century of the Renaissance. A seeking for revival of the old Roman
and Greek decorative and constructive forms.
$Italian Renaissance, Sixteenth Century.--1500 to 1600.$ A period
of greater elaboration of detail and more freedom from actual Greek
and Roman models.
$Italian Renaissance, Seventeenth Century.--1600 to 1700.$ The
period of great elaboration and beginning of reckless
ornamentation.
$Spanish Renaissance.--1500 to 1700.$ A variation of the
Renaissance spirit caused by the combination of three distinct
styles--the Renaissance as known in Italy, the Gothic and the
Moorish. In furniture the Spanish Renaissance is almost identical
with the Flemish, which it influenced.
$Dutch Renaissance.--1500 to 1700.$ A style influenced alternately
by the French and the Spanish. This style and the Flemish had a
strong influence on the English William and Mary and Queen Anne
styles, and especially on the Jacobean.
$German Renaissance.--1550 to 1700.$ A style introduced by Germans
who had gone to Italy to study. It was a heavy treatment of the
Renaissance spirit, and merged into the German Baroque about 1700.
$Francis I.--1515 to 1549.$ The introductory period when the
Italian Renaissance found foothold in France. It is almost purely
Italian, and was the forerunner of the Henri II.
$Henri II.--1549 to 1610.$ In this the French Renaissance became
differentiated from the Italian, assuming traits that were
specifically French and that were emphasized in the next period.
$Louis XIII.--1616 to 1643.$ A typically French style, in which but
few traces of its derivation from the Italian remained. It was
followed by the Louis XIV.
$Elizabethan.--1558 to 1603.$ A compound style containing traces of
the Gothic, much of the Tudor, some Dutch, Flemish and a little
Italian. Especially noted for its fine wood carving.
$Jacobean.--1603 to 1689.$ The English period immediately following
the Elizabethan, and in most respects quite similar. The Dutch
influence was, however, more prominent. The Cromwellian, which is
included in this period, was identical with it.
$William and Mary.--1689 to 1702.$ More Dutch influences. All
furniture lighter and better suited to domestic purposes.
[Illustration]
$Queen Anne.--1702 to 1714.$ Increasing Dutch influences. Jacobean
influence finally discarded. Chinese influence largely present.
$Louis XIV.--1643 to 1715.$ The greatest French style. An entirely
French creation, marked by elegance and dignity. Toward the end of
the period it softened into the early Rococo.
$Georgian.--1714 to 1820.$ A direct outgrowth of the Queen Anne,
tempered by the prevailing French styles. It includes Chippendale,
Hepplewhite and Sheraton, but these three great cabinetmakers were
sufficiently distinct from the average Georgian to be worthy
separate classification.
$Chippendale.--1754 to 1800.$ The greatest English cabinet style.
Based on the Queen Anne, but drawing largely from the Rococo,
Chinese and Gothic, he produced three distinct types, viz.: French
Chippendale, Chinese Chippendale and Gothic Chippendale. The last
is a negligible quantity.
$Louis XV.--1715 to 1774.$ The Rococo period. The result of the
efforts of French designers to enliven the Louis XIV, and to evolve
a new style out of one that had reached its logical climax.
$Hepplewhite.--1775 to 1800.$ Succeeded Chippendale as the popular
English cabinetmaker. By many he is considered his superior. His
work is notable for a charming delicacy of line and design.
$Louis XVI.--1774 to 1793.$ The French style based on a revival of
Greek forms, and influenced by the discovery of the ruins of
Pompeii.
$Sheraton.--1775 to 1800.$ A fellow cabinetmaker, working at same
time as Hepplewhite. One of the Colonial styles (Georgian).
$R. & J. Adam.--1762 to 1800.$ Fathers of an English classic
revival. Much like the French Louis XVI and Empire styles in many
respects.
$Empire.--1804 to 1814.$ The style created during the Empire of
Napoleon I. Derived from classic Roman suggestions, with some Greek
and Egyptian influences.
$New Arts.--1900 to date.$ These are various worthy attempts by the
designers of various nations to create a new style. Some of the
results are good, and they are apt to be like the "little girl who
had a little curl that hung in the middle of her forehead," in that
"when they are good they are very, very good, but when they are bad
they are horrid."
[Illustration]
[Illustration]
HOW TO MAKE A PIANO BENCH
[Illustration]
All the material used in the making of this piano bench is 1 in. thick,
excepting the two rails, which are 7/8 in. thick. The bench can be made
from any of the furniture woods, but the case may demand one made from
mahogany. If so, this wood can be purchased from a piano factory. The
following stock list of materials may be ordered from a mill, planed and
sandpapered:
1 top, 1 by 16 by 36-1/2 in.
2 ends, 1 by 14 by 18 in.
1 stretcher, 1 by 4 by 31-1/2 in.
2 side rails, 7/8 by 4 by 29-1/2 in.
2 keys, 1 by 1 by 3-1/2 in.
6 cleats, 1 by 1 by 4 in.
The dimensions given, with the exception of the keys and cleats, are 1/2
in. longer than necessary for squaring up the ends.
The two rails are cut slanting from a point 1-1/2 in. from each end to
the center, making them only 3 in. wide in the middle. The rails are
"let into" the edges of the ends so the outside of the rails and end
boards will be flush. The joints are put together with glue and screws.
The cleats are fastened with screws to the inside of the rails and to
the top. The stretcher has a tenon cut on each end which fits into a
mortise cut in each end. The tenons will have sufficient length to cut
the small mortise for the key.
[Illustration]
The kind of wood used will determine the color of the stain for the
finish. This also depends on matching other pieces of furniture.
HOW TO MAKE A MISSION SHAVING STAND
This attractive and useful piece of mission furniture will be
appreciated by the person that does his own shaving. The shaving stand
can be made at home by a handy man in his spare time as the stock can be
ordered from a mill ready for making the joints and attaching the few
pieces of hardware. The following is a stock list of materials:
4 posts 1-1/2 in. square by 50-1/2 in.
4 slats 7/8 by 1 by 32-1/2 in.
2 cross rails 1 by 1-1/2 by 15 in.
2 end rails 1 by 1-1/2 by 13 in.
1 top 7/8 by 16-1/2 by 19-1/2 in.
1 bottom 7/8 by 15 by 17 in.
2 ends 7/8 by 12-1/2 in. square.
1 back 7/8 by 12-1/2 by 14-1/2 in.
1 door 7/8 by 6-1/2 by 12-1/2 in.
2 drawer ends 7/8 by 5-1/2 by 7-1/2 in.
1 partition 7/8 by 12 by 14 in.
1 partition 7/8 by 7 by 14 in.
7 pieces of soft wood 1/2 by 7-1/2 by 12 in.
2 posts 1 in. square by 10-1/2 in.
1 bottom piece 7/8 by 1-1/2 by 18-1/2 in.
4 mirror frame pieces 7/8 by 1-1/2 by 14-1/2 in.
2 sticks for pins.
2 hinges
1 lock
2 drawer pulls
1 beveled glass mirror 11-1/2 by 11-1/2 in.
While this piece of furniture can be made in any kind of wood, the
novice will find that quarter-sawed oak will work up and finish better
than the other woods. The stock list given has dimensions 1/2 in. larger
in some instances for dressing and squaring where necessary.
[Illustration]
The tenons and mortises are first cut for the crosspieces at the bottom
of the posts, and, as it is best to use dowels at the top, holes are
bored in the bottom piece and also the ends of the slats for pins. The
bottom piece is also fastened to the posts with dowels. The bottom must
have a square piece cut out from each corner almost the same size as the
posts. When setting the sides together the end board and posts can be
doweled and glued together and after drying well the posts can be
spread apart far enough to insert the bottom rail and two slats. The
rail and slats should be tried for a bit before putting on any glue,
which may save some trouble.
[Illustration: Shaving Stand Complete]
After the sides are put together, the back is put in and glued. The top
is then put on and fastened with cleats from the inside. The partitions
are put in as shown and the door fitted. Two drawers are made from the
ends and the soft wood material. The drawer ends may be supplied with
wood pulls of the same material or matched with metal the same as used
for the hinges.
[Illustration: Mirror Frame and Standards Details]
The pieces for the mirror frame must be rabbeted 1/2 in. deep to take
the glass, and the ends joined together with a miter at each corner. The
two short posts are tenoned and mortises cut in the bottom piece for
joints and these joints well glued together. The bottom piece is then
fastened to the top board of the stand. This will form the standards in
which to swing the mirror and its frame. This is done with two pins
inserted in holes bored through the standards and into the mirror frame.
After the parts are all put together, cleaned and sandpapered, the stand
is ready for the finish.
A MISSION WASTE-PAPER BASKET
[Illustration: Waste-Paper Basket to Match Library Table]
The basket shown in the accompanying sketch is designed to be used with
a library table having slats in the ends and wooden handles on the
drawers. The finish is made to match that of the table by fuming, when
completely assembled, in a large-size size, clean garbage can, with
fumes of concentrated ammonia.
[Illustration: Detail of Waste-Paper Basket]
The following quarter-sawed white-oak stock should be procured in the
exact dimensions given. This may be had, planed and cut to lengths, from
a mill for a slight extra charge. It is advisable not to have them
sandpapered, as the very coarse sandpaper generally used, gives a bad
surface for finishing.
4 posts, 1-1/4 by 1-1/4 by 16-1/2 in., S-4-S.
4 rails, 3/4 by 3 by 10-1/4 in., S-2-S.
4 rails, 3/4 by 2 by 10-1/4 in., S-2-S.
12 slats, 3/8 by 2-1/4 by 9-1/2 in., S-2-S.
4 handle pieces, 1 by 1 by 2-1/2 in., S-4-S.
2 handle pieces, 1/2 by 1/2 by 6 in., S-4-S.
1 bottom, 3/8 by 9-1/2 by 9-1/2 in., S-2-S.
See that the posts are absolutely square cross section. Mark with a
pencil--not gauge--the chamfers on the ends of the posts and plane them
off.
Carefully mark the tenons on the ends of all the rails with a knife and
gauge lines. Be sure that the distance from the tenon shoulder at one
end of rail to the shoulder at the other end is exactly the same on each
rail. Cut the tenons, using a backsaw and chisel.
Arrange the pieces as they are to stand in the finished basket, and
number each tenon and mortise. Mark all the mortises on the posts, being
sure to keep the distances between the top and lower rail the same on
each post. Cut each mortise to fit the correspondingly numbered tenon.
Next, mark the mortises for the slats in the rails, allowing the whole
slat to go in 1/4 in.
The handles are next in order. The pieces going into the rail should be
fastened with a round 1/2-in. tenon cut on one end and glued in place.
The crosspiece should be mortised all the way through these pieces and
held in place by a brad from the under side.
Now put the whole basket together without gluing, in order that errors,
if any, may be detected.
If everything fits perfectly, the basket is ready to be glued. For best
results hot glue should be used. First glue up two opposite sides with
the slats in place. Clamps must be used. When these have set for at
least 24 hours, the other rails and slats may be glued in place and
clamped. It is a good idea to pin the tenons in place with two 1-in.
brads driven from the inside.
The handles are then glued in place, using hand screws to hold them
until the glue sets. The bottom should rest on thin cleats, without
being nailed to them, so that it may be removed when the basket is to be
emptied of small papers, etc.
Before applying the stain, see that all glue spots are removed and all
surfaces sanded to perfect smoothness. If a fumed finish is not desired,
any good stain may be used, after which a thin coat of shellac and two
coats of wax should be applied. Allow plenty of time for drying between
the coats.
A CELLARETTE PEDESTAL
[Illustration: Plain-Oak Cellarette Pedestal]
The illustration shows a unique article for the den. It serves as a
pedestal and has one side which opens on hinges allowing the inside to
be used as a smoker's cabinet or cellarette. All the lines are straight
and the corners square, making it easy to construct. White oak will
make up best, although ash, birch or southern pine may be used with good
effect.
Stock of the following sizes should be bought, surfaced and cut to width
and length:
2 top pieces, 7/8 by 12 by 12 in., S-2-S.
2 base pieces, 7/8 by 14 by 14 in., S-2-S.
2 sides, 7/8 by 8 by 35-5/8 in., S-2-S.
1 back, 7/8 by 6-1/4 by 35-5/8 in., S-2-S.
1 door, 7/8 by 6-1/4 by 34-3/4 in., S-2-S.
4 blocks, 7/8 by 4 by 4 in., S-2-S.
4 shelves, 7/8 by 6-1/4 by 6-1/4 in., S-2-S.
4 pieces, 7/8 by 1 by 10 in., S-4-S.
Make the top and base of two pieces, glued and screwed together with the
grain crossed. This method prevents warping. To keep the end grain from
showing, a strip of 3/8-in. lumber may be put on all around as shown in
the drawing.
Have the sides, front and back squared up perfectly. The sides are to
overlap the back and to be fastened to it with round-head brass or blue
screws. To the center of the top and base attach one of the 6-1/4-in.
square pieces. Over these, fit the sides and back and fasten them with
screws or nails. The four corner blocks are now put under the base.
Two or more shelves may be set in as shown. Brass or copper hinges will
look well if a dark stain is to be used.
Around the sides and back a 1-in. strip should be fastened to the base
to give added strength.
If a dull finish is desired, apply two coats of stain and two of
prepared wax. If a polished surface is wanted, first fill the pores of
the wood with any standard filler, which can be purchased at a paint
store. After this has dried partly, rub off any surplus filler, rubbing
across the grain of the wood. When perfectly dry apply one coat of
shellac and as many coats of varnish as desired, rubbing down each coat,
except the last, with No. 00 sandpaper and pumice stone.
[Illustration: Detail of Cellarette Pedestal]
A DRESSER
The dresser shown in the illustration was made of quarter-sawed white
oak and finished golden and waxed. The mirror is of beveled glass and
the following is the stock bill:
1 top, 3/4 by 19-1/2 by 33 in., S-2-S.
4 posts, 1-3/4 by 1-3/4 by 28 in., S-4-S.
4 end rails, 3/4 by 2-1/4 by 17 in., S-2-S.
4 stiles, 3/4 by 2-1/2 by 20 in., S-2-S.
2 panels, 3/16 by 12 by 18 in., S-2-S.
3 facings, 3/4 by 2-1/4 by 29 in., S-2-S.
2 top frame pieces, 3/4 by 2 by 32 in., S-2-S.
2 top frame pieces, 3/4 by 2 by 19 in., S-2-S.
2 mirror supports, 1 by 2 by 33 in., S-2-S.
1 mirror support, 3/4 by 2-1/2 by 33 in., S-2-S.
1 drawer front, 3/4 by 7-1/4 by 28 in., S-2-S.
1 drawer front, 3/4 by 6-1/4 by 28 in., S-2-S.
2 drawer fronts, 3/4 by 5-1/4 by 14 in., S-2-S.
1 partition, 3/4 by 1 by 6 in.
2 mirror-frame pieces, 3/4 by 2 by 40 in., S-2-S.
2 mirror-frame pieces, 3/4 by 2 by 20 in., S-2-S.
The following material list may be of common stock and not
quarter-sawed:
Mirror-backing pieces equivalent to 1/4 by 18-1/2 by 36 in., S-2-S.
2 cleats, 3/4 by 2 by 10 in., S-4-S.
4 drawer-support frame pieces, 3/4 by 2 by 29 in.
7 drawer-support frame pieces, 3/4 by 2 by 15 in.
Slides taken from scrap stock, 3/4 by 1 by 15 in.
3 back pieces, 3/4 by 2-1/4 by 28 in., S-2-S.
2 back pieces, 1/4 by 8 by 28 in., S-2-S.
8 drawer sides, 1/2 by 7-1/4 by 17 in., S-2-S.
2 drawer backs, 3/8 by 7 by 27 in., S-2-S.
2 drawer backs, 3/8 by 7 by 13 in., S-2-S.
2 drawer bottoms, 3/8 by 15 by 27 in., S-2-S.
2 drawer bottoms, 3/8 by 15 by 13 in., S-2-S.
In working up the various parts proceed in the usual manner. If not
thoroughly familiar with the various tool processes involved, it will be
necessary to investigate pieces of near-by furniture and to read up some
good text dealing with the processes involved.
[Illustration: Dresser in Quarter-Sawed Oak]
The exact size of the mirror is 18 by 36 in. and the frame should be
rabbeted to correspond.
[Illustration: Detail of the Dresser]
For a finish, a coat of paste filler colored so as to give a rich
golden brown should be applied first. Allow this to harden, after
rubbing and polishing it in the usual manner, then apply a thin coat of
shellac. Sand this lightly when hard, and over this apply a coat of
orange shellac. Over the shellac put several coats of some good rubbing
wax and polish each coat well. If a striking contrast is wanted for the
medullary rays of the quartering, apply a golden-oak stain first. Sand
this lightly, then apply a second coat diluted one-half with solvent and
sand again lightly. Apply a thin coat of shellac, then, when dry, sand
lightly and apply paste, and proceed as before.
A MISSION SIDEBOARD
Oak is the most suitable material for making this sideboard and it
should be first-class stock, planed and cut to the dimensions given in
the following list:
1 top, 7/8 by 22 by 48 in., S-2-S.
1 top shelf, 7/8 by 12 by 48 in., S-2-S.
1 bottom, 7/8 by 22 by 48 in., S-2-S.
2 back posts, 2 by 2 by 57 in., S-4-S.
2 front posts, 2 by 2 by 36 in., S-4-S.
2 standards, 2 by 2 by 20 in., S-4-S.
2 mirror rails, 7/8 by 2 by 47 in., S-2-S.
2 mirror rails, 7/8 by 2 by 20 in., S-2-S.
3 front and back rails, 7/8 by 3 by 46 in., S-2-S.
4 end rails, 7/8 by 3 by 20 in., S-2-S.
4 standard rails, 7/8 by 2 by 10 in., S-2-S.
2 vertical pieces, 7/8 by 19-1/2 by 22 in., S-2-S.
1 horizontal piece, 7/8 by 22 by 14-1/4 in., S-2-S.
1 drawer front, 7/8 by 6 by 14-1/4 in., S-2-S.
1 piece, 7/8 by 3 by 3 in.
4 vertical door pieces, 7/8 by 2 by 17 in., S-2-S.
4 horizontal door pieces, 7/8 by 2 by 15 in., S-2-S.
2 drawer sides, 7/8 by 5 by 14 in., S-2-S.
1 drawer bottom, 1/4 by 14 by 14-1/4 in., S-2-S.
1 back panel, 1/4 by 16-1/2 by 44-1/2 in., S-2-S.
2 door panels, 1/4 by 10-1/2 by 15-1/2 in., S-2-S.
2 side panels, 1/4 by 18-1/2 by 16-1/2 in., S-2-S.
[Illustration: Detail of the Mission Sideboard]
Begin work by cutting the posts to the length indicated in the detail
drawing. The top ends are tapered with a 1/2-in. slant. These posts are
cut in pairs and it is best to stand them up in the same position they
will be in the finished sideboard, and mark the sides to be mortised
with a pencil. Also cut the grooves into which the panels are to fit.
These are to be 1/4 in. wide and a little over 1/4 in. deep.
[Illustration: Mission Sideboard in Quarter-Sawed Oak]
The rails are cut with tenon ends to match the mortises, and also have
grooves to receive the panels.
The bottom part of the back is closed with a panel and two rails, one at
the same height from the floor as the front bottom rail, and the top one
even with the under side of the top. The large panel is for the opening
thus formed.
These parts are now put together, using plenty of good hot glue, and
spreading it well on the mortises and tenon ends.
When drawing the frame together with the clamps, care must be taken to
get it square.
After the glue is hard enough to remove the clamps, the top and bottom
are put in place. The corners of the top are notched out to fit around
the posts, while the bottom is cut to fit on the inside of the rails and
is held in place by putting screws in at an angle through the bottom
into the rails. The top is also fastened in this way, except that the
screws are run through the rails into the top.
The two vertical pieces are now put in place. Drive nails through the
bottom and into these pieces. On the top end use screws driven at an
angle. Glue may be used if desired.
The doors are made to match these openings. The corners are mitered and
the backs rabbeted to receive the panels. These panels may be made in
art glass if so desired.
The horizontal piece for the drawer to rest upon is now put in place and
fastened by driving nails through the vertical pieces. The drawer is
made to fit this opening, and it should be lined with velvet to keep the
silverware in good condition.
The standards and shelves are put on as shown in the drawing. The mirror
is put in a frame, which is made to fit the back opening and has the
corners mitered and the back rabbeted to receive the mirror.
Thoroughly scrape and sandpaper all parts that are visible. The
sideboard is now ready to be finished as desired.
A HALL OR WINDOW SEAT
[Illustration: Seat Made of Quarter-Sawed Oak]
A simple design for a hall or window seat is shown in the accompanying
sketch and detail drawing. Anyone who has a few sharp tools, and is at
all handy with them, can make this useful and attractive piece of
furniture in a few spare hours. Quarter-sawed oak is the best wood to
use in its construction, as it looks best when finished and is easy to
procure. If the stock is ordered from the mill ready cut to length,
squared and sanded, much of the labor will be saved. The following is a
list of the material needed:
4 corner posts, 1-1/2 by 1-1/2 by 28 in., S-4-S.
2 side rails, 3/4 by 2-1/2 by 36-1/2 in., S-4-S.
2 end rails, 3/4 by 4 by 14-1/2 in., S-4-S.
2 side braces, 1 by 1 by 36-1/2 in., S-4-S.
2 end braces, 1 by 1 by 14-1/2 in. S-4-S.
1 seat, 1 by 16 by 35-3/4 in., S-4-S.
2 top end braces, 3/4 by 2 by 14-1/2 in., S-4-S.
6 slats, 3/4 by 2 by 6-1/2 in., S-4-S.
Square up the four posts and lay out the mortises according to the
drawing. To do this, lay them on a flat surface with the ends square and
mark them with a try-square. The tenons on the end and side rails are
laid out in the same manner as the posts. The end rails should be marked
and mortises cut for the upright slats as shown in the detail drawing.
Fit the end and side braces with mortise and tenon joints.
The two end frames can now be glued and clamped together and set away to
dry. Put all the parts together before gluing to see that they fit
square and tight.
The seat should be made of one piece if possible, otherwise two or more
boards will have to be glued together. The corners should be cut out to
fit around the posts. It rests on the side rails and cleats fastened to
the inner side of the end rails.
When the window seat is complete go over it carefully and scrape all the
surplus glue from about the joints, as the finish will not take where
there is any glue. Remove all rough spots with fine sandpaper, then
apply the stain best liked, which may be any one of the many mission
stains supplied by the trade for this purpose. If this window seat is
well made and finished, it will be an ornament to any home.
[Illustration: Detail of the Hall or Window Seat]
A MISSION PLANT STAND
For the mission plant stand shown in the illustration secure the
following list of quarter-sawed white-oak stock, cut and finished to
size:
1 top, 3/4 by 15-1/2 by 15-1/2 in., S-2-S.
4 posts, 1-1/4 by 1-1/4 by 20 in., S-4-S.
4 rails, 3/4 by 3 by 11 in., S-2-S.
2 rails, 3/4 by 2 by 11 in., S-2-S.
1 shelf, 3/4 by 6 by 10 in., S-2-S.
4 slats, 1/4 by 2 by 12-1/4 in., S-2-S.
2 slats, 1/4 by 2 by 12-3/4 in., S-2-S.
Test all surfaces of the posts with a try-square to see that they are
square with each other. Lay out the tenons on the ends of the rails as
shown in the sketch and cut with a tenon saw and chisel. Arrange the
posts and rails as they are to stand and number each tenon and mortise.
Lay out the mortises in the legs, taking the measurements directly from
the tenon which is to fit that mortise. Cut the mortises, first having
bored to the depth with a 1/4-in. bit.
[Illustration: Detail of the Plant Stand]
The slats should now be made and mortised into the top rail 1/4 in. They
come outside of the lower rail and are held to it with two small brads,
fancy-headed tacks, or round-head screws.
In laying out the mortises for the lower rails, care must be taken to
have them set 1/8 in. farther in than the upper rails so the slats may
come outside.
Set up the stand without glue or screws to see that all pieces fit
accurately. Then glue up the sides with the slats first. After these
have set for 24 hours, fit in the other two rails and the shelf. Three
flat-head screws should be used to hold the shelf in place. These must
be placed so the slats will cover them when they are attached.
[Illustration: Complete Plant Stand]
When this work is completed it is ready for the top. A good method of
attaching the top is shown in the sketch. The screws used for fastening
should be 2-in. No. 10. Bore into the rail 1-1/2 in. with a bit 1/16 in.
larger than the head of the screw. Then bore through the rest of the way
with a bit a little larger than the shank of the screw. Thus a little
space is left for expansion and shrinkage of the top.
Scrape and sandpaper thoroughly to remove all marks or glue spots.
Finish with two coats of weathered-oak stain, followed by two coats of
black wax.