are surfaced on only two sides. The allowance of 1/2 in. on the side
rails, top and bottom, is for fitting the joints. Be sure the surfaces
of the pieces for the posts are square and the ends sawed square off,
making the posts exactly the same length when they come from the mill.
[Illustration: Details of Shoe Rest]
Square up the four side rails to 6 by 9 in. Cut one end of each post
tapering with a chisel; face and sandpaper the posts and side rails
before making the joints. The side rails are attached to the posts with
three dowels to each joint. The place for each dowel is located by
making a line exactly in the middle lengthwise on each end of each side
rail. Three lines are made to intersect this middle line, as shown in
the detail. Drive a 1/2-in. brad in each intersection allowing a small
portion of each brad to project, and cut off the heads. Gauge a line in
the middle of each post at the top where the joints are to be made and
press the end of a side rail containing the brads against the post. This
will mark the places to bore holes for the dowels. Pull out the brads
and bore holes for the dowel pins.
[Illustration: Details of Tabouret Construction]
When gluing up the side rails and posts, first put on a coat of glue on
the ends of the side rails and let it dry. This will fill up the pores
in the end grain of the wood which will make a strong joint when
finally glued together. The dowel pins are made 3/8 in. square with a
slight taper at the ends. These can be easily forced into the holes,
when the ends of the side rails are coated with glue and ready to be put
together, by clamps pressing on the outside of the posts.
The bottom is held in position with narrow strips tacked on the lower
edge of the side rails. Square up the top pieces to 8 by 16 in. and
fasten one piece to the top with cleats and screws as shown in the
drawing. The other piece is hinged to the first one with two 2-in.
hinges.
The shoe rest can be made from a block of wood and covered with sheet
tin, copper or brass, or a cast-iron rest can be purchased. The rest is
fastened to the under side of the hinged top. Stain the wood any dark
color and apply a very thin coat of shellac. Put on wax and you will
have a finish that can be renewed at any time by wiping with a little
turpentine and rewaxing.
HOW TO MAKE A ROLL TOP DESK
[Illustration: The Desk Complete]
The materials for this roll top desk can be purchased from a mill
dressed and sandpapered so the hardest part of the work will be
finished. The wood must be selected to suit the builder and to match
other articles of furniture. The following list of materials will be
required:
68 lineal ft. of 1 by 3 in. hardwood.
65 lineal ft. of 1 by 2 in. hardwood.
3 lineal ft. of 1/4 by 24 in. hardwood.
45 lineal ft. of 1/4 by 10-1/2 in. hardwood.
36 lineal ft. of 1 by 12 in. hardwood.
35 lineal ft. of 3/8 by 9 in. soft wood.
100 sq. ft. of 1/2 by 12 in. soft wood.
1 piece 34 in. wide and 54 in. long hardwood.
30 pieces 1 by 1 in. 48 in. long.
[Illustration]
The upper and lower back panels are constructed very similar, the only
difference being in the height. The inside edge of the 3-in. pieces is
plowed with a 1/4-in. plow 3/8 in. deep exactly in the center and also
both edges of each 2-in. piece. The 16-in. pieces in the upper back
panel and the 24-in. pieces in the lower back panel must be cut 1/2 in.
longer and a 1/4-in. tongue made on each end to fit into the plowed
groove and form a mortise joint.
The upper back panel is filled in with four boards 9-1/2 in. wide and
16-1/2 in. long, while the four boards in the lower back panel are 9-1/2
in. wide and 24-1/2 in. long cut from the 1/4-in. hard wood. When the
grooves are cut properly, the joints made perfect and the boards fitted
to the right size, these two panels can be assembled and pressed
together in cabinet clamps. This will make the outside dimensions as
given in the drawing.
The end panels are made very similar to the lower back panel, the only
difference being in the width of the filling boards, which are 10-1/2
in. for the outside end panels and 10 in. for the inside panels. One end
panel and one inside panel make the sides of one pedestal. As the end
panels are 1 in. wider than the inside panels they overlap the back
panel and cover up the rough ends of the boards. A 1-in. piece 2 in.
wide is fastened at the top and bottom of each end and inside panels as
shown by the dotted lines. The lower back panel is fastened on by
turning screws through the back and into the ends of these pieces. The
bottom pieces have 2-in. notches cut out, as shown, into which to fit
two crosspieces across the bottom of the pedestal for holding the
casters. The top end panels are made as shown in the drawing, the
inside edge of the pieces being plowed out, making a groove the same
size as in the other pieces of the panels. The panel board is cut to the
proper shape from the 1/4-by 24-in. material. The length given in the
material list will be sufficient if the pointed ends are allowed to pass
each other when laying out the design.
[Illustration]
Instead of cutting a groove for the roll top curtain, one is made by
fastening a 1/2-by 3/4-in. strip 7/8 in. down from the edge and on the
inside of the panel. A thin 1/4-by 1-3/4-in. strip is bent to form the
shape of the edge and fastened with round-headed brass screws. A 1-in.
piece is fastened at the back and a groove cut into it as shown by the
dotted line into which to slide a 1/4-in. back board. The top is a
12-in. board 54 in. long.
As both pedestals are made alike, the detail of only one is shown. The
partitions upon which the drawers slide are made up from 1-in. square
material with a 2-in. end fitted as shown. Dimensions are given for the
divisions of each drawer, but these can be changed to suit the builder.
The detail of one drawer is shown, giving the length and width, the
height being that of the top drawer. The roll top curtain is made up
from 1-in. pieces 3/4 in. thick and 48 in. long, cut in an oval shape on
the outside, tacked and glued to a piece of strong canvas on the inside.
The end piece is 2 in. wide, into which two lift holes or grooves are
cut and a lock attached in the middle of the edge. A drawer lock can be
made as shown and attached to the back panel and operated by the back
end of the roll top curtain when it is opened and closed.
The top board, which is 34 by 54 in., can be fitted with end pieces as
shown or left in one piece with the edges made rounding.
At this point in the construction of the parts they can be put together.
The sides of each pedestal are fastened together by screws passed
through the 1-in. square pieces forming the partition and into the sides
of the panels. When each pedestal is put together the lower back panel
is fastened to them with screws turned into the pieces provided as
stated in making the end panels. The top board is now adjusted with
equal edges projecting and fastened in position with finishing nails. As
the top panels cover directly over where the nails are driven, the heads
will not show. The upper back panel is fastened to the curved ends and
the whole top held to the top board with cast corner brackets that can
be purchased at any hardware store. The top should not be drawn
together too close before the 1/4-in. back board is put in the grooves
and the roll top curtain placed in position.
[Illustration]
The detail showing the pigeon holes gives sizes for 30 openings 3 by 4
in., two book stalls at the ends, 3 in. wide, and two small drawers.
This frame is built up as shown from the 3/8-in. soft wood, and fastened
in the back part of the top with small brads.
HOW TO MAKE A ROMAN CHAIR
In making this roman chair, as well as other articles of mission
furniture, the materials can be ordered from the mill with much of the
hard work completed. Order the stock to make this chair as follows:
4 posts, 1-7/8 by 1-7/8 by 30 in.
2 top rails, 7/8 by 2-3/4 by 20 in.
2 bottom rails, 7/8 by 2-1/4 by 20 in.
2 rails, 7/8 by 4 by 16 in.
2 side rails, 7/8 by 4 by 28 in.
1 stretcher, 7/8 by 3 by 30 in.
[Illustration: The Roman Chair]
Have all these pieces mill planed on the four sides straight and square,
also have them sandpapered on the four sides of each. Plain sawed white
or red oak finishes nicely and is easily obtained. The sizes are
specified exact as to thickness and width, but the lengths are longer
than is needed. This is to allow for cutting and fitting.
Begin by squaring one end of each post; measure the length 28 in. and,
placing all of them side by side, square a line across the four, saw,
then plane these ends square. The top and bottom side rails are treated
in a similar manner, their length being 19-1/8 in. each. These pieces
extend right through the posts projecting 5/8 in. beyond the surface.
The mortises in the posts must be cut smoothly and of exact size. Wood
pins fasten these rails and posts together. The other rails have tenons
1/2 by 3 in. shouldered on the two edges and one side. The mortise in
the post is placed central. On the ends of the chair the shouldered side
is turned in (see photograph), while on the front and back they are
turned out. Miter the ends of these tenons. These tenons are to be glued
and clamped--the ends of the chair being put together first. When this
is dry the sides are clamped. The stretcher should have its ends
shouldered on the two edges so as to make a 2-1/2-in. tenon. Allow the
tenons to extend 1-1/8 in. beyond the cross rail and cut mortises in
these tenons for the keys.
All projecting tenons, as well as the tops and bottoms of the posts,
should be chamfered about 1/8 in. For the seat, screw cleats to the
insides of the rails and place a platform of thin boards so that its top
surface is 1/2 in. below the top of the rails.
A cushion can be made, as shown in the photograph, by lacing with
leather thongs two pieces of Spanish leather cut to proper length and
width. When nearly laced fill with any of the common upholsterer's
fillings.
[Illustration: Details of Parts of Chair]
For a brown stain, dissolve by boiling in 4 oz. of water, extract of
logwood the size of a walnut. Apply hot and repeat until the desired
color is obtained. Stains can be bought ready prepared, however, and are
quite satisfactory. Finish by applying several coats of wax.
HOW TO MAKE A SETTEE
This handsome piece of mission furniture is designed to be made up in
three different pieces as desired, the only changes necessary being in
the length of the one front and the two back rails. The settee can be
made into a three-cushion length by adding the length of another cushion
to the dimensions of the one front and two back rails. A companion piece
chair can be made by using suitable length rails to admit only one
cushion. The following stock list of materials ordered mill-planed and
sandpapered will be sufficient to make up the settee as illustrated. Oak
is the most suitable wood which can be finished in either mission or a
dark golden oak.
3 rails 1 by 4 by 52-1/4 in.
4 end rails 1 by 4 by 24-1/4 in.
4 posts 2-1/4 in. square by 34-1/2 in.
13 slats 1/2 by 5 by 21-1/4 in.
2 cleats 1 in. square by 51 in.
All the rails are mortised into the posts for a depth of 5/8 in., also
the slats are mortised 5/8 in. into the rails. The material list gives
the exact dimensions for the rails and slats as they will not need to be
squared for entering the mortises, provided you are careful to get all
lengths cut to dimensions. When cutting the mortises take care to get
them square and clean. The posts have 1/2 in. extra added for squaring
up and cutting the corners sloping on the top ends.
The joints are all put together with glue. Nails can be driven into the
posts intersecting the tenons of the rails on the inside, as they will
not show and will help to make the settee more solid.
[Illustration: A Complete Two-Cushion Settee]
[Illustration: Details of a Mission Settee]
The cushions can be made with or without springs as desired. If made
without springs, 15 slats must be provided in the material list 1/2 in.
thick, 2 in. wide and 24 in. long to be placed on the cleats fastened
to the inside of each bottom rail. The two cleats are fastened one on
each inside of the front and back rails with screws. The location as to
height of these cleats will depend upon the kind of cushions used. The
parts necessary to make the cushions with springs are as follows:
4 pieces 1 by 2-1/2 by 26 in.
8 pieces 1 by 2-1/2 by 24 in.
4 pieces 1 by 2-1/2 by 22 in.
32 8-in. springs.
2 pieces leather about 29 by 31 in.
[Illustration: Details of the Cushion]
An open box is made from two 26-in. and two 22-in. pieces, and across
the bottom are mortised and set in four 24-in. pieces to form slats on
which to set the springs. The tops of the springs are tied or anchored
with stout cords running in both directions and fastened to the inside
of the pieces forming the open box. These should be tied in such manner
as to hold each spring so it cannot slip over and come in contact with
another spring.
Roan or pebbled leather are very popular for cushions for this style of
furniture. The leather is drawn over the springs and tacked to the
outside of the open box frame. When complete the cushions are set in
loose on the cleats, which should, in this case, be placed about 1 in.
from the top of the rails.
HOW TO MAKE A PYROGRAPHER'S TABLE
[Illustration: Convenient Pyrographer's Table]
Any pyrographer will appreciate the construction of the table and
cabinet as illustrated. Anyone doing burnt wood work will know the
annoyance of building up a steady support for the arm to the level of
the article on which the work is to be done. The size of this table may
be made to suit the surroundings and the space of the builder. Figure 1
shows the table with a slot cut in the side support in which to place
the thumb screw of the bracket as shown on top of the table. It will be
noticed, Fig. 2, that while both drawer and cabinet are available for
storing the apparatus, they are not in the way of the operator while
sitting at his work; the drawer overhangs the knees and the cabinet is
far enough back not to interfere with sitting up close to the work. The
bracket shelf slides in the slot at the side of the table, and is
fastened to any height by the thumb screw There is also a smaller slide
bracket on the shelf to clamp irregular objects to the side of the
table. The thumb screws, hinges and drawer pulls can be purchased from
any hardware store. When the table is not in use for pyrography it can
be used for a writing table or a round top provided and attached on
which to play games. When used for this purpose the bracket, as well as
the pyrographic outfit, is stowed away in the cabinet as shown in Fig.
3.
[Illustration: Storage for Apparatus]
MISSION STAINS
What is mission oak stain? There are many on the market, with hardly two
alike in tone. The true mission oak stain may be said to show a dull
gray, the flakes showing a reddish tint, while the grain of the wood
will be almost a dead black. To produce such a stain take 1 lb. of drop
black in oil and 1/2 oz, of rose pink in oil, adding a gill of best
japan drier, thinning with three half-pints of turpentine. This will
make about 1 qt. of stain. Use these proportions for a larger quantity
of stain. Strain it through cheese cloth. Japan colors will give a
quicker drying stain than that made with oil colors, and in this case
omit the japan and add a little varnish to bind it.
One of the most popular of all the fancy oaks has been that known as
Flemish, and this in spite of its very somber color, says Wood Craft.
There are several ways of producing Flemish finish; you can fill the
wood with a paste filler strained with raw umber, and when dry apply a
stain of transparent flat raw umber, and for the darker shades of finish
use drop black with the umber. Varnish and rub down.
According to a foreign technical journal, French workmen mahoganize
various kinds of woods by the following method: The surface of the wood
to be stained is made perfectly smooth. Then it is given a coating of
dilute nitric acid which is rubbed well into the wood fiber. Then it is
stained with a mixture made by dissolving 1-1/2 oz. of dragon's blood in
a pint of alcohol, this solution being filtered, and then there is added
to it one-third of its weight of sodium carbonate. Apply this mixture
with a brush, and repeat the coats at intervals until the surface has
the appearance of polished mahogany. In case the luster should fail it
may be restored by rubbing with a little raw linseed oil. The
description of the process is meager, and hence he who would try it will
have to experiment a little.
A good cheap mission effect for oak is to mix together equal parts of
boiled linseed oil and good asphaltum varnish, and apply this to the
wood with a brush; in a minute or so you may rub off surplus with a rag,
and when dry give a coat of varnish. A gallon of this stain will cover
about 600 sq. ft.
FILLING OAK
A very good hardwood filler for oak, either for a natural or golden
effect, may be made from two parts of turpentine and one part of raw
linseed oil, with a small amount of good japan to dry in the usual time.
To this liquid add bolted gilder's whiting to form a suitable paste, it
may be made thin enough for use, if to be used at once, or into a stiff
paste for future use, when it can be thinned down for use, says
Woodworkers' Review. After applying a coat of filler, let stand until it
turns gray, which requires about 20 minutes, depending upon the amount
of japan in the filler, when it should be rubbed off with cotton waste
or whatever you use for the purpose. A filler must be rubbed well into
the wood, the surplus only being removed. The application of a coat of
burnt umber stain to the wood before filling is in order, which will
darken the wood to the proper depth if you rub off the surplus, showing
the grain and giving a golden oak effect. The filling should stand at
least a day and night before applying shellac and varnish.
WAX FINISHING
In wax-finishing hardwoods, use a paste filler and shellac varnish to
get a good surface. Of course, the wax may also be rubbed into the
unfilled wood but that gives you quite a different effect from the
regular wax polish, says a correspondent of Wood Craft. With soft woods
you first apply a stain, then apply a liquid filler or shellac,
according to the quality of work to be done. The former for the cheaper
job. The usual proportion of wax and turpentine is two parts of the
former to one part of the latter, melting the wax first, then adding the
spirits of turpentine. For reviving or polishing furniture you can add
three or four times as much turpentine as wax, all these proportions to
be by weight. To produce the desired egg-shell gloss, rub vigorously
with a brush of stiff bristles or woolen rag.
THE FUMING OF OAK
Darkened oak always has a better appearance when fumed with ammonia.
This process is rather a difficult one, as it requires an airtight case,
but the description herewith given may be entered into with as large a
case as the builder cares to construct.
Oak articles can be treated in a case made from a tin biscuit box, or
any other metal receptacle of good proportions, provided it is airtight.
The oak to be fumed is arranged in the box so the fumes will entirely
surround the piece; the article may be propped up with small sticks, or
suspended by a string. The chief point is to see that no part of the
wood is covered up and that all surfaces are exposed to the fumes. A
saucer of ammonia is placed in the bottom of the box, the lid or cover
closed, and all joints sealed up by pasting heavy brown paper over them.
Any leakage will be detected if the nose is placed near the tin and
farther application of the paper will stop the holes. A hole may be cut
in the cover and a piece of glass fitted in, taking care to have all the
edges closed. The process may be watched through the glass and the
article removed when the oak is fumed to the desired shade. Wood stained
in this manner should not be French polished or varnished, but waxed.
The process of waxing is simple: Cut some bees-wax into fine shreds and
place them in a small pot or jar. Pour in a little turpentine, and set
aside for half a day, giving it an occasional stir. The wax must be
thoroughly dissolved and then more turpentine added until the
preparation has the consistency of a thick cream. This can be applied to
the wood with a rag and afterward brushed up with a stiff brush.
HOW TO MAKE BLACK WAX
When putting a wax finish on oak or any open-grained wood, the wax will
often show white streaks in the pores of the wood. These streaks cannot
be removed by rubbing or brushing. Prepared black wax can be purchased,
but if you do not have any on hand, ordinary floor wax can be colored
black. Melt the floor wax in a can placed in a bucket of hot water. When
the wax has become liquid mix thoroughly into it a little drop black or
lampblack. Allow the wax to cool and harden. This wax will not streak,
but will give a smooth, glossy finish.
THE 40 STYLES OF CHAIRS
There are 40 distinct styles of chairs embracing the period from 3000
B.C. to 1900 A.D.--nearly 7,000 years. Of all the millions of chairs
made during the centuries, each one can be classified under one or more
of the 40 general styles shown in the chart. This chart was compiled by
the editor of Decorative Furniture. The Colonial does not appear on the
chart because it classifies under the Jacobean and other styles. A
condensed key to the chart follows:
$Egyptian.--3000 B.C. to 500 B.C.$ Seems to have been derived
largely from the Early Asian. It influenced Assyrian and Greek
decorations, and was used as a motif in some French Empire
decoration. Not used in its entirety except for lodge rooms, etc.
$Grecian.--700 B.C. to 200 B.C.$ Influenced by Egyptian and
Assyrian styles. It had a progressive growth through the Doric,
Ionic and Corinthian periods. It influenced the Roman style and the
Pompeian, and all the Renaissance styles, and all styles following
the Renaissance, and is still the most important factor in
decorations today.
$Roman.--750 B.C. to 450 A.D.$ Rome took her art entirely from
Greece, and the Roman is purely a Greek development. The Roman
style "revived" in the Renaissance, and in this way is still a
prominent factor in modern decoration.
$Pompeian.--100 B.C. to 79 A.D.$ Sometimes called the Grecian-Roman
style, which well describes its components. The style we know as
Greek was the Greek as used in public structures. The Pompeian is
our best idea of Greek domestic decoration. Pompeii was long
buried, but when rediscovered it promptly influenced all European
styles, including Louis XVI, and the various Georgian styles.
$Byzantine.--300 A.D. to 1450 A.D.$ The "Eastern Roman" style,
originating in the removal of the capital of the Roman Empire to
Constantinople (then called Byzantium). It is a combination of
Persian and Roman. It influenced the various Moorish, Sacracenic
and other Mohammedan styles.
$Gothic.--1100 to 1550.$ It had nothing to do with the Goths, but
was a local European outgrowth of the Romanesque. It spread all
over Europe, and reached its climax of development about 1550. It
was on the Gothic construction that the Northern European and
English Renaissance styles were grafted to form such styles as the
Elizabethan, etc.
[Illustration]
$Moorish.--700 to 1600.$ The various Mohammedan styles can all be
traced to the ancient Persian through the Byzantine. The Moorish or
Moresque was the form taken by the Mohammedans in Spain.
$Indian.--2000 B.C. to 1906 A.D.$ The East Indian style is almost
composite, as expected of one with a growth of nearly 4,000 years.
It has been influenced repeatedly by outside forces and various
religious invasions, and has, in turn, influenced other far Eastern
styles.
$Chinese.--3500 B.C. to 1906 A.D.$ Another of the ancient styles.
It had a continuous growth up to 230 B.C., since when it has not
changed much. It has influenced Western styles, as in the
Chippendale, Queen Anne, etc.
$Japanese.--1200 B.C. to 1906 A.D.$ A style probably springing
originally from China, but now absolutely distinct. It has
influenced recent art in Europe and America, especially the "New
Art" styles.
$Italian Gothic.--1100 to 1500.$ The Italian Gothic differs from
the European and English Gothic in clinging more closely to the
Romanesque-Byzantine originals.
$Tudor.--1485 to 1558.$ The earliest entry of the Renaissance into
England. An application of Renaissance to the Gothic foundations.
Its growth was into the Elizabethan.