diff options
Diffstat (limited to '75563-0.txt')
| -rw-r--r-- | 75563-0.txt | 1763 |
1 files changed, 1763 insertions, 0 deletions
diff --git a/75563-0.txt b/75563-0.txt new file mode 100644 index 0000000..2409d83 --- /dev/null +++ b/75563-0.txt @@ -0,0 +1,1763 @@ + +*** 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 *** |