SEATS OF REEDS AND SPLINTS
The discussion of the weaving processes to follow is confined, in the
main, to stools or seats. Fig. 53 shows several stools different in
design both in wood construction and in weaving. In two instances it
will be noted that weaving is done over a separate frame, one being
inserted between the rails, the other fastened on top, leaving a
little projection. Reference is made to several possible weaving
designs and the use of various mediums and combinations. The possible
combinations of materials are merely suggestive of possible other
ones, and the individual worker will find that many designs of varying
complexity may be worked out. An excellent method for working out
possible designs is that of using black and white paper strips ½ in.
in width. The design will show up very clearly because of the contrast
of the black and white. Experimenting with the weave on the seat
itself is rather tedious and unsatisfactory. The paper strips are an
excellent means to an end.
The stool top illustrated in Fig. 54 employs a simple over-and-under
weave, utilizing flat reed. The worker needs to decide at the outset
on the character of weave to be used unless it be of unusual design.
In this instance the weaver runs over _three_ and under _three_
strands, and the wrapping done in a series of _three_. To begin the
operation tack an end of flat reed under a short rail at a corner,
then bring the strand out and over the rail, across the frame opening
to the opposite rail, under this rail, across underneath the frame
opening to the bottom of the first rail. This completes the process
once around. Repeat three times; then wrap the strand around the two
rails, without running it across the top. Thus every fourth strand
across the top is omitted. It is not necessary to cut the strand; the
wrapping is continuous. Repeat these series of three strands until
opposite short rails are entirely wrapped. When a strand runs out tack
the end with the beginning of a new one underneath a rail. Use a one
ounce flat head wire tack for this purpose if available, otherwise a
one ounce cut tack will do. The weaving proper now begins.
[Illustration: FIG. 53. WOVEN TOP STOOLS.]
Tack a strand underneath a long rail at a corner, then weave _over
three_ strands and _under three_. Repeat in the same manner three
times, then weave _over_ the series which were woven _under_ before
and repeat alternately until the top is entirely woven. In weaving the
top of this stool one strand is woven in the last series of three, and
to balance it a single strand is run in on the opposite side. The ends
of this strand are not fastened in any particular way; the weaving
holds them in place. The spaces next to each short rail may be filled
in a like manner if desired. Strands crossing underneath the frame
must be woven in some manner to produce a seat of maximum strength.
The character of the weave here is not pertinent; in this instance it
might take the same form as the top.
[Illustration: FIG. 54. WEAVING IN SERIES OF THREE.]
Fig. 55 shows a stool top woven of inner hickory bark strips employing
what is termed a diagonal weave. Begin the wrapping on either the
short or long rails. In this instance we will assume that the short
rails have been wrapped; then the weaving will begin over the long
rails, and as indicated, at the upper left hand corner. The strands
have been numbered to make the description clearer. The "diagonal" is
determined at the edges of the upper rail. The method of weaving may
be expressed in the following manner:
Strand 1--Over 1, under 2, over 2, under 2, and so on.
Strand 2--Over 2, under 2, over 2, under 2, and so on.
Strand 3--Under 1, over 2, under 2, over 2, and so on.
Strand 4--Under 2, over 2, under 2, over 2, and so on.
[Illustration: FIG. 55. STOOL TOP OF INNER HICKORY STRIPS.]
This completes the series or unit, and this unit repeats itself until
the area is woven. For instance, the fifth weaver follows the same
course as the first; the sixth weaver follows the same course as the
second; the seventh the same as the third; and so on. The diagonal
effect will remain the same were the weaver to run over three strands
or more, providing the right start is made at the edges of the frame.
In using inner hickory bark care must be exercised to keep the strands
close together, for they shrink appreciably in drying. A brad hammer
with square face is an excellent tool to use for keeping the strands
snugly together.
[Illustration: FIG. 56. STOOL TOP OF FLAT AND HALF-ROUND REEDS.]
A combination of half-round and flat reed is illustrated in Fig. 56.
The half-round reed is wrapped about the frame first, and in this case
every other strand is wrapped around the opposite rail, crossing
underneath the frame only. The diagonal weave is employed, and is
identical to the one just described in general effect. However, the
weaver runs over three and under three in the body. Note the
difference in the weave at the edges of the rails. When using
half-round reed it is necessary that every other strand be wrapped
completely around the rails, for otherwise it would prove practically
impossible to weave the area because of the thickness of the reed. A
winding reed as shown in Fig. 49 or binder cane could be run
continuously, inasmuch as either is relatively thin. Weaving with two
kinds of reed will produce an area of pleasing high relief.
[Illustration: FIG. 57. DIAMOND DESIGN IN FLAT REED.]
Fig. 57 illustrates a stool woven in flat reed. The diagonal weave is
used running toward a common center, and it forms a diamond pattern or
design. Begin wrapping on the long rails, skipping every other strand
on the top as indicated. To weave this pattern it is necessary to
locate the center of the short rails and the center strand of those
running across the frame. In this instance the strands are even in
number, so the pattern does not begin at the actual center, but a
little to the right or left as the case may be. Beginning at the
center, count by twos, _over_, _under_ and _over_, _under_ and so on
to determine the number of strands to go over or under at the edge of
the frame. The first strand runs over _one_ at the center, and over
two and under two on either side. The second strand runs under _three_
at the center, and over two, under two on either side; the worker must
again count to the edge of the frame to determine the beginning weave,
until the unit of four strands has been woven. Then the unit repeats
itself _at the center_ and _at the edges_ of the frame. Beginning at
the right side of the illustration the weaving is as follows:
Strand 1--Over 2, under 2, over 2, under 2, over 2, under 2,
then over 1, and repeat across the other half of the frame.
Strand 2--Under 1, over 2, under 2, over 2, under 2, over 2,
then under 3, and repeat across the frame.
Strand 3--Under 2, over 2, under 2, over 2, under 2, over 2,
then under 1, and repeat across the frame.
Strand 4--Over 1, under 2, over 2, under 2, over 2, under 2,
then over 3, and repeat across the frame.
[Illustration: FIG. 58. DIAMOND WEAVE IN FLAT AND HALF-ROUND REEDS.]
[Illustration: FIG. 59. WOVEN DESIGN IN FLAT REED.]
These four strands comprise the unit, and it is repeated until the
frame is entirely woven. Complete half of the frame first, then weave
the other half, which is just the reverse of the first half. In
starting the weave for the second half, strand 1 is omitted, for it is
the center of the frame. After the worker has worked out the unit
according to the method described, he will find it good practice to
write it out graphically as above to use in weaving the seat. The unit
above applies to the particular stool, and will not hold good on seats
utilizing more strands, or fewer. Errors are easily made in weaving
this pattern for the reason that strands need watching at two places.
The seat of the stool at the top of the group shown in Fig. 61 has a
pattern identical with this one, except that the strands both ways are
close together.
The top illustrated in Fig. 58 is practically the same in design as
the one just described. The weavers run over the long rails in this
instance, instead of the short ones, and half-round reed is used for
the weavers, with flat reed utilized for the wrapping. The first
weaver of half-round reed runs _under_ the center strand, and the two
second weavers run _over_ three strands on either side of the first,
at the _center_ of the area. The combination of the half-round and
flat reeds produces a seat both pleasing and serviceable.
[Illustration: FIG. 60. STOOL TOP WOVEN WITH FIBER.]
Fig. 59 illustrates a stool top woven with flat reed entirely, in a
design the very opposite in effect of that shown in Fig. 57; instead
of evolving a diamond effect the diagonals appear to radiate from a
common center. The method of weaving is identical to that of Fig. 57
in that the operation begins at the center of rails instead of next to
the posts. The first weaver is woven over the center strand at the
center of the top, and the second weaver, on either side, is woven
_over three_ strands, at the center. These three weavers practically
determine the design and effect produced. An error of no vital
importance exists in this particular stool top. It will merely
emphasize the fact that particular care is necessary to avoid
mistakes.
Fiber is the material used for the top of the stool shown in Fig. 60.
The diagonal weave is employed. The process of weaving has been
explained and needs no further discussion. The fiber is the same as
that discussed in Chapter V. It adapts itself admirably to this form
of weaving, and when properly finished with varnish makes a
serviceable seat, pleasing in every particular. The strands which run
across the frame in the wrapping must be some distance apart,
otherwise weaving would prove impossible. The thickness of the strands
preclude their being wrapped close together as in the case of thin
materials. In this case a space equal to the width of three strands is
left. The weaver runs over two and under two strands in the body.
While reeds and inner hickory bark shrink in drying, they will shrink
mostly in width and not much in length. Therefore it is necessary to
pull all strands, both in wrapping and in weaving, rather tight at all
times. Only by doing this will the worker be assured of an ultimately
taut seat. This applies also to the Indian splints now to be
discussed. As fiber is woven practically dry it needs to be pulled
particularly tight.
=Indian Splints.=--Fig. 61 shows a group of stools and a waste basket
constructed in eighth grade shops. The tops of the stools and the
panels of the basket are woven of hickory splints ½ in. in width. A
variety of patterns is shown, and these will suggest other ones. One
of the stools has turned posts and the splints are carried over the
sides of the rails. With slight modification of the structure, the
sides might be woven in a similar manner to the top. The panels of the
basket were woven over a separate frame, then they were cut to fit the
frames of the basket, and finally tacked on the frames. The edges of
the splints were covered with thin wood strips held in place with
brads. These panels should be inserted and secured while damp to
assure proper tautness, and to prevent as far as possible splitting
the ends of the splints in tacking them to the frames.
[Illustration: FIG. 61. GROUP OF STOOLS. TOPS WOVEN WITH INDIAN
SPLINTS.]
It is not advisable to tack splints onto seat frames, either as an
insert or slip seat, or on the rails of the structure itself. The
splints split easily when tacked, the strands are bound to pull
loose, and the seats break down under continued use. On such articles
as waste baskets, boxes, screens and the like, tacking the panels in
place is necessary and proper, for no appreciable wear or service
comes to them. The weaving on seats needs to be continuous over and
under the frame.
[Illustration: FIG. 62. METHOD OF FASTENING ONE STRAND TO ANOTHER.]
When a strand of usual length has been wrapped about the rails of the
seat a second strand needs to be added to continue the wrapping.
Tacking the strands to the under side of the rails, as in the case of
reeds, cannot be resorted to with splints for the reasons just
explained. Therefore some method of fastening strands to each other is
necessary. Fig. 62 is a freehand sketch showing a good method. As
indicated, a small rectangular piece is cut out of the used strand at
_B_, one inch from the end. A chisel or chip carving knife is good for
the purpose. Cut across the grain of the wood first to avoid splitting
the splint. The end of the new strand _A_ is notched as shown an inch
back from the end, and is then inserted thru _B_ and the two strands
thus secured. All subsequent strands are secured in the same manner.
[Illustration: FIG. 63. METHOD OF OVERLAPPING WEAVERS.]
Another method which works well and involves less labor than the one
just described is that of fastening the strands together with metal
staples. Any type of small hand stapler will accomplish the result.
The splints must be very pliable when the staple is inserted and
clinched, for if they are not, the splints are certain to split. Clips
used in Venetian ironwork are excellent for this purpose also. It
should be understood, for reasons very obvious, that these fastenings
are made underneath the frame.
[Illustration: FIG. 64. WOVEN DESIGN IN HICKORY SPLINTS.]
After the wrapping of the opposite rails is completed, the weaving is
begun. The use of tacks here is also unnecessary and is inadvisable.
Fasten a new strand by overlapping the end of the old one for several
inches either on top or underneath the frame. The ends of each will be
hidden under cross strands or spokes. Fig. 63 is a sketch illustrating
the method of overlapping. _AA_ shows strands running _over_ the
weavers, and _BB_ strands running _under_. _D_ is the end of the old
or used strand, and _C_ one end of the new one. _C_ is pulled until
the end is hidden under _A_. It is advisable to overlap the distance
of a number of strands and not merely two as the sketch indicates. The
sketch merely shows the method. The end of the strand which completes
the weaving of the seat is secured underneath the frame by weaving for
a short distance in the usual manner.
Fig. 64 is merely Fig. 59 repeated as far as the weaving processes
are concerned. In this instance hickory splints are used, and the
rails are wrapped continuously across the top. Note the different
effects produced, by comparing the two figures.
[Illustration: FIG. 65. WOVEN DESIGN. DIAMOND EFFECT.]
Fig. 65 shows a rather unusual weave. The effect is that of a number
of diamond areas over the entire surface, one of which is marked to
make the unit or design evident. This design need not begin at the
center, but may begin at the edge of the frame as in regular diagonal
weaving shown in Fig. 55. The strands comprising the unit are numbered
for convenience. The process of weaving is as follows:
Strand 1--Under 1, over 2, under 1, over 2, and so on.
Strand 2--Over 2, under 3, over 3, under 3, and so on.
Strand 3--Over 1, under 2, over 1, under 2, and so on.
Strand 4--Under 2, over 3, under 3, over 3, and so on.
Strand 5--Under 1, over 2, under 1, over 2, and so on.
Strand 6--Under 2, over 3, under 3, over 3, and so on.
Strand 7--Over 1, under 2, over 1, under 2, and so on.
Strand 8--Over 2, under 3, over 3, under 3, and so on.
Strand 9--Under 1, over 2, under 1, over 2, and so on.
Nine strands comprise the unit. One half of the unit from strand 5 is
a repetition of the first half except that the order is reversed. Thus
strands 4 and 6, 3 and 7, 2 and 8, and 1 and 9 are identical in weave.
Repeat the unit until the seat is completed.
[Illustration: FIG. 66. DESIGN OF INDIAN SPLINTS.]
The design produced in Fig. 66 is obtained by skipping certain strands
for rather unusual distances. This may be done in instances where the
pattern is begun at the center of the area. No strand should be
omitted its entire length however. Any number of designs may be worked
out, limited only by the patience and ingenuity of the individual
worker.
A design for a seat or panel not illustrated herein, but which is
particularly pleasing in its general effect, is produced by a unit of
six strands repeated indefinitely. The weaving is started as in the
diagonal weave and the process may be indicated as follows:
Strand 1--Over 1, under 3, over 3, under 3, and so on.
Strand 2--Over 2, under 3, over 3, under 3, and so on.
Strand 3--Over 3, under 3, over 3, under 3, and so on.
Strand 4--Under 1, over 3, under 3, over 3, and so on.
Strand 5--Under 2, over 3, under 3, over 3, and so on.
Strand 6--Under 3, over 3, under 3, over 3, and so on.
[Illustration: FIG. 67. METHOD OF WEAVING SPLINTS.]
The isometric sketch of a stool, Fig. 67, shows the structure partly
woven. It will be noticed that the splints or reeds run both ways
underneath the frame as they do on top. As indicated previously these
strands underneath should be woven in some manner to assure a seat of
maximum strength for the material used. The diagonal weave was
arbitrarily chosen to illustrate the method of weaving the seat frame.
The weaving underneath is not shown on the sketch. If the rails on any
seat are run flush with the inside corners of the posts the woven
strands will fill the entire space. On the other hand, if they are
permitted an offset, a series of open spaces are left as shown on the
first woven seat illustrated. The sketch shows the rails flush with
the inner corner of the posts.
=A Rustic Chair.=--The type of chair which is particularly adapted to
splint weaving is illustrated in Fig. 68. The construction is simple,
and the necessary bending of pieces is readily done if a suitable
steaming chest is available in the shop. Such a chest may be made of a
6 in. gas pipe cut the required length and threaded at both ends. Cap
one end permanently. Have the cap for the other end removable, with a
gasket in it to prevent the escape of steam, and a suitable handle
attached for ease in removing. Set the pipe upon a standard, then make
the necessary steam connections at the closed end and the drain at the
other. Place the wood in the chest, screw on the cap, and turn on the
steam. The length of time the wood should remain in the steam depends
upon the wood and the size of the piece.
[Illustration: FIG. 68. PORCH CHAIR WITH BACK AND SEAT WOVEN WITH
SPLINTS.]
Suitable wood forms are easily made for bending stock. Their
construction needs no elaboration. When the pieces are removed from
the chest, clamp them over the forms immediately, and allow them to
remain clamped in this manner for several days in a dry, warm room. If
steam coils or hot air registers are handy the forms may be placed
over or near them to expedite the drying.
Rock elm is a good material from which to construct such a chair. The
wood may be procured in the round, of different diameters. The tenons
on the straight pieces may be made on the wood lathe; on the curved
ones with spokeshave or draw knife. The short thin pieces on the sides
should be fully housed. On a chair of this description it is good
policy to assemble the sides first. Finish both the frame and the
splints with a good paint composed of white lead and oil.
Another excellent material for chairs of similar design and purpose is
hickory. It is the best material for the construction of furniture for
lawns and porches where weathering is constant, and it is peculiarly
adapted to splint and inner bark weaving. If a person lives in the
right locality he may gather young second growth hickory saplings in
the fall. An instructor could very readily take his classes out on
such a wood-gathering expedition. The educational gain in gathering
raw materials to be fashioned into finished articles of use and beauty
will justify all efforts. In the fall the bark of the saplings will
adhere firmly to the wood. Trim and assort the different pieces in
accordance with plans, cut them into approximate lengths, and steam
and bend those desired. Sand each piece smooth, and proceed to
construct the chair according to previous plans. Glue and nail all
important joints to prevent any possibility of separation under any
weather condition. No finish of any description is necessary or
desired on hickory furniture. Weathering will naturally darken both
frame and splints, but will not detract in any way from the rugged,
pleasing appearance of the article.
Sassafras is a very desirable wood for rustic furniture, and well
adapted to splint weaving. The methods of gathering and finishing are
identical to hickory. It is much lighter in weight than hickory, but
is quite as serviceable. No finishing agent is necessary, altho the
worker may oil or varnish it at his discretion.
=A Woven Table.=--The table illustrated in Fig. 69 is a commercial
product, evidenced by the machine turned posts and crosspieces. In
school shops the posts may be made of rock elm rounds previously
mentioned, or square tapered, and the rails of rounds or squares. The
posts mortise in a frame underneath the top. The framework of the top
is made of ⅜ in. dowel rods housed in a 6 in. round piece of ¾ in.
wood, and radiating from it equal distances apart. The number of
spokes needs to be odd, and cut to even lengths. The weaving is done
with about a No. 6 reed, running over one, under two, over one, under
two, and so on. The odd spoke permits the weaver to run continuously
without skipping a spoke. A new strand is begun underneath the spoke
where the last strand ends. When the top has been woven to the ends of
the spokes a strip of braided No. 2 reed is nailed to each spoke with
a round head, galvanized nail. The braid is made in the usual manner,
as in basketry, with three series of strands of four each. When the
shelf has been constructed in the same manner as the top, and both top
and shelf have been fastened in their respective places, the table may
be stained with naptha by pouring the stain over it. This method has
been described in Chapter VI. Commercially, such articles are sized
before staining. However, staining direct is the proper procedure in
school shops. Use no shellac if the table is to be used on the porch
or in the open where exposed to the weather.
=Willows.=--Willows are imported normally from Germany, Holland,
Belgium and France. Because of their scarcity and demand for them,
willow growing is fast becoming a thriving industry in the United
States. Many experimental farms are under the direct supervision of
the federal government. These have demonstrated that willows can be
grown to advantage in many localities in this country. In many
instances manufacturers have abandoned rattan in favor of willows for
certain articles of furniture where rattan was formerly used
exclusively. Willow possesses all the attributes necessary for such
furniture, being light in weight, durable, and strong; and it takes a
good finish.
[Illustration: FIG. 69. A WOVEN CENTER TABLE.]
Willow stems or rods are cut when several feet long. They are then
soaked in water and the outer bark peeled. The rods are then sorted,
bundled and shipped to the dealer or user. The peeling is generally
accomplished by hand with a peculiarly forked stick or rod.
Commercially there are what are termed dry peeled rods and steam
peeled rods, with the former in favor for furniture of the better
class. They sell for from 6 cents to 15 cents per pound, depending on
quality, length and method of peeling. Willow stems are used
extensively in basketry, and for porch and summer furniture. They
could be used effectively on such a table as shown in Fig. 69, but
cannot generally be utilized advantageously in school shops for
seating purposes only. However, they have very definite uses on some
structures, and an adequate supply should be kept on hand for use when
opportunity offers.
* * * * *
Within the confines of this book a variety of materials has been
suggested, and many demonstrated, for seat weaving of various kinds
and for weaving on structures other than seats. These will ordinarily
afford sufficient latitude for classes of different grade in the
school shops, but the instructor or worker should not infer that those
indicated include all. Experience in weaving with these materials will
suggest new mediums and combinations without number, and
experimentation with new materials by both instructor and pupil should
be encouraged.
[Illustration: SUGGESTIVE PROJECTS.]
WEAVING MATERIALS: WHERE TO OBTAIN
The following firms and individuals can furnish the various weaving
materials indicated. They may undoubtedly be procured locally in the
larger cities.
CANE
LUSSKY, WHITE AND COOLIDGE Chicago, Ill.
AMERICAN REED AND RATTAN MFG. CO. Brooklyn, N. Y.
HOOVER BROS. Kansas City, Mo.
L. S. DRAKE, INC. West Newton, Mass.
CANE WEBBING
LUSSKY, WHITE AND COOLIDGE Chicago, Ill.
RESTMOER MFG. CO. Vancouver, B. C.
FIBER
THE FIBER GRAND CO. Grand Rapids, Mich.
J. L. HAMMET CO. Brooklyn, N. Y.
RUSH
L. S. DRAKE, INC. West Newton, Mass.
GUSTAV STICKLEY Eastwood, N. Y.
INDIAN SPLINTS
C. N. SABA AND CO. 84 Wellington St. West,
Toronto, Ontario.
DAVID HARDIN Patesville, Ky.
REEDS
LUSSKY, WHITE AND COOLIDGE Chicago, Ill.
AMERICAN REED AND RATTAN MFG. CO. Brooklyn, N. Y.
J. L. HAMMET CO. Brooklyn, N. Y.
INNER HICKORY BARK
THE OLD HICKORY CHAIR CO. Martinsville, Ind.
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working drawings of problems in bench work that have been successfully
worked out by boys in grades seven to nine, inclusive. 75 cents.
=PROBLEMS IN WOOD-TURNING. By Crawshaw.= Contains 25 full-page plates
of working drawings covering spindle, faceplate, and chuck turning. It
gives the mathematical basis for the cuts used in turning. A valuable
textbook for students' use. 80 cents.
=WORKSHOP NOTE-BOOK--WOODWORKING. By Greene.= A note-book which
furnishes a few general and extremely important directions about tools
and processes, and provides space for additional notes and working
drawings. It is essentially a collection of helps, ideas, hints,
suggestions, questions, facts, illustrations, etc. It is full of
suggestions; shows a keen insight into subject-matter and teaching
methods, and is an effective teaching tool. 15 cents.
=SHOP PROBLEMS. By Siepert.= Portfolios of plates--working drawings of
projects printed on tracing paper and adapted to be blue-printed for
students' use. The plates are taken from the Shop Notes and Problems
department of the _Manual Training Magazine_. The problems include a
wide variety of good design and adapted for shop use. Series I, II,
III and IV have been published. Price per series, 35 cents.
=GRAMMAR GRADE PROBLEMS IN MECHANICAL DRAWING. By Bennett.= A
remarkably simple and carefully graded textbook on the fundamentals of
mechanical drawing for the use of students in the seventh and eighth
grades. It combines an abundance of text and simple problems,
accompanied by notes and directions. Its use insures the early
formation of correct habits of technique and makes possible the
development of a standard in grammar grade mechanical drawing parallel
with woodworking. Abundantly and well illustrated. 38 cents.
=PROBLEMS IN MECHANICAL DRAWING. By Bennett.= A students' textbook
consisting of 80 plates of problems classified into groups according
to principle, and arranged according to difficulty of solution. Each
problem is given unsolved and, therefore, in proper form to hand to
the pupil for solution. The best collection of problems for first-year
high-school students available. 75 cents.
=MANUAL TRAINING TOYS FOR THE BOYS' WORKSHOP. By Moore.= A popular
boys' book. It contains 35 pages of full-page plates of working
drawings illustrating 42 projects. All the projects are overflowing
with "boy" interest, and are well adapted to the upper grades of the
elementary school. The text treats of tools and tool processes, and
gives instructions for making each project. $1.00.
=KITECRAFT AND KITE TOURNAMENTS. By Miller.= Authoritative and
comprehensive. The book deals with the construction and flying of all
kinds of kites, and the making and using of kite accessories. Also
aeroplanes, gliders, propellers, motors, etc. Abundantly illustrated
and attractively bound. $1.00.
=BIRD HOUSES BOYS CAN BUILD. By Siepert.= A book of rare interest to
boys. It is written in the boy spirit and combines the charm of nature
with the allurements of continuation work in wood. It illustrates
hundreds of bird houses and shows working drawings of various designs;
also feeders, shelters, sparrow traps, and other bird accessories. The
common house nesting birds are pictured and described with information
regarding houses, foods, etc., suitable for each. A pleasing and
practical book for wide-awake boys. Price, 50 cents.
=LEATHER WORK. By Mickel.= A manual on art leather work for students,
teachers and craft workers. It gives detailed descriptions of the
various processes of working, treating of flat modeling, embossing or
repoussé, carved leather and cut work. It is well illustrated with
photographs of finished work and working drawings of twenty useful and
beautiful articles suitable for school and home work. 75 cents.
=BOOKS ON THE MANUAL ARTS.= A bibliography listing and describing 400
books mailed free.
_Published by_ The Manual Arts Press _Peoria, Ill._
Transcriber's Note
Variant spelling is preserved as printed.
Minor punctuation errors have been repaired.
The following amendments have been made:
Page 41--trainig amended to training--... more than justifies
its introduction in manual training shops.
Page 84--the transcriber has added the omitted chapter heading,
'WEAVING MATERIALS: WHERE TO OBTAIN.'