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+
+*** START OF THE PROJECT GUTENBERG EBOOK 75563 ***
+
+
+
+
+
+  Transcriber’s Note
+  Italic text displayed as: _italic_
+  Bold text displayed as: =bold=
+
+
+
+
+[Illustration: RED CEDAR, AUSTIN, TEXAS]
+
+
+
+
+  CEDAR CHESTS
+
+  _HOW TO MAKE THEM_
+
+
+  RALPH F. WINDOES
+
+  Formerly Instructor of Manual Training, Davenport High School,
+  Davenport, Iowa. Author of “Shop Sketching,” “Architectural
+  Drawing for Secondary Schools,” “Drafting Instruments
+  and How to Use Them,” Etc.
+
+
+  [Illustration: Decoration]
+
+
+  SECOND EDITION—ENLARGED.
+
+  MILWAUKEE
+  THE BRUCE PUBLISHING COMPANY
+
+
+
+
+  Copyright 1918-1921
+  by
+  The Bruce Publishing Company
+
+
+
+
+PREFACE
+
+
+Believing that the popularity of the cedar chest as a cabinet making
+project has reached considerable proportions, the author has endeavored
+to embody under one cover all information necessary to the design and
+construction of a variety of chests. In addition to this mechanical
+aspect of the work, he has presented some information of educational
+character on red cedar as a wood, and something of interest concerning
+the development of the chest.
+
+As information of this character has been lacking in the past, he hopes
+that the book will meet with the approval of teachers who will use it
+in their work.
+
+Acknowledgment is due to the Forest Service for the use of the
+illustrations in Chapter I, to two of the author’s students, Otto J.
+Teegen and James A. Kelly, for the great assistance rendered by them
+in the preparation of the drawings, and to the Metropolitan Museum of
+Art, New York City, for permission to reproduce photographs of historic
+chests in its collections.
+
+  R. F. W.
+
+
+
+
+CONTENTS
+
+
+CHAPTER                                                             PAGE
+
+    I Red Cedar                                                        9
+
+   II Cedar Chests                                                    15
+
+  III How to Build a Simple Chest                                     17
+
+   IV Cedar Chest Designs                                             31
+
+    V The Finishing of Cedar                                          78
+
+   VI Copper Trimmings                                                82
+
+  VII Matting Boxes                                                   90
+
+
+[Illustration: This chest came over on the “Mayflower.”]
+
+
+
+
+CHAPTER I
+
+Red Cedar
+
+
+The botanical name for red cedar suitable for chest construction is
+=Juniperus Virginiana=, or =Southern Juniper=, as it is familiarly
+known. Commercially, it is sold as “Tennessee Red Cedar.” There are
+other cedar woods but none of them should be used in chests if the
+great advantages of cedar are to be derived, and especially should the
+“western cedar” be avoided, as it is very common and easy to purchase,
+yet it has no value as a wood for cedar chest construction. Southern
+Juniper may aptly be called the “wood imperishable,” since, under
+ordinary conditions, it will never decay. Placed as shingles with
+copper nails, there is little doubt but that it will last for ages, or
+until the attacks of rain and wind have weathered it away. Until recent
+years one of its greatest uses has been in telegraph poles, fence
+posts, greenhouses, etc., where constant contact with damp earth would
+soon rot away a less durable wood. Now, since the rapid rise in the
+value of red cedar has almost prohibited its use, cypress, “the wood
+eternal,” has largely succeeded it.
+
+
+LOG HOUSES OF RED CEDAR
+
+When America was settled, one of its most valued natural resources
+was found in the red cedar belt of the South. Settlers migrating to
+this region found the straight cedar logs perfectly suited to cabin
+construction, consequently the best trees were felled and utilized
+in the building of America’s first homes. As times went on and the
+settlers prospered, the logs were taken from the houses, and assembled
+into barns, frame construction taking their place in the homes. Today,
+these old logs, perfectly preserved, are purchased by lumber men, as
+some of the most select red cedar lumber is manufactured from them. A
+great many of these old logs have been cut up into lead pencil slabs,
+as cedar is the best wood that has ever been found for lead pencils.
+It is straight grained and easily cut with a knife, the two necessary
+characteristics. Another source for pencil supply has been found in
+the rail fences, so common in the South, practically all of which were
+constructed of split cedar rails. This wood is so highly prized by
+pencil makers that many fences have been bought up at such prices that
+modern fences have taken their places, leaving a comfortable profit for
+the owner.
+
+
+WHERE RED CEDAR ABOUNDS
+
+The geographical range of red cedar is very wide and hard to define.
+Roughly speaking, it can be found westward to Minnesota, south
+to Florida, and southwest through Texas. The finest forests were
+originally found in middle Tennessee, in Davidson, Rutherford, Bedford,
+Marshall, and Warren Counties, with a considerable quantity in the
+breaks of the Cumberland plateau and in Eastern Tennessee. There was
+considerable red cedar also in Southern Virginia, North Alabama and in
+Georgia, while some is found in Arkansas in the Ozark Mountains.
+
+[Illustration: Fig. 1. Red Cedar and Loblolly Pine; Occasional Scrub
+Pine in the Background. Southern Maryland]
+
+These belts are still the most reliable source of supply, some of
+them having been cut over a great many times. Second growth, although
+it is stunted, more knotty, and contains more sapwood than first
+growth, finds a market in fence posts and a very little in furniture
+construction.
+
+
+DEPLETION OF THE CEDAR SUPPLY
+
+The supply of Southern Juniper in this country, both first and second
+growth, is rapidly being depleted. There is no reason why this
+condition should exist. The early settlers, anxious to clear their
+lands, destroyed it ruthlessly, it is true, yet it lends itself so
+readily to reforestation that it is difficult to surmise why steps to
+maintain its constant supply were not taken long ago. About two hundred
+years ago, a Swedish naturalist, Peter Kalm, after traveling over the
+settled portion of the country, wrote at some length upon the splendid
+qualities of red cedar, and prophesied its early extinction unless
+steps were taken to replenish the supply.
+
+[Illustration: Fig. 2. Red Cedar. Longitudinal Section, Magnified 76
+times.]
+
+In Poor Richard’s Almanac for 1749, Benjamin Franklin urged the people
+to plant and foster the growth of red cedar. He was of the opinion that
+the rapid clearing of the land, the constant need of wood for fuel
+would soon destroy the slow-growing oaks and other hardwoods, and that
+“it would be to our advantage to endeavor to raise some other kind of
+timber that will grow faster or come sooner.”
+
+ “The red cedar (a species of juniper) I take to be the most profitable
+ tree for fencing and several other uses that we can raise in our
+ country, considering how easily it may be raised from seeds, its
+ readiness to grow on most kinds of soil, its quick growth, the profits
+ it will afford while it is arriving at maturity, and the long duration
+ of the wood when grown to a proper size for the materials we want for
+ our several occasions in husbandry and building. I know of no other
+ tree that will grow so well on such different soils as this will, for
+ upon our sandy beaches, which are nothing but beds of sand, they grow
+ as thick as possible, from whence many thousand posts for fencing are
+ brought into Pennsylvania and York governments, and I have seen, in
+ a great many swamps upon a branch of the Susquehannah, great trees
+ growing, near 18 inches diameter, 70 feet high, and very straight.
+ And the inhabitants near the mountains, upon Hudson Bay, make a
+ great use of them for making large hovels or barracks to put their
+ corn in before it is threshed. They will grow well in high gravely
+ or clay soil, in rich or poor, or even upon a rock, if there be but
+ half a foot of land or earth upon it. It is much to be valued for its
+ quick growth from seed, the little sap and much durable heart, which
+ is acquired sooner than any tree that we can raise on common land.
+ Indeed, the mulberry and locust are of quick growth in very rich land,
+ but not upon poor.”
+
+[Illustration: Fig. 3 Fifty Year Old Cedar, Job’s Swamp, Ocean County,
+New Jersey]
+
+That the predictions of Kalm and Franklin have been substantiated is
+a well known fact since the cedar of commercial size grown in the
+Eastern and New England States—of which they spoke—has long since been
+exhausted. Neither knew of the extensive cedar growths in the South and
+West, yet the original growth of these regions is very near exhaustion.
+
+[Illustration: Fig. 4. Mature Cedar Brake Along Road. No Underbrush,
+but the Young Cedar Seedlings Fill all Gaps. Marble Falls, Burnet
+County, Texas]
+
+Luckily, our efficient Forest Service is at this time doing everything
+in its power to encourage reforestation of the cedar tracts, and the
+future of the red cedar tree looks more promising than the present.
+
+
+CHARACTERISTICS OF RED CEDAR
+
+As has been intimated, red cedar is a very durable wood. It is also
+light, straight grained, does not warp readily, will dry out rapidly,
+takes a beautiful finish, and has a most pleasant aroma, but one which
+is moth and insect repelling. Moths shun the red cedar, as other
+insects shun the pennyroyal herb.
+
+These favorable characteristics all combine to make red cedar the
+ideal wood for chest construction. Chests must be light, yet strong;
+good to look upon when finished; of such flat stock that the finish
+on one side alone will not cause the wood to warp; and they must be
+moth proof. Southern Juniper furnishes all of these desirable points,
+and in addition its pleasant aroma permits the immediate wearing of
+apparel taken from the cedar chest without airing, as must be done with
+garments protected by moth balls.
+
+[Illustration: Small Carved Wood Chest of Venetian Make (Sixteenth
+Century)]
+
+
+
+
+CHAPTER II
+
+Cedar Chests
+
+
+The chest, or coffer, has had a varied existence. Its present
+popularity was preceded by a period in which new chests were a rarity.
+Previous to this time—taking us back to our great-grandmothers’
+days—the chest, in the form of the “dower chest,” was the proud
+possession of every girl with vision. Why its popularity suffered is
+hard to surmise, unless it was relegated as being “old-fashioned,” and,
+therefore, obsolete. In recent years those in society who make things
+fashionable have restored it to its place of usefulness and beauty, and
+today there are very few girls whose possessions do not include a chest.
+
+
+OLD ITALIAN CHESTS
+
+Long before the era of convenient furniture, chests, or coffers, were
+the one article of utility in every home. In them was kept clothing,
+valuables of every description, and even food-stuffs.
+
+In early days, these chests were crude, ugly affairs, made for utility
+alone. Later, especially in Italy, they developed into articles of
+beauty.
+
+This development reached its height at the time of the Renaissance when
+the greatest artists of the day took up the decorating of them. Carving
+and painting, furnished to the wealthy at great expense, produced
+articles whose magnificence is astounding. These beautiful chests were
+usually presented to Italian “brides-to-be,” who kept their dowry of
+rich velvets, magnificent brocade, and other treasures of maidenhood
+safely under their covers.
+
+With the ever-changing ideas of humanity, the beautiful chest lost
+its popularity, and some wonderful specimens of Renaissance artistry
+were relegated to the scrap heap. A few were saved—perhaps for the
+associations they suggested—eventually to be prized and handed down
+from generation to generation, preserved in the national museums, or
+homes where wealth permits the collection of old furniture.
+
+
+NEW ENGLAND CHESTS
+
+In quaint old New England, the seventeenth century bride considered
+her future happiness to depend largely upon the contents of her “dower
+chest.” Every maid had one—sometimes more than one—in which she
+assiduously collected her trousseau—her beautiful handmade linens, her
+gorgeous silks and satins, preparatory to the day of her ascension into
+home-making.
+
+Nothing, perhaps, in her interesting life could she recall, in later
+days, as vividly as her old dower chest, and nothing, perhaps, did she
+prize as highly.
+
+In those days few chests were made of cedar—oak being the wood
+preferred. Using the chests, as did the old-time bride, merely to
+assemble her trousseau, its storage properties were not considered as
+they are today.
+
+
+PRESENT DAY DEVELOPMENT
+
+Why the chest lost its popularity is hard to determine. It may be that
+moths, developing in the oak chest and devouring its contents, were a
+determining factor, or it may be simply a passing whim of society that
+relegated the chest. When red cedar came into favor as the universal
+chest material, repelling moths and other insects, and permitting of
+most beautiful finishes, the chest returned to its own.
+
+The present-day mother—the far-sighted mother—is instilling the
+dower chest notion into the hearts of her children as did her
+great-grandmother years ago. It is not a sentimental whim which prompts
+her to do this, it is strictly a utilitarian one.
+
+Girls, the majority at least, will some day marry. If they have a chest
+they will sew and save to fill it, if not, they may come to the altar
+unprepared, or purchase at one time those things that their own labor
+and years of association should endear to them. Even if they never
+marry, bachelor girls must clothe themselves, and some even fit up
+small apartments in which to live, hence this saving will not be a loss.
+
+Cedar chests may be purchased ready made, of course, but their rather
+high price prohibits their possession by some. Manual training students
+or home craftsmen will find in the chest a most attractive project of
+construction, and one made by a boy as a present to an older sister
+will give the chest, in her sight, an added charm.
+
+
+
+
+CHAPTER III
+
+How to Build a Simple Chest
+
+
+It is naturally assumed that the builder of a cedar chest knows the
+fundamental tool processes, as a project of this kind is no task for
+an absolute beginner to attempt, hence but little attention will be
+paid to processes that would ordinarily be known by the graduate of a
+grammar school.
+
+
+THE MILL BILL
+
+Chest Design Number 1, illustrated in perspective in Fig. 5, and whose
+working drawing appears in Fig. 6, is of very simple construction.
+
+Its stock can be purchased glued-up and sandpapered, coming to the
+builder as in Fig. 7, almost ready to assemble, or the boards can be
+secured surfaced on two sides, to be jointed, doweled, and finished by
+hand. Both methods will be considered in this chapter.
+
+The stock list, if the wood is to be glued-up and sandpapered at the
+mill, should comprise the following pieces:
+
+  2 pcs. red cedar for sides ¾” × 18½” × 38”
+  2 pcs. red cedar for ends ¾” × 18½” × 19”
+  2 pcs. red cedar for top and bottom ¾” × 20½” × 40”
+  1 pc. red cedar for feet ¾” × 2½” × 60”
+  3 pcs. red cedar for inside strips ¾” × ¾” × 36”
+  4 pcs. red cedar for inside corners 1¾” × 1¾” × 18”
+  1 pc. red cedar for handles 1½” × 2” × 12¼”
+
+[Illustration: Fig. 5]
+
+[Illustration: _CEDAR CHEST DESIGN NO. 1_
+
+Fig. 6]
+
+An exact checking of the mill bill and the working drawing will show
+that an allowance has been made in some instances that will need to
+be cut to fit by the builder. For example, the sides are ½” wider and
+about 2” longer than the working drawing calls for. This allowance
+has been made so that the craftsman can secure exact dimensions with
+perfectly square ends.
+
+[Illustration: Fig. 7]
+
+As surfaced and machine sanded stock is specified, all that remains for
+the builder to do is to square up the ends and edges, cut the feet and
+handles, and assemble.
+
+
+SIDES AND ENDS
+
+Plane one edge of each side and end perfectly straight and square with
+the surfaces. Check these for “working edges.” Measure over 18” and
+with a straight-edge, mark the width on each. Plane carefully to this
+line, keeping the edges square across.
+
+With the steel square, holding the blade against the working edges in
+each case, square lines across one end of each piece about ¾”.
+
+Saw about ⅛” outside of these lines and plane down to them, testing
+constantly with the try-square across the end grain and the steel
+square, the blade of which is held against the working edge. When
+perfectly straight and square, measure down 36” on the sides and 16½”
+on the ends, square lines across, and repeat the sawing and planing.
+
+
+TOP AND BOTTOM
+
+The top and bottom pieces are squared up in exactly the same way, but
+they finish 20” × 38”. The upper surfaces of each have their edges and
+ends carefully rounded, using a radius of ¾”. This is accomplished by
+planing and sandpapering with a rather coarse and then a fine sandpaper.
+
+These parts are now ready to assemble, but this will not be discussed
+until the hand finishing of stock is described.
+
+
+JOINTING AND GLUING WIDE STOCK
+
+If stock that has been machine surfaced on two sides is purchased for
+the chest, the builder doing his own gluing, the following stock will
+be needed:
+
+  30 board feet red cedar, surfaced two sides to ⅞”
+  1 pc. red cedar for inside corners 1¾” × 1¾” × 72”
+  1 pc. red cedar for handles 1½” × 2” × 12¼”
+
+
+SAWING UP THE STOCK
+
+[Illustration: Fig. 8]
+
+The stock will come in pieces from 4” to 10” wide and from 8 ft. to 12
+ft. long. Place the strips side by side on the saw horses, and work
+combinations whereby the greatest saving of stock will be affected.
+There should be about 2” allowed for jointing and squaring, making
+the sides and ends, rough, 20”, and the top and bottom 22”. Saw off
+the lengths, allowing about 2” over-length in each case. Save the
+sawed-off ends, if they are 7” or over in length, for the feet.
+
+[Illustration: Fig. 9]
+
+
+JOINTING
+
+Mark each piece “Side A,” “Side B,” “End A,” “End B,” etc., so that
+they will not become mixed. Begin with one side, putting all other
+stock away.
+
+Determine by a plane stroke or two which way the grain runs in each
+piece, and mark this direction by means of arrows, as in Fig. 8. Also,
+number the adjacent edges.
+
+Assuming the position of Fig. 9, carefully run the jointer plane
+over all edges that come together. Hold it =down on the knob=, when
+=starting a cut=, and =hard on the handle= when =finishing=. Keep the
+sides of the plane =parallel= to the sides of the board being planed.
+
+A few strokes should make the edge perfectly straight with the grain,
+when it should be tested with the try-square to be certain that it is
+square with the surfaces.
+
+When it is straight as to length and square across, lay it aside and
+place the edge it is to join within the vise. Do exactly the same with
+this edge, and test it by placing the edge formerly planed down on top
+of it, Fig. 10. Sighting toward the light will show whether or not
+exact work has been accomplished. High spots will be easily detected
+and planed off.
+
+If there is a =long, thin= opening in the center of the two edges, it
+may be left, as the clamps will close it and when the wood dries out,
+end-opening of joints will be prevented. But this opening =must not be
+more than 1/64”= as the clamps might not pull it down and hold it if it
+were greater.
+
+[Illustration: Fig. 10]
+
+Repeat with the other edges, and when all boards for one side have been
+joined, place them into position and test with the steel square, as in
+Fig. 11. If they do not combine to form a straight surface, those edges
+that are not square across grain must be planed.
+
+
+DOWELING
+
+Although stock jointed and glued up at the mill is not doweled, stock
+hand jointed must be. Use ⅜” dowel pins, placed about 8” apart, the end
+pins starting about 3” from the ends of the boards.
+
+[Illustration: Fig. 11]
+
+To lay out the dowel holes, place the edges that are to be joined back
+to back in the vise. With a sharp knife and the try-square, square
+lines across the grain. Mark intersecting-lines with the grain with the
+marking gauge, running the spur in the exact center of the edges.
+
+At the intersections of the gauge and knife lines, bore ⅜” holes about
+1” deep in both boards, Fig. 12. Slightly countersink these holes.
+
+Cut the dowel pins about 1⅞” long, point their ends a little, and cut a
+shallow groove along the edge to allow the surplus glue to escape, and
+thus prevent splitting the boards.
+
+
+GLUING
+
+Place the boards in position on the saw horses near the glue pot. Have
+the glue heated—if hot glue is used—and all clamps in position at hand.
+Remember that you can not stop to look for anything when the hot glue
+is once applied.
+
+Pieces this narrow will have little tendency to buckle, especially if
+the bar clamps are put on opposite sides, but it may be wise to have
+four hand screws ready with battens cut the correct length in case they
+do.
+
+Dip the dowels, one at a time, in the glue and drive in place along
+one edge of each board. Quickly tip this edge and its mate up, and
+apply a thin layer of glue to each. Drop them into position and drive
+them together. Repeat with the other edges, and place the bar clamps
+in position, as Fig. 13 illustrates. Tighten the clamps until all the
+surplus glue is squeezed out, and apply the hand screws if the boards
+show any tendency to buckle.
+
+[Illustration: Fig. 12]
+
+It is well to warm the boards slightly if hot glue is used.
+
+In case cold glue is used, allow it to stand ten or fifteen minutes
+before applying the clamps. It will stick better.
+
+
+SURFACING
+
+After all six wide pieces have been glued up in the above manner and
+allowed to dry over night, the clamps are removed and the surfaces
+smoothed up.
+
+Scrape off as much glue that has dried on the surfaces as possible, as
+hard glue will dull the plane bit.
+
+Begin with a very sharp jack plane, and plane the surface down smooth.
+Cross-planing is allowable on red cedar on account of the knots, but be
+very careful not to rip up deep grooves. When planed as nearly flat as
+possible, scrape with a sharp cabinet scraper. This should not be held
+in the hand, but should be used in a scraper plane. Scraping should
+remove all rough spots from the wood.
+
+Finally, sandpaper the entire surface with No. 1½ sandpaper, and finish
+with No. 0.
+
+
+SQUARING UP
+
+Cut these pieces to dimensions and square them up as has already been
+described for the mill-glued stock. Pieces that have been ripped from
+the edges should be saved.
+
+[Illustration: Fig. 13]
+
+
+ASSEMBLING
+
+Fig. 14 illustrates various joints used in chest construction. With the
+simple design taken as our model in this chapter, we will employ the
+plain butt, nailing the pieces together with 8d finishing nails.
+
+It will be noticed from the working drawing that the sides are nailed
+onto the ends. To prevent splitting, a number of small holes should
+first be drilled through the sides. Apply glue to the ends before
+driving the nails in place.
+
+[Illustration: _JOINTS USED IN CHEST CONSTRUCTION_
+
+  _PLAIN-BUTT_      _DADO AND RABBET_
+  _RABBET_          _DOVE-TAIL_
+
+Fig. 14]
+
+When the sides and ends have been assembled, cut a stick the length
+of one diagonal of the box, and use this to test on the other
+diagonal. If the box is square, both diagonals will be the same length.
+
+Place the bottom side up and screw the bottom to the sides and ends.
+Use 1¾” No. 8 flat head screws well countersunk. Bore the holes through
+the bottom rather large to allow for any expansion or contraction, and
+use about twelve screws.
+
+
+TRIANGULAR CORNER STRIPS
+
+In the inside corners of the box, triangular strips should be securely
+glued. They are made by ripping on the diagonal of the 1¾” square
+pieces, and should be made 17” long, Fig. 15. They help to strengthen
+the chest.
+
+[Illustration: Fig. 15]
+
+
+FEET
+
+The working drawing gives a detail of the feet. Two pieces 7” long and
+2½” wide are cut to shape as shown. Their adjoining ends are mitered,
+glued, and nailed. On the inside corner a block 1¾” square is glued
+to help strengthen the joint and to carry the caster. These feet are
+screwed onto the bottom piece.
+
+
+HANDLES
+
+Handles may be purchased, but they are so easily made that they are not
+worth the expense involved. The working drawing gives a detail of a
+good shape, but this is only a suggestion. The inside is gouged out for
+a finger hold.
+
+The handles are attached with flat head screws from the inside of the
+box, and glued.
+
+[Illustration: _METHODS OF MAKING THE CHEST DUST-PROOF_
+
+Fig. 16]
+
+
+THE COVER
+
+A good chest is dust-proof. There are three ways of rendering it so
+illustrated in Fig. 16. The first has false edges glued around the
+under edges of the top, this false edge extending down over the sides
+and ends. The third has a strip fastened to the top inside of the edges
+and ends, while the second is a combination of the other two.
+
+In our example, the third method will be employed.
+
+Cut two strips 34½” long from stock ¾” square, and two pieces 15” long.
+Screw and glue them in place.
+
+
+HINGING
+
+Two plain butt hinges 21” long with a ¾” leaf will do on this chest.
+They may be let into both the top and the upper edge of the side piece,
+or entirely into the edge. Another method often used in schools is that
+of placing the hinges on the outside of the back and the under side
+of the top. This is the most simple as it involves no chiseling, and,
+since the chest is usually placed against a wall, does not look bad,
+especially if an ornamental hinge is used.
+
+Two chains or desk supports should be used to prevent the lid from
+swinging way back and straining the hinges. See Fig. 52, Chapter VII.
+
+
+FINISHING
+
+Directions for finishing and preparing the wood for finish are given
+in Chapter V. Of course the nails should be well set and filled as
+explained.
+
+[Illustration: A French Chest of the Late XV Century (Gothic Period)]
+
+[Illustration: _CEDAR CHEST DESIGN NO. 2_
+
+Fig. 17]
+
+
+
+
+CHAPTER IV
+
+Cedar Chest Designs
+
+
+Variety in design is so essential in cabinet making classes that a
+number of different styles of chests are presented in this chapter.
+Although a great many teachers follow the practice of giving the
+student a working drawing to follow, it is recommended that the designs
+herewith presented be used only as models—that from them each boy
+will combine, and add his own ideas to evolve what may be called “an
+original design.” Only by so doing will the student derive his greatest
+benefit from the work.
+
+
+DESIGN NO. 2
+
+In Fig. 18 is presented a perspective of the chest whose working
+drawing is given in Fig. 17. This chest is very similar to Design No. 1
+described in the previous chapter. Its dimensions are practically the
+same, but in this case, the ends are fastened to the sides, and the end
+grain—appearing on the front—is covered by a curved piece of cedar 1¾”
+wide. The feet also differ as the detail shows.
+
+[Illustration: Fig. 18]
+
+[Illustration: _CEDAR CHEST DESIGN NO. 3_
+
+Fig. 19]
+
+[Illustration: Fig. 20]
+
+
+DESIGN NO. 3
+
+In this design we have a larger chest than the previous, but whose
+construction is the same. The end grain, appearing on the front, is
+covered with strips of copper. These may be put on as corners extending
+over the ends also, or merely as plates on the front, as Fig. 20
+illustrates. The feet are detailed with Design No. 1.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 4_
+
+Fig. 21]
+
+[Illustration: Fig. 22]
+
+
+DESIGN NO. 4
+
+One of the most popular chest designs is illustrated in Fig. 21. In
+this, the edges are rounded, giving it an easy, graceful appearance. It
+requires careful, accurate work, as the joints can not be covered with
+strips or copper as with the previous styles.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 5_
+
+Fig. 23]
+
+[Illustration: Fig. 24]
+
+
+DESIGN NO. 5
+
+In Fig. 24 is shown a chest whose design permits it to be used as
+a window seat when covered with a cushion. Its appearance is very
+attractive as it has heavy, massive ends, giving it an air of solidity.
+The ends can be built up flush, as the drawing, Fig. 23, illustrates,
+or paneled. A ¾” strip is glued to the front edge of the top, making
+it appear to be as thick as the ends. The drawings illustrate copper
+plates on the front, but, if good work is accomplished, these may well
+be omitted.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 6_
+
+Fig. 25]
+
+[Illustration: Fig. 26]
+
+
+DESIGN NO. 6
+
+A paneled chest, Figs. 25 and 26, looks well when accurate work has
+been done. It, of course, means a great deal of mortising and routing,
+but, where power machines are available, does not consume a great
+amount of time. A chest built up as previously described with ¼” strips
+glued on will give the same effect. A study of both drawings will make
+the construction clear to the average student.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 7_
+
+Fig. 27]
+
+[Illustration: Fig. 28]
+
+
+DESIGN NO. 7
+
+Design No. 7, Figs. 27 and 28, is a rather odd design from the fact
+that it contains a drawer. It is built in the usual manner, but has
+two bottoms and an opening in the front for the drawer to slide into.
+It should be built of cedar throughout, but a slight saving can be
+effected if the lower bottom is of a cheaper wood or even a frame.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 8_
+
+Fig. 29]
+
+[Illustration: Fig. 30]
+
+
+DESIGN NO. 8
+
+This chest involves a little turning, but otherwise its construction is
+simple. A ¾” piece is set into the upright end pieces of stock 1½” ×
+1¾”, and another piece mortised in between them at the top. This latter
+piece has had a handle turned in its center, and two round tenons on
+its ends. These tenons are glued into holes bored in the uprights. Fig.
+29 makes this construction clear. Aside from this, the construction is
+very similar to Design No. 5.
+
+
+DESIGN NO. 9
+
+At first glance, Fig. 32 presents a chest of difficult design, yet a
+careful understanding of its construction will show it to be quite
+simple. The box is built up with plain butt ends, and four corner legs
+are cut out according to the detail on Fig. 31. A right angle groove
+is cut into the center of each leg, and this fits over the corners
+of the chest. Glue and long screws from the inside of the box hold
+them in place, as detailed in Fig. 33. The little brackets shown in
+the perspective are doweled onto the legs after the latter have been
+fastened in place. At the top and bottom strips of small moulding may
+be cut by hand, or special mill orders will secure it from the dealers.
+The panels are made of similar mouldings but these may be omitted if
+desired. The top shows a raised panel. There are two methods used to
+secure this effect. In the most simple, the ¾” top is built up and
+another, thinner piece, glued over it. If the shop has a veneer press,
+this method is very easy. Of course there is excessive weight when this
+construction is used. The alternate method is to build up a frame with
+either mortised or mitered ends, and set the ¾” top into this frame. It
+can be secured with nails and glue from the under side.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 9_
+
+  _DETAIL OF LEG_       _ALTERNATE METHODS OF BUILDING UP TOP_
+
+Fig. 31]
+
+[Illustration: Fig. 32]
+
+[Illustration: _DETAILS OF DESIGN NO. 9_
+
+_SECTION OF MOULDING_
+
+_METHOD OF FASTENING CORNERS TO BOX_
+
+_BRACKET DOWELED TO CORNER_
+
+Fig. 33]
+
+[Illustration: _CEDAR CHEST DESIGN NO. 10_
+
+_DETAIL OF LEG_
+
+_DETAIL OF MOULDING_
+
+Fig. 34]
+
+
+DESIGN NO. 10
+
+[Illustration: Fig. 35]
+
+Figs. 34 and 35 illustrate a chest of the William and Mary period
+style. It is built up as the others have been with plain butt joints,
+and over the corners, as with Design No. 9, the legs are fastened.
+These are turned on a wood lathe, a quarter of the pieces being cut
+out. They can be cut after the turning is finished, or before. The
+latter plan is the more simple, as a frame must be constructed to hold
+the legs while being sawed if they have been previously turned. If
+the section is removed before turning it is a good plan to make the
+two circular saw cuts through the middle of the piece without cutting
+through to the ends. This will permit good centers to be obtained, and
+it may prevent excessive chipping of the edges. The wood can be removed
+when the ends are cut off on the lathe, or they may be carefully
+chiseled out. The panel effect is secured with small mouldings mitered
+at their corners. These may be omitted, if desired, without spoiling
+the appearance of the chest.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 11._
+
+Fig. 36]
+
+
+[Illustration: Fig. 37]
+
+
+DESIGN NO. 11
+
+This chest is of very simple design, and would not be too difficult
+a project for the average eighth-grade student. The ends are butted
+against the front and back, and fastened with fine finishing nails.
+Corner blocks are used on the inside, of course. The bottom is a
+mitered frame which is nailed to the box. The handles are worked
+out from small pieces of stock, 1½” thick. The top is built up with
+a mitered frame, securely glued and nailed. Fig. 36 is the working
+drawing, and Fig. 37 presents a photograph of the finished chest.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 12._
+
+Fig. 38]
+
+
+[Illustration: Fig. 39]
+
+
+DESIGN NO. 12
+
+Figs. 38 and 39 illustrate a chest very similar in construction to
+those already described, but one differing in mode of trimming. In this
+project Decalcomania transfers are successfully used, a description of
+which will be found in Chapter VI.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 13._
+
+Fig. 40]
+
+
+[Illustration: Fig. 41]
+
+
+DESIGN NO. 13
+
+This very attractive chest is identical in construction with Design No.
+12, but in this case the chest is embellished with two well designed
+metal corners fastened with large-headed brass or copper nails. It will
+be noted that no corners are used at the back; however, it would not
+look out of place to fasten plates on the ends to give the appearance
+of corners.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 14_
+
+Fig. 42]
+
+
+[Illustration: Fig. 43]
+
+
+DESIGN NO. 14
+
+The only unique parts of the chest illustrated in Figs. 42 and 43 are
+the feet. After carefully forming them, they should be attached to
+the chest bottom before it is fastened to the box, as in this way the
+screws used to hold them can be evenly distributed.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 15_
+
+Fig. 44]
+
+
+[Illustration: Fig. 45]
+
+
+DESIGN NO. 15
+
+In Figs. 44 and 45 we have a number of departures from the chests
+previously described. The most noticeable of these is the edge around
+the top, which is built-up from strips one and three-fourths inches
+square. The edges of these strips are carefully rounded and the outside
+tapered in toward the bottom. Another point to note is that the feet
+are not set in or out from the body of the chest, but are so fastened
+that they give the appearance of flush sides and ends. These latter are
+mitered together at the corners.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 16_
+
+Fig. 46]
+
+[Illustration: Fig. 47]
+
+
+DESIGN NO. 16
+
+This chest is almost identical in design with No. 13, excepting that
+it has an overhanging top. When the box has been completed, a cove
+moulding is glued and bradded flush with the upper edges, and the top
+fitted over this moulding. As it is impossible to secure this moulding
+already cut from red cedar, it will be necessary to put in a special
+order for it at the mill or to work it out with a combination plane.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 17_
+
+Fig. 48]
+
+[Illustration: Fig. 49]
+
+
+DESIGN NO. 17
+
+There is nothing unusual about this chest, excepting possibly that it
+is longer than the average. The top is built-up as described for Design
+No. 15.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 18_
+
+Fig. 50]
+
+[Illustration: Fig. 51]
+
+
+DESIGN NO. 18
+
+This chest is almost identical with Design No. 4. It is built in the
+same manner, but here we have Decalcomania decorations applied, and the
+dimensions differ. When carefully constructed this is one of the most
+attractive designs in the series.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 19_
+
+Fig. 52]
+
+[Illustration: Fig. 53]
+
+
+DESIGN NO. 19
+
+Figs. 52 and 53 present another chest with paneled ends, and the
+sectional view in the working drawing shows the construction of them.
+The rails are mortised into the post, and on the front panel, the wide
+edge is relieved by attaching a small quarter-round. The end panel is
+set into the rails at the center, hence it is not necessary to use the
+moulding here.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 20._
+
+Fig. 54]
+
+[Illustration: Fig. 55]
+
+
+DESIGN NO. 20
+
+With a proper selection of transfer designs, this chest is one of the
+most attractive that it is possible to build. Its construction is
+simple and it has the wide curved pieces over the end grain that were
+first shown in Design No. 2.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 21._
+
+Fig. 56]
+
+[Illustration: Fig. 57]
+
+
+DESIGN NO. 21
+
+Although larger than No. 20, this chest is practically the same with
+the exception of its decoration. Decalcomanias are not used here, but
+hinge plates and a well designed copper decoration on the front, add
+the hit of relief so urgently desired.
+
+[Illustration: _CEDAR CHEST DESIGN NO. 22._
+
+Fig. 58]
+
+[Illustration: Fig. 59]
+
+
+DESIGN NO. 22
+
+A paneled chest very similar to Design No. 6, is shown in Figs. 58 and
+59. In this case there are but two panels on the front and top, and the
+ends are fitted with corner plates.
+
+[Illustration: _UNDER-BED CHEST_
+
+Fig. 60]
+
+[Illustration: Fig. 61]
+
+
+UNDER-BED CHEST
+
+As its title indicates, the chest design shown in Figs. 60 and 61 is
+meant to roll under the bed. It is of very simple construction, and
+most useful in small bedrooms and flats.
+
+[Illustration: Fig. 62]
+
+[Illustration: _CHEST OF DRAWERS_
+
+Fig. 63]
+
+
+CHEST OF DRAWERS
+
+A chest of cedar drawers, Fig. 62, has so many advantages that
+little need be said concerning it. Its additional room and separate
+compartments commend it highly. Its construction is exactly like
+the usual cabinet construction, all parts, wherever possible, being
+mortised and tenoned together. The detail of the drawer construction,
+Fig. 64, shows the fronts to extend past the sides, the edges being
+rounded. This gives the chest a most pleasing appearance and renders it
+dust-proof. If desired, the upper section, instead of having a large
+drawer, can have a false drawer front, and a bottom put in. The top can
+then be hinged and a high chest with two drawers will result. Or the
+top drawer may be divided into two smaller drawers with good effect.
+
+[Illustration: _DETAIL OF DRAWERS_
+
+Fig. 64]
+
+[Illustration: Fig. 65. Suggestive Designs from Commercial Sources]
+
+
+SUGGESTIONS FOR DESIGN
+
+Figs. 65 and 66 illustrate a few additional designs whose working
+drawings are not given. They may offer suggestions worth while when the
+builder is designing his own. The feet are especially suggestive.
+
+[Illustration: Fig. 66. Suggestive Designs from Commercial Sources]
+
+
+
+
+CHAPTER V
+
+The Finishing of Cedar
+
+
+Red cedar, contrary to supposition, is not a hard wood to finish.
+Having a closed grain, it needs no filler, which greatly simplifies
+its finishing. The outside, and the inner side of the cover—to prevent
+warping—should be finished; =never the inside of the chest=.
+
+
+PREPARING THE WOOD FOR FINISHING
+
+The cedar chest should be prepared for finishing as any other piece of
+furniture is prepared. All glue and rough spots should be carefully
+scraped and sandpapered until the surface is entirely free from
+defects. If the wood in the chest has been purchased glued up and
+machine sandpapered, it will need a final sandpapering with No. 0 or
+No. 00 sandpaper. If worked down by hand, it will need a great deal
+of scraping with a =sharp= scraper, a preliminary rubbing with No. 1
+sandpaper, and a final rubbing with No. 0, working =with the grain= in
+each case. Careful dusting preparatory to the application of the first
+coat of finish is very necessary.
+
+
+FILLING ROUGH SPOTS
+
+As red cedar contains a great many knots, planing the wood by hand—and
+occasionally by machine—causes rough spots to occur around the
+knots. If these rough spots are shallow, they can be scraped out and
+sandpapered, but if they are deep, they must be filled.
+
+There are a number of methods of filling. The most simple—and least
+satisfactory—method is to fill them with “water putty,” a dry crack
+filler purchased in powder form and mixed with water. When it has
+hardened it can be rubbed down with sandpaper and colored to match the
+surrounding wood. As this color will fade in time, this method is not
+recommended.
+
+A better method is to fill them with a colored wood filler. Secure a
+small can of natural paste wood filler, a little rose pink dry stain,
+and some Van Dyke brown dry stain. Thin the filler with turpentine or
+benzine and add a quantity of the Van Dyke brown, well stirred in.
+Compare this color with that of the knots around which you are going to
+fill and add the rose pink until the correct shade of red is obtained.
+Apply this filler to the knots, and when perfectly dry, sandpaper down
+to an even surface.
+
+A third method—much slower than the other two—is the application of
+successive coats of colored shellac. To the ordinary shellac, add a
+little Bismark brown dry stain until you get a color that will match,
+when dry, the wood surrounding the rough spots. Apply this and allow it
+to set. Sandpaper down and apply successive coats, rubbing down evenly
+after each until a level surface is obtained. Repeated coats of thin
+shellac will look better and stick better than a few heavy coats.
+
+
+COLORING THE WOOD
+
+Some people object to the white streaks of sap wood contrasting so
+strongly with the red heart wood, while others are of the opinion that
+this contrast is one of the beauties of red cedar. The author is of the
+opinion that the white wood is not objectionable =if there is not too
+much of it=. Just what quantity to allow is again a matter of personal
+choice, so no hard and fast rule can be laid down.
+
+To color the chest prepare an aniline dye stain of red and brown. Cover
+the entire piece with a thin coat, then go over the lighter parts and
+streaks with a stronger coat. If carefully done, this should even up
+the color.
+
+If the maker does not mix his own stains, a red mahogany oil stain
+applied in the same manner will leave the same result. Thin the first
+coat out with benzine.
+
+
+WAX FINISH
+
+After filling and coloring, if the latter is desired, the kind of
+finish must be selected. The most simple is the wax but it is very
+seldom used—almost never by cedar chest manufacturers. But since it is
+often employed by students and home craftsmen it will be described.
+
+Over the dry surface apply a coat of thin shellac, either white or
+orange. When this has thoroughly dried, rub it down lightly with No.
+00 sandpaper and apply a second coat. When this has set, repeat the
+rubbing, being very careful not to rub through the coat, especially on
+the edges and corners. Brush on the third coat of shellac and rub it
+down with a little boiled linseed oil placed on the No. 00 sandpaper.
+This should leave a smooth, unpitted surface.
+
+Finally, apply a coat of prepared floor wax and allow it to stand over
+night. Rub it briskly with a dry flannel cloth, bringing it to a good
+polish. If a still higher gloss is desired, put on a second coat of wax
+and allow it to stand about thirty minutes before rubbing off.
+
+This finish can be renewed from time to time with fresh applications of
+wax, and has the advantage over the varnished surface of not showing
+scratches as readily.
+
+
+VARNISH FINISH
+
+For a varnish finish apply but two coats of shellac in the manner
+described above, and two coats of high grade rubbing varnish.
+
+The temperature of the room in which the varnishing is accomplished
+should be 70 degrees F. or over, and perfectly uniform. The room should
+be free from dust, and kept free after the varnish has been applied.
+
+Use an oval varnish brush, well dusted in the hand. Take up a brush
+full of the liquid as it comes from the can, and, starting from the
+center of the top, spread it out to the edges. Where it drips over,
+take up this surplus with the end of the brush. The sides should be
+varnished by working down from the top edge.
+
+The inside of the cover should be supported so that the air can
+circulate around it, otherwise it would be very slow in drying.
+
+Allow about five days for the varnish to thoroughly dry in before
+rubbing it down. Then sprinkle powdered pumice stone over the surface,
+and rub it with a felt pad (about 4” by 5”) moistened with water. Rub
+all surfaces while they are in a horizontal position if possible. Rub
+=lightly= and =evenly with the grain=, and be very sure that you do not
+go below the coat in any place—edges especially.
+
+Wash the pumice stone off with water and rub dry with a clean cloth
+after which the second coat is applied in the same manner. Allow this
+coat about five days in which to dry when the polishing process can
+be started. Rub it down as before with pumice stone and water, then
+remove the fine scratches left by the pumice stone by rubbing in a
+similar manner with rotten stone and water. =Always rub with the grain
+if possible.= Next, moisten the hand with linseed oil and sprinkle a
+little rotten stone in it. Very lightly go over the entire surface with
+this combination, rubbing with the grain. When perfectly smooth, clean
+the surface with a very soft cloth saturated with clean oil, and rub
+dry with cotton batting.
+
+To finish the polish, go over the entire surface with another soft pad
+of cotton batting saturated with some good furniture polish, or a thin
+mixture of linseed oil, turpentine, and sweet oil. This should produce
+an extremely brilliant and satisfactory finish if good materials have
+been used and care exercised in their application.
+
+
+OIL FINISH
+
+If an oil finish is desired go over the wood, after it has been filled
+and colored, with a coat of =hot linseed oil=. When thoroughly dry,
+wipe off the “grease spots,” if there are any, and give the wood a coat
+of shellac. This can be followed with a second coat of shellac, rubbed
+down with pumice stone and oil, or the varnish finish as described
+above can be applied over the second coat of shellac.
+
+
+ENAMEL FINISH
+
+There is a modern demand evinced for enameled and painted furniture,
+especially in some of the Period designs. To meet this demand, cedar
+chest manufacturers have recently introduced chests enameled on the
+outside, and left natural on the inside, the designs being made to
+correspond with various periods—Adam and William and Mary being
+predominant.
+
+Old ivory—a soft shade of cream—is the most popular finish, especially
+when decorated parts are striped with orange, while black enamel,
+striped with gold, is second best.
+
+These finishes are applied in the conventional manner—the ivory enamel
+being under-coated with flat white.
+
+On school-made chests these finishes are not to be recommended. In the
+first place, they are only temporary fads—pretty creations to catch
+the popular fancy that may be “old-fashioned” next year. And secondly,
+there is no good reason for hiding the natural beauties of red cedar
+with enamels. Carefully selected wood, with its wonderful contrasts of
+sap and heart wood, certainly give color enough.
+
+
+LACQUER FINISH
+
+The wood should be prepared as directed in the preceding paragraphs,
+and after it has been well dusted, a coat of lacquer is applied.
+This is the regular cotton lacquer (banana oil), and it must not be
+confounded with the wood lacquers now so extensively advertised. When
+dry it is sanded lightly and given a second coat, the spreading of
+which must be done quickly and without overlapping.
+
+Lacquer serves not only as a protection for the wood, but it also acts
+to keep the odor of the cedar confined in the wood, and it protects
+the wood against moisture better than any of the finishing coatings.
+Over this second coat, apply a bit of thin wax, or a coat of rubbing
+varnish, as desired.
+
+This method of finishing cedar chests is one of the most common in the
+furniture factories, as it preserves the full beauty of the grain.
+
+
+
+
+CHAPTER VI
+
+Copper Trimmings
+
+
+After the finish on the chest has thoroughly dried, any copper
+trimmings desired can be applied, providing, of course, that the
+appearance of the chest will be improved by them. If good joints have
+been obtained on the corners, copper corners will help but little, but
+if the joints are open, well-designed corners will cover up the defects
+without detracting from the appearance of the chest. As a rule, handles
+of cedar, well executed, look better than metal pulls attached to the
+ends of the box, but if metal corners are employed the pulls should
+also be of the same. If a lock is attached, it will need an escutcheon,
+and hinge plates on the cover go well where the other metal trimmings
+are adapted.
+
+Sixteen-gauge copper is the metal usually employed. Brass looks well,
+but it does not harmonize with the red cedar quite as attractively as
+copper.
+
+The design should be first worked out on paper, and transferred to
+the metal by using carbon paper. Care should be exercised with the
+designing. A poor design looks worse than no design at all—copper bands
+with straight edges certainly give a pleasing appearance, as Fig. 29
+shows. The student will do well to co-operate with the art teacher
+when designing his trimmings. The illustrations in this chapter offer
+suggestions for design, Fig. 67 showing escutcheons, Fig. 68 pulls,
+Fig. 69 hinge plates, and Fig. 70 corners. Although these designs
+do not emphasize it, the same motif should be used in every case.
+For example, straight bands across the top should not be used with
+fancy-sawed corners. A reasonably plain hinge plate will not look well
+on a chest with very elaborate pulls and corners. Care should be given
+this designing that the different parts do not show incongruity.
+
+
+ESCUTCHEONS
+
+The escutcheon can be small and plain, or rather long and fancy. Fig.
+67 illustrates both kinds. The design should be symmetrical about the
+vertical center line. The key hole size is dependent upon the size of
+the key furnished with the lock, and its distance from the upper edge
+is governed by the depth of the key hole in the lock.
+
+[Illustration: _ESCUTCHEONS_
+
+SHADED PORTIONS REPRESENT SAWED OUT PARTS
+
+1 INCH
+
+Fig. 67]
+
+[Illustration: _PULLS_
+
+1 INCH
+
+Fig. 68]
+
+[Illustration: _HINGE PLATES_
+
+1 INCH
+
+Fig. 69]
+
+[Illustration: _CORNERS_
+
+1 INCH
+
+Fig. 70]
+
+After the design has been carefully traced on the metal, it should be
+cut out with a fine metal saw in a jeweler’s saw frame. The edges can
+then be filed smooth. The inside cutting is accomplished by first
+drilling a small hole, then inserting the saw and re-fastening it in
+the frame.
+
+Holes drilled for the tacks will complete the construction.
+
+
+PULLS
+
+The backs of the pulls are sawed out exactly like the escutcheon, the
+handle being the most difficult part to construct. On the even wire
+design, a piece of heavy round copper can be bent to shape. It is
+fastened through a piece of thinner metal, which, in turn, is spread
+out after passing through a slot sawed in the plate, Fig. 71. Those of
+uneven designs, the first for example, can be sawed and filed from a
+piece of copper 1” thick, or, if the school teaches molding, a wooden
+pattern the shape and size of the pull can be made, a mold taken
+from it, and a copper casting made in the mold. A little filing and
+polishing will put the metal pull in excellent shape. Where the wire is
+thicker in the middle, it can be hammered out or filed before bending,
+as in Fig. 72. The boring of the nail holes in the plate will complete
+the construction.
+
+[Illustration: Fig. 71]
+
+[Illustration: Fig. 72]
+
+
+HINGE PLATES
+
+Hinge plates are used on the cover to give the chest a more massive
+appearance. They extend to the back edge, or are bent over it. After
+the design has been traced on the metal, they are sawed, filed, and the
+nail holes drilled as before.
+
+
+CORNERS
+
+Corners are made like hinge plates with the addition of a right angle
+bend in the middle. This bending is accomplished by placing the metal
+between two hardwood pieces screwed up in a vise, and driving the upper
+half over with a mallet. In some instances, Fig. 19 is an example, the
+corner does not go around the end, a flat plate covering the end grain
+being fastened on the front only.
+
+
+FINISH
+
+The metal trimmings should be rubbed very briskly with fine steel wool,
+and polished with water and pumice stone. They will keep this polish if
+coated with banana oil or some other good lacquer. This finish should
+be applied before the trimmings are fastened on the chest.
+
+
+NAILS
+
+Copper nails with various size heads can be obtained, or brass headed
+tacks copper coated can be used in their stead. The copper plating can
+be done by any plating concern, and at a very small cost.
+
+
+DECALCOMANIA TRANSFERS
+
+[Illustration: Fig. 73 Chest Decorated with Decalcomania Transfers]
+
+A line of chests has recently appeared on the market with decorations
+that appear to be hand painted. Fig. 73 gives an example. This form
+of decoration results from the using of Decalcomania transfers, and,
+since it is very attractive and easily applied, deserves notice in this
+chapter.
+
+The transfers are applied in colors to the Decalcomania paper, in which
+condition they reach the consumer. The face of the transfer is sized
+with a thin coat of varnish, the paper is placed in position on the
+chest, and is then soaked off, very much as the small boy soaks off the
+old-fashioned transfer pictures from his hand or arm. The operation
+consumes but very little time and when properly done, the decoration is
+as much a part of the piece as the finish itself.
+
+It is applied over the final finish, or it can be put on before the
+last coat of varnish is placed.
+
+Many excellent designs are available, especially in marquetry and pearl
+inlay where the work has been reproduced so carefully as to challenge
+detection. A chest decorated with a fine band of inlay lines of black
+and holly presents a wonderfully attractive appearance.
+
+Decalcomania transfers can be obtained only from the manufacturers. The
+Meyercord Company, Inc., Chicago.
+
+[Illustration: An Italian Chest of the Fifteenth Century (Made in
+Florence about 1475)]
+
+
+
+
+CHAPTER VII
+
+Matting Boxes
+
+
+Fig. 74 is from a photograph of a matting box—a form of chest
+construction not devoid of popularity, as its neat appearance and
+simple construction make it worthy of considerable favor.
+
+[Illustration: Fig. 74]
+
+Most matting boxes are made from wood other than cedar—cypress,
+redwood, etc.—most any stock that can be secured in wide pieces—thus
+doing away with gluing up. The pieces are simply nailed or screwed
+together, corner strips glued in, and the matting applied. Such simple
+construction makes this a favorable project for grammar grade students.
+
+
+HOW TO MAKE A MATTING BOX
+
+California redwood is recommended, as it is light, straight grained,
+and does not warp easily. Dimensions can be secured from the working
+drawings of the cedar chests given in the previous chapters.
+
+The flat surfaces will need little planing by hand since they will be
+entirely covered on the outside. The edges should be smoothly finished,
+especially the upper edges, and the under side of the top should be
+planed and sandpapered.
+
+[Illustration: Fig. 75]
+
+[Illustration: Fig. 76]
+
+Cut the sides and ends to the desired shape, Figs. 75 and 76 offer
+excellent suggestions, and square the ends of all four pieces. Nail or
+screw the boards together, and glue in triangular corner strips on the
+inside.
+
+Nail the bottom in through the sides and ends, making the nail holes in
+the ends about three times as wide as the nails to allow for expansion
+and contraction, and give the sides a rather loose fit for the same
+reason.
+
+Fit the top carefully and round its upper edges. If the board is not
+flat or glued-up from narrow pieces, it may be well to glue and nail
+strips on its under side to straighten it and prevent warping, as Fig.
+77 illustrates.
+
+Shellac over the outside and inside of all pieces with at least two
+coats of shellac, sandpapering the second on the inside. This is also
+done to prevent warping.
+
+[Illustration: Fig. 77]
+
+
+PUTTING ON THE MATTING
+
+The natural colored floor matting without decoration of any kind is to
+be preferred. Trim off its thick edges, and cut the pieces carefully
+to fit the surfaces, planning on the seams coming where they will be
+covered with the strips of cane.
+
+Allow these pieces to soak in warm water for two or three hours, then
+tack them to their respective surfaces. Use ordinary carpet tacks with
+large heads, or matting staples. Stretch the matting very tight over
+the surface as the tacking proceeds, and when the water dries out a
+perfect fit will be assured.
+
+
+COVERING THE SEAMS AND EDGES
+
+Split bamboo makes the best covering for the seams and edges, as it
+blends so well with the matting. Small fish-poles may be secured,
+soaked in hot water, and carefully split with a sharp knife on a
+diameter, as each section should be semi-circular. Split bamboo porch
+screens, at one time so popular, can be taken apart and used, or strips
+may be purchased from a manufacturer of split bamboo fish-poles through
+some sporting goods dealer.
+
+Cut the strips the exact lengths desired, being very careful to make
+good joints, drill small holes where the nails will come, and fasten
+with round-head brads or brass escutcheon pins. Curves that require
+much bending can be soaked in hot water until pliable before placing.
+
+If a little decoration is desired on the bamboo, hold it over a flame
+at intervals, scorching the surface brown. Dust this off and shellac
+the strips before attaching them.
+
+If it is impossible to secure bamboo of any kind, small strips of any
+wood stained or white enameled will serve very well.
+
+Place the hinges and chain, and the box is complete.
+
+
+MAKING THE BOX MOTH-PROOF
+
+If a cedar chest has been constructed and poorly finished, a covering
+of matting will greatly improve its appearance, and without impairing
+its moth-proof qualities if it is not finished on the inside.
+
+If an ordinary matting box has been made, it can be rendered moth-proof
+by putting in a bottom of red cedar, or covering the bottom with cedar
+shavings, also mixing shavings in with the contents of the box when
+storing them.
+
+[Illustration: A chest used at the end of the Fourteenth Century]
+
+
+
+
+INDEX
+
+
+        Page
+
+  Characteristics of Red Cedar, 14
+
+  Chest Design No. 2, 31
+
+  Chest Design No. 3, 33
+
+  Chest Design No. 4, 35
+
+  Chest Design No. 5, 37
+
+  Chest Design No. 6, 39
+
+  Chest Design No. 7, 41
+
+  Chest Design No. 8, 43
+
+  Chest Design No. 9, 43
+
+  Chest Design No. 10, 47
+
+  Chest Design No. 11, 49
+
+  Chest Design No. 12, 51
+
+  Chest Design No. 13, 53
+
+  Chest Design No. 14, 55
+
+  Chest Design No. 15, 57
+
+  Chest Design No. 16, 59
+
+  Chest Design No. 17, 61
+
+  Chest Design No. 18, 63
+
+  Chest Design No. 19, 65
+
+  Chest Design No. 20, 67
+
+  Chest Design No. 21, 69
+
+  Chest Design No. 22, 71
+
+  Chest of Drawers, 75
+
+  Coloring the Wood, 79
+
+  Copper Corners, 88
+
+  Copper Nails, 88
+
+  Copper Pulls, 87
+
+  Copper Trimmings, 82
+
+  Corner Strips, 27
+
+  Cover, 29
+
+
+  Decalcomania Transfers, 88
+
+  Depletion of the Cedar Supply, 11
+
+  Doweling, 22
+
+
+  Enamel Finish, 80
+
+  Escutcheons, 82
+
+
+  Feet, 27
+
+  Filling Rough Spots, 78
+
+  Finishing, 29
+
+  Finishing Cedar, 78
+
+  Finishing Copper, 88
+
+
+  Gluing, 23
+
+
+  Handles, 27
+
+  Hinge Plates, 88
+
+  Hinging, 29
+
+
+  Jointing, 21
+
+  Jointing and Gluing, 20
+
+  Joints Used in Chest Construction, 26
+
+
+  Lacquer Finish, 81
+
+  Log Houses of Cedar, 9
+
+
+  Making the Box Moth-Proof, 93
+
+  Making the Chest Dust-Proof, 28
+
+  Matting Boxes, 90
+
+  Mill Bill, 17
+
+
+  New England Chest, 15
+
+
+  Oil Finish, 80
+
+  Old Italian Chests, 15
+
+
+  Placing Bamboo, 92
+
+  Placing Matting, 92
+
+  Preparing Wood for Finishing, 78
+
+  Present Day Development, 16
+
+
+  Red Cedar, 9
+
+
+  Sawing Up Stock, 20
+
+  Sides and Ends, 19
+
+  Simple Chest Design, 17
+
+  Squaring Up, 25
+
+  Suggestive Designs, 77
+
+  Surfacing, 24
+
+
+  Top and Bottom, 20
+
+
+  Under-Bed Chest Design, 73
+
+
+  Varnish Finish, 56
+
+
+  Wax Finish, 79
+
+  Where Cedar Abounds, 9
+
+  William and Mary Design, 47
+
+
+
+
+  Transcriber’s Notes
+
+  pg 15 Changed: who kept their dowery of rich velvets
+             to: who kept their dowry of rich velvets
+
+  pg 93 Changed: without imparing its moth-proof qualities
+             to: without impairing its moth-proof qualities
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 75563 ***
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+<body>
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75563 ***</div>
+
+<div class="figcenter" style="width: 85%">
+<img src="images/cover.jpg" alt="">
+</div>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<figure class="figcenter illowp85" id="frontis" style="max-width: 44.3125em;">
+  <img class="w100" src="images/frontis.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">RED CEDAR, AUSTIN, TEXAS</p></figcaption>
+</figure>
+</div>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<h1>CEDAR CHESTS</h1>
+
+<p class="center no-indent wsp"><em>HOW TO MAKE THEM</em></p>
+<br>
+<br>
+
+<p class="center no-indent wsp">RALPH F. WINDOES</p>
+
+<p class="center no-indent wsp fs90">Formerly Instructor of Manual Training, Davenport High School,<br>
+Davenport, Iowa. Author of “Shop Sketching,” “Architectural<br>
+Drawing for Secondary Schools,” “Drafting Instruments<br>
+and How to Use Them,” Etc.</p>
+<br>
+
+<figure class="figcenter illowp10" id="titlepage" style="max-width: 17.25em;">
+  <img class="w100" src="images/titlepage.jpg" alt="Decoration">
+</figure>
+<br>
+
+<p class="center no-indent wsp fs90">SECOND EDITION—ENLARGED.</p>
+<br>
+<p class="center no-indent wsp fs90 lh">MILWAUKEE<br>
+THE BRUCE PUBLISHING COMPANY</p>
+</div>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p class="center no-indent wsp fs80">
+Copyright 1918-1921<br>
+by<br>
+The Bruce Publishing Company<br>
+</p>
+</div>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<h2 class="nobreak" id="PREFACE">PREFACE</h2>
+</div>
+
+<hr class="r10">
+
+<p class="drop-cap"><span class="upper-case">Believing</span> that the popularity of the cedar chest
+as a cabinet making project has reached considerable
+proportions, the author has endeavored
+to embody under one cover all information necessary
+to the design and construction of a variety of chests.
+In addition to this mechanical aspect of the work, he
+has presented some information of educational character
+on red cedar as a wood, and something of interest
+concerning the development of the chest.</p>
+
+<p>As information of this character has been lacking
+in the past, he hopes that the book will meet
+with the approval of teachers who will use it in their
+work.</p>
+
+<p>Acknowledgment is due to the Forest Service for
+the use of the illustrations in Chapter <a href="#CHAPTER_I">I</a>, to two of
+the author’s students, Otto J. Teegen and James A.
+Kelly, for the great assistance rendered by them in
+the preparation of the drawings, and to the Metropolitan
+Museum of Art, New York City, for permission
+to reproduce photographs of historic chests
+in its collections.</p>
+
+<p class="right">
+<span style="padding-right: 2em">R. F. W.</span><br>
+</p>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<h2 class="nobreak" id="CONTENTS">CONTENTS</h2>
+</div>
+
+<hr class="r10">
+
+<table class="autotable lh">
+<tr>
+<td class="tdr fs70">CHAPTER</td>
+<td class="tdl"></td>
+<td class="tdr fs70">PAGE</td>
+</tr>
+<tr>
+<td class="tdr">I</td>
+<td class="tdl">Red Cedar</td>
+<td class="tdr"><a href="#Page_9">9</a></td>
+</tr>
+<tr>
+<td class="tdr">II</td>
+<td class="tdl">Cedar Chests</td>
+<td class="tdr"><a href="#Page_15">15</a></td>
+</tr>
+<tr>
+<td class="tdr">III</td>
+<td class="tdl">How to Build a Simple Chest</td>
+<td class="tdr"><a href="#Page_17">17</a></td>
+</tr>
+<tr>
+<td class="tdr">IV</td>
+<td class="tdl">Cedar Chest Designs</td>
+<td class="tdr"><a href="#Page_31">31</a></td>
+</tr>
+<tr>
+<td class="tdr">V</td>
+<td class="tdl">The Finishing of Cedar</td>
+<td class="tdr"><a href="#Page_78">78</a></td>
+</tr>
+<tr>
+<td class="tdr">VI</td>
+<td class="tdl">Copper Trimmings</td>
+<td class="tdr"><a href="#Page_82">82</a></td>
+</tr>
+<tr>
+<td class="tdr">VII</td>
+<td class="tdl">Matting Boxes</td>
+<td class="tdr"><a href="#Page_90">90</a></td>
+</tr>
+</table>
+<br>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<figure class="figcenter illowp85" id="image008" style="max-width: 59.5625em;">
+  <img class="w100" src="images/image008.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">This chest came over on the “Mayflower.”</p></figcaption>
+</figure>
+</div>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_9">[Pg 9]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_I">CHAPTER I<br>
+<span class="fs70">Red Cedar</span></h2>
+</div>
+
+<p>The botanical name for red cedar suitable for chest construction is
+<b>Juniperus Virginiana</b>, or <b>Southern Juniper</b>, as it is familiarly known. Commercially,
+it is sold as “Tennessee Red Cedar.” There are other cedar
+woods but none of them should be used in chests if the great advantages
+of cedar are to be derived, and especially should the “western cedar”
+be avoided, as it is very common and easy to purchase, yet it has no
+value as a wood for cedar chest construction. Southern Juniper may
+aptly be called the “wood imperishable,” since, under ordinary conditions,
+it will never decay. Placed as shingles with copper nails, there is
+little doubt but that it will last for ages, or until the attacks of rain
+and wind have weathered it away. Until recent years one of its greatest
+uses has been in telegraph poles, fence posts, greenhouses, etc., where constant
+contact with damp earth would soon rot away a less durable wood.
+Now, since the rapid rise in the value of red cedar has almost prohibited
+its use, cypress, “the wood eternal,” has largely succeeded it.</p>
+
+
+<h3>LOG HOUSES OF RED CEDAR</h3>
+
+<p>When America was settled, one of its most valued natural resources
+was found in the red cedar belt of the South. Settlers migrating to this
+region found the straight cedar logs perfectly suited to cabin construction,
+consequently the best trees were felled and utilized in the building of
+America’s first homes. As times went on and the settlers prospered, the
+logs were taken from the houses, and assembled into barns, frame construction
+taking their place in the homes. Today, these old logs, perfectly
+preserved, are purchased by lumber men, as some of the most select red
+cedar lumber is manufactured from them. A great many of these old logs
+have been cut up into lead pencil slabs, as cedar is the best wood that has
+ever been found for lead pencils. It is straight grained and easily cut with
+a knife, the two necessary characteristics. Another source for pencil
+supply has been found in the rail fences, so common in the South,
+practically all of which were constructed of split cedar rails. This wood
+is so highly prized by pencil makers that many fences have been bought
+up at such prices that modern fences have taken their places, leaving a
+comfortable profit for the owner.</p>
+
+
+<h3>WHERE RED CEDAR ABOUNDS</h3>
+
+<p>The geographical range of red cedar is very wide and hard to define.
+Roughly speaking, it can be found westward to Minnesota, south to<span class="pagenum" id="Page_10">[Pg 10]</span>
+Florida, and southwest through Texas. The finest forests were originally
+found in middle Tennessee, in Davidson, Rutherford, Bedford, Marshall,
+and Warren Counties, with a considerable quantity in the breaks of the
+Cumberland plateau and in Eastern Tennessee. There was considerable
+red cedar also in Southern Virginia, North Alabama and in Georgia, while
+some is found in Arkansas in the Ozark Mountains.</p>
+<br>
+
+<figure class="figcenter illowp65" id="image010" style="max-width: 51.4375em;">
+  <img class="w100" src="images/image010.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 1. Red Cedar and Loblolly Pine; Occasional Scrub Pine in the
+Background. Southern Maryland</p></figcaption>
+</figure>
+<br>
+
+<p>These belts are still the most reliable source of supply, some of them
+having been cut over a great many times. Second growth, although it is
+stunted, more knotty, and contains more sapwood than first growth,
+finds a market in fence posts and a very little in furniture construction.</p>
+
+<p><span class="pagenum" id="Page_11">[Pg 11]</span></p>
+
+
+<h3>DEPLETION OF THE CEDAR SUPPLY</h3>
+
+<p>The supply of Southern Juniper in this country, both first and second
+growth, is rapidly being depleted. There is no reason why this condition
+should exist. The early settlers, anxious to clear their lands, destroyed it
+ruthlessly, it is true, yet it
+lends itself so readily to reforestation
+that it is difficult
+to surmise why steps to maintain
+its constant supply were
+not taken long ago. About
+two hundred years ago, a
+Swedish naturalist, Peter
+Kalm, after traveling over
+the settled portion of the
+country, wrote at some length
+upon the splendid qualities of
+red cedar, and prophesied its
+early extinction unless steps
+were taken to replenish the
+supply.</p>
+
+<figure class="figright illowp45" id="image011" style="max-width: 59.5625em;">
+  <img class="w100" src="images/image011.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 2. Red Cedar. Longitudinal Section,
+Magnified 76 times.</p></figcaption>
+</figure>
+
+<p>In Poor Richard’s Almanac
+for 1749, Benjamin
+Franklin urged the people to
+plant and foster the growth
+of red cedar. He was of the opinion that the rapid clearing of the land,
+the constant need of wood for fuel would soon destroy the slow-growing
+oaks and other hardwoods, and that “it would be to our advantage to
+endeavor to raise some other kind of timber that will grow faster or come
+sooner.”</p>
+
+<div class="blockquot">
+
+<p>“The red cedar (a species of juniper) I take to be the most profitable
+tree for fencing and several other uses that we can raise in our country,
+considering how easily it may be raised from seeds, its readiness to grow
+on most kinds of soil, its quick growth, the profits it will afford while it is
+arriving at maturity, and the long duration of the wood when grown to
+a proper size for the materials we want for our several occasions in
+husbandry and building. I know of no other tree that will grow so well on
+such different soils as this will, for upon our sandy beaches, which are
+nothing but beds of sand, they grow as thick as possible, from whence
+many thousand posts for fencing are brought into Pennsylvania and York
+governments, and I have seen, in a great many swamps upon a branch of<span class="pagenum" id="Page_12">[Pg 12]</span>
+the Susquehannah, great trees growing, near 18 inches diameter, 70 feet
+high, and very straight. And the inhabitants near the mountains, upon
+Hudson Bay, make a great use of them for making large hovels or
+barracks to put their corn in before it is threshed. They will grow well
+in high gravely or clay soil, in rich or poor, or even upon a rock, if there
+be but half a foot of land or earth upon it. It is much to be valued for
+its quick growth from seed, the little sap and much durable heart,
+which is acquired sooner than any tree that we can raise on common land.
+Indeed, the mulberry and locust are of quick growth in very rich land,
+but not upon poor.”</p>
+</div>
+<br>
+
+<figure class="figcenter illowp65" id="image012" style="max-width: 49.5625em;">
+  <img class="w100" src="images/image012.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 3 Fifty Year Old Cedar, Job’s Swamp, Ocean County, New Jersey</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_13">[Pg 13]</span></p>
+
+<p>That the predictions of Kalm and Franklin have been substantiated
+is a well known fact since the cedar of commercial size grown in the
+Eastern and New England States—of which they spoke—has long since
+been exhausted. Neither knew of the extensive cedar growths in the South
+and West, yet the original growth of these regions is very near exhaustion.</p>
+<br>
+
+<figure class="figcenter illowp65" id="image013" style="max-width: 47.3125em;">
+  <img class="w100" src="images/image013.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 4. Mature Cedar Brake Along Road. No Underbrush, but the Young
+Cedar Seedlings Fill all Gaps. Marble Falls, Burnet County, Texas</p></figcaption>
+</figure>
+<br>
+
+<p>Luckily, our efficient Forest Service is at this time doing everything
+in its power to encourage reforestation of the cedar tracts, and the future
+of the red cedar tree looks more promising than the present.</p>
+
+<p><span class="pagenum" id="Page_14">[Pg 14]</span></p>
+
+
+<h3>CHARACTERISTICS OF RED CEDAR</h3>
+
+<p>As has been intimated, red cedar is a very durable wood. It is also
+light, straight grained, does not warp readily, will dry out rapidly, takes
+a beautiful finish, and has a most pleasant aroma, but one which is
+moth and insect repelling. Moths shun the red cedar, as other insects
+shun the pennyroyal herb.</p>
+
+<p>These favorable characteristics all combine to make red cedar the
+ideal wood for chest construction. Chests must be light, yet strong; good
+to look upon when finished; of such flat stock that the finish on one side
+alone will not cause the wood to warp; and they must be moth proof.
+Southern Juniper furnishes all of these desirable points, and in addition
+its pleasant aroma permits the immediate wearing of apparel taken from
+the cedar chest without airing, as must be done with garments protected
+by moth balls.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image014" style="max-width: 62.5em;">
+  <img class="w100" src="images/image014.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Small Carved Wood Chest of Venetian Make (Sixteenth Century)</p></figcaption>
+</figure>
+<br>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_15">[Pg 15]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_II">CHAPTER II<br>
+<span class="fs70">Cedar Chests</span></h2>
+</div>
+
+<p>The chest, or coffer, has had a varied existence. Its present popularity
+was preceded by a period in which new chests were a rarity. Previous to
+this time—taking us back to our great-grandmothers’ days—the chest,
+in the form of the “dower chest,” was the proud possession of every girl
+with vision. Why its popularity suffered is hard to surmise, unless it was
+relegated as being “old-fashioned,” and, therefore, obsolete. In recent
+years those in society who make things fashionable have restored it to its
+place of usefulness and beauty, and today there are very few girls whose
+possessions do not include a chest.</p>
+
+
+<h3>OLD ITALIAN CHESTS</h3>
+
+<p>Long before the era of convenient furniture, chests, or coffers, were
+the one article of utility in every home. In them was kept clothing, valuables
+of every description, and even food-stuffs.</p>
+
+<p>In early days, these chests were crude, ugly affairs, made for utility
+alone. Later, especially in Italy, they developed into articles of beauty.</p>
+
+<p>This development reached its height at the time of the Renaissance
+when the greatest artists of the day took up the decorating of them. Carving
+and painting, furnished to the wealthy at great expense, produced
+articles whose magnificence is astounding. These beautiful chests were
+usually presented to Italian “brides-to-be,” who kept their dowry of rich
+velvets, magnificent brocade, and other treasures of maidenhood safely
+under their covers.</p>
+
+<p>With the ever-changing ideas of humanity, the beautiful chest lost
+its popularity, and some wonderful specimens of Renaissance artistry were
+relegated to the scrap heap. A few were saved—perhaps for the associations
+they suggested—eventually to be prized and handed down from
+generation to generation, preserved in the national museums, or homes
+where wealth permits the collection of old furniture.</p>
+
+
+<h3>NEW ENGLAND CHESTS</h3>
+
+<p>In quaint old New England, the seventeenth century bride considered
+her future happiness to depend largely upon the contents of her “dower
+chest.” Every maid had one—sometimes more than one—in which she
+assiduously collected her trousseau—her beautiful handmade linens, her<span class="pagenum" id="Page_16">[Pg 16]</span>
+gorgeous silks and satins, preparatory to the day of her ascension into
+home-making.</p>
+
+<p>Nothing, perhaps, in her interesting life could she recall, in later days,
+as vividly as her old dower chest, and nothing, perhaps, did she prize as
+highly.</p>
+
+<p>In those days few chests were made of cedar—oak being the wood preferred.
+Using the chests, as did the old-time bride, merely to assemble her
+trousseau, its storage properties were not considered as they are today.</p>
+
+
+<h3>PRESENT DAY DEVELOPMENT</h3>
+
+<p>Why the chest lost its popularity is hard to determine. It may be
+that moths, developing in the oak chest and devouring its contents, were a
+determining factor, or it may be simply a passing whim of society that
+relegated the chest. When red cedar came into favor as the universal
+chest material, repelling moths and other insects, and permitting of most
+beautiful finishes, the chest returned to its own.</p>
+
+<p>The present-day mother—the far-sighted mother—is instilling the
+dower chest notion into the hearts of her children as did her great-grandmother
+years ago. It is not a sentimental whim which prompts her to do
+this, it is strictly a utilitarian one.</p>
+
+<p>Girls, the majority at least, will some day marry. If they have a chest
+they will sew and save to fill it, if not, they may come to the altar unprepared,
+or purchase at one time those things that their own labor and years
+of association should endear to them. Even if they never marry, bachelor
+girls must clothe themselves, and some even fit up small apartments in
+which to live, hence this saving will not be a loss.</p>
+
+<p>Cedar chests may be purchased ready made, of course, but their
+rather high price prohibits their possession by some. Manual training
+students or home craftsmen will find in the chest a most attractive project
+of construction, and one made by a boy as a present to an older sister will
+give the chest, in her sight, an added charm.</p>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_17">[Pg 17]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_III">CHAPTER III<br>
+<span class="fs70">How to Build a Simple Chest</span></h2>
+</div>
+
+<p>It is naturally assumed that the builder of a cedar chest knows the
+fundamental tool processes, as a project of this kind is no task for an absolute
+beginner to attempt, hence but little attention will be paid to processes
+that would ordinarily be known by the graduate of a grammar school.</p>
+
+
+<h3>THE MILL BILL</h3>
+
+<p>Chest Design Number 1, illustrated in perspective in Fig. <a href="#image017">5</a>, and whose
+working drawing appears in Fig. <a href="#image018">6</a>, is of very simple construction.</p>
+
+<p>Its stock can be purchased glued-up and sandpapered, coming to the
+builder as in Fig. <a href="#image019">7</a>, almost ready to assemble, or the boards can be secured
+surfaced on two sides, to be jointed, doweled, and finished by hand. Both
+methods will be considered in this chapter.</p>
+
+<p>The stock list, if the wood is to be glued-up and sandpapered at the
+mill, should comprise the following pieces:</p>
+
+<div class="blockquot2">
+<p class="no-indent">
+2 pcs. red cedar for sides ¾” × 18½” × 38”<br>
+2 pcs. red cedar for ends ¾” × 18½” × 19”<br>
+2 pcs. red cedar for top and bottom ¾” × 20½” × 40”<br>
+1 pc. red cedar for feet ¾” × 2½” × 60”<br>
+3 pcs. red cedar for inside strips ¾” × ¾” × 36”<br>
+4 pcs. red cedar for inside corners 1¾” × 1¾” × 18”<br>
+1 pc. red cedar for handles 1½” × 2” × 12¼”<br>
+</p>
+</div>
+<br>
+
+<figure class="figcenter illowp85" id="image017" style="max-width: 62.5em;">
+  <img class="w100" src="images/image017.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 5</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_18">[Pg 18]</span></p>
+
+<figure class="figcenter illowp100" id="image018" style="max-width: 62.5em;">
+  <img class="w100" src="images/image018.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 1</em></p>
+
+<p class="center no-indent">Fig. 6</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_19">[Pg 19]</span></p>
+
+<p>An exact checking of the mill bill and the working drawing will
+show that an allowance has been made in some instances that will need to
+be cut to fit by the builder. For example, the sides are ½” wider and
+about 2” longer than the working drawing calls for. This allowance has
+been made so that the craftsman can secure exact dimensions with perfectly
+square ends.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image019" style="max-width: 62.5em;">
+  <img class="w100" src="images/image019.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 7</p></figcaption>
+</figure>
+<br>
+
+<p>As surfaced and machine sanded stock is specified, all that remains
+for the builder to do is to square up the ends and edges, cut the feet and
+handles, and assemble.</p>
+
+
+<h3>SIDES AND ENDS</h3>
+
+<p>Plane one edge of each side and end perfectly straight and square with
+the surfaces. Check these for “working edges.” Measure over 18” and
+with a straight-edge, mark the width on each. Plane carefully to this
+line, keeping the edges square across.</p>
+
+<p>With the steel square, holding the blade against the working edges in
+each case, square lines across one end of each piece about ¾”.</p>
+
+<p>Saw about ⅛” outside of these lines and plane down to them, testing
+constantly with the try-square across the end grain and the steel square,
+the blade of which is held against the working edge. When perfectly<span class="pagenum" id="Page_20">[Pg 20]</span>
+straight and square, measure down 36” on the sides and 16½” on the
+ends, square lines across, and repeat the sawing and planing.</p>
+
+
+<h3>TOP AND BOTTOM</h3>
+
+<p>The top and bottom pieces are squared up in exactly the same way,
+but they finish 20” × 38”. The upper surfaces of each have their edges and
+ends carefully rounded, using a radius of ¾”. This is accomplished by
+planing and sandpapering with a rather coarse and then a fine sandpaper.</p>
+
+<p>These parts are now ready to assemble, but this will not be discussed
+until the hand finishing of stock is described.</p>
+
+
+<h3>JOINTING AND GLUING WIDE STOCK</h3>
+
+<p>If stock that has been machine surfaced on two sides is purchased for
+the chest, the builder doing his own gluing, the following stock will be
+needed:</p>
+
+<p>
+30 board feet red cedar, surfaced two sides to ⅞”<br>
+1 pc. red cedar for inside corners 1¾” × 1¾” × 72”<br>
+1 pc. red cedar for handles 1½” × 2” × 12¼”<br>
+</p>
+
+
+<h3>SAWING UP THE STOCK</h3>
+
+<figure class="figcenter illowp85" id="image020" style="max-width: 62.5em;">
+  <img class="w100" src="images/image020.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 8</p></figcaption>
+</figure>
+<br>
+
+<p>The stock will come in pieces from 4” to 10” wide and from 8 ft. to
+12 ft. long. Place the strips side by side on the saw horses, and work combinations
+whereby the greatest saving of stock will be affected. There
+should be about 2” allowed for jointing and squaring, making the sides
+and ends, rough, 20”, and the top and bottom 22”. Saw off the lengths,<span class="pagenum" id="Page_21">[Pg 21]</span>
+allowing about 2” over-length in each case. Save the sawed-off ends, if
+they are 7” or over in length, for the feet.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image021" style="max-width: 62.5em;">
+  <img class="w100" src="images/image021.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 9</p></figcaption>
+</figure>
+<br>
+
+
+<h3>JOINTING</h3>
+
+<p>Mark each piece “Side A,” “Side B,” “End A,” “End B,” etc., so
+that they will not become mixed. Begin with one side, putting all other
+stock away.</p>
+
+<p>Determine by a plane stroke or two which way the grain runs in each
+piece, and mark this direction by means of arrows, as in Fig. <a href="#image020">8</a>. Also,
+number the adjacent edges.</p>
+
+<p>Assuming the position of Fig. <a href="#image021">9</a>, carefully run the jointer plane over
+all edges that come together. Hold it <b>down on the knob</b>, when <b>starting a
+cut</b>, and <b>hard on the handle</b> when <b>finishing</b>. Keep the sides of the plane
+<b>parallel</b> to the sides of the board being planed.</p>
+
+<p>A few strokes should make the edge perfectly straight with the grain,
+when it should be tested with the try-square to be certain that it is square
+with the surfaces.</p>
+
+<p><span class="pagenum" id="Page_22">[Pg 22]</span></p>
+
+<p>When it is straight as to length and square across, lay it aside and
+place the edge it is to join within the vise. Do exactly the same with this
+edge, and test it by placing the edge formerly planed down on top of it,
+Fig. <a href="#image022">10</a>. Sighting toward the light will show whether or not exact work
+has been accomplished. High spots will be easily detected and planed off.</p>
+
+<p>If there is a <b>long, thin</b> opening in the center of the two edges, it may be
+left, as the clamps will close it and when the wood dries out, end-opening
+of joints will be prevented. But this opening <b>must not be more than <span class="xs"><sup>1</sup>/<sub>64</sub></span>”</b>
+as the clamps might not pull it down and hold it if it were greater.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image022" style="max-width: 62.5em;">
+  <img class="w100" src="images/image022.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 10</p></figcaption>
+</figure>
+<br>
+
+<p>Repeat with the other edges, and when all boards for one side have
+been joined, place them into position and test with the steel square, as in
+Fig. <a href="#image023">11</a>. If they do not combine to form a straight surface, those edges
+that are not square across grain must be planed.</p>
+
+
+<h3>DOWELING</h3>
+
+<p>Although stock jointed and glued up at the mill is not doweled, stock
+hand jointed must be. Use ⅜” dowel pins, placed about 8” apart, the end
+pins starting about 3” from the ends of the boards.</p>
+<br>
+
+<p><span class="pagenum" id="Page_23">[Pg 23]</span></p>
+
+<figure class="figcenter illowp85" id="image023" style="max-width: 62.5em;">
+  <img class="w100" src="images/image023.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 11</p></figcaption>
+</figure>
+<br>
+
+<p>To lay out the dowel holes, place the edges that are to be joined back
+to back in the vise. With a sharp knife and the try-square, square lines
+across the grain. Mark intersecting-lines with the grain with the marking
+gauge, running the spur in the exact center of the edges.</p>
+
+<p>At the intersections of the gauge and knife lines, bore ⅜” holes about
+1” deep in both boards, Fig. <a href="#image024">12</a>. Slightly countersink these holes.</p>
+
+<p>Cut the dowel pins about 1⅞” long, point their ends a little, and cut
+a shallow groove along the edge to allow the surplus glue to escape, and
+thus prevent splitting the boards.</p>
+
+
+<h3>GLUING</h3>
+
+<p>Place the boards in position on the saw horses near the glue pot. Have
+the glue heated—if hot glue is used—and all clamps in position at hand.
+Remember that you can not stop to look for anything when the hot glue is
+once applied.</p>
+
+<p>Pieces this narrow will have little tendency to buckle, especially if
+the bar clamps are put on opposite sides, but it may be wise to have four
+hand screws ready with battens cut the correct length in case they do.</p>
+
+<p><span class="pagenum" id="Page_24">[Pg 24]</span></p>
+
+<p>Dip the dowels, one at a time, in the glue and drive in place along one
+edge of each board. Quickly tip this edge and its mate up, and apply a
+thin layer of glue to each. Drop them into position and drive them together.
+Repeat with the other edges, and place the bar clamps in position,
+as Fig. <a href="#image025">13</a> illustrates. Tighten the clamps until all the surplus glue is
+squeezed out, and apply the hand screws if the boards show any tendency
+to buckle.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image024" style="max-width: 62.5em;">
+  <img class="w100" src="images/image024.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 12</p></figcaption>
+</figure>
+<br>
+
+<p>It is well to warm the boards slightly if hot glue is used.</p>
+
+<p>In case cold glue is used, allow it to stand ten or fifteen minutes before
+applying the clamps. It will stick better.</p>
+
+
+<h3>SURFACING</h3>
+
+<p>After all six wide pieces have been glued up in the above manner and
+allowed to dry over night, the clamps are removed and the surfaces
+smoothed up.</p>
+
+<p>Scrape off as much glue that has dried on the surfaces as possible, as
+hard glue will dull the plane bit.</p>
+
+<p>Begin with a very sharp jack plane, and plane the surface down
+smooth. Cross-planing is allowable on red cedar on account of the knots,
+but be very careful not to rip up deep grooves. When planed as nearly<span class="pagenum" id="Page_25">[Pg 25]</span>
+flat as possible, scrape with a sharp cabinet scraper. This should not be
+held in the hand, but should be used in a scraper plane. Scraping should
+remove all rough spots from the wood.</p>
+
+<p>Finally, sandpaper the entire surface with No. 1½ sandpaper, and
+finish with No. 0.</p>
+
+
+<h3>SQUARING UP</h3>
+
+<p>Cut these pieces to dimensions and square them up as has already
+been described for the mill-glued stock. Pieces that have been ripped
+from the edges should be saved.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image025" style="max-width: 62.5em;">
+  <img class="w100" src="images/image025.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 13</p></figcaption>
+</figure>
+<br>
+
+
+<h3>ASSEMBLING</h3>
+
+<p>Fig. <a href="#image026">14</a> illustrates various joints used in chest construction. With the
+simple design taken as our model in this chapter, we will employ the plain
+butt, nailing the pieces together with 8d finishing nails.</p>
+
+<p>It will be noticed from the working drawing that the sides are nailed
+onto the ends. To prevent splitting, a number of small holes should first
+be drilled through the sides. Apply glue to the ends before driving the
+nails in place.</p>
+<br>
+
+<span class="pagenum" id="Page_26">[Pg 26]</span>
+<figure class="figcenter illowp85" id="image026" style="max-width: 44.4375em;">
+  <img class="w100" src="images/image026.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>JOINTS USED IN CHEST
+CONSTRUCTION</em></p>
+
+<p class="center no-indent">
+<em>PLAIN-BUTT</em> <span style="padding-left: 2em"><em>DADO AND RABBET</em></span><br>
+<em>RABBET</em>  <span style="padding-left: 2em"><em>DOVE-TAIL</em></span><br>
+</p>
+
+<p class="center no-indent">Fig. 14</p></figcaption>
+</figure>
+<br>
+
+<p>When the sides and ends have been assembled, cut a stick the length
+<span class="pagenum" id="Page_27">[Pg 27]</span>of one diagonal of the box, and use this to test on the other diagonal. If
+the box is square, both diagonals will be the same length.</p>
+
+<p>Place the bottom side up and screw the bottom to the sides and ends.
+Use 1¾” No. 8 flat head screws well countersunk. Bore the holes through
+the bottom rather large to allow for any expansion or contraction, and
+use about twelve screws.</p>
+
+
+<h3>TRIANGULAR CORNER STRIPS</h3>
+
+<p>In the inside corners of the box, triangular strips should be securely
+glued. They are made by ripping on the diagonal of the 1¾” square pieces,
+and should be made 17” long, Fig. <a href="#image027">15</a>. They help to strengthen the chest.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image027" style="max-width: 62.5em;">
+  <img class="w100" src="images/image027.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 15</p></figcaption>
+</figure>
+<br>
+
+
+<h3>FEET</h3>
+
+<p>The working drawing gives a detail of the feet. Two pieces 7” long
+and 2½” wide are cut to shape as shown. Their adjoining ends are mitered,
+glued, and nailed. On the inside corner a block 1¾” square is glued to help
+strengthen the joint and to carry the caster. These feet are screwed onto
+the bottom piece.</p>
+
+
+<h3>HANDLES</h3>
+
+<p>Handles may be purchased, but they are so easily made that they are
+not worth the expense involved. The working drawing gives a detail of a
+good shape, but this is only a suggestion. The inside is gouged out for a
+finger hold.</p>
+
+<p>The handles are attached with flat head screws from the inside of
+the box, and glued.</p>
+<br>
+
+<p><span class="pagenum" id="Page_28">[Pg 28]</span></p>
+
+<figure class="figcenter illowp85" id="image028" style="max-width: 44.6875em;">
+  <img class="w100" src="images/image028.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>METHODS OF MAKING THE
+CHEST DUST-PROOF</em></p>
+
+<p class="center no-indent">Fig. 16</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_29">[Pg 29]</span></p>
+
+
+<h3>THE COVER</h3>
+
+<p>A good chest is dust-proof. There are three ways of rendering it so
+illustrated in Fig. <a href="#image028">16</a>. The first has false edges glued around the under
+edges of the top, this false edge extending down over the sides and ends.
+The third has a strip fastened to the top inside of the edges and ends, while
+the second is a combination of the other two.</p>
+
+<p>In our example, the third method will be employed.</p>
+
+<p>Cut two strips 34½” long from stock ¾” square, and two pieces 15”
+long. Screw and glue them in place.</p>
+
+
+<h3>HINGING</h3>
+
+<p>Two plain butt hinges 21” long with a ¾” leaf will do on this chest.
+They may be let into both the top and the upper edge of the side piece, or
+entirely into the edge. Another method often used in schools is that of
+placing the hinges on the outside of the back and the under side of the top.
+This is the most simple as it involves no chiseling, and, since the chest
+is usually placed against a wall, does not look bad, especially if an ornamental
+hinge is used.</p>
+
+<p>Two chains or desk supports should be used to prevent the lid from
+swinging way back and straining the hinges. See Fig. <a href="#image064">52</a>, Chapter <a href="#CHAPTER_VII">VII</a>.</p>
+
+
+<h3>FINISHING</h3>
+
+<p>Directions for finishing and preparing the wood for finish are given in
+Chapter <a href="#CHAPTER_V">V</a>. Of course the nails should be well set and filled as explained.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image029" style="max-width: 62.5em;">
+  <img class="w100" src="images/image029.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">A French Chest of the Late XV Century (Gothic Period)</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_30">[Pg 30]</span></p>
+
+<figure class="figcenter illowp85" id="image030" style="max-width: 62.5em;">
+  <img class="w100" src="images/image030.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 2</em></p>
+
+<p class="center no-indent">Fig. 17</p></figcaption>
+</figure>
+<br>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_31">[Pg 31]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_IV">CHAPTER IV<br>
+<span class="fs70">Cedar Chest Designs</span></h2>
+</div>
+
+<p>Variety in design is so essential in cabinet making classes that a number
+of different styles of chests are presented in this chapter. Although a
+great many teachers follow the practice of giving the student a working
+drawing to follow, it is recommended that the designs herewith presented
+be used only as models—that from them each boy will combine, and add
+his own ideas to evolve what may be called “an original design.” Only
+by so doing will the student derive his greatest benefit from the work.</p>
+
+
+<h3>DESIGN NO. 2</h3>
+
+<p>In Fig. <a href="#image031">18</a> is presented a perspective of the chest whose working drawing
+is given in Fig. <a href="#image030">17</a>. This chest is very similar to Design No. <a href="#image018">1</a> described
+in the previous chapter. Its dimensions are practically the same, but in
+this case, the ends are fastened to the sides, and the end grain—appearing
+on the front—is covered by a curved piece of cedar 1¾” wide. The feet
+also differ as the detail shows.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image031" style="max-width: 62.5em;">
+  <img class="w100" src="images/image031.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 18</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_32">[Pg 32]</span></p>
+
+<figure class="figcenter illowp85" id="image032" style="max-width: 62.5em;">
+  <img class="w100" src="images/image032.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 3</em></p>
+
+<p class="center no-indent">Fig. 19</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_33">[Pg 33]</span></p>
+
+<figure class="figcenter illowp85" id="image033" style="max-width: 62.5em;">
+  <img class="w100" src="images/image033.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 20</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 3</h3>
+
+<p>In this design we have a larger chest than the previous, but whose
+construction is the same. The end grain, appearing on the front, is covered
+with strips of copper. These may be put on as corners extending over the
+ends also, or merely as plates on the front, as Fig. <a href="#image033">20</a> illustrates. The feet
+are detailed with Design No. <a href="#image018">1</a>.</p>
+<br>
+
+<p><span class="pagenum" id="Page_34">[Pg 34]</span></p>
+
+<figure class="figcenter illowp85" id="image034" style="max-width: 62.5em;">
+  <img class="w100" src="images/image034.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 4</em></p>
+
+<p class="center no-indent">Fig. 21</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_35">[Pg 35]</span></p>
+
+<figure class="figcenter illowp85" id="image035" style="max-width: 62.5em;">
+  <img class="w100" src="images/image035.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 22</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 4</h3>
+
+<p>One of the most popular chest designs is illustrated in Fig. <a href="#image034">21</a>. In this,
+the edges are rounded, giving it an easy, graceful appearance. It requires
+careful, accurate work, as the joints can not be covered with strips or
+copper as with the previous styles.</p>
+<br>
+
+<p><span class="pagenum" id="Page_36">[Pg 36]</span></p>
+
+<figure class="figcenter illowp85" id="image036" style="max-width: 62.5em;">
+  <img class="w100" src="images/image036.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 5</em></p>
+
+<p class="center no-indent">Fig. 23</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_37">[Pg 37]</span></p>
+
+<figure class="figcenter illowp85" id="image037" style="max-width: 62.5em;">
+  <img class="w100" src="images/image037.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 24</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 5</h3>
+
+<p>In Fig. <a href="#image037">24</a> is shown a chest whose design permits it to be used as a
+window seat when covered with a cushion. Its appearance is very attractive
+as it has heavy, massive ends, giving it an air of solidity. The
+ends can be built up flush, as the drawing, Fig. <a href="#image036">23</a>, illustrates, or paneled.
+A ¾” strip is glued to the front edge of the top, making it appear to be as
+thick as the ends. The drawings illustrate copper plates on the front,
+but, if good work is accomplished, these may well be omitted.</p>
+<br>
+
+<p><span class="pagenum" id="Page_38">[Pg 38]</span></p>
+
+<figure class="figcenter illowp85" id="image038" style="max-width: 62.5em;">
+  <img class="w100" src="images/image038.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 6</em></p>
+
+<p class="center no-indent">Fig. 25</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_39">[Pg 39]</span></p>
+
+<figure class="figcenter illowp85" id="image039" style="max-width: 62.5em;">
+  <img class="w100" src="images/image039.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 26</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 6</h3>
+
+<p>A paneled chest, Figs. <a href="#image038">25</a> and <a href="#image039">26</a>, looks well when accurate work has
+been done. It, of course, means a great deal of mortising and routing, but,
+where power machines are available, does not consume a great amount of
+time. A chest built up as previously described with ¼” strips glued on will
+give the same effect. A study of both drawings will make the construction
+clear to the average student.</p>
+<br>
+
+<p><span class="pagenum" id="Page_40">[Pg 40]</span></p>
+
+<figure class="figcenter illowp85" id="image040" style="max-width: 62.5em;">
+  <img class="w100" src="images/image040.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 7</em></p>
+
+<p class="center no-indent">Fig. 27</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_41">[Pg 41]</span></p>
+
+<figure class="figcenter illowp85" id="image041" style="max-width: 62.5em;">
+  <img class="w100" src="images/image041.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 28</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 7</h3>
+
+<p>Design No. <a href="#image040">7</a>, Figs. <a href="#image040">27</a> and <a href="#image041">28</a>, is a rather odd design from the fact
+that it contains a drawer. It is built in the usual manner, but has two
+bottoms and an opening in the front for the drawer to slide into. It should
+be built of cedar throughout, but a slight saving can be effected if the
+lower bottom is of a cheaper wood or even a frame.</p>
+<br>
+
+<p><span class="pagenum" id="Page_42">[Pg 42]</span></p>
+
+<figure class="figcenter illowp85" id="image042" style="max-width: 62.5em;">
+  <img class="w100" src="images/image042.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 8</em></p>
+
+<p class="center no-indent">Fig. 29</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_43">[Pg 43]</span></p>
+
+<figure class="figcenter illowp85" id="image043" style="max-width: 62.5em;">
+  <img class="w100" src="images/image043.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 30</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 8</h3>
+
+<p>This chest involves a little turning, but otherwise its construction is
+simple. A ¾” piece is set into the upright end pieces of stock 1½” × 1¾”,
+and another piece mortised in between them at the top. This latter piece
+has had a handle turned in its center, and two round tenons on its ends.
+These tenons are glued into holes bored in the uprights. Fig. <a href="#image042">29</a> makes
+this construction clear. Aside from this, the construction is very similar
+to Design No. <a href="#image036">5</a>.</p>
+
+
+<h3>DESIGN NO. 9</h3>
+
+<p>At first glance, Fig. <a href="#image045a">32</a> presents a chest of difficult design, yet a careful
+understanding of its construction will show it to be quite simple. The
+box is built up with plain butt ends, and four corner legs are cut out according
+to the detail on Fig. <a href="#image044">31</a>. A right angle groove is cut into the center
+of each leg, and this fits over the corners of the chest. Glue and long
+screws from the inside of the box hold them in place, as detailed in Fig. <a href="#image045b">33</a>.
+The little brackets shown in the perspective are doweled onto the legs after
+the latter have been fastened in place. At the top and bottom strips of<span class="pagenum" id="Page_44">[Pg 44]</span>
+small moulding may be cut by hand, or special mill orders will secure it
+from the dealers. The panels are made of similar mouldings but these may
+be omitted if desired. The top shows a raised panel. There are two
+methods used to secure this effect. In the most simple, the ¾” top is built
+up and another, thinner piece, glued over it. If the shop has a veneer
+press, this method is very easy. Of course there is excessive weight when
+this construction is used. The alternate method is to build up a frame
+with either mortised or mitered ends, and set the ¾” top into this frame.
+It can be secured with nails and glue from the under side.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image044" style="max-width: 62.5em;">
+  <img class="w100" src="images/image044.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 9</em></p>
+
+<p class="center no-indent">
+<em>DETAIL OF LEG</em> <span style="padding-left: 2em"><em>ALTERNATE METHODS OF BUILDING UP TOP</em></span><br>
+</p>
+
+<p class="center no-indent">Fig. 31</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_45">[Pg 45]</span></p>
+
+<figure class="figcenter illowp85" id="image045a" style="max-width: 62.5em;">
+  <img class="w100" src="images/image045a.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 32</p></figcaption>
+</figure>
+<br>
+
+<figure class="figcenter illowp85" id="image045b" style="max-width: 62.5em;">
+  <img class="w100" src="images/image045b.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>DETAILS OF DESIGN NO. 9</em></p>
+
+<p class="center no-indent"><em>SECTION OF
+MOULDING</em></p>
+
+<p class="center no-indent"><em>METHOD OF FASTENING
+CORNERS TO BOX</em></p>
+
+<p class="center no-indent"><em>BRACKET DOWELED
+TO CORNER</em></p>
+
+<p class="center no-indent">Fig. 33</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_46">[Pg 46]</span></p>
+
+<figure class="figcenter illowp85" id="image046" style="max-width: 62.5em;">
+  <img class="w100" src="images/image046.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 10</em></p>
+
+<p class="center no-indent"><em>DETAIL OF LEG</em></p>
+
+<p class="center no-indent"><em>DETAIL OF
+MOULDING</em></p>
+
+<p class="center no-indent">Fig. 34</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_47">[Pg 47]</span></p>
+
+
+<h3>DESIGN NO. 10</h3>
+
+<figure class="figcenter illowp85" id="image047" style="max-width: 62.5em;">
+  <img class="w100" src="images/image047.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 35</p></figcaption>
+</figure>
+<br>
+
+<p>Figs. <a href="#image046">34</a> and <a href="#image047">35</a> illustrate a chest of the William and Mary period
+style. It is built up as the others have been with plain butt joints, and
+over the corners, as with Design No. <a href="#image045b">9</a>, the legs are fastened. These are
+turned on a wood lathe, a quarter of the pieces being cut out. They can
+be cut after the turning is finished, or before. The latter plan is the more
+simple, as a frame must be constructed to hold the legs while being sawed
+if they have been previously turned. If the section is removed before
+turning it is a good plan to make the two circular saw cuts through the
+middle of the piece without cutting through to the ends. This will permit
+good centers to be obtained, and it may prevent excessive chipping of the
+edges. The wood can be removed when the ends are cut off on the lathe,
+or they may be carefully chiseled out. The panel effect is secured with
+small mouldings mitered at their corners. These may be omitted, if desired,
+without spoiling the appearance of the chest.</p>
+<br>
+
+<p><span class="pagenum" id="Page_48">[Pg 48]</span></p>
+
+<figure class="figcenter illowp85" id="image048" style="max-width: 62.5em;">
+  <img class="w100" src="images/image048.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 11.</em></p>
+
+<p class="center no-indent">Fig. 36</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_49">[Pg 49]</span></p>
+
+
+<figure class="figcenter illowp85" id="image049" style="max-width: 62.5em;">
+  <img class="w100" src="images/image049.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 37</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 11</h3>
+
+<p>This chest is of very simple design, and would not be too difficult a
+project for the average eighth-grade student. The ends are butted
+against the front and back, and fastened with fine finishing nails. Corner
+blocks are used on the inside, of course. The bottom is a mitered frame
+which is nailed to the box. The handles are worked out from small
+pieces of stock, 1½” thick. The top is built up with a mitered frame,
+securely glued and nailed. Fig. <a href="#image048">36</a> is the working drawing, and Fig. <a href="#image049">37</a>
+presents a photograph of the finished chest.</p>
+<br>
+
+<p><span class="pagenum" id="Page_50">[Pg 50]</span></p>
+
+<figure class="figcenter illowp85" id="image050" style="max-width: 62.5em;">
+  <img class="w100" src="images/image050.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 12.</em></p>
+
+<p class="center no-indent">Fig. 38</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_51">[Pg 51]</span></p>
+
+
+<figure class="figcenter illowp85" id="image051" style="max-width: 62.5em;">
+  <img class="w100" src="images/image051.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 39</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 12</h3>
+
+<p>Figs. <a href="#image050">38</a> and <a href="#image051">39</a> illustrate a chest very similar in construction to those already described,
+but one differing in mode of trimming. In this project Decalcomania transfers
+are successfully used, a description of which will be found in Chapter <a href="#CHAPTER_VI">VI</a>.</p>
+<br>
+
+<p><span class="pagenum" id="Page_52">[Pg 52]</span></p>
+
+<figure class="figcenter illowp85" id="image052" style="max-width: 62.5em;">
+  <img class="w100" src="images/image052.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 13.</em></p>
+
+<p class="center no-indent">Fig. 40</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_53">[Pg 53]</span></p>
+
+
+<figure class="figcenter illowp85" id="image053" style="max-width: 62.5em;">
+  <img class="w100" src="images/image053.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 41</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 13</h3>
+
+<p>This very attractive chest is identical in construction with Design No. <a href="#image050">12</a>, but in this case
+the chest is embellished with two well designed metal corners fastened with large-headed brass
+or copper nails. It will be noted that no corners are used at the back; however, it would not
+look out of place to fasten plates on the ends to give the appearance of corners.</p>
+<br>
+
+<p><span class="pagenum" id="Page_54">[Pg 54]</span></p>
+
+<figure class="figcenter illowp100" id="image054" style="max-width: 62.5em;">
+  <img class="w100" src="images/image054.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 14</em></p>
+
+<p class="center no-indent">Fig. 42</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_55">[Pg 55]</span></p>
+
+
+<figure class="figcenter illowp100" id="image055" style="max-width: 62.5em;">
+  <img class="w100" src="images/image055.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 43</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 14</h3>
+
+<p>The only unique parts of the chest illustrated in Figs. <a href="#image054">42</a> and <a href="#image055">43</a> are the feet. After carefully forming
+them, they should be attached to the chest bottom before it is fastened to the box, as in this way the
+screws used to hold them can be evenly distributed.</p>
+<br>
+
+<p><span class="pagenum" id="Page_56">[Pg 56]</span></p>
+
+<figure class="figcenter illowp85" id="image056" style="max-width: 62.5em;">
+  <img class="w100" src="images/image056.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 15</em></p>
+
+<p class="center no-indent">Fig. 44</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_57">[Pg 57]</span></p>
+
+
+<figure class="figcenter illowp85" id="image057" style="max-width: 62.5em;">
+  <img class="w100" src="images/image057.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 45</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 15</h3>
+
+<p>In Figs. <a href="#image056">44</a> and <a href="#image057">45</a> we have a number of departures from the chests previously described. The most
+noticeable of these is the edge around the top, which is built-up from strips one and three-fourths inches
+square. The edges of these strips are carefully rounded and the outside tapered in toward the bottom.
+Another point to note is that the feet are not set in or out from the body of the chest, but are so fastened
+that they give the appearance of flush sides and ends. These latter are mitered together at the corners.</p>
+<br>
+
+<p><span class="pagenum" id="Page_58">[Pg 58]</span></p>
+
+<figure class="figcenter illowp100" id="image058" style="max-width: 62.5em;">
+  <img class="w100" src="images/image058.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 16</em></p>
+
+<p class="center no-indent">Fig. 46</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_59">[Pg 59]</span></p>
+
+<figure class="figcenter illowp100" id="image059" style="max-width: 62.5em;">
+  <img class="w100" src="images/image059.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 47</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 16</h3>
+
+<p>This chest is almost identical in design with No. <a href="#image052">13</a>, excepting that it has an overhanging top. When
+the box has been completed, a cove moulding is glued and bradded flush with the upper edges, and the
+top fitted over this moulding. As it is impossible to secure this moulding already cut from red cedar, it
+will be necessary to put in a special order for it at the mill or to work it out with a combination plane.</p>
+<br>
+
+<p><span class="pagenum" id="Page_60">[Pg 60]</span></p>
+
+<figure class="figcenter illowp85" id="image060" style="max-width: 62.5em;">
+  <img class="w100" src="images/image060.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 17</em></p>
+
+<p class="center no-indent">Fig. 48</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_61">[Pg 61]</span></p>
+
+<figure class="figcenter illowp85" id="image061" style="max-width: 62.5em;">
+  <img class="w100" src="images/image061.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 49</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 17</h3>
+
+<p>There is nothing unusual about this chest, excepting possibly that it is longer than the average.
+The top is built-up as described for Design No. <a href="#image032">15</a>.</p>
+<br>
+
+<p><span class="pagenum" id="Page_62">[Pg 62]</span></p>
+
+<figure class="figcenter illowp85" id="image062" style="max-width: 62.5em;">
+  <img class="w100" src="images/image062.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 18</em></p>
+
+<p class="center no-indent">Fig. 50</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_63">[Pg 63]</span></p>
+
+<figure class="figcenter illowp85" id="image063" style="max-width: 62.5em;">
+  <img class="w100" src="images/image063.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 51</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 18</h3>
+
+<p>This chest is almost identical with Design No. <a href="#image034">4</a>. It is built in the same manner, but here we
+have Decalcomania decorations applied, and the dimensions differ. When carefully constructed this
+is one of the most attractive designs in the series.</p>
+<br>
+
+<p><span class="pagenum" id="Page_64">[Pg 64]</span></p>
+
+<figure class="figcenter illowp85" id="image064" style="max-width: 62.5em;">
+  <img class="w100" src="images/image064.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 19</em></p>
+
+<p class="center no-indent">Fig. 52</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_65">[Pg 65]</span></p>
+
+<figure class="figcenter illowp85" id="image065" style="max-width: 62.5em;">
+  <img class="w100" src="images/image065.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 53</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 19</h3>
+
+<p>Figs. <a href="#image064">52</a> and <a href="#image065">53</a> present another chest with paneled ends, and the sectional view in the
+working drawing shows the construction of them. The rails are mortised into the post, and
+on the front panel, the wide edge is relieved by attaching a small quarter-round. The end
+panel is set into the rails at the center, hence it is not necessary to use the moulding here.</p>
+<br>
+
+<p><span class="pagenum" id="Page_66">[Pg 66]</span></p>
+
+<figure class="figcenter illowp85" id="image066" style="max-width: 62.5em;">
+  <img class="w100" src="images/image066.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 20.</em></p>
+
+<p class="center no-indent">Fig. 54</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_67">[Pg 67]</span></p>
+
+<figure class="figcenter illowp85" id="image067" style="max-width: 62.5em;">
+  <img class="w100" src="images/image067.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 55</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 20</h3>
+
+<p>With a proper selection of transfer designs, this chest is one of the most attractive that it is
+possible to build. Its construction is simple and it has the wide curved pieces over the end grain
+that were first shown in Design No. <a href="#image030">2</a>.</p>
+<br>
+
+<p><span class="pagenum" id="Page_68">[Pg 68]</span></p>
+
+<figure class="figcenter illowp85" id="image068" style="max-width: 62.5em;">
+  <img class="w100" src="images/image068.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 21.</em></p>
+
+<p class="center no-indent">Fig. 56</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_69">[Pg 69]</span></p>
+
+<figure class="figcenter illowp85" id="image069" style="max-width: 62.5em;">
+  <img class="w100" src="images/image069.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 57</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 21</h3>
+
+<p>Although larger than No. <a href="#image066">20</a>, this chest is practically the same with the exception of its
+decoration. Decalcomanias are not used here, but hinge plates and a well designed copper
+decoration on the front, add the hit of relief so urgently desired.</p>
+<br>
+
+<p><span class="pagenum" id="Page_70">[Pg 70]</span></p>
+
+<figure class="figcenter illowp85" id="image070" style="max-width: 62.5em;">
+  <img class="w100" src="images/image070.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CEDAR CHEST DESIGN NO. 22.</em></p>
+
+<p class="center no-indent">Fig. 58</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_71">[Pg 71]</span></p>
+
+<figure class="figcenter illowp85" id="image071" style="max-width: 62.5em;">
+  <img class="w100" src="images/image071.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 59</p></figcaption>
+</figure>
+<br>
+
+
+<h3>DESIGN NO. 22</h3>
+
+<p>A paneled chest very similar to Design No. <a href="#image038">6</a>, is shown in Figs. <a href="#image070">58</a> and <a href="#image071">59</a>. In this case there are but two panels on
+the front and top, and the ends are fitted with corner plates.</p>
+<br>
+
+<p><span class="pagenum" id="Page_72">[Pg 72]</span></p>
+
+<figure class="figcenter illowp85" id="image072" style="max-width: 62.5em;">
+  <img class="w100" src="images/image072.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>UNDER-BED CHEST</em></p>
+
+<p class="center no-indent">Fig. 60</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_73">[Pg 73]</span></p>
+
+<figure class="figcenter illowp85" id="image073a" style="max-width: 62.5em;">
+  <img class="w100" src="images/image073a.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 61</p></figcaption>
+</figure>
+<br>
+
+
+<h3>UNDER-BED CHEST</h3>
+
+<p>As its title indicates, the chest design shown in Figs. <a href="#image072">60</a> and <a href="#image073a">61</a> is
+meant to roll under the bed. It is of very simple construction, and most
+useful in small bedrooms and flats.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image073b" style="max-width: 62.5em;">
+  <img class="w100" src="images/image073b.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 62</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_74">[Pg 74]</span></p>
+
+<figure class="figcenter illowp85" id="image074" style="max-width: 62.5em;">
+  <img class="w100" src="images/image074.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CHEST OF DRAWERS</em></p>
+
+<p class="center no-indent">Fig. 63</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_75">[Pg 75]</span></p>
+
+
+<h3>CHEST OF DRAWERS</h3>
+
+<p>A chest of cedar drawers, Fig. <a href="#image073b">62</a>, has so many advantages that little
+need be said concerning it. Its additional room and separate compartments
+commend it highly. Its construction is exactly like the usual
+cabinet construction, all parts, wherever possible, being mortised and
+tenoned together. The detail of the drawer construction, Fig. <a href="#image075">64</a>, shows
+the fronts to extend past the sides, the edges being rounded. This gives
+the chest a most pleasing appearance and renders it dust-proof. If desired,
+the upper section, instead of having a large drawer, can have a false
+drawer front, and a bottom put in. The top can then be hinged and a
+high chest with two drawers will result. Or the top drawer may be
+divided into two smaller drawers with good effect.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image075" style="max-width: 62.5em;">
+  <img class="w100" src="images/image075.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>DETAIL OF DRAWERS</em></p>
+
+<p class="center no-indent">Fig. 64</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_76">[Pg 76]</span></p>
+
+<figure class="figcenter illowp85" id="image076" style="max-width: 43.4375em;">
+  <img class="w100" src="images/image076.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 65. Suggestive Designs from Commercial Sources</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_77">[Pg 77]</span></p>
+
+
+<h3>SUGGESTIONS FOR DESIGN</h3>
+
+<p>Figs. <a href="#image076">65</a> and <a href="#image077">66</a> illustrate a few additional designs whose working
+drawings are not given. They may offer suggestions worth while when
+the builder is designing his own. The feet are especially suggestive.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image077" style="max-width: 53.5625em;">
+  <img class="w100" src="images/image077.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 66. Suggestive Designs from Commercial Sources</p></figcaption>
+</figure>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_78">[Pg 78]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_V">CHAPTER V<br>
+<span class="fs70">The Finishing of Cedar</span></h2>
+</div>
+
+<p>Red cedar, contrary to supposition, is not a hard wood to finish.
+Having a closed grain, it needs no filler, which greatly simplifies its
+finishing. The outside, and the inner side of the cover—to prevent
+warping—should be finished; <b>never the inside of the chest</b>.</p>
+
+
+<h3>PREPARING THE WOOD FOR FINISHING</h3>
+
+<p>The cedar chest should be prepared for finishing as any other piece
+of furniture is prepared. All glue and rough spots should be carefully
+scraped and sandpapered until the surface is entirely free from defects.
+If the wood in the chest has been purchased glued up and machine sandpapered,
+it will need a final sandpapering with No. 0 or No. 00 sandpaper.
+If worked down by hand, it will need a great deal of scraping with a <b>sharp</b>
+scraper, a preliminary rubbing with No. 1 sandpaper, and a final rubbing
+with No. 0, working <b>with the grain</b> in each case. Careful dusting preparatory
+to the application of the first coat of finish is very necessary.</p>
+
+
+<h3>FILLING ROUGH SPOTS</h3>
+
+<p>As red cedar contains a great many knots, planing the wood by hand—and
+occasionally by machine—causes rough spots to occur around the
+knots. If these rough spots are shallow, they can be scraped out and
+sandpapered, but if they are deep, they must be filled.</p>
+
+<p>There are a number of methods of filling. The most simple—and
+least satisfactory—method is to fill them with “water putty,” a dry
+crack filler purchased in powder form and mixed with water. When it
+has hardened it can be rubbed down with sandpaper and colored to match
+the surrounding wood. As this color will fade in time, this method is not
+recommended.</p>
+
+<p>A better method is to fill them with a colored wood filler. Secure a
+small can of natural paste wood filler, a little rose pink dry stain, and some
+Van Dyke brown dry stain. Thin the filler with turpentine or benzine
+and add a quantity of the Van Dyke brown, well stirred in. Compare
+this color with that of the knots around which you are going to fill and add
+the rose pink until the correct shade of red is obtained. Apply this filler
+to the knots, and when perfectly dry, sandpaper down to an even surface.</p>
+
+<p>A third method—much slower than the other two—is the application
+of successive coats of colored shellac. To the ordinary shellac, add a little
+Bismark brown dry stain until you get a color that will match, when dry,
+the wood surrounding the rough spots. Apply this and allow it to set.
+Sandpaper down and apply successive coats, rubbing down evenly after<span class="pagenum" id="Page_79">[Pg 79]</span>
+each until a level surface is obtained. Repeated coats of thin shellac will
+look better and stick better than a few heavy coats.</p>
+
+
+<h3>COLORING THE WOOD</h3>
+
+<p>Some people object to the white streaks of sap wood contrasting so
+strongly with the red heart wood, while others are of the opinion that this
+contrast is one of the beauties of red cedar. The author is of the opinion
+that the white wood is not objectionable <b>if there is not too much of it</b>.
+Just what quantity to allow is again a matter of personal choice, so no
+hard and fast rule can be laid down.</p>
+
+<p>To color the chest prepare an aniline dye stain of red and brown.
+Cover the entire piece with a thin coat, then go over the lighter parts and
+streaks with a stronger coat. If carefully done, this should even up the
+color.</p>
+
+<p>If the maker does not mix his own stains, a red mahogany oil stain applied
+in the same manner will leave the same result. Thin the first coat
+out with benzine.</p>
+
+
+<h3>WAX FINISH</h3>
+
+<p>After filling and coloring, if the latter is desired, the kind of finish
+must be selected. The most simple is the wax but it is very seldom used—almost
+never by cedar chest manufacturers. But since it is often employed
+by students and home craftsmen it will be described.</p>
+
+<p>Over the dry surface apply a coat of thin shellac, either white or
+orange. When this has thoroughly dried, rub it down lightly with No. 00
+sandpaper and apply a second coat. When this has set, repeat the rubbing,
+being very careful not to rub through the coat, especially on the
+edges and corners. Brush on the third coat of shellac and rub it down
+with a little boiled linseed oil placed on the No. 00 sandpaper. This should
+leave a smooth, unpitted surface.</p>
+
+<p>Finally, apply a coat of prepared floor wax and allow it to stand over
+night. Rub it briskly with a dry flannel cloth, bringing it to a good polish.
+If a still higher gloss is desired, put on a second coat of wax and allow it to
+stand about thirty minutes before rubbing off.</p>
+
+<p>This finish can be renewed from time to time with fresh applications
+of wax, and has the advantage over the varnished surface of not showing
+scratches as readily.</p>
+
+
+<h3>VARNISH FINISH</h3>
+
+<p>For a varnish finish apply but two coats of shellac in the manner
+described above, and two coats of high grade rubbing varnish.</p>
+
+<p>The temperature of the room in which the varnishing is accomplished
+should be 70 degrees F. or over, and perfectly uniform. The room should
+be free from dust, and kept free after the varnish has been applied.</p>
+
+<p><span class="pagenum" id="Page_80">[Pg 80]</span></p>
+
+<p>Use an oval varnish brush, well dusted in the hand. Take up a brush
+full of the liquid as it comes from the can, and, starting from the center of
+the top, spread it out to the edges. Where it drips over, take up this surplus
+with the end of the brush. The sides should be varnished by working
+down from the top edge.</p>
+
+<p>The inside of the cover should be supported so that the air can circulate
+around it, otherwise it would be very slow in drying.</p>
+
+<p>Allow about five days for the varnish to thoroughly dry in before rubbing
+it down. Then sprinkle powdered pumice stone over the surface,
+and rub it with a felt pad (about 4” by 5”) moistened with water. Rub all
+surfaces while they are in a horizontal position if possible. Rub <b>lightly</b>
+and <b>evenly with the grain</b>, and be very sure that you do not go below the
+coat in any place—edges especially.</p>
+
+<p>Wash the pumice stone off with water and rub dry with a clean cloth
+after which the second coat is applied in the same manner. Allow this
+coat about five days in which to dry when the polishing process can be
+started. Rub it down as before with pumice stone and water, then remove
+the fine scratches left by the pumice stone by rubbing in a similar manner
+with rotten stone and water. <b>Always rub with the grain if possible.</b> Next,
+moisten the hand with linseed oil and sprinkle a little rotten stone in it.
+Very lightly go over the entire surface with this combination, rubbing
+with the grain. When perfectly smooth, clean the surface with a very soft
+cloth saturated with clean oil, and rub dry with cotton batting.</p>
+
+<p>To finish the polish, go over the entire surface with another soft pad
+of cotton batting saturated with some good furniture polish, or a thin
+mixture of linseed oil, turpentine, and sweet oil. This should produce an
+extremely brilliant and satisfactory finish if good materials have been
+used and care exercised in their application.</p>
+
+
+<h3>OIL FINISH</h3>
+
+<p>If an oil finish is desired go over the wood, after it has been filled and
+colored, with a coat of <b>hot linseed oil</b>. When thoroughly dry, wipe off the
+“grease spots,” if there are any, and give the wood a coat of shellac. This
+can be followed with a second coat of shellac, rubbed down with pumice
+stone and oil, or the varnish finish as described above can be applied over
+the second coat of shellac.</p>
+
+
+<h3>ENAMEL FINISH</h3>
+
+<p>There is a modern demand evinced for enameled and painted furniture,
+especially in some of the Period designs. To meet this demand,<span class="pagenum" id="Page_81">[Pg 81]</span>
+cedar chest manufacturers have recently introduced chests enameled on
+the outside, and left natural on the inside, the designs being made to correspond
+with various periods—Adam and William and Mary being predominant.</p>
+
+<p>Old ivory—a soft shade of cream—is the most popular finish, especially
+when decorated parts are striped with orange, while black enamel,
+striped with gold, is second best.</p>
+
+<p>These finishes are applied in the conventional manner—the ivory
+enamel being under-coated with flat white.</p>
+
+<p>On school-made chests these finishes are not to be recommended. In
+the first place, they are only temporary fads—pretty creations to catch
+the popular fancy that may be “old-fashioned” next year. And secondly,
+there is no good reason for hiding the natural beauties of red cedar with
+enamels. Carefully selected wood, with its wonderful contrasts of sap
+and heart wood, certainly give color enough.</p>
+
+
+<h3>LACQUER FINISH</h3>
+
+<p>The wood should be prepared as directed in the preceding paragraphs,
+and after it has been well dusted, a coat of lacquer is applied.
+This is the regular cotton lacquer (banana oil), and it must not be confounded
+with the wood lacquers now so extensively advertised. When
+dry it is sanded lightly and given a second coat, the spreading of which
+must be done quickly and without overlapping.</p>
+
+<p>Lacquer serves not only as a protection for the wood, but it also
+acts to keep the odor of the cedar confined in the wood, and it protects
+the wood against moisture better than any of the finishing coatings.
+Over this second coat, apply a bit of thin wax, or a coat of rubbing
+varnish, as desired.</p>
+
+<p>This method of finishing cedar chests is one of the most common in
+the furniture factories, as it preserves the full beauty of the grain.</p>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_82">[Pg 82]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_VI">CHAPTER VI<br>
+<span class="fs70">Copper Trimmings</span></h2>
+</div>
+
+<p>After the finish on the chest has thoroughly dried, any copper trimmings
+desired can be applied, providing, of course, that the appearance of
+the chest will be improved by them. If good joints have been obtained on
+the corners, copper corners will help but little, but if the joints are open,
+well-designed corners will cover up the defects without detracting from
+the appearance of the chest. As a rule, handles of cedar, well executed,
+look better than metal pulls attached to the ends of the box, but if metal
+corners are employed the pulls should also be of the same. If a lock is
+attached, it will need an escutcheon, and hinge plates on the cover go
+well where the other metal trimmings are adapted.</p>
+
+<p>Sixteen-gauge copper is the metal usually employed. Brass looks
+well, but it does not harmonize with the red cedar quite as attractively
+as copper.</p>
+
+<p>The design should be first worked out on paper, and transferred to
+the metal by using carbon paper. Care should be exercised with the designing.
+A poor design looks worse than no design at all—copper bands
+with straight edges certainly give a pleasing appearance, as Fig. <a href="#image042">29</a> shows.
+The student will do well to co-operate with the art teacher when designing
+his trimmings. The illustrations in this chapter offer suggestions for design,
+Fig. <a href="#image083">67</a> showing escutcheons, Fig. <a href="#image084">68</a> pulls, Fig. <a href="#image085">69</a> hinge plates, and
+Fig. <a href="#image086">70</a> corners. Although these designs do not emphasize it, the same motif
+should be used in every case. For example, straight bands across the top
+should not be used with fancy-sawed corners. A reasonably plain hinge
+plate will not look well on a chest with very elaborate pulls and corners.
+Care should be given this designing that the different parts do not show
+incongruity.</p>
+
+
+<h3>ESCUTCHEONS</h3>
+
+<p>The escutcheon can be small and plain, or rather long and fancy.
+Fig. <a href="#image083">67</a> illustrates both kinds. The design should be symmetrical about
+the vertical center line. The key hole size is dependent upon the size of
+the key furnished with the lock, and its distance from the upper edge is
+governed by the depth of the key hole in the lock.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image083" style="max-width: 45.25em;">
+  <img class="w100" src="images/image083.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>ESCUTCHEONS</em></p>
+
+<p class="center no-indent">SHADED PORTIONS REPRESENT
+SAWED OUT PARTS</p>
+
+<p class="center no-indent">1 INCH</p>
+
+<p class="center no-indent">Fig. 67</p></figcaption>
+</figure>
+<br>
+
+<figure class="figcenter illowp85" id="image084" style="max-width: 44.8125em;">
+  <img class="w100" src="images/image084.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>PULLS</em></p>
+
+<p class="center no-indent">1 INCH</p>
+
+<p class="center no-indent">Fig. 68</p></figcaption>
+</figure>
+<br>
+
+<figure class="figcenter illowp85" id="image085" style="max-width: 45.125em;">
+  <img class="w100" src="images/image085.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>HINGE PLATES</em></p>
+
+<p class="center no-indent">1 INCH</p>
+
+<p class="center no-indent">Fig. 69</p></figcaption>
+</figure>
+<br>
+
+<figure class="figcenter illowp85" id="image086" style="max-width: 45em;">
+  <img class="w100" src="images/image086.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent"><em>CORNERS</em></p>
+
+<p class="center no-indent">1 INCH</p>
+
+<p class="center no-indent">Fig. 70</p></figcaption>
+</figure>
+<br>
+
+<p>After the design has been carefully traced on the metal, it should be
+cut out with a fine metal saw in a jeweler’s saw frame. The edges can
+<span class="pagenum" id="Page_87">[Pg 87]</span>then be filed smooth. The inside cutting is accomplished by first drilling a
+small hole, then inserting the saw and re-fastening it in the frame.</p>
+
+<p>Holes drilled for the tacks will complete the construction.</p>
+
+
+<h3>PULLS</h3>
+
+<p>The backs of the pulls are sawed out exactly like the escutcheon,
+the handle being the most difficult part to construct. On the even wire
+design, a piece of heavy round copper can be bent to shape. It is fastened
+through a piece of thinner metal, which, in turn, is spread out after passing
+through a slot sawed in the plate, Fig. <a href="#image087a">71</a>. Those of uneven designs, the first
+for example, can be sawed and filed from a piece of copper 1” thick, or, if
+the school teaches molding, a wooden pattern the shape and size of the pull
+can be made, a mold taken from it, and a copper casting made in the mold.
+A little filing and polishing will put the metal pull in excellent shape.
+Where the wire is thicker in the middle, it can be hammered out or filed
+before bending, as in Fig. <a href="#image087b">72</a>. The boring of the nail holes in the plate will
+complete the construction.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image087a" style="max-width: 62.5em;">
+  <img class="w100" src="images/image087a.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 71</p></figcaption>
+</figure>
+<br>
+
+<figure class="figcenter illowp85" id="image087b" style="max-width: 62.5em;">
+  <img class="w100" src="images/image087b.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 72</p></figcaption>
+</figure>
+<br>
+
+<p><span class="pagenum" id="Page_88">[Pg 88]</span></p>
+
+
+<h3>HINGE PLATES</h3>
+
+<p>Hinge plates are used on the cover to give the chest a more massive
+appearance. They extend to the back edge, or are bent over it. After
+the design has been traced on the metal, they are sawed, filed, and the nail
+holes drilled as before.</p>
+
+
+<h3>CORNERS</h3>
+
+<p>Corners are made like hinge plates with the addition of a right angle
+bend in the middle. This bending is accomplished by placing the metal
+between two hardwood pieces screwed up in a vise, and driving the upper
+half over with a mallet. In some instances, Fig. <a href="#image032">19</a> is an example, the
+corner does not go around the end, a flat plate covering the end grain
+being fastened on the front only.</p>
+
+
+<h3>FINISH</h3>
+
+<p>The metal trimmings should be rubbed very briskly with fine steel
+wool, and polished with water and pumice stone. They will keep this
+polish if coated with banana oil or some other good lacquer. This finish
+should be applied before the trimmings are fastened on the chest.</p>
+
+
+<h3>NAILS</h3>
+
+<p>Copper nails with various size heads can be obtained, or brass headed
+tacks copper coated can be used in their stead. The copper plating can
+be done by any plating concern, and at a very small cost.</p>
+
+
+<h3>DECALCOMANIA TRANSFERS</h3>
+
+<figure class="figcenter illowp85" id="image088" style="max-width: 62.5em;">
+  <img class="w100" src="images/image088.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 73 Chest Decorated with Decalcomania Transfers</p></figcaption>
+</figure>
+<br>
+
+<p>A line of chests has recently appeared on the market with decorations
+that appear to be hand painted. Fig. <a href="#image088">73</a> gives an example. This form of<span class="pagenum" id="Page_89">[Pg 89]</span>
+decoration results from the using of Decalcomania transfers, and, since it
+is very attractive and easily applied, deserves notice in this chapter.</p>
+
+<p>The transfers are applied in colors to the Decalcomania paper, in
+which condition they reach the consumer. The face of the transfer is sized
+with a thin coat of varnish, the paper is placed in position on the chest,
+and is then soaked off, very much as the small boy soaks off the old-fashioned
+transfer pictures from his hand or arm. The operation consumes
+but very little time and when properly done, the decoration is as
+much a part of the piece as the finish itself.</p>
+
+<p>It is applied over the final finish, or it can be put on before the last
+coat of varnish is placed.</p>
+
+<p>Many excellent designs are available, especially in marquetry and
+pearl inlay where the work has been reproduced so carefully as to challenge
+detection. A chest decorated with a fine band of inlay lines of black
+and holly presents a wonderfully attractive appearance.</p>
+
+<p>Decalcomania transfers can be obtained only from the manufacturers.
+The Meyercord Company, Inc., Chicago.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image089" style="max-width: 62.5em;">
+  <img class="w100" src="images/image089.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">An Italian Chest of the Fifteenth Century (Made in Florence about 1475)</p></figcaption>
+</figure>
+<br>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_90">[Pg 90]</span></p>
+
+<h2 class="nobreak" id="CHAPTER_VII">CHAPTER VII<br>
+<span class="fs70">Matting Boxes</span></h2>
+</div>
+
+<p>Fig. <a href="#image090">74</a> is from a photograph of a matting box—a form of chest construction
+not devoid of popularity, as its neat appearance and simple
+construction make it worthy of considerable favor.</p>
+<br>
+
+<figure class="figcenter illowp100" id="image090" style="max-width: 62.5em;">
+  <img class="w100" src="images/image090.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 74</p></figcaption>
+</figure>
+<br>
+
+<p>Most matting boxes are made from wood other than cedar—cypress,
+redwood, etc.—most any stock that can be secured in wide pieces—thus
+doing away with gluing up. The pieces are simply nailed or screwed
+together, corner strips glued in, and the matting applied. Such simple
+construction makes this a favorable project for grammar grade students.</p>
+
+
+<h3>HOW TO MAKE A MATTING BOX</h3>
+
+<p>California redwood is recommended, as it is light, straight grained,
+and does not warp easily. Dimensions can be secured from the working
+drawings of the cedar chests given in the previous chapters.</p>
+
+<p>The flat surfaces will need little planing by hand since they will be
+entirely covered on the outside. The edges should be smoothly finished,
+especially the upper edges, and the under side of the top should be planed
+and sandpapered.</p>
+<br>
+
+<p><span class="pagenum" id="Page_91">[Pg 91]</span></p>
+
+<figure class="figcenter illowp85" id="image091a" style="max-width: 62.5em;">
+  <img class="w100" src="images/image091a.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 75</p></figcaption>
+</figure>
+<br>
+
+<figure class="figcenter illowp85" id="image091b" style="max-width: 62.5em;">
+  <img class="w100" src="images/image091b.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 76</p></figcaption>
+</figure>
+<br>
+
+<p>Cut the sides and ends to the desired shape, Figs. <a href="#image091a">75</a> and <a href="#image091b">76</a> offer
+excellent suggestions, and square the ends of all four pieces. Nail or screw
+the boards together, and glue in triangular corner strips on the inside.</p>
+
+<p>Nail the bottom in through the sides and ends, making the nail holes
+in the ends about three times as wide as the nails to allow for expansion
+and contraction, and give the sides a rather loose fit for the same reason.</p>
+
+<p>Fit the top carefully and round its upper edges. If the board is not
+flat or glued-up from narrow pieces, it may be well to glue and nail strips
+on its under side to straighten it and prevent warping, as Fig. <a href="#image092">77</a> illustrates.</p>
+
+<p>Shellac over the outside and inside of all pieces with at least two coats
+of shellac, sandpapering the second on the inside. This is also done to
+prevent warping.</p>
+<br>
+
+<p><span class="pagenum" id="Page_92">[Pg 92]</span></p>
+
+<figure class="figcenter illowp85" id="image092" style="max-width: 62.5em;">
+  <img class="w100" src="images/image092.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">Fig. 77</p></figcaption>
+</figure>
+<br>
+
+
+<h3>PUTTING ON THE MATTING</h3>
+
+<p>The natural colored floor matting without decoration of any kind is
+to be preferred. Trim off its thick edges, and cut the pieces carefully to
+fit the surfaces, planning on the seams coming where they will be covered
+with the strips of cane.</p>
+
+<p>Allow these pieces to soak in warm water for two or three hours, then
+tack them to their respective surfaces. Use ordinary carpet tacks with
+large heads, or matting staples. Stretch the matting very tight over the
+surface as the tacking proceeds, and when the water dries out a perfect fit
+will be assured.</p>
+
+
+<h3>COVERING THE SEAMS AND EDGES</h3>
+
+<p>Split bamboo makes the best covering for the seams and edges, as it
+blends so well with the matting. Small fish-poles may be secured, soaked
+in hot water, and carefully split with a sharp knife on a diameter, as each
+section should be semi-circular. Split bamboo porch screens, at one time
+so popular, can be taken apart and used, or strips may be purchased from
+a manufacturer of split bamboo fish-poles through some sporting goods
+dealer.</p>
+
+<p>Cut the strips the exact lengths desired, being very careful to make
+good joints, drill small holes where the nails will come, and fasten with
+round-head brads or brass escutcheon pins. Curves that require much
+bending can be soaked in hot water until pliable before placing.</p>
+
+<p><span class="pagenum" id="Page_93">[Pg 93]</span></p>
+
+<p>If a little decoration is desired on the bamboo, hold it over a flame at
+intervals, scorching the surface brown. Dust this off and shellac the
+strips before attaching them.</p>
+
+<p>If it is impossible to secure bamboo of any kind, small strips of any
+wood stained or white enameled will serve very well.</p>
+
+<p>Place the hinges and chain, and the box is complete.</p>
+
+
+<h3>MAKING THE BOX MOTH-PROOF</h3>
+
+<p>If a cedar chest has been constructed and poorly finished, a covering
+of matting will greatly improve its appearance, and without impairing its
+moth-proof qualities if it is not finished on the inside.</p>
+
+<p>If an ordinary matting box has been made, it can be rendered moth-proof
+by putting in a bottom of red cedar, or covering the bottom with
+cedar shavings, also mixing shavings in with the contents of the box when
+storing them.</p>
+<br>
+
+<figure class="figcenter illowp85" id="image093" style="max-width: 62.5em;">
+  <img class="w100" src="images/image093.jpg" alt="">
+  <figcaption class="caption"><p class="center no-indent">A chest used at the end of the Fourteenth Century</p></figcaption>
+</figure>
+<br>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_95">[Pg 95]</span></p>
+
+<h2 class="nobreak" id="INDEX">INDEX</h2>
+</div>
+
+
+<ul class="index">
+<li class="ifrst"><span style="padding-left: 12em">Page</span></li>
+
+<li class="indx">Characteristics of Red Cedar, <a href="#Page_14">14</a></li>
+
+<li class="indx">Chest Design No. 2, <a href="#Page_31">31</a></li>
+
+<li class="indx">Chest Design No. 3, <a href="#Page_33">33</a></li>
+
+<li class="indx">Chest Design No. 4, <a href="#Page_35">35</a></li>
+
+<li class="indx">Chest Design No. 5, <a href="#Page_37">37</a></li>
+
+<li class="indx">Chest Design No. 6, <a href="#Page_39">39</a></li>
+
+<li class="indx">Chest Design No. 7, <a href="#Page_41">41</a></li>
+
+<li class="indx">Chest Design No. 8, <a href="#Page_43">43</a></li>
+
+<li class="indx">Chest Design No. 9, <a href="#Page_43">43</a></li>
+
+<li class="indx">Chest Design No. 10, <a href="#Page_47">47</a></li>
+
+<li class="indx">Chest Design No. 11, <a href="#Page_49">49</a></li>
+
+<li class="indx">Chest Design No. 12, <a href="#Page_51">51</a></li>
+
+<li class="indx">Chest Design No. 13, <a href="#Page_53">53</a></li>
+
+<li class="indx">Chest Design No. 14, <a href="#Page_55">55</a></li>
+
+<li class="indx">Chest Design No. 15, <a href="#Page_57">57</a></li>
+
+<li class="indx">Chest Design No. 16, <a href="#Page_59">59</a></li>
+
+<li class="indx">Chest Design No. 17, <a href="#Page_61">61</a></li>
+
+<li class="indx">Chest Design No. 18, <a href="#Page_63">63</a></li>
+
+<li class="indx">Chest Design No. 19, <a href="#Page_65">65</a></li>
+
+<li class="indx">Chest Design No. 20, <a href="#Page_67">67</a></li>
+
+<li class="indx">Chest Design No. 21, <a href="#Page_69">69</a></li>
+
+<li class="indx">Chest Design No. 22, <a href="#Page_71">71</a></li>
+
+<li class="indx">Chest of Drawers, <a href="#Page_75">75</a></li>
+
+<li class="indx">Coloring the Wood, <a href="#Page_79">79</a></li>
+
+<li class="indx">Copper Corners, <a href="#Page_88">88</a></li>
+
+<li class="indx">Copper Nails, <a href="#Page_88">88</a></li>
+
+<li class="indx">Copper Pulls, <a href="#Page_87">87</a></li>
+
+<li class="indx">Copper Trimmings, <a href="#Page_82">82</a></li>
+
+<li class="indx">Corner Strips, <a href="#Page_27">27</a></li>
+
+<li class="indx">Cover, <a href="#Page_29">29</a></li>
+
+
+<li class="ifrst">Decalcomania Transfers, <a href="#Page_88">88</a></li>
+
+<li class="indx">Depletion of the Cedar Supply, <a href="#Page_11">11</a></li>
+
+<li class="indx">Doweling, <a href="#Page_22">22</a></li>
+
+
+<li class="ifrst">Enamel Finish, <a href="#Page_80">80</a></li>
+
+<li class="indx">Escutcheons, <a href="#Page_82">82</a></li>
+
+
+<li class="ifrst">Feet, <a href="#Page_27">27</a></li>
+
+<li class="indx">Filling Rough Spots, <a href="#Page_78">78</a></li>
+
+<li class="indx">Finishing, <a href="#Page_29">29</a></li>
+
+<li class="indx">Finishing Cedar, <a href="#Page_78">78</a></li>
+
+<li class="indx">Finishing Copper, <a href="#Page_88">88</a></li>
+
+
+<li class="ifrst">Gluing, <a href="#Page_23">23</a></li>
+
+
+<li class="ifrst">Handles, <a href="#Page_27">27</a></li>
+
+<li class="indx">Hinge Plates, <a href="#Page_88">88</a></li>
+
+<li class="indx">Hinging, <a href="#Page_29">29</a></li>
+
+
+<li class="ifrst">Jointing, <a href="#Page_21">21</a></li>
+
+<li class="indx">Jointing and Gluing, <a href="#Page_20">20</a></li>
+
+<li class="indx">Joints Used in Chest Construction, <a href="#Page_26">26</a></li>
+
+
+<li class="ifrst">Lacquer Finish, <a href="#Page_81">81</a></li>
+
+<li class="indx">Log Houses of Cedar, <a href="#Page_9">9</a></li>
+
+
+<li class="ifrst">Making the Box Moth-Proof, <a href="#Page_93">93</a></li>
+
+<li class="indx">Making the Chest Dust-Proof, <a href="#Page_28">28</a></li>
+
+<li class="indx">Matting Boxes, <a href="#Page_90">90</a></li>
+
+<li class="indx">Mill Bill, <a href="#Page_17">17</a></li>
+
+
+<li class="ifrst">New England Chest, <a href="#Page_15">15</a></li>
+
+
+<li class="ifrst">Oil Finish, <a href="#Page_80">80</a></li>
+
+<li class="indx">Old Italian Chests, <a href="#Page_15">15</a></li>
+
+
+<li class="ifrst">Placing Bamboo, <a href="#Page_92">92</a></li>
+
+<li class="indx">Placing Matting, <a href="#Page_92">92</a></li>
+
+<li class="indx">Preparing Wood for Finishing, <a href="#Page_78">78</a></li>
+
+<li class="indx">Present Day Development, <a href="#Page_16">16</a></li>
+
+
+<li class="ifrst">Red Cedar, <a href="#Page_9">9</a></li>
+
+
+<li class="ifrst">Sawing Up Stock, <a href="#Page_20">20</a></li>
+
+<li class="indx">Sides and Ends, <a href="#Page_19">19</a></li>
+
+<li class="indx">Simple Chest Design, <a href="#Page_17">17</a></li>
+
+<li class="indx">Squaring Up, <a href="#Page_25">25</a></li>
+
+<li class="indx">Suggestive Designs, <a href="#Page_77">77</a></li>
+
+<li class="indx">Surfacing, <a href="#Page_24">24</a></li>
+
+
+<li class="ifrst">Top and Bottom, <a href="#Page_20">20</a></li>
+
+
+<li class="ifrst">Under-Bed Chest Design, <a href="#Page_73">73</a></li>
+
+
+<li class="ifrst">Varnish Finish, <a href="#Page_56">56</a></li>
+
+
+<li class="ifrst">Wax Finish, <a href="#Page_79">79</a></li>
+
+<li class="indx">Where Cedar Abounds, <a href="#Page_9">9</a></li>
+
+<li class="indx">William and Mary Design, <a href="#Page_47">47</a></li>
+</ul>
+<hr class="chap x-ebookmaker-drop">
+
+
+<div class="chapter transnote">
+<h2>Transcriber’s Notes</h2>
+
+<table class="autotable">
+<tr>
+<td class="tdr">pg 15 Changed:</td>
+<td class="tdl">who kept their dowery of rich velvets</td>
+</tr>
+<tr>
+<td class="tdr">to:</td>
+<td class="tdl">who kept their dowry of rich velvets</td>
+</tr>
+<tr>
+<td class="tdr">pg 93 Changed:</td>
+<td class="tdl">without imparing its moth-proof qualities</td>
+</tr>
+<tr>
+<td class="tdr">to:</td>
+<td class="tdl">without impairing its moth-proof qualities</td>
+</tr>
+</table>
+
+</div>
+
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75563 ***</div>
+</body>
+</html>
+
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #75563 (https://www.gutenberg.org/ebooks/75563)