Fig. 158. Pen and ink trays
Fig. 158. Pen and ink trays
In place of carving this inkstand, an inlaid design could have been used, and the whole piece highly polished, but our boy had not yet had any practice in inlaying or polishing, so he used sweet gum wood and a chip carving design. Later on he made others out of black walnut and mahogany, and gave them a high polish. SeeChapter XXXVIfor inlaying andXLIXfor polishing.
A very nice little problem in gouge work is shown inFig. 159, a pen tray pure and simple, with no provision for ink wells.
The only new feature is the under cutting of the outside. The steps for this are:
1. Square up.
2. Lay out from a centre line, drawn completely around the block lengthwise, and draw with compasses and rule both top and bottom.
Fig. 159. The pen trap
Fig. 159. The pen trap
3. Gouge groove.
4. Plane the long sides to outline of top and bottom lines.
5. Cut ends with back saw and chisel to semicircles on top and bottom.
6. Round upper edge with spokeshave, chisel and knife.
7. Sand-paper with coarse, followed by fine, sand-paper.
8. Polish or wax finish.
Perhaps the most severe test for gouge work is the pin tray shown atFig. 160. This is something which could be made more cheaply and in less time from metal, but a skilful and careful boy can do it successfully in a hard wood, such as maple. The process is similar to the pen tray. The drawing is laid out on the squared stock, and the bowl cut out with the gouge.
The outside is best executed with a template, or better, two—one for the lengthwise sectionand one for the width. A template is a form cut out of thin wood or metal; in this case1⁄8-inch wood should be used. By frequently holding these templates to the work, it may be quickly seen where the material is to be removed.
Fig. 160. The pin tray. A fine test of gouge work
Fig. 160. The pin tray. A fine test of gouge work
When the outside of the tray fits the templates, it is ready for sand-papering, and not before. To make the tray perfect, an inside template can be used. This template method is used in forming boat models.
The coat hanger is a convenient thing in every household, and also a good example of spokeshave work.
A soft wood, like pine, or white wood, is suitable, and after squaring up two faces and one edge, the design may be drawn on one or both of the faces with a sharp pencil. Cut close to the lines with a turning saw, and finish to lines with spokeshave.
Fig. 161. The coat hanger
Fig. 161. The coat hanger
The upper edge is next rounded with the spokeshave (Fig. 161), and finished with sand-paper to the cross section shown in the drawing. Bore a hole for the hook with a gimlet bit, and make the hook from strong brass wire, shaped by bending with a pair ofpliers. For finishing, two coats of shellac can be used. The first coat after hardening is sand-papered flat with No. 00 sand-paper; the second may be treated in the same way, or rubbed down with ground pumice stone and linseed oil. (Seepolishing chapter.)
For the kitchen, the towel roller is still used to some extent, especially in the country and suburbs. It consists of four pieces, a back, two brackets, and the roller. These essential parts are shown inFig. 162and the back and brackets may be modified and improved as shown atbandc.
Carving can be used in a simple form on the ends, as shown atc. The back and ends are cut out with the usual tools, but it is wise, in cutting the outline of the ends, to glue them together with a piece of paper between, cutting both at the same time. This insures their being exactly alike, and when finished they may be easily separated by inserting the blade of a knife between them. The paper will split, half coming off on each piece.
After the paper and glue have been planed off, a hole is bored half way through each end from the inside. On one end it is necessary to cut a groove of the same width and depth as the hole, clear up to the top, so that the roller can be inserted after assembling, and a towel be put over it. Theends are fastened with two flat-head screws each, by boring through the back, and countersinking.
Two holes should also be bored through the back for fastening it to the wall.
The roller may be turned on a lathe or made at the bench by the following method:
1. Square up the stock to the diameter of the roller called for in the drawing.
2. Find the exact centre of each end by drawing the diagonals with a pencil.
3. Draw a circle on each end from these centres of full diameter.
4. Bore a hole at each of these centres3⁄8-inch diameter, and about an inch deep.
5. Plane off the four corners down to the circle to produce an octagonal form.
6. Plane off the eight corners, using as a stop a small piece of wood fastened in the vise. Hold the roller against this stop, and allow the stock to rest over the open space in the vise. Continue to plane off the edges as long as they are large enough to see or feel.
7. Sand-paper with coarse, followed by fine, sand-paper.
8. Glue into the holes in the ends pieces ofdowel long enough to project out about half an inch.
9. Allow the glue to harden over night, and saw off the dowels next day to the proper length. Cut a slight bevel on the end of each dowel with the knife.
If any carving is to be done on the ends, it must be cut before they are screwed to the back piece.
Fig. 162. The towel roller
Fig. 162. The towel roller
This method of producing a cylinder without a turning lathe can be used in a number of ways. For example, boys living in the city, where a pull-upbar has to be located in the house, can easily make one in this way, and fasten it between the door jambs at a convenient height.
The blocks for supporting it can be made, as shown inFig. 163, three inches each way and1⁄2inch thick. Oak is the best wood for this purpose. It is strong enough, and can be stained to match the door frame.
Bore and countersink four holes for 11⁄4-inch flat-head screws.
Fig. 163. The pull-up bar
Fig. 163. The pull-up bar
To prevent the bar turning, after it has been planed round and about1⁄8inch shorter than the space between the jambs, lay out a one-inch square on each end. Cut out with a back saw, and chisel until it just fits the square opening in the blocks. This bar can be taken out and stored in a closet, when not in use, and the blocks will never be in the way.
If the bar is so loose in the blocks that it has a tendency to spring out when you jump for it, a flat piece of oak can be screwed across the top, as shown in the illustration.
Fig. 164. The hatchet handle. An example of spokeshave work
Fig. 164. The hatchet handle. An example of spokeshave work
This is an excellent, if limited, gymnasium for those who get little exercise and whose time and space are limited. Every boy ought to be able to "chin the bar" at least six or seven times without letting go.
Round objects with a taper, such as pointers and musicians' batons, can be made by this method, always getting the taper in the square form first, then planing off corners, etc. It is really work for a turning lathe, but one must work with such tools as he can afford to purchase.
Fig. 165. The hammer handle
Fig. 165. The hammer handle
Many useful articles of oval or elliptical cross section can be made at a bench which could not be made on an ordinary lathe. The hatchet handle shown inFig. 164is a good example. The wood used should be strong and tough, such as hickory or maple. After squaring up the stock to the over all dimensions, the outline is drawn on both flat faces, and sawed close to thelines with turning saw, finished with drawing knife and spokeshave. The oval or elliptical forms are then drawn on the ends, the corners rounded with spokeshave to these curves, and the whole finished with sand-paper.
The hammer handle (Fig. 165) is made in the same manner.
Fig. 166. Sugar scoop
Fig. 166. Sugar scoop
The woodworkers of Northern Europe make many household utensils in this way. The sugar scoop and the wooden ladle, shown inFigs. 166and166a, are familiar examples. In these two cases, the bowl is work for the gouge, while in rounding, some of the surfaces are done with the file. On general principles, it is not wise to get into the habit of using a file onwood, except in rare cases where the material is very hard, such as maple, beech, and similar woods.
Fig. 166a. Wooden ladle
Fig. 166a. Wooden ladle
The towel rack shown inFig. 167is suitable forthe bath or bed room, and can readily be made by any boy.
Fig. 167. The towel rack
Fig. 167. The towel rack
The back piece is made with plane and chisel. The straight bevels are cut with the smoothing plane, and the curves with the chisel. The two openings or mortises should be laid out and cut before the ends are rounded. The wood is removed by boring several small holes within the lines, and finishing to line with a chisel and mallet. The two supports, or brackets, involve nothing new, and after being finished are glued into mortises.
The towel sticks may be ten inches or more in length, squared up to7⁄8inch ×1⁄2inch. The taper begins two inches from the bored end, and from this point is planed in a straight line to3⁄8inch squareat the small end. The rounding is done in the same manner as in the towel roller, the tips rounded with a knife, and the whole piece sand-papered smooth.
The three sticks are held between the two supports and a3⁄8-inch dowel passed through the five holes, which should of course be in line.
The ends of this dowel can be split before they are placed, and then in the final position small thin wedges can be driven in with a little glue.
Among small articles for household use the clock case is a popular model, and the designs range from the mission style, characterized by straight lines and plain surfaces, up to elaborate attempts at imitating in miniature the old-fashioned tall "grandfather's clock."
While an ordinary alarm clock may be used for the clock proper, the small size nickeled clock, 21⁄4inches outside diameter, is more satisfactory and very reliable. It costs about seventy-five cents.
In designing the frame, or case, structural items must be considered first. The clock needs a platform to stand on, there must be a circular opening just large enough for the face to fit, and the structure requires an opening in the back, so that the clock may be wound or removed.
With these facts as a basis, the form can be sketched out.
Fig. 168shows, perhaps, the simplest style, on the mission order. The design of the front becomes amatter of proportion, and the dimensions given are only suggestions which the young designer can modify to meet his own ideas, keeping in mind that on horizontal members, if there is any difference in size, the upper ones should be the smaller.
Simple as this design appears, if put together by mortise and tenon, with provision made for the panelled front and sides, it will call for fine work. As there is no great question of strength involved, the following method will do for making this case. It will be called heretical by expert woodworkers, but is practicable and easy from the boy's point of view.
Square up a piece of1⁄4-inch stock 4 inches wide and 13 inches long. Saw out two pieces for the panels 21⁄2inches long.
Clamp the front piece to a strip of scrap wood as a backing, and bore a hole for the clock face with an expansive bit. Fasten the front to the end pieces by3⁄4-inch brads, as shown ina. In the same manner nail the top and bottom pieces to the front and ends, making a box of1⁄4-inch wood, with the back open.
The legs, made3⁄4inch square with a1⁄4-inch rabbet cut out as shown ata, may now be glued on and fastened with two 1-inch brads driven in fromthe ends. The horizontal rails are cut and fitted to the front and ends and glued in position.
Fig. 168. Mission style clock case
Fig. 168. Mission style clock case
If brads are used, they must be set, and the holes filled with putty, coloured to correspond with the wood used. If the legs of the clock are too short to rest on the bottom, add a shelf, or glue on a block of pine thick enough to bring the clock to the proper level.
If the case is made of hard wood, polish it to a dead flat finish. This design, however, gives asplendid opportunity to ornament ends and front with chip carving, for which gum wood will be suitable.
A clock case which can be easily upset is to be avoided, and therefore these long low designs are to be recommended, when the clock is to stand on a mantel, shelf, or bureau. If the clock is to hang on the wall the designs immediately change. The cuckoo clock is a familiar example.
Our boys wrestled with the problem of a wall clock, and their efforts to create something new brought forth considerable mental perspiration. It is always an easy matter to copy something one has seen, but that is not designing.
The result of Harry's efforts is shown inFig. 169. After drawing the circles with a pair of compasses, the rest of the figure was sketched out free-hand about a centre line.
When it was fairly satisfactory, the two sides of the lower half were equalized and traced for the upper half. It was then measured, and the main dimensions added to the drawing.
This drawing represented only the front. The back, or wall piece, had to be a duplicate of it as far as outline was concerned, and a plain box of1⁄4-inch wood, to hold the clock, joined these two parts, as in previous models.
Fig. 169. The boys' first design for a clock case
Fig. 169. The boys' first design for a clock case
This is the order of construction:
Saw out stock for front and back pieces 15 × 43⁄4×1⁄4inches. Draw two centre lines, one the 4-inch way, the other the 15-inch way. At the point where they cross, bore the hole for the clock face, after drawing all the circles with the compasses.
Draw outline, or trace it from original drawing, upon the surface of the wood. Saw out close to outside lines, and finish to lines with spokeshave, chisel and sand-paper block.
Bevel the clock opening1⁄8inch with knife, and smooth with sand-paper. The curved lines inside of the outer edge are worked out with a veining tool.
The back piece is made in the same way, but the central opening is bored larger than the front one, to allow the clock to be withdrawn or wound. The square box, joined to these two main pieces by means of cleats, completes thestructure. On account of the long overhang of the front beyond the box, two cylindrical supports of the same material as the case can be glued between front and back, to add strength.
Fig. 170. Pendulum form of clock case
Fig. 170. Pendulum form of clock case
Owing to the symmetry of the design, this case can be hung horizontally or vertically according to the wall space it is to occupy. The method of fastening should be a screw eye at the top of the case and screw hook or nail in the wall, as it will be necessary to remove the clock each time it is wound. If placed horizontally two hooks and eyes will be needed, one at each end.Fig. 170shows another wall design in which the clock forms the centre of the pendulum and rests in a box of hexagon shape.This is made from a strip two inches wide, the pieces cut on a 60-degree mitre box with back saw, each piece 11⁄4inches long on the short side.
It will just hold a clock 21⁄8inches in its largest diameter. When the face of this clock frame is bored, and the outline finished in the usual way, it is fastened to the hexagonal box by cleats.
In order to do this accurately, turn the face upside down on the bench, place the box in position, and mark with a pencil all around the hexagon. The cleats must be fastened on the back, close up to the pencil line, with glue and brads, so carefully that the brads shall not be long enough to come through to the surface in front. When dry, insert the box between the cleats, and make fast with glue and brads. The long part of the pendulum can be either carved or polished plain. The3⁄8-inch hole bored in the upper part fits over a screw hook, which should project at least an inch from the wall. To have the clock hang perfectly plumb, this hook should project 23⁄8inches.
Another form of mantel clock is suggested inFig. 171. It is radically different from the others, and is characterized by a long, low, and massivebase cut from a solid piece of wood 13⁄4inches thick or built up of two7⁄8-inch pieces of red gum, black walnut, or mahogany. The outline having been drawn on the planed surface, one must saw as close to the line as possible, and finish the line with chisel, gouge, file, and sand-paper. The circular piece, which is to enclose the clock, is cut from a block of the same material, two inches thick. Draw the two circles, and bore the inner one with an extension bit, unless a turning lathe is available. In that case the circular block can be turned with great accuracy. The outline can be cut with the chisel after being sawed close to the line, and finished in the same way as the base.
Fig. 171. Mantel clock
Fig. 171. Mantel clock
Glue this block in position, resting it in the semicircular opening provided in the base, and making it project1⁄8or1⁄4of an inch beyond the front surface of the base. Polish to a dead, flat finish.
As the clock is to fit snugly into the opening, thelegs, and the handle at the top, must be removed.
One of the most interesting problems in clock case designing is a miniature of the tall clock of colonial times, commonly known as the grandfathers' clock. It is a simple and satisfactory form, but it is very important to have good proportions.
The dimensions used by our boys are given in the drawing. (Fig. 172). As in all the other designs, it is based or built up around the ordinary nickel-plated clock, whose outside diameter is 21⁄4inches. With a circle of this diameter as a starter, the other sizes work out as given in the drawing.
About the only fault likely to be found with this form is top heaviness, as the clock is some fifteen inches above its base. This can be counteracted by boring a hole in the back, two or three inches above the bottom, and pouring in about a pound of shot or other heavy material.
The method of construction is as follows:
All the material is1⁄4inch thick, except the base and mouldings, which require1⁄2-inch wood. Red gum is very satisfactory, but more expensive woods, such as mahogany, can be used, especially if thefront panel, which in full-sized clocks is a door, is to be inlaid.
If gum wood is used, this panel can be decorated with chip carving or simply outlined with a veining tool. If an especially elaborate result is desired, it can be accomplished by a raised panel with moulded edges made of1⁄4-inch wood, fastened to the front with glue and small brads.
Bill of material:
Base81⁄2× 4 ×1⁄2Box2 sides171⁄2× 13⁄4×1⁄41 front141⁄2× 3 ×1⁄41 back141⁄2× 21⁄2×1⁄4×1⁄4Partitions2—21⁄2× 21⁄4×1⁄41—21⁄2× 11⁄2×1⁄4Moulding18 ×3⁄8×3⁄8Face43⁄4× 4 ×1⁄4Sides of top, 2 pcs.31⁄2× 21⁄4
After getting out the material construct the long box which makes the body of the design. This will be 171⁄2inches long, 3 inches wide by 2 inches deep, and the method of putting together is shown ata. This allows only one joint to show on each side, and the back piece may be of cheap material, such as white wood.
The smallest partition, 21⁄2× 11⁄2×1⁄4, of white wood, is inserted in the bottom, pushed up1⁄8inch, and fastened with3⁄4-inch brads from the outside. This size of brad will not split1⁄4-inch gum wood, unless driven in nearer the edge than1⁄8inch.
Fig. 172. Grandfathers' clock
Fig. 172. Grandfathers' clock
One of the remaining partitions is placed in the upper end, as in a box, one edge flush with the back. The entire back of the case must be in a straight line. The end just inserted will project out in front a quarter of an inch. Place the remaining partition 31⁄8inches down from the extreme top of the box. This will bring it to rest against the front, which is only 141⁄2inches high.
The compartment for holding the clock is now complete, open front and back.
The base may next be prepared, taking care to have the grain running up and down. The front piece of the base is 4 × 4 ×1⁄2inches. Side pieces of base are 4 × 2 ×1⁄2. These three pieces are to be put together with a butt joint, as shown in the bottom view, and fastened with one-inch brads and a little glue. Four3⁄4-inch brads can be used on each of the three sides to hold the base to the box. It is very important that the bottom be perfectly square. It should be tested and, if necessary, squared with a block plane.
The cove moulding for upper and lower parts may now be prepared. Square up one piece of stock 18 inches or 20 ×3⁄8inches square. Draw a quarter circle with a radius of5⁄16-inch on each end, and remove the wood in this space with a gouge.Finish with sand-paper. This moulding is fitted around the three sides at top of base with a back saw and mitre box. Put it in place with3⁄4-inch brads and glue, and carefully remove any trace of glue that may appear, before it hardens.
The moulding for the upper part cannot be placed until the top is finished.
After squaring up the face, draw the outline directly on the wood. The curves at the top should be first laid out carefully on stiff paper, cut out with scissors, and traced on the wood.
The opening for the clock, 21⁄4inches diameter, must be bored first. Either a sharp centre bit or an extension bit should be used. If the latter, an1⁄8-inch hole must be bored at the centre, otherwise the tapering spur of the extension bit will surely split the thin wood. This is the most delicate operation in the whole process, and the circular opening will need smoothing with a sand-paper block.
Having succeeded in getting a satisfactory opening, the outline is sawed close to the lines with a coping saw and finished with sand-paper.
The supplementary piecess s, 31⁄2× 21⁄4×1⁄4inches, are next fastened to the sides at the top. They are flush with the top of the box and with thebottom of the face piece just described. It is to these that the front is mainly fastened. Test the bottom edges of these pieces across both the front and back with a try square. Fasten the front to these and to the top of the box with brads, and add the moulding, as shown in drawing. If the front panel is to be carved, that should be done before either the base or the top is put on; and if it is to be inlaid, the front should be increased in thickness to3⁄8inches, reducing the sides to 15⁄8inches in place of 13⁄4inches.
After the assembling is finished, set all the brads, and fill the holes with putty, coloured to match the wood. Either an oil or wax finish can be used, but a high polish is not advisable. All lines on the front, which are not edges, can be cut with a veining tool.
Several modifications of this method can be adopted. The front panel may be made a real door, put on with small ornamental hinges. This will increase the work, make it more realistic, but result in little real gain.
The door in large clocks was necessary for getting at the weights and pendulum, but as these parts are missing in our model, the door is not necessary, except possibly for hiding things from burglars.It is the last spot they would be likely to think of as a hiding place for treasures.
As in previous designs, the ring at the top of the clock can be removed, if it prevents fitting into the opening provided.
The drawing shows a curve in the front of the base. It is not essential, but may be cut at any convenient stage of the construction with the coping saw, and sand-papered.
By comparing this design with some real old six-foot clocks, the young designer will see that we have taken some liberties for the purpose of simplifying the work. Highly ornamental tops were sometimes used, with metal and carved ornaments. It is never difficult to make elaborate designs, and the young woodworker can go as far as he likes in that direction. It is, however, sometimes difficult to simplify designs, and this we believe is at present highly desirable.
The making of household furniture is a fascinating employment, and as there are varying styles and fashions in nearly all things which pertain to our homes, it will always be an interesting study. The savage knows nothing of furniture, for the ground is his chair, bed, and table. As we go up in the scale of civilization, we find the characteristics of a people reflected in the details of their home life.
In Japan, the house and its equipment are characterized by directness, simplicity, and subtle beauty.
In America, we find a bewildering display of ever-changing devices, styles, forms, and schemes of decoration, in keeping with our rapidly changing and, we believe, rapidly improving taste in the intimate things of life.
This condition is reflected in our furniture as much as in our clothes and in the pictures we buy. The black walnut furniture, with its hard horsehair upholstering, has been followed by antique oak,fumed oak, golden oak, forest green oak, mahogany, bird's-eye maple, French walnut, etc., and in a very few years we shall probably be using some of the beautiful but almost unknown woods of the Philippines, because fashions in woods are very materially affected by the lumber supply.
Gilt chairs—not made to sit on—have been followed by the more sensible mission style, bringing a much needed simplicity, directness, and strength, together with an unfortunate addition of weight for the housewife to move around when cleaning. There seems to be no great gain without some loss. Modern office furniture, with its simple and strong chairs, tables, and desks, can hardly be improved upon, and it is almost a pity that some of these excellencies cannot be introduced into the home, which is often overloaded, overdecorated, and encumbered with unnecessary articles.
Miss Louise Brigham gives us a fragrant breath of fresh air along this line in her interesting book on furniture made from boxes. What is needed is clear thinking. Never design nor make a piece of furniture without asking, "What is this to be used for? What will be required of it?" etc.
This is the gist of what Ralph said to Harry one day when they were about to launch out into themaking of footstools, tabourettes and other small pieces of furniture. Harry would have liked very much to start with a dining-room table, but Ralph suggested diplomatically that it might be a good scheme to try several smaller pieces first.
They decided on a footstool, and this is the catechism Ralph put Harry through as they worked out their drawing:
"What is a footstool for?"
"To rest your feet on."
"Is that all?"
"What else could it be used for?"
"Never answer a question by asking another! I should say that a footstool might have to stand hard usage. For instance, suppose you wanted to reach a shelf high up in a closet. If the stool was handy, you would probably stand on it. Others would do the same, and it is easily possible that somebody weighing over two hundred pounds might some day stand on it. So I should say, that the first requisite of a footstool was strength, and the second that it should not be easily upset.
"When designing furniture, just ask yourself such questions, and you will find that your designs will be affected by them. Now I believe that most footstools are too high and too easily upset."
Fig. 173. First foot stool
Fig. 173. First foot stool
The first design tried is shown inFig. 173. The material used was1⁄2-inch chestnut. After squaring up the top, the two grooves were cut to receive the upper ends of the legs. For grooves of this character, after cutting the lines as deep as possible with the knife, followed by the chisel, the router may be used. The cutter can be adjusted by means of the set screw, and a more uniform depth secured than with the chisel.
There was considerable work on the legs because of the mortise for the shelf, and the two openings above. These were cut out close to the line withthe turning saw after a hole had been bored in each space, as in scroll saw work.
The outline of the legs was obtained with the same tool, and finished with the gouge, spokeshave, and sand-paper. Where hard wood, such as oak, is used, the wood file may be applied to curved edges.
To overcome the tendency to spread, the legs were made rigid by cutting the tenons shown on the drawing of the shelf. In each tenon was cut the square hole for the wedges. This shelf, when securely wedged, bound the whole structure rigidly. When the question of securing the legs to the top came up, the boys were inclined to use round-head blue screws from the top, but after considering that they would be in end grain, it looked as if this would be the weakest part of the stool. The solution was an heroic one. Four angle irons were made out of strap iron taken from a packing case, and cut with a cold chisel into pieces 21⁄2inches long. Each had two holes drilled in it to receive the screws, and was then bent into shape in an iron vise. A monkey wrench can be used as a vise for work as light as this. The screws used were3⁄8inch long, one fastened in the top, the other in the leg, for each of the four angle irons.
Fig. 174. Second design for footstool
Fig. 174. Second design for footstool
Chestnut has a very open grain, and takes astain very well. Our boys bought a small can of paste filler, coloured it with burnt umber, thinned it with turpentine to the consistency of cream, and put it on with a brush. The surfaces were rubbeddown with cotton waste, and then it was left over night, to be ready for polishing in the morning.
Fig. 175. Third footstool design
Fig. 175. Third footstool design
After this stool was finished, the boys looked it over critically, and decided that it could be improved on, that it was too high and not heavy enough.
Footstool number two is shown inFig. 174. In this design, the shelf is dispensed with, and two stretchers or side pieces substituted; stock7⁄8and3⁄4inch thick took the place of1⁄2inch. The two ends were glued together with paperbetween, cut out as one piece, afterward separated, and the paper and glue planed off. The curved outline was drawn on paper, traced on the wood, sawed out with turning saw, and finished to line as in previous work.
Fig. 176. Fourth footstool design
Fig. 176. Fourth footstool design
The joint for fastening the side piece to the legs is shown in the drawing. It makes a strong and rigid combination, calling for a good fit. In puttingon the top piece, angle irons can be used, but the boys tried a new method. After gluing the joint, they bored holes and countersunk them through the sides, forcing flat-head screws 21⁄4inches long up into the top.
Being below the level of the eye, these were invisible, and they saved the time and labour of making angle irons. Two screws on each side are enough to make a solid piece of work. The material was quartered oak with antique finish. To produce this effect, lampblack dissolved in turpentine was added to the filler, and after drying was polished to a dead flat finish. (Seepolishing chapter.)
Design number three is shown inFig. 175. The legs run the long way of the stool; joints the same as number two; top fastened by screws through cross piece. The height, being much less than in the first designs, gives it a very massive and substantial appearance. All eight edges of the top have been slightly rounded with plane and sand-paper. This stool is non-upsetable in the direction of its length. Stand on the extreme end of the top and lean backward; the stool will not tilt up in the slightest degree. Harry tried this several times, but it remained on the floor with all four feet. This does not apply to the width, so the boys designed number four(Fig. 176), which would not upset from the side, where the feet are usually placed. It is even lower than number three, and as the other dimensions are practically the same, it appears even more massive.
The construction is similar to number three, but the legs are again at the ends, and the whole being made of oak, or ash, it is practically indestructible.
A very beautiful golden-brown finish may be given these stools by first coating them with bichromate of potash.
This chemical comes in crystals, which readily dissolve in water. Put it on with a one-inch varnish brush and, when dry, sand-paper down flat with No. 0 sand-paper. Two or three coats of shellac, each allowed to harden and dry thoroughly before being rubbed down with sand-paper, will give a satisfactory polish. Finish by a rub down with raw linseed oil, and wipe dry.