> - -<div class="figcenter illowp100" id="illus095" style="max-width: 43.75em;"> - <img class="w100" src="images/illus095.jpg" alt="" /> - <p class="caption"><span class="allsmcap">FIG. 3—A BOY’S ROOM</span></p> -</div> - -<p><span class="pagenum"><a id="Page_290"></a>[290]</span></p> - -<p>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.</p> - -<h4>Decorating a Bedroom</h4> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_291"></a>[291]</span></p> - -<div class="figcenter illowp100" id="illus096" style="max-width: 43.75em;"> - <img class="w100" src="images/illus096.jpg" alt="" /> - <p class="caption"><span class="allsmcap">FIG. 4—A BEDROOM</span></p> -</div> - -<p><span class="pagenum"><a id="Page_292"></a>[292]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_293"></a>[293]</span></p> - -<h4>A Boy’s Room</h4> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_294"></a>[294]</span></p> - -<div class="figcenter illowp100" id="illus097" style="max-width: 43.75em;"> - <img class="w100" src="images/illus097.jpg" alt="" /> - <p class="caption"><span class="allsmcap">FIG. 5—A BOY’S STUDY ROOM</span></p> -</div> - -<p><span class="pagenum"><a id="Page_295"></a>[295]</span></p> - -<p>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.</p> - -<h4>Another Boy’s Room</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_296"></a>[296]</span></p> - -<div class="figcenter illowp100" id="illus098" style="max-width: 43.75em;"> - <img class="w100" src="images/illus098.jpg" alt="" /> - <p class="caption"><span class="allsmcap">FIG. 6—ANOTHER BOY’S ROOM</span></p> -</div> - -<p><span class="pagenum"><a id="Page_297"></a>[297]</span></p> - -<h4>A Nursery</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Stencilling</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_298"></a>[298]</span></p> - -<div class="figcenter illowp100" id="illus099" style="max-width: 43.75em;"> - <img class="w100" src="images/illus099.jpg" alt="" /> - <p class="caption"><span class="allsmcap">FIG. 7—A NURSERY</span></p> -</div> - -<p><span class="pagenum"><a id="Page_299"></a>[299]</span></p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_300"></a>[300]</span></p> - -<div class="figcenter illowp65" id="illus100" style="max-width: 31.25em;"> - <img class="w100" src="images/illus100.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span> - <span class="smcap">Fig. 10.</span> <span class="smcap">Fig. 11.</span> - <span class="smcap">Fig. 12.</span> <span class="smcap">Fig. 13.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_301"></a>[301]</span> -make bevelled cuts. Straight ones are necessary or there -will be smeared edges.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_302"></a>[302]</span></p> - -<h3 class="nobreak" id="Chapter_XX">Chapter XX<br /> -<span class="smaller">NOOKS FOR BOOKS</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_303"></a>[303]</span></p> - -<h4>A Wall-rack</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_304"></a>[304]</span> -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.</p> - -<div class="figcenter illowp100" id="illus101" style="max-width: 31.25em;"> - <img class="w100" src="images/illus101.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_305"></a>[305]</span> -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.)</p> - -<h4>A Book-nest</h4> - -<p>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.</p> - -<p>It is not necessary that this home-made furniture should -be absolutely smooth or the lines perfectly straight. A<span class="pagenum"><a id="Page_306"></a>[306]</span> -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.</p> - -<h4>Another Book-rack</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Corner-nook</h4> - -<p>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<span class="pagenum"><a id="Page_307"></a>[307]</span> -extend down below the bottom of the box, and to which -the ornamental wood-work over the box is attached.</p> - -<div class="figcenter illowp100" id="illus102" style="max-width: 31.25em;"> - <img class="w100" src="images/illus102.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 5.</span> <span class="smcap">Fig. 6.</span> - <span class="smcap">Fig. 7.</span></p> -</div> - -<p>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.</p> - -<h4>A Book-tower</h4> - -<p>An odd but useful piece of furniture is shown in the -illustration of a book-tower (Fig. 8). It is suitable<span class="pagenum"><a id="Page_308"></a>[308]</span> -for the corner of a room where the available space is -limited.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>Hanging-shelves</h4> - -<p>A unique design for hanging-shelves is shown in Fig. 9.</p> - -<p>For general use the rack should be thirty inches long, the -ends thirty inches high, and the shelves seven inches wide.<span class="pagenum"><a id="Page_309"></a>[309]</span> -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.</p> - -<div class="figcenter illowp100" id="illus103" style="max-width: 31.25em;"> - <img class="w100" src="images/illus103.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span> - <span class="smcap">Fig. 10.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_310"></a>[310]</span></p> - -<h4>A Book-castle</h4> - -<div class="figcenter illowp55" id="illus104" style="max-width: 21.875em;"> - <img class="w100" src="images/illus104.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 11.</span></p> -</div> - -<p>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.</p> - -<p>The wood-work should be stained and varnished, or painted -to match the trim of the room.</p> - -<p><span class="pagenum"><a id="Page_311"></a>[311]</span></p> - -<h4>A Book-chair</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Book-table</h4> - -<p>For a library or sitting-room, the book-table shown in -Fig. 14 will be found a convenient and useful piece of furniture.</p> - -<p>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<span class="pagenum"><a id="Page_312"></a>[312]</span> -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.</p> - -<div class="figcenter illowp93" id="illus105" style="max-width: 31.25em;"> - <img class="w100" src="images/illus105.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 12.</span> <span class="smcap">Fig. 13.</span> - <span class="smcap">Fig. 14.</span> <span class="smcap">Fig. 15.</span> - <span class="smcap">Fig. 16.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_313"></a>[313]</span></p> - -<h4>A Magazine-rack</h4> - -<p>A convenient rack for magazines and periodicals is shown -in Fig. 17.</p> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus106" style="max-width: 31.25em;"> - <img class="w100" src="images/illus106.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 18.</span> - <span class="smcap">Fig. 19.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_314"></a>[314]</span> -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.</p> - -<h4>A Box Book-case</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_315"></a>[315]</span></p> - -<p>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.</p> - -<h4>A Nursery Book-rack</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_316"></a>[316]</span> -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.</p> - -<div class="figcenter illowp100" id="illus107" style="max-width: 31.25em;"> - <img class="w100" src="images/illus107.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 20.</span> <span class="smcap">Fig. 21.</span></p> -</div> - -<p>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.</p> - -<h4>Another Book-rack</h4> - -<p>In Fig. 21 an odd shape for a book-rack is shown.</p> - -<p>This is also made from a box by removing one side and -resetting it closer to the other side. A portion of the<span class="pagenum"><a id="Page_317"></a>[317]</span> -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.</p> - -<h4>A Handy Piece of Furniture</h4> - -<p>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.</p> - -<p>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.</p> - -<p>If, however, you are of a studious frame of mind, and<span class="pagenum"><a id="Page_318"></a>[318]</span> -have been fortunate enough to collect a number of books, -the second case would probably be more to your liking.</p> - -<div class="figcenter illowp100" id="illus108" style="max-width: 31.25em;"> - <img class="w100" src="images/illus108.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 22.</span> <span class="smcap">Fig. 23.</span></p> -</div> - -<p>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,<span class="pagenum"><a id="Page_319"></a>[319]</span> -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.</p> - -<h4>A Book-ledge and Stool</h4> - -<p>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.</p> - -<p>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.</p> - -<p>The stool is twelve inches square and twenty-two inches<span class="pagenum"><a id="Page_320"></a>[320]</span> -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.</p> - -<div class="figcenter illowp65" id="illus109" style="max-width: 21.875em;"> - <img class="w100" src="images/illus109.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 24.</span></p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_321"></a>[321]</span></p> - -<h3 class="nobreak" id="Chapter_XXI">Chapter XXI<br /> -<span class="smaller">CLOCKS AND TIMEPIECES</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>Thin white-wood or pine boards, sheet-lead, stain, and -shellac are some of the simple materials needed; and the<span class="pagenum"><a id="Page_322"></a>[322]</span> -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.</p> - -<h4>A Bracket-clock</h4> - -<p>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.</p> - -<p>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.</p> - -<p>To hide the joint between the cap and the body of the -clock, a round piece of wood, such as a dowel, should be<span class="pagenum"><a id="Page_323"></a>[323]</span> -inserted and nailed fast; or a narrow strip of picture-moulding -can be used.</p> - -<div class="figcenter illowp100" id="illus110" style="max-width: 31.25em;"> - <img class="w100" src="images/illus110.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span></p> -</div> - -<p>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.</p> - -<p>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.</p> - -<p>If the mounting is bothersome, however, a clock-maker<span class="pagenum"><a id="Page_324"></a>[324]</span> -will arrange it and adjust the dial and space the hands -properly.</p> - -<p>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.</p> - -<h4>A Mantel-clock</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Wall-clock</h4> - -<p>An attractive wall-clock is shown in Fig. 4, page 327. -With a movement having a fifteen-inch pendulum, the case<span class="pagenum"><a id="Page_325"></a>[325]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_326"></a>[326]</span> -Pompeian-green metal-work, made by tinting all the metal -parts with a light and dark olive-green paint blended together -on the parts.</p> - -<h4>A High Wall-clock</h4> - -<p>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.</p> - -<p>In construction it is somewhat on the lines of the “mission” -furniture, the pieces being tongued and pinned, with -a heavy slatted front.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_327"></a>[327]</span></p> - -<div class="figcenter illowp60" id="illus111" style="max-width: 31.25em;"> - <img class="w100" src="images/illus111.jpg" alt="" /> - <p class="caption">HANGING AND MANTEL CLOCKS</p> - <p class="caption"><span class="smcap">Fig. 4.</span> <span class="smcap">Fig. 5.</span> - <span class="smcap">Fig. 6.</span> <span class="smcap">Fig. 7.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_328"></a>[328]</span></p> - -<p>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.</p> - -<h4>An Odd Mantel-clock</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_329"></a>[329]</span></p> - -<h4>A Shelf-clock</h4> - -<p>A quaint clock is shown in Fig. 8, and it is quite as simple -to construct as it is in appearance.</p> - -<p>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.</p> - -<div class="figcenter illowp83" id="illus112" style="max-width: 31.25em;"> - <img class="w100" src="images/illus112.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 8.</span> <span class="smcap">Fig. 9.</span> - <span class="smcap">Fig. 10.</span></p> -</div> - -<p>White-wood boards three-eighths of an inch in thickness<span class="pagenum"><a id="Page_330"></a>[330]</span> -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.</p> - -<p>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.</p> - -<h4>An Old-style Timepiece</h4> - -<p>A case of old-fashioned design is shown in Fig. 10.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The ornamentation is carried out as described for the -other designs, and if properly constructed this clock should -present a very unique appearance.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_331"></a>[331]</span></p> - -<h3 class="nobreak" id="Chapter_XXII">Chapter XXII<br /> -<span class="smaller">SCREENS, SHOE-BOXES, AND WINDOW-SEATS</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<h4>A Light-screen</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_332"></a>[332]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Fire-screen</h4> - -<p>When an open fire is burning on the hearth a screen that -will protect the eyes from the glare, and yet allow the heat<span class="pagenum"><a id="Page_333"></a>[333]</span> -to reach the lower part of the body and the feet, is a useful -piece of furniture.</p> - -<p>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.</p> - -<div class="figcenter illowp93" id="illus113" style="max-width: 31.25em;"> - <img class="w100" src="images/illus113.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span> - <span class="smcap">Fig. 5.</span> <span class="smcap">Fig. 6.</span> - <span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_334"></a>[334]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Shoe-screen</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_335"></a>[335]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_336"></a>[336]</span></p> - -<h4>A Bedroom-door Screen</h4> - -<p>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.</p> - -<p>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.</p> - -<h4>A Heavy Fire-screen</h4> - -<p>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<span class="pagenum"><a id="Page_337"></a>[337]</span> -cross-rails are four inches wide, and the top and bottom -of each upright are cut as shown in Fig. 8.</p> - -<p>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.</p> - -<p>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).</p> - -<p>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.</p> - -<h4>A Window-seat with Under Ledge</h4> - -<p>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.</p> - -<p>The top shelf, or seat, is eighteen inches high from the<span class="pagenum"><a id="Page_338"></a>[338]</span> -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.</p> - -<p>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.</p> - -<div class="figcenter illowp93" id="illus114" style="max-width: 31.25em;"> - <img class="w100" src="images/illus114.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span> - <span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span></p> -</div> - -<p>To upholster this seat, obtain some curled hair from an<span class="pagenum"><a id="Page_339"></a>[339]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Shoe-box Seat</h4> - -<p>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).</p> - -<p><span class="pagenum"><a id="Page_340"></a>[340]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Dressing-room Settle</h4> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_341"></a>[341]</span></p> - -<p>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.</p> - -<h4>A Short Settle</h4> - -<div class="figcenter illowp93" id="illus115" style="max-width: 31.25em;"> - <img class="w100" src="images/illus115.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span> - <span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span></p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_342"></a>[342]</span></p> - -<p>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.</p> - -<h4>A Foot-rest</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The four parts are put together with glue and screws; -then the top is padded with curled hair and upholstered -as already described.</p> - -<p><span class="pagenum"><a id="Page_343"></a>[343]</span></p> - -<h4>A Combination Shoe-box and Seat</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Double Shoe-box and Seat</h4> - -<p>Three well-made boxes, two of a size and one longer, will<span class="pagenum"><a id="Page_344"></a>[344]</span> -make the foundation for a double shoe-box and seat, such -as is shown in Fig. 22.</p> - -<div class="figcenter illowp100" id="illus116" style="max-width: 31.25em;"> - <img class="w100" src="images/illus116.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 19.</span> - <span class="smcap">Fig. 22.</span> <span class="smcap">Fig. 24.</span> - <span class="smcap">Fig. 26.</span></p> -</div> - -<p>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.</p> - -<p>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.</p> - -<h4>A Curved-back Window-seat</h4> - -<p>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<span class="pagenum"><a id="Page_345"></a>[345]</span> -fourteen inches above the seat. The structural plan is -shown in Fig. 25.</p> - -<p>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.</p> - -<div class="figcenter illowp93" id="illus117" style="max-width: 31.25em;"> - <img class="w100" src="images/illus117.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 18.</span> <span class="smcap">Fig. 20.</span> - <span class="smcap">Fig. 21.</span> <span class="smcap">Fig. 23.</span> - <span class="smcap">Fig. 25.</span> <span class="smcap">Fig. 27.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_346"></a>[346]</span> -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.</p> - -<h4>A Window-seat and Shoe-box</h4> - -<p>In the illustration of the window-seat and shoe-box (Fig. -26) a substantial and useful piece of furniture is illustrated.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_347"></a>[347]</span></p> - -<h3 class="nobreak" id="Chapter_XXIII">Chapter XXIII<br /> -<span class="smaller">HOUSEHOLD CONVENIENCES</span></h3> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>It gives a more attractive finish to extend the ends of the<span class="pagenum"><a id="Page_348"></a>[348]</span> -ledge two or three inches beyond the door or window trim, -as shown in the illustration of Fig. 1.</p> - -<h4>A Plate-rail</h4> - -<p>For cups and small pitchers a plate-rail may be arranged -around the walls of a dining-room, as shown at Fig. 4.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Cup and Plate Rack</h4> - -<p>It is hardly advisable to give definite dimensions for the -cup and plate rack (Fig. 5), since it should be designed in<span class="pagenum"><a id="Page_349"></a>[349]</span> -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.</p> - -<div class="figcenter illowp93" id="illus118" style="max-width: 31.25em;"> - <img class="w100" src="images/illus118.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 1.</span> <span class="smcap">Fig. 2.</span> - <span class="smcap">Fig. 3.</span> <span class="smcap">Fig. 4.</span> - <span class="smcap">Fig. 5.</span> <span class="smcap">Fig. 6.</span> - <span class="smcap">Fig. 7.</span> <span class="smcap">Fig. 8.</span></p> -</div> - -<p>The shelves on which the plates rest are three inches<span class="pagenum"><a id="Page_350"></a>[350]</span> -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.</p> - -<h4>A Cup and Plate Pyramid</h4> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_351"></a>[351]</span> -secure the brackets to the wall, or long, slim screws may be -used.</p> - -<h4>A Butler’s Tray</h4> - -<p>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.</p> - -<div class="figcenter illowp93" id="illus119" style="max-width: 31.25em;"> - <img class="w100" src="images/illus119.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 9.</span> <span class="smcap">Fig. 10.</span> - <span class="smcap">Fig. 11.</span> <span class="smcap">Fig. 12.</span></p> -</div> - -<p>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.</p> - -<p>The ledge and brackets are of pine wood three-quarters -of an inch thick and planed on all sides and edges. The<span class="pagenum"><a id="Page_352"></a>[352]</span> -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.</p> - -<p>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.</p> - -<h4>Cup-pins and Brush-rack</h4> - -<p>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.</p> - -<p>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.</p> - -<p>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,<span class="pagenum"><a id="Page_353"></a>[353]</span> -so that it is always best to place them where they have a -free circulation of air.</p> - -<h4>Lock-shelves</h4> - -<p>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.</p> - -<div class="figcenter illowp100" id="illus120" style="max-width: 31.25em;"> - <img class="w100" src="images/illus120.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 13.</span> <span class="smcap">Fig. 14.</span></p> -</div> - -<p>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.</p> - -<h4>A Vegetable-bin</h4> - -<p>For a corner of the cellar, and where it is convenient to -the staircase, a very useful vegetable-bin may be made from<span class="pagenum"><a id="Page_354"></a>[354]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Spoon-bar and Saucepan-rack</h4> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_355"></a>[355]</span></p> - -<p>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.</p> - -<h4>A Medicine-chest</h4> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_356"></a>[356]</span></p> - -<div class="figcenter illowp83" id="illus121" style="max-width: 31.25em;"> - <img class="w100" src="images/illus121.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 15.</span> <span class="smcap">Fig. 16.</span> - <span class="smcap">Fig. 17.</span> <span class="smcap">Fig. 18.</span> - <span class="smcap">Fig. 19.</span></p> -</div> - -<p>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<span class="pagenum"><a id="Page_357"></a>[357]</span> -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.</p> - -<p>Be careful to anchor this chest securely to the wall, as -bottles are heavy and their weight must be taken into -consideration.</p> - -<h4>A Convenient Plant-tray</h4> - -<p>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.</p> - -<p>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.</p> - -<p>The tray is made of wood three-quarters of an inch thick -and planed on both sides.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The screws attaching these joints may be covered with -mock nail-heads. The ornament at the side of the tray is<span class="pagenum"><a id="Page_358"></a>[358]</span> -cut from sheet-lead with a stout pair of shears, painted -black, and applied to the wood with flat-headed tacks or -gimp-nails.</p> - -<h4>An Indispensable Clothes-press</h4> - -<p>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.</p> - -<p>The projections around the outer edge represent hooks, -while the bar through the middle and the cross-sticks represent -the space gained.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_359"></a>[359]</span> -from four to six suits can be hung to every running foot of -the pole.</p> - -<p>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.</p> - -<div class="figcenter illowp83" id="illus122" style="max-width: 31.25em;"> - <img class="w100" src="images/illus122.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 20.</span> PLAN OF CLOSET</p> - <p class="caption"><span class="smcap">Fig. 21.</span> <span class="smcap">Fig. 22.</span></p> -</div> - -<p>This device is so simple and useful that once tried it -will always be used, and where economy of space is a feature,<span class="pagenum"><a id="Page_360"></a>[360]</span> -this idea is a valuable one for both the city and country -house.</p> - -<h4>A Divan</h4> - -<p>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.</p> - -<p>In Fig. 24 the box, or framework, is shown. It is five feet -six inches long, twenty-eight inches wide, and fifteen inches -high.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_361"></a>[361]</span></p> - -<div class="figcenter illowp55" id="illus123" style="max-width: 31.25em;"> - <img class="w100" src="images/illus123.jpg" alt="" /> - <p class="caption">LOUNGE AND CORNER DRESSING-TABLE</p> - <p class="caption"><span class="smcap">Fig. 23.</span> <span class="smcap">Fig. 24.</span> - <span class="smcap">Fig. 26.</span></p> -</div> - -<p><span class="pagenum"><a id="Page_362"></a>[362]</span></p> - -<p>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.</p> - -<p>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.</p> - -<h4>A Corner Dressing-table</h4> - -<p>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.</p> - -<p>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.</p> - -<p>To keep the boards together, two battens thirty inches -long are nailed or screwed underneath the straight edges.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_363"></a>[363]</span></p> - -<p>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.</p> - -<div class="figcenter illowp50" id="illus124" style="max-width: 21.875em;"> - <img class="w100" src="images/illus124.jpg" alt="" /> - <p class="caption"><span class="smcap">Fig. 25.</span></p> -</div> - -<p>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.<span class="pagenum"><a id="Page_364"></a>[364]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>An oval or square mirror in a white or light enamelled -frame can be suspended by wires from the top.</p> - -<p class="tb">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 <i>Outdoor Book for -Boys</i> and Harper’s <i>Electricity Book for Boys</i>, which, together -with Harper’s <i>How to Understand Electrical Work</i>, form the -modern “Boy’s Own Library.”</p> - -<p class="titlepage">THE END</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK HARPER'S INDOOR BOOK FOR BOYS ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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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