,illustration3 ,,chafing ,,dish4 ,,copper ,,work ,a ,text ,book for ,teachers and ,students ,,in ,,the ,manual ,arts ,,fully ,,illustrated ,,by ,,augustus ,f4 ,,rose ,providence ,technical ,high ,school and ,rhode ,island ,school of ,design ,,the ,,davis ,,press ,worcester1 ,massachusetts #aijf ,copyrighted1 #aijf ,by ,augustus ,f4 ,rose ,,table ,,of ,,contents4 ,,page ,chapter ,i4--,introduction1 ,equipment1 ,materials #aa ,chapter ,,ii4--,problems1 ,escutcheons and ,hinge ,tail #bc ,chapter ,,iii4--,drawer and ,door ,pull and ,hinge #cj ,chapter ,,iv4--,finger ,plates1 ,pad ,corners1 ,box ,corners1 ,stamp ,box and ,match ,box #de ,chapter ,v4--,sconce1 ,picture ,frame1 ,soldering1 ,repousse or ,embossing #fc ,chapter ,,vi4--,raised ,forms #gg ,chapter ,,vii4--,porringer1 ,trays or ,plates #hh ,chapter ,,viii4--,ink ,pot1 ,sealing ,wax ,set and ,watch ,fobs #id ,chapter ,,ix4--,spoons1 ,sugar ,tongs and ,tea ,scoops1 ,rivets1 ,drawing ,wire and ,tubing1 ,polishing1 ,stamping ,work1 ,coloring #aje ,chapter ,x4--,enameling #aad ,,preface4 ,in this book the subject of ,copper ,work1 as it may be introduced into the public schools1 is treated to the extent of specifying an equipment and suggesting some of the possibilities of a course4 ,not only will there be found an abundance of illustrative material on this subject1 consisting of drawings and photographs of various objects executed by upper grammar and high school pupils1 but also a detailed description of the processes necessary for the execution of many of the designs4 ,it is not expected that the problems as given will be slavishly copied1 but rather that they will make clear the methods and processes that may be applied in the working out of similar problems4 ,it is hoped that this volume will be especially helpful to teachers in the ,manual ,arts who are trying to introduce ,metal ,work into the regular school course4 ,the author is indebted to ,charles ,j4 ,martin and ,antonio ,cirino1 for valuable assistance in making some of the illustrations4 ,,augustus ,f4 ,,rose4 ,,list ,,of ,,illustrations4 ,,plates4 ,,plate ,,page #a4 ,anvils #ae #b4 ,hammers #ag #c4 ,shears and ,plyers #ah #d4 ,escutcheons #bd #e4 ,escutcheons4 ,photograph #be #f4 ,escutcheons #bg #g4 ,escutcheons #bh #h4 ,escutcheons #bi #i4 ,drawer and ,door ,pulls #ca #aj4 ,drawer and ,door ,pulls #cb #aa4 ,drawer and ,door ,pulls #cc #ab4 ,drawer and ,door ,pulls4 ,photograph #cd #ac4 ,hinges #dj #ad4 ,hinges #da #ae4 ,hinges #db #af4 ,hinges #dc #ag4 ,hinges #dd #ah4 ,finger ,plates #df #ai4 ,finger ,plates4 ,photographs #dg #bj4 ,pad ,corners #di #ba4 ,box ,corners #ea #bb4 ,box ,corners #eb #bc4 ,stamp ,boxes #ed #bd4 ,stamp ,boxes #ef #be4 ,stamp ,boxes4 ,cover ,designs #eg #bf4 ,stamp ,boxes4 ,photograph #ei #bg4 ,match ,boxes #fa #bh4 ,match ,boxes4 ,cover ,designs #fb #bi4 ,sconce ,a #fd #bi;a4 ,sconce ,a4 ,pattern #fe #cj4 ,desk ,set4 ,photograph #ff #ca4 ,sconce ,b #fh #cb4 ,picture ,frame #gj #cc4 ,picture ,frame ,designs #gb #cd4 ,raised ,forms #gh #ce4 ,raised ,forms4 ,photograph #ha #cf4 ,pitchers #hc #cg4 ,tea ,set #hf #ch4 ,pupils at ,work4 ,photograph #hg #ci4 ,porringer #hi #dj4 ,porringer ,handles #ij #da4 ,porringer4 ,photograph #ib #db4 ,ink ,pot #ie #dc4 ,ink ,pot4 ,photograph #if #dd4 ,ink ,pot #ih #de4 ,sealing ,wax ,set #ajj #df4 ,watch ,fobs #ajb #dg4 ,watch ,fobs4 ,photograph #ajc #dh4 ,spoons #ajf #di4 ,sugar ,tongs and ,tea ,scoops #ajg #ej4 ,rivets #aji ,,figures4 ,,figure ,,page #a4 ,annealing ,tray #ac #b4 ,sawdust ,box #ad #c4 ,saw ,frame #af #d4 ,sand ,bag or ,engraver's ,pad #af #e4 ,chasing ,tools #ai #f4 ,engraving ,tools #ai #g4 ,dapping ,tools and ,die #bj #h4 ,sawing #bc #h;a4 ,sawing4 ,photograph #bf #i4 ,draw ,pulls #cj #aj4 ,draw ,pulls #cj #aa4 ,draw ,pulls #cj #ab4 ,draw ,pulls #ce #ac4 ,draw ,pulls #ce #ad4 ,draw ,pulls #ce #ae;a4 ,draw ,pulls #cf #ae;b4 ,draw ,pulls #cf #ae;c1 d1 ,draw ,pulls #cf #ae;e4 ,draw ,pulls #cf #af;a4 ,draw ,pulls #cg #af;b4 ,draw ,pulls #cg #af;c4 ,draw ,pulls #cg #af;d4 ,draw ,pulls #cg #af;e4 ,draw ,pulls #cg #ah4 ,stamp ,box #ec #ai4 ,stamp ,box #ee #bj4 ,stamp ,box #ee #ba4 ,chasing4 ,photograph #gf #bb4 ,chasing ,hammer #gf #bc4 ,hammering4 ,photograph #gi #bd4 ,raised ,bowl1 ,first step #gi #be4 ,surface ,plate4 ,photograph #hb #bf4 ,snarling ,iron #hd #bg4 ,snarling ,iron in use4 ,photograph #he #bh4 ,soldering ,porringer #hh #bi4 ,dapping ,tools in use #id #cj4 ,drawing ,tubing #aaj #ca4 ,drawing ,tubing #aaj #cb4 ,drawing ,wire4 ,photograph #aaa #cc4 ,stamp #aab #cd4 ,engraving4 ,photograph #aae #ce4 ,engraving #aag ,chapter ,i4 ,,introduction4 ,during the past few years many experiments have been tried in the development of ,manual ,training ,courses and much time has been spent in discussing of what lines of work they should consist4 ,wood and iron were the first materials used and are yet indispensable1 but experience has led those who are developing this work to believe that there are other materials as well adapted to ,manual ,training work in all its various forms4 ,clay1 used not only for modeling but for ceramic work as well1 leather1 brass and copper are materials that have also been put to the test and found satisfactory in many ways4 ,in ancient times copper was known as a useful metal1 and down through the ages it not only held its own but increased in usefulness4 ,among its valuable properties may be mentioned toughness and ductility2 its toughness enables it to be beaten into thin strong sheets1 while its ductility enables it to be drawn out into fine wire4 ,copper readily forms important alloys1 such as brass from copper and zinc4 ,work in sheet copper and brass has been introduced into the public school course with gratifying results4 ,it has proved itself to be a valuable departure from other branches of ,manual ,training work and gives promise of being permanent4 ,sheet1 copper and brass offer possibilities for various kinds of treatment1 either in the flat work which includes saw piercing1 embossing and enameling1 or in the raised work4 ,there is something about this work that appeals to pupils and holds their interest4 ,the nature of the material1 hard enough to offer some resistance and yet pliable enough to allow its being wrought into many forms1 the durability of the object when completed1 and the variety of colors that may be obtained1 especially with copper1 all tend to make the subject not only interesting but fascinating4 ,all exercises in sheet metal should be of some real value to the pupil2 no time should be spent on work done simply for practice1 but the various steps should be learned in the making of useful objects of artistic worth4 ,in this1 as in other work1 it seems best to give each member of the class the same work for a while until he has become acquainted with the different tools and learned the limitations of the material4 ,when this has been accomplished1 each pupil may be allowed to work out his own designs4 ,in this the educational value is very greatly increased4 ,the pupil conceives the idea and makes several sketches of it1 carrying it through repeated changes until it is brought to the perfected design appropriate in every way to the idea4 ,some may not be fortunate enough to get a full equipment so that all of the various kinds of metal work may be done1 but such may be able to make a beginning by doing light work in saw piercing1 which requires a very limited equipment4 ,,equipment4 ,the equipment necessary for a start in ,copper work need cost but little if the teacher is somewhat ingenious1 for the patterns of the various anvils may be made by him2 from these patterns the castings can be made at any foundry for three or four cents per pound4 ,it is better to begin with a few anvils and tools and to add one or two at a time as the need is felt for a more varied supply4 ,if the work can be done in a room already fitted with benches and vises1 it will reduce the first cost considerably4 ,any home-made bench will do if a regulation one is not to be had4 ,one that has given satisfaction was made of #b #d studding with plank tops in lengths of #ab feet1 giving space for four vises at each bench4 ,a swivel vise that may be turned at any angle will be found satisfactory4 ,illustration3 ,,figure #a4 ,an annealing tray made of a piece of sheet iron in the shape of a box about #ah square and #c deep1 with the corners lapped and riveted and filled with slag1 answers very well1 but one similar to the illustration1 ,figure #a1 is better4 ,in this the top is circular and rotary1 which is an advantage4 ,a pair of light long nose-tongs are needed to handle the work4 ,any ordinary foot bellows and blow-pipe will do4 ,illustration3 ,,figure #b4 ,illustration3 ,,plate #a4 ,,anvils ,a box1 ,figure #b1 large enough to hold two #b-;gallon stone jars and about half a bushel of sawdust1 is needed4 ,one of the jars is for water in which the object is cooled after being annealed2 the other is for pickle which is used to clean the work4 ,the sawdust is used to dry the object after it has been dipped in the water4 ,illustration3 ,,figure #c4 ,illustration3 ,,figure #d4 ,sand bag or engravers pad4 ,plate #a illustrates forms of anvils that have been found most useful4 ,plate #b shows a variety of hammers needed4 ,plate #c shears and plyers4 ,the following tools are also necessary3 ,cutting shears--straight and curved4 ,steel square #ab4 ,jeweler's saw frame4 ,figure #c4 ,piercing saws4 ,breast drill and assortment of drills4 ,illustration3 ,,plate #b4 ,,hammers ,illustration3 ,,plate #c4 ,,shears ,,and ,,plyers ,illustration3 ,,figure #e4 ,chasing tools and punches for embossing4 ,illustration3 ,,figure #f4 ,engraving tools4 ,illustration3 ,,figure #g4 ,compasses4 ,calipers4 ,surface gauge4 ,surface plate4 ,assortment of files4 ,sand bag or engraver's pad4 ,figure #d4 ,pitch block4 ,a set of chasing tools and punches4 ,figure #e4 ,a set of engraving tools4 ,figure #f4 ,a set of dapping tools and dapping die4 ,figure #g4 ,plyers--flat nose1 round nose1 and pointed4 ,cloth and felt buffs4 ,borax slate4 ,two #d-;gallon stone crocks4 ,mortar and pestle 7,porcelain47 ,mouth blow-pipe4 ,bench pins4 ,,materials4 ,copper is the material best suited for the work outlined in this book1 although the processes as described may be applied to brass or silver4 ,brass may be used successfully in the flat work1 but for raised work copper is the best material for the beginner4 ,copper is obtainable in different thicknesses and in various grades but the best grade should be used4 ,for most of the work from #ah to #bd gauge is used1 while metal from #ab to #ah gauge is used occasionally4 ,copper wire is used in several sizes for making rivets4 ,no4 #bb and #bh iron wire is indispensable for binding when soldering4 ,easy running silver solder may be made by the user1 but as a small piece will solder many joints1 and as it is not practical to make it in small quantities1 it is better to buy it ready made as desired4 ,powdered or lump borax is used as a flux in soldering4 ,charcoal or asbestos blocks are used when soldering small work4 ,cut-quick and rouge are used for polishing4 ,nitric and sulphuric acids are used to clean work4 ,,pickle4 ,pickle is a trade name given to solutions used in cleaning work4 ,different proportions of acids are used according to the work to be cleaned4 ,for copper and silver a dilute bath of sulphuric acid is used of #a part acid to #ae parts of water4 ,the solution may be used cold but when used hot it becomes much more effective4 ,when used hot a copper dish is necessary4 ,the object being placed in the dish with enough pickle to cover it1 it is then placed over a gas plate and allowed to come to boiling heat4 ,the pickle is then poured off and the object rinsed in clean water4 ,a dilute solution of nitric acid is used for brass4 ,,gauge4 ,gauge1 as referred to in this book1 is a term used to denote the thickness of sheet metal4 ,the ,standard ,wire ,gauge is divided in gauge numbers from #e to #cf2 and is used for measuring the thickness of wire and sheet metal4 ,it is usually a plate of steel having round its edge a series of notches of standard openings4 ,illustration ,chapter ,,ii4 ,,problems4 ,,escutcheons4 ,escutcheons may be made of any metal2 but copper1 brass1 and iron are most used4 ,the size and shape of the escutcheon are determined by the size of the lock and the space at our disposal4 ,the outline may be circular1 square or rectangular1 or it may be modified somewhat1 care being taken to keep it in harmony with its surroundings4 ,illustration3 ,,figure #h4 ,illustration3 ,,plate #d4 ,,escutcheons ,illustration3 ,,plate #e4 ,first make a careful drawing of the design4 ,take a piece of metal a little larger than the drawing calls for1 and of the desired gauge1 from #ab to #bj gauge is all right for such an exercise4 ,the design is then transferred to the metal by the use of carbon paper1 or a tracing is made on rice paper from the drawing and pasted on the metal4 ,then take a metal saw 7,no4 #b or #c7 and saw about the design ,figure #h1 #h;,a4 ,to saw the key hole1 a hole must be drilled through which the saw can be placed to follow the line4 ,before drilling use a center punch1 making a slight depression as a start for the drill4 ,after the sawing is completed1 a file is used to true up the outline and to smooth the edges4 ,the holes for the nails are next drilled4 ,after using a little emery paper about the edges1 it is ready to finish4 ,illustration3 ,,figure #h ,a4 ,the metal1 as it comes from the rolling mill1 is perfectly smooth4 ,if1 in this piece of work1 it is desired to make the surface a little more interesting1 it may be done by taking any hammer with a smooth domed face and going over the surface4 ,this1 however1 should be done before sawing4 ,as the hammering stretches the metal somewhat1 if it is left till after the sawing is done1 it means more filing to get the design into shape4 ,for a beginning this exercise has proved very satisfactory1 as it gives the pupil an acquaintance with the metal and uses but a small piece of material4 ,,hinge ,,tails4 ,these plates represent suggestive designs for hinges and may be given among first exercises in sawing2 when so used1 they should be treated like the escutcheon already described4 ,illustration3 ,,plate #f4 ,,hinge ,,tails ,illustration3 ,,plate #g4 ,,hinge ,,tails ,illustration3 ,,plate #h4 ,,hinge ,,tails ,chapter ,,iii4 ,,drawer ,,and ,,door ,,pulls4 ,illustration3 ,,figure #i4 ,illustration3 ,,figure #aa4 ,illustration3 ,,figure #aj4 ,pulls generally consist of two parts1 the handle and the plate to which the handle is fastened4 ,some pulls are stationary as in ,figures #i1 #aj1 while in others the handle swings from either one or two points1 ,figures #aa1 #ab1 #ac4 ,in this case the handle may be made by taking a rod as great in diameter as the thickest part of the handle1 and either drawing it out by hammering or filing it down to the required taper4 ,after it is tapered to the required size as at ,figure #ad1 it is then bent into shape according to the design4 ,if the handle is to swing from one or two points1 it should be fastened by any one of the following methods4 ,illustration3 ,,plate #i4 ,,draw ,,pulls ,illustration3 ,,plate #aj4 ,,draw ,,pulls ,illustration3 ,,plate #aa4 ,,draw ,,pulls ,illustration3 ,,plate #ab4 ,illustration3 ,,figure #ab4 ,illustration3 ,,figure #ac4 ,illustration3 ,,figure #ad4 ,method #a4 ,if it is possible to have the handle support go through the drawer or door1 the support may be made from a piece of square rod of the length desired1 a hole being drilled through one end1 the size needed1 as at ,figure #ae1 ,a4 ,a shoulder is then made by filing the rod down to the size of the hole in the plate4 ,in making the shoulder the remainder of the rod which is to go through the drawer front may be left square or filed round2 as the hole is round that is drilled to receive it1 this last is the better way4 ,it is also easier to fasten it on the inside of the drawer when it is made in this way1 for it may be simply headed up as in making a rivet1 ,figure #ae ,b1 or a thread may be cut and a nut used1 ,figure #ae ,c1 ,d4 ,the latter method is better where taps and dies are at hand4 ,when it is fastened by riveting1 a circular or square piece of metal called a washer1 ,figure #ae ,e1 a little larger in diameter than the bolt1 with a hole the size of the bolt1 is placed next to the drawer front on the inside2 this makes the riveting more secure4 ,illustration3 ,,figure #ae4 ,method #b4 ,another method for fastening this style of a handle is to cut a slot through the plate about #a_/af inch wide and length called for by the design1 ,figure #af ,a4 ,then take a strip of copper in length #g times the diameter of the handle end and as wide as the slot in the plate is long1 ,figure #af ,b4 ,this is then bent circular a little larger in diameter than the end of handle as at ,figure #af ,c1 and placed in the slot as at ,figure #af ,d1 and clinched on the back of the plate as at ,figure #af ,e4 ,the plate is in this case fastened to the drawer or door by nailing or riveting4 ,illustration3 ,,figure #af4 ,method #c4 ,when it is desirable to make the plate and handle support all in one piece1 it may be done in any one of three ways4 ,first4 ,by allowing enough metal in the center of the plate to form the handle support as at ,figure #ab4 ,second4 ,by allowing metal at the top of the plate to bend over handle as at ,figure #aa4 ,third4 ,by allowing metal at the sides to be turned up at right angles to the plate to form the support as at ,figure #ac4 ,in this case holes are drilled in the side pieces and a rivet is put through from one side to the other to hold the handle4 ,for this one the handle must be either bent around the rivet or drilled to receive the rivet4 ,in all three of these cases the plate is fastened to the door or drawer by nailing or riveting4 ,,hinges4 ,plate #ac1 ,various outlines of the same hinge4 ,plate #ad1 ,hinges of same outline with interior variations4 ,plates #ae1 #af1 #ag1 ,butt and ,strap ,hinges4 ,in a hinge1 the joint is the important feature4 ,the size of the hinge1 the strength required1 and the decoration must also receive attention4 ,after these have been determined1 a drawing should be made giving a development of the joint4 ,whatever the size of the hinge1 the following principle in regard to the joint must be kept in mind4 ,there must be alternating projections left on the inner ends of each leaf of the hinge to fit into one another so that the pin may pass through them and allow the hinge to swing4 ,the method of making these projections is determined by the size of the hinge4 ,in hinges of any considerable size1 the projections are left attached to the hinge proper2 in allowing for them there will be an even number on one leaf and an odd number on the other4 ,to obtain the strength desired1 the width of the projections on one leaf should equal the width of the projections on the other leaf4 ,this applies to any number of projections4 ,their length should be determined by the diameter of the joint1 three times the diameter is the approximate length4 ,in making small hinges the projections may be bent into position by the use of the round nose plyers4 ,in larger work the projection is fastened in the vise and beginning at the end is bent around the pin a little at a time using the raw-hide mallet to work it into shape4 ,for small joints or hinges1 such as would be used on a match box1 stamp box1 bon-bon box1 or ink pot1 the joint should be made of small tubing as described on page #ajj4 ,this tubing is sawed into the required lengths and soldered to the leaves to be hinged4 ,the parts to receive the joint are sometimes filed out4 ,illustration3 ,,plate #ac4 ,,hinges ,illustration3 ,,plate #ad4 ,,hinges ,illustration3 ,,plate #ae4 ,,hinges ,illustration3 ,,plate #af4 ,,hinges ,illustration3 ,,plate #ag4 ,,hinges ,chapter ,,iv4 ,,finger ,,plates4 ,the finger plate used on the edge of a door to receive the wear of the hand serves as an excellent exercise in sawing and filing4 ,the design is transferred to the metal by use of carbon paper4 ,the sawing is done as in the escutcheon4 ,the surface may be left smooth or it may be gone over with a hammer having a face somewhat rounded4 ,if the design calls for any repousse work1 it is done as described on page #fd4 ,illustration ,illustration3 ,,plate #ah4 ,,finger ,,plate ,illustration3 ,,plate #ai4 ,,pad ,,corners4 ,desk pad corners while not difficult to make1 are very useful as well as ornamental4 ,the design may be carried out in any one of three ways3 pierced1 embossed or enameled4 ,in making the pattern for the pad corner1 an allowance must be made for the thickness of the pad1 as at ,a1 and also for laps as at ,b1 that are to go under the pad to hold the corners in place4 ,the corner may be riveted to the pad at the back or the laps may be bent in such a way as to clamp them to the pad1 and permit of their removal at any time4 ,when the design has been pierced or embossed1 the laps can be bent over a piece of metal equal in thickness to that of the pad4 ,if the design is to be carried out in enamel1 all bending must be done before enameling as any expansion or contraction of the metal will crack the enamel4 ,illustration3 ,,plate #bj4 ,,pad ,,corners ,,box ,,corners4 ,box corners serve primarily to protect the corners of the box and to increase its strength1 but they can be so made that they give character to the box4 ,the corner should be designed to suit the particular box or chest to which it is to be applied4 ,the method of making a box corner is slightly different from those previously described4 ,after the design has been drawn1 a pattern made from it in heavy paper will be found helpful1 for this pattern may be used to mark out the design on the metal4 ,in this way irregularities in the design are less likely to occur than when the design is transferred with the carbon paper directly to the metal4 ,the decoration may be pierced or embossed1 according to one's choice4 ,after the sawing or embossing has been done1 it should be filed carefully and smoothed up with fine emery cloth to do away with crude and sharp edges4 ,the holes for the rivets are then drilled and the burr that is made by drilling is removed with a larger drill4 ,the two edges1 ,a ,a4 ,plate #ba1 that are to come together when in place on the box should be beveled a little so that they will form a better corner4 ,after this is done1 the sides are bent down over a block of wood or metal placed in the vise4 ,a rawhide hammer should be used to avoid marks on the face of the corner4 ,in this as in other work1 if it is desired that the metal have a hammered surface1 the effect must be given before the design is cut out4 ,suitable rivets are next made as described on page #ih and illustrated on page #ii4 ,after being colored or polished the corner is ready to be applied to the box4 ,illustration3 ,,plate #ba4 ,,box ,,corners ,illustration3 ,,plate #bb4 ,,box ,,corners ,,stamp ,,boxes4 ,stamp boxes may be made in various ways1 three of which are described below3 ,box ,no4 #a and #b1 ,plate #bc4 ,on a piece of #bj gauge metal1 lay out or draw the pattern as shown on the plate2 first with pencil1 then with a scratch awl to insure permanency1 going over the lines lightly on the metal4 ,by the use of a saw frame and a ,no4 #c saw the corners of the square are cut out4 ,illustration3 ,,figure #ah4 ,the edges that form the corners are next filed up1 keeping all edges straight and at right angles2 after this1 the edges are beveled a little1 forming a mitre which1 when soldered1 makes a better joint than otherwise4 ,the sides are next bent up over an iron block placed in the vise as at ,figure #ah4 ,the corners should be brought well together1 using a rawhide hammer1 ,no4 #a1 ,plate #b4 ,illustration3 ,,plate #bc4 ,,stamp ,,box ,a piece of iron wire about ,no4 #bd is then placed around the box and twisted tight enough to hold the corners in place while being soldered1 ,figure #ai4 ,borax and solder are next applied and the soldering done as described on page #fc4 ,in this case1 however1 all of the corners should be prepared at the same time for soldering4 ,if but one corner is prepared and soldered1 the heat necessary for soldering causes the copper oxides to come to the surface at the other corners which must be removed before they can be soldered4 ,this is remedied by coating with borax and placing the solder at all corners before applying any heat4 ,illustration3 ,,figure #ai4 ,illustration3 ,,figure #bj4 ,after the soldering is done the box is pickled4 ,surplus solder is next removed by filing4 ,the box is again placed over the iron block which is held in the vise2 the corners and bottom edges are squared up1 using the round end of hammer shown at ,no4 #b1 ,plate #b1 and the top is filed off level4 ,this completes the body part of the box4 ,the cover is made in the same way as the box4 ,much care must be taken to have the pattern carefully and accurately drawn so that when the cover is finished it will fit closely to the body4 ,the design1 if there is any1 whether it is embossed or enamelled1 must be carried out before cutting it to size4 ,box ,no4 #b1 although of different proportion1 is made in the same way as ,no4 #a4 ,box ,no4 #c1 ,plate #bd4 ,illustration3 ,,plate #bd4 ,,stamp ,,box ,illustration3 ,,plate #be4 ,,stamp ,,box ,,cover ,,designs ,take a strip of metal as wide as the required depth of the box and as long as the sum of the four sides4 ,the length of each side is measured off on this strip and a line scratched at right angles to the edge4 ,the strip is then placed over a block of metal and1 with a rawhide hammer bent at right angles at scratched lines1 making three corners1 leaving the ends to meet at the fourth corner where they are to be soldered4 ,these ends should be mitered as in ,box #a1 before soldering4 ,after the corner has been soldered and the box pickled1 it is again placed over a block and trued up square4 ,having decided which is to be the top and which the bottom of the box1 file the bottom edges level and at right angles to the sides4 ,a piece of metal is then cut for the bottom large enough to allow about #a_/af to project on all four sides4 ,it is then prepared for soldering and bound together with iron wire1 ,figure #bj4 ,the solder should be cut in small pieces and placed about the inside edges4 ,in soldering the bottom1 care must be taken not to unsolder the corner4 ,this may be avoided by keeping the flame away from the soldered corner until the rest of the solder has run1 applying it to the corner at the last and only for a fraction of a minute4 ,after the soldering1 the box is pickled and the edges of the bottom filed square4 ,the #a_/af that was allowed to project may be filed flush with the sides of the box or left to project a little4 ,the cover is made by taking a strip of metal about #c_/af wide and long enough to fit around the inside of the box4 ,the length of the sides 7inside measurement7 is laid out and then bent over a block as previously described4 ,the corner is soldered and the upper edges are filed off level and soldered to a piece of metal1 forming the top4 ,this strip on the inside keeps the cover in place4 ,if the design on the cover is to be carried out in enamel it should be done after the cover is completed4 ,if the design is to be embossed1 it should be done before the strip which holds the cover in place is soldered on4 ,illustration3 ,,plate #bf4 ,box ,no4 #d1 ,plate #bd4 ,the body of this box may be made like either ,no4 #a or ,no4 #c4 ,an addition is shown on this one which allows the stamp to be taken from the box more easily4 ,a strip of #bj gauge metal #a_/af wide is soldered on the inside next to the top edge extending from one end to the other as shown in the section at ,d4 ,another piece of the same gauge metal is cut1 in length equal to the inside length of the box and about #a_/d wider than the box4 ,this is placed inside the box and sprung into place as shown at ,c in the section4 ,this device may be applied to either of the other boxes4 ,the cover of this box is made of but one piece and hinged with a strap hinge1 which also forms the cover decoration4 ,to give the surface of the metal of this box a bold hammered surface adds much to its attractiveness4 ,,match ,,box4 ,the ,match ,box may be made in the same way as the ,stamp ,box with the exception of the cover4 ,it seems better to have the cover of the match box hinged4 ,the hinge may be made so as to form a part of the decoration of the cover by making it a strap hinge as shown at ,plates #ae1 #af1 #ag4 ,the hinge may also be made of tubing and extend across the back of the box4 ,this method leaves the cover to be decorated in some other way1 either by embossing or by enameling or by both4 ,illustration ,illustration3 ,,plate #bg4 ,,match ,,box ,illustration3 ,,plate #bh4 ,,match ,,box ,,cover ,,designs ,chapter ,v4 ,,sconce ,a4 ,the pattern for this sconce as shown at ,plate #bi;,a is transferred to the metal which is then cut out4 ,the part which serves as a reflector is raised by placing the metal face down on a sand bag1 or on pitch and with the pein end of a chaser's hammer or with a pointed horn hammer1 driving the center down to the required depth4 ,if the face is somewhat irregular1 it can be trued up by placing it on a block of wood and going over it with a rawhide hammer4 ,the shelf on which the candle socket rests is formed by bending the lower part of the sconce at right angles as shown by the dotted line4 ,the projections at #b1 #c1 #d1 ,plate #bi;,a1 when bent into shape as shown on ,plate #bi form the supports for the candle socket4 ,the projection at #e ,plate #bi;,a when bent into shape serves as a bracket to support the shelf4 ,the candle socket is made from a strip of metal bent into cylindrical shape with the ends riveted together4 ,when the socket has been riveted and holes drilled as indicated1 the sconce is finished according to taste and mounted on a back of wood stained to harmonize with the color of the metal4 ,illustration ,illustration3 ,,plate #bi4 ,,sconce ,a4 ,illustration3 ,,plate #bi ,a4 ,,sconce ,a4 ,illustration3 ,,plate #cj4 ,,sconce ,b4 ,a rectangular piece of metal is cut out about #a_/b inch larger on all sides than the design calls for and given a hammered surface with the pein end of a large hammer4 ,after the design has been transferred to the back of the metal1 it is then placed on pitch face down1 and with a suitable tool the lines are sunk at ,a and ,b1 ,plate #ca1 about #a_/af1 as shown in the section at ,c4 ,it is then removed from the pitch and1 after cleaning1 is put over a sand bag face up1 and with a rawhide hammer1 the part that is to serve as a reflector is concaved a little4 ,the candle socket is made like the pattern as shown at ,d4 ,it is bent cylindrical in shape and the ends are riveted together1 then the laps on either side are bent nearly at right angles and serve to hold the socket in place4 ,the cup is made from a circular piece of metal hammered into a slightly conical shape1 ,e4 ,a rod the length required is bent at right angles with a shoulder left at each end4 ,the bracket is made next like the pattern ,f and bent into shape as at ,g4 ,when all the parts are finished1 they are put together4 ,place the rod in a vise with the short end up4 ,the cup is put over the pin at ,h1 and also the socket1 so that the pin passes through the holes in both laps4 ,the pin is then headed up1 holding all securely in place4 ,the bracket is next riveted to the back at ,k1 through which the rod is put1 the pin passing through the back is headed up at ,l4 ,after finishing1 the sconce may be mounted on a wood back4 ,illustration ,illustration3 ,,plate #ca4 ,,sconce ,b4 ,,picture ,,frame4 ,this object is made as follows3 ,take a piece of metal quite a little larger than the outline of the frame that is to be made4 ,draw on this piece of metal the outline of the frame and also the extensions which are folded back to give the thickness necessary for the reception of the picture1 glass1 and back1 as shown at ,b4 ,have the side opposite to that on which the drawing is done free from scratches as it is to serve later as the front4 ,any decoration that is used must be of the simplest sort4 ,this decoration may be pierced or in repousse4 ,the frame here illustrated and the plate of designs were intended for repousse as more satisfactory results have been obtained by this process4 ,after the design for the decoration of the front of the frame has been transferred to the same side of the metal as the outline1 it must be prepared for the repousse process4 ,this is done by placing it on a pitch pot4 ,the pitch is softened enough so that the metal will stick to it4 ,after placing the metal on the pitch1 work a little of the pitch over the edges as this will hold it more securely4 ,it is then allowed to cool or harden before working4 ,with a suitable tool and hammer1 after the pitch is hard1 follow the lines which make up the design or decorative part of the frame4 ,the lines should be gone over lightly1 slowly1 and carefully at first until the design is fairly well started2 then they may be gone over again1 sinking them a little deeper each time until they have been carried deep enough to give the design the required relief on the face of the frame4 ,for this part of the work the tool should not be used as a punch1 driving the metal down in one place and then moving it to another and so on1 but it should be kept moving all the time and should at the same time receive a repeated number of light blows from the hammer4 ,by so doing the face of the work will be smooth1 otherwise each blow from the hammer will show4 ,illustration3 ,,plate #cb4 ,,picture ,,frame ,if there is doubt as to the depth to which the lines should be carried1 the work may be taken off the pitch occasionally1 so that the face may be seen4 ,it is not an easy thing to reduce relief in this work1 therefore it is better to go carefully working it up slowly4 ,after the repousse part of the frame is done1 clean it with kerosene and pickle4 ,the corners may then be cut out as at ,b1 filed up square1 and beveled as in the box4 ,the sides are then bent back over a block of wood or metal1 bringing the corners well together4 ,they are then soldered4 ,a metal saw is used to make the opening1 ,a1 the edges of which are then filed up square4 ,the back for this frame is made in the same way as the front except that it is left perfectly plain4 ,this should be made to fit inside of the frame tight enough so that no fastening will be needed to hold it in place4 ,a frame of this size and kind may be made to hang or to stand4 ,if it is to hang1 a small ring may be made and fastened to the back as shown at ,c4 ,if it is to stand1 a support of some kind such as is shown at ,d is needed4 ,this is made of the same thickness metal as the frame and may be made in many outlines4 ,this support may be made stationary by riveting it to the back1 or hinged1 which is much better1 as is shown at ,e and ,f4 ,the hinge is made by taking a piece of about #a_/h tubing and cutting three pieces1 making one of the pieces equal in width to the other two and having the three equal in width to the top of the support4 ,the two short pieces are soldered to the back and the long piece to the support4 ,a piece of wire equal in diameter to the hole in the tube is then cut and put in place which hinges the back and support together4 ,the method of making the tubing used for the above is described on page #ajj4 ,illustration3 ,,plate #cc4 ,,picture ,,frame ,,designs ,,soldering4 ,a piece of silver solder1 a slate slab such as is ordinarily used for grinding ink1 powdered or lump borax1 and a soft hair brush of some sort are all that is necessary for the process of soldering in addition to what we already have4 ,the pieces of metal that are to be soldered must be absolutely free from all foreign matter4 ,to insure this the joint is scraped bright with some sharpe-edged tool4 ,care must be taken to keep the fingers away from the joint as any moisture or greasy substance will prevent the solder from running4 ,the best results are obtained only by being extremely careful as to cleanliness throughout the process4 ,being sure that the slab is perfectly clean1 a little water is put in it and the lump of borax is ground around until the water becomes like thin cream4 ,if powdered borax is used a block of wood will answer as a pestle to grind the borax to the right consistency4 ,the solder may be obtained any gauge1 but about #bj answers for most purposes4 ,after cutting the solder into pieces about #a_/af of an inch long and about the same width1 drop them into the borax that has been ground to give them a coating of borax and to remove any grease that may have adhered to them4 ,coat the surfaces that are to be soldered with the borax being careful to get no more borax about than is necessary4 ,put the parts together and bind them with ,no4 #bd iron wire1 not too tightly4 ,the pieces of solder are then lifted with the brush used for the borax or with a pair of tweezers and placed next to the edge that is to be soldered1 about one inch apart4 ,the object is then placed on the annealing tray1 which answers for soldering as well1 and with the blow-pipe it is heated1 very slowly at first until the water has evaporated and the borax crystallized and dissolved1 the flame may then be applied more directly and the object brought to a soldering heat4 ,if the heat is applied too quickly1 it will throw off the solder2 and if heated hotter than necessary it is liable to melt or burn the parts being soldered1 so the process demands the closest attention from the start4 ,the object is then pickled1 washed in clear water and dried in the sawdust4 ,if the above directions are carefully followed good results may be expected4 ,,repousse ,,or ,,embossing4 ,repousse or embossing involves practically the same principle as modeling in clay or wax1 the only difference being that metal is used as the material and that different tools are employed4 ,in this1 as in clay or wax work1 it is desirable to bring certain parts of a design into relief2 to do this with metal the work must be placed on a substance which will give some resistance and yet allow each blow of the hammer or tool to make an impression4 ,the substance commonly used for this purpose has the following composition1 in the proportions given3 ,black pitch #a lb4 ,tallow #c teaspoonfuls4 ,plaster of ,paris #a_/b cup4 ,the pitch is put in some kind of dish 7agate is good71 placed over a gas plate1 and melted4 ,the tallow is then added and the plaster sprinkled and stirred in1 the whole being well mixed4 ,it is then poured into the pitch pot1 or whatever it is to be used in4 ,when used in hot weather more plaster must be used4 ,a pot1 hemispherical in shape1 ,figure #ba1 made of cast iron about #a_/b inch thick is generally used4 ,this1 when placed on a chaser's pad or ring1 ,figure #ba1 may be turned at any angle1 and is found to be a great convenience4 ,an ordinary #g #ab baking pan of iron serves the purpose1 or a box may be made of wood1 but of course this is not so durable4 ,after allowing the composition to cool partly1 yet while soft enough to stick1 the piece of work that is to be embossed is placed on it1 the right side next to the pitch4 ,it is then allowed to cool still more2 when quite hard or when it is difficult to make an impression on it with the thumb nail1 it is ready to work on4 ,the design is next drawn or transferred to the metal by the use of carbon paper and then scratched on with a scratch awl to make the drawing more permanent1 as in going over the piece of work the pencil or carbon lines are easily erased4 ,the tools necessary for this work may be made as needed according to each individual design4 ,there are a few general ones that are always found useful1 such as those shown at ,figure #e4 ,figure #bb shows a hammer generally used for this work4 ,illustration ,illustration3 ,,figure #ba4 ,illustration3 ,,figure #bb4 ,chapter ,,vi4 ,,raised ,,forms4 ,the first exercise in raising should be a form quite simple in outline1 ,plate #cd ,a4 ,a drawing or blue print should be used showing the shape and dimensions and this should be worked to as closely as possible4 ,next select a piece of copper suitable in thickness for an object of this size1 in this case #bj gauge4 ,the metal for raising must be circular in shape and the diameter of the piece needed for this bowl determined in the following way3 ,take a piece of string1 place it on the drawing or blue print1 starting in the center of the base1 and follow the curve as indicated at ,a1 on ,plate #cd4 ,this will give the radius needed for describing the circle1 which is #e-a_/b4 ,the circle is then cut out with the shears1 after which another circle is described on the metal for the base4 ,all lines made on the metal should be made quite lightly4 ,as a rule the copper comes from the rolling mill somewhat hardened so the next thing to do is to soften it by a process called annealing4 ,place upon the annealing tray1 ,figure #a1 the circular piece of metal already cut1 and apply the flame from the blow-pipe upon it until it becomes red hot4 ,it is either allowed to cool off gradually or dipped in cold water and then dried in the sawdust4 ,select an anvil the shape of which conforms somewhat to the outline of the bowl and also to the curve of the base4 ,it is often necessary to use several anvils to complete an object1 but a little experience will help to decide which should be used first4 ,the ,no4 #a anvil on ,plate #a seems to be about what is needed for this particular piece of work4 ,illustration3 ,,plate #cd4 ,,raised ,,forms ,illustration3 ,,figure #bc4 ,illustration3 ,,figure #bd4 ,the anvil is placed in the vise and the metal held in the left hand against the anvil so that the end of the anvil comes directly under the circle which represents the base1 as shown at ,figure #bc4 ,with a raising hammer1 ,no4 #c on ,plate #b1 begin hammering with light blows at first1 following the circle closely the first time around until the base is well started4 ,this operation is continued at each turn striking a little above the previous blows until the top is reached when it will take the shape as shown at ,figure #bd4 ,sometimes a horn or box-wood mallet is used to start a piece of work4 ,as the hammering hardens the metal it is necessary to anneal it each time after going over the surface4 ,after this is done1 we proceed as at first until the required form is obtained as called for by the drawing4 ,care must be taken not to stretch the metal any more than can be helped as the more it is stretched the thinner it becomes4 ,the surface and outline of the bowl left by the raising hammer is quite irregular and needs to be trued up by a process called planishing2 for this a ,no4 #b or #d hammer1 ,plate #b1 with a polished face and somewhat broader than the raising hammer is used4 ,by going over the surface with this hammer all irregularities are removed leaving a refined curve and a finished surface4 ,if the bottom gets a little out of shape during the operation of raising1 it can be easily brought back again by using a ,no4 #b stake1 ,plate #a1 and a ,no4 #e hammer1 ,plate #b4 ,during the raising process the top edge has also become very irregular and must now be trimmed off level4 ,place the bowl on some level surface 7a surface plate will give the best results7 and with the point in the surface gauge describe a line about the top making it the desired height1 ,figure #be4 ,a small pair of shears is then used to trim off the top to the line1 after which a file is used to finish the edge1 leaving it perfectly smooth4 ,a piece of fine emery cloth may be used at the last4 ,illustration3 ,,plate #ce4 ,the principle of raising as here described applies to forms of all sorts with few variations4 ,where a form is to be raised with the top edge turned in as at ,b1 ,plate #cd1 an anvil similar to the outline must be used4 ,in raising a form like ,c1 ,plate #cd1 the sides are carried up as shown by the dotted lines and then the form is reversed and the neck part drawn in4 ,a deep form is raised more quickly if1 at the start1 the metal is placed on a crinkling block and the edge crinkled4 ,illustration3 ,,figure #be4 ,in all raised work after one becomes acquainted with the material1 it will be found that the metal can be forced in any direction1 giving thickness at the bottom1 at the sides1 or at the rim1 as is necessary4 ,illustration3 ,,plate #cf4 ,,pitchers ,after raising a form like ,c1 ,plate #cd1 it may be desired to increase the diameter a little at o-o1 where an anvil cannot be used2 or1 if the form is satisfactory it may be necessary to raise certain parts of it to carry out the decoration called for by the design4 ,this is done by the use of the snarling-iron1 made as illustrated at ,figure #bf1 which shows the general outline only1 as the ends vary in form according to the work they are to do4 ,one arm of the iron is held in the vise as at ,figure #bg4 ,the form is then placed over the end and held with the left hand while1 with a hammer in the right hand1 the iron is struck quite near the end in the vise which causes the other end to rebound4 ,this serves the same purpose as a direct blow from a hammer1 except that it works much more slowly4 ,illustration3 ,,figure #bf4 ,illustration ,illustration3 ,,figure #bg4 ,illustration ,illustration3 ,,plate #cg4 ,illustration3 ,,plate #ch4 ,chapter ,,vii4 ,,porringer4 ,the making of a porringer serves as a very interesting exercise2 and it is so simple in form that it can be raised after very little experience4 ,a suitable handle must also be designed1 sawed out and soldered to the body4 ,after the bowl has been raised into shape according to the design1 the top is cut and filed off level4 ,when the handle has been sawed out and the edges trued up1 it is fitted to the bowl part4 ,mark on the edge of the bowl the place where the handle is to be fitted and fit it at that place4 ,the edge of the bowl where the handle is to be soldered should be filed or scraped bright before the soldering process is begun4 ,illustration3 ,,figure #bh4 ,invert bowl and handle and lay them upon a level block of charcoal1 as shown at ,figure #bh4 ,four or five wire nails or pieces of iron wire forced into the charcoal keep the handle and bowl together4 ,the borax is applied and sufficient solder to make a good joint4 ,use no more solder than is necessary1 as it will have to be removed by filing and the less filing that is done about such a joint the better the work will be4 ,after the exercise has cooled1 it may be pickled1 washed and dried4 ,illustration3 ,,plate #ci4 ,,porringer ,illustration3 ,,plate #dj4 ,,porringer ,,handles ,while the heat is being applied for soldering1 the bowl is at the same time annealed and becomes so soft that it is easily bent out of shape4 ,the bowl of course must be hardened again2 this is done by placing it on an anvil that conforms to the outline of the bowl and hammered lightly over the surface4 ,the handle is also treated in the same way4 ,any necessary filing or finishing is now done and the porringer is ready to be polished4 ,if we choose1 the handle may be riveted on1 or it may be made of the same piece as the bowl by allowing enough metal where the handle is to be1 to be bent back when the bowl is raised into shape4 ,illustration ,illustration3 ,,plate #da4 ,,trays ,,or ,,plates4 ,trays or plates may be made by working the bowl part over an anvil or by driving it into a sand bag until the required depth is obtained1 or a form may be turned out of a block of wood and the metal driven into it4 ,after the bowl part has been shaped it may be placed on the pitch block and the outline trued up with a chasing tool4 ,the edge of the tray or plate may be decorated either by piercing1 embossing1 etching1 or enameling4 ,illustration ,chapter ,,viii4 ,,ink ,,pot4 ,this exercise is carried out as follows3 ,a form is first raised like the lower part of the pot inverted1 which is nothing more than a bowl so far4 ,a hole with a diameter a little less than the diameter of the ink well is then sawed with a piercing saw in the bottom of this bowl1 as at ,a4 ,after this a circular piece of metal is cut equal in diameter to the top of this bowl plus #a_/d of an inch1 and soldered on ,g4 ,by making this piece #a_/d inch greater than the diameter of the bowl1 the soldering process becomes much easier4 ,after the soldering is finished1 the projecting edges may be filed off to the edge of the bowl4 ,the bowl is then inverted so that it rests on its greatest diameter ,h1 and it becomes an ink pot4 ,illustration3 ,,figure #bi4 ,dapping tools in use4 ,the cover1 ,j1 is made by taking a circular piece of metal and raising the sides in the same way as in the bowl except that the design calls for the sides at right angles to the base4 ,the curve is obtained by placing it on a sand bag and driving it out from the inside to the required height4 ,from a strip of copper #bj gauge and #c_/af inch wide1 ,c1 make a ring1 ,d1 equal in diameter to the inside of the cover4 ,solder the ends of the ring together and1 after shaping it over a circular stake1 fit and solder it to the base1 as shown in the section at ,e4 ,illustration3 ,,plate #db4 ,,ink ,,pot ,illustration3 ,,plate #dc4 ,this keeps the cover in place4 ,the knob1 ,k1 on the cover is made of two hemispheres1 ,l1 by use of the dapping block and tools1 ,figures #g and #bi4 ,the two pieces are soldered together1 filed or finished about the joint1 and soldered to the cover1 ,f4 ,after dipping the different parts in the pickle1 then washing them in clean water1 and doing a little filing here and there about the joints to remove surplus solder1 the ink pot is ready for finishing4 ,this may be done by polishing1 bronzing1 or oxidizing4 ,the ink well proper should be made so that it may be removed4 ,it should be of glass or some other material easily cleansed4 ,illustration ,illustration3 ,,plate #dd4 ,,ink ,,pot ,,sealing ,,wax ,,set4 ,,the ,,wax ,,pot4 ,the wax pot is raised into shape as described in ,chapter ,,vi on raised forms4 ,instead of cutting the top off level1 a nose is formed as shown at ,a1 ,plate #de1 which will pour well4 ,a handle is designed1 sawed out1 and riveted on at the position indicated at ,b4 ,,the ,,lamp4 ,the body of the lamp is made by raising a bowl to conform with the design2 after cutting a hole in the bottom it is inverted1 ,c1 and the bottom is soldered on at ,d4 ,a shallow cup is raised1 ,e1 a hole cut in the bottom to allow for the lamp proper1 and soldered to the body4 ,legs as shown at ,f1 and held together by a strip1 ,h1 are riveted to the side of the body at ,g2 on these the wax pot rests4 ,the lamp proper or alcohol well1 which is filled with asbestos1 is raised with the edges turned out1 as at ,n1 which hold it in place as shown in the section at ,j4 ,the part at ,k serves as a burner and is placed loosely in the cup1 ,e1 allowing its removal at any time4 ,,seal4 ,a monogram1 letter or design of some sort must first be decided on4 ,when this has been done1 the design is transferred and scratched on a piece of #bb or #bd gauge copper4 ,if the design has a right and wrong to it1 the reverse should be transferred to the metal so that1 when stamped1 the right side will appear4 ,the copper is then placed on the pitch and when cool enough to work upon1 the lines are followed with a chasing tool1 sinking them to the required depth4 ,care must be taken to avoid sharp edges or any undercutting1 if the seal is to free itself easily from the wax4 ,a handle for the seal may be made of wood as shown on the plate2 the seal is cut and attached as shown at ,section on ,l4 ,m4 ,illustration3 ,,plate #de4 ,,sealing ,,wax ,,set ,,watch ,,fob4 ,there are many ways of making watch fobs4 ,a very simple one is made as follows3 ,first make a drawing of the fob with some suitable pendant as at ,a1 ,plate #df4 ,the pendant design is next transferred to a piece of #ab gauge copper1 then sawed out and filed into shape4 ,this must be done with perhaps more care than on larger work as it is to be more closely scrutinized4 ,the parts of the fob must be made to conform with the width of the ribbon that is to be used4 ,a bar must be made for the top1 wide enough for the ribbon to be passed through and fastened4 ,this bar is made by cutting a slot in a piece of metal of the same gauge as the pendant1 or by bending a piece of wire around a piece of metal about #a_/af of an inch thick and the width of the ribbon1 making the ends meet in the centre of one of the long sides4 ,if more than one of these pieces is needed1 the wire is wound around the metal as many times as there are pieces required and sawed apart4 ,the ends are then bent to come in line with each other and soldered4 ,the piece is again placed over the metal and1 with a rawhide hammer1 worked into shape4 ,the links that connect the bar and the swivel are made as all links are made4 ,take a piece of iron or steel wire the size required and also a piece of copper2 place one end of the steel wire and one end of the copper wire in a vise so that the steel wire stands vertical4 ,then wind the copper wire around the steel wire spirally with as many turns as there are links required4 ,now take it out of the vise and slip it off the steel wire1 which leaves it in the shape of a spring4 ,hold it with the thumb and forefinger of the left hand and1 resting it against the bench pin1 saw the links off with a fine saw one at a time until there are as many as needed4 ,illustration ,illustration3 ,,plate #df4 ,,watch ,,fobs ,illustration3 ,,plate #dg4 ,illustration ,one of these links is soldered to the bar that holds the ribbon and one to the top of the pendant2 the others are linked together to form the short chain at the top4 ,to connect the pendant to the ribbon1 two larger links are needed which are made in the same way as the small ones4 ,all the links may be soldered or not4 ,the links that are soldered to the bar and to the pendant should be filed flat a little to make the point of contact greater4 ,this insures a more secure joint4 ,when soldering such small pieces the charcoal block is indispensable1 for depressions are easily made in it where necessary4 ,the parts are placed on the block in position and a small mouth blow-pipe is used2 with this the flame can be more delicately applied4 ,illustration ,when the different parts are completed1 they are pickled1 rinsed1 dried1 and polished1 and then put together with the ribbon4 ,fobs are sometimes made entirely of metal as ,b1 ,plate #df4 ,in this slots are sawed in three or more bars of metal which are linked together with links made from the same thickness metal as the bars4 ,the pendant and the swivel are also connected with the same kind of links4 ,illustration ,chapter ,,ix4 ,,spoons1 ,,sugar ,,tongs ,,and ,,tea ,,scoops4 ,these exercises are easily carried out after a little experience4 ,no steps are taken that have not already been described1 except in the case of forming the bowl of the spoon4 ,this is done by taking a piece of lead and making a depression in it the size and shape of the bowl required4 ,a piece of hard wood is shaped on the end grain to fit the depression made in the lead4 ,the metal is placed over the depression and the wood shape placed on top of the metal2 it is then driven into the form by using a hammer4 ,this will give the general shape of the bowl which may be trued up later by sawing and filing4 ,illustration ,illustration3 ,,plate #dh4 ,,spoons ,illustration3 ,,plate #di4 ,,sugar ,,tongs ,,and ,,tea ,,scoops ,,rivets4 ,the making of rivets is quite important as it is impossible to find in the market the variety in size and shape of head that each piece of work demands4 ,where rivets with a wire #a_/h or less are needed1 they may be made as follows3 ,take a piece of iron or steel ,a1 ,plate #ej1 thicker than the desired length of the rivet and drill a hole through it having its diameter a little greater than the wire of the rivet4 ,take a piece of copper wire of the required diameter and about #a_/h longer than the thickness of the iron4 ,place the wire in the hole and the iron on some smooth metal surface1 ,b4 ,with a hammer make a burr of the wire that projects above the iron4 ,then reverse the iron and drive out the rivets4 ,this gives what is shown at ,d4 ,the rivet is then cut off the required length1 placed in position and headed up4 ,the head may be made conical1 ,i1 hemispherical1 ,j1 pyramidal1 ,k1 or square1 ,l1 in shape4 ,it may be headed up simply with the hammer1 or with a rivet header1 ,m4 ,when necessary1 the process may be reversed and the head made first2 but when made in this way1 a rivet block is needed to rest the head in while making the burr4 ,the rivet may be made more of a decorative feature by sawing out of sheet metal some suitable design as shown at ,p1 ,q1 ,r4 ,drill a hole in the center the size of the rivet and then use any ordinary rivet head4 ,nails may be made by the same process1 headed and pointed as at ,s and ,o4 ,illustration3 ,,plate #ej4 ,,rivets ,,to ,,draw ,,wire ,,and ,,small ,,tubing4 ,illustration3 ,,figure #cj4 ,illustration3 ,,figure #ca4 ,cut a piece of copper the length required1 having the width about three times the diameter of the tube that is to be made4 ,the edges must first be made parallel by filing4 ,in a block of maple or some hard wood1 with a wood file1 make a groove as shown at ,figure #cj4 ,place the strip of metal over the groove and1 with a somewhat pointed hammer1 drive the metal into it until it takes the shape of a ,v4 ,figure #ca ,a4 ,then place it on the flat part of the block and strike on the edges with the hammer1 turning them in until they meet1 as at ,b and ,c4 ,illustration3 ,,figure #cb4 ,a draw plate is then placed in the vise1 ,figure #cb4 ,after pointing the tube a little1 the end is placed in one of the larger holes and drawn through4 ,this will bring it somewhat into shape4 ,repeat this operation by drawing the tube through the hole the next smaller in size and so on till the tube is of the diameter required4 ,wire may be drawn in the same way4 ,rectangular1 triangular and square drawplates may be obtained as well as circular ones4 ,,polishing4 ,to polish work1 a cloth or felt buff is placed on a lathe or a polishing head4 ,with a little cut-quick and rouge objects may be brightened by holding them against the wheel4 ,,stamping ,,work4 ,illustration3 ,,stamp ,,figure #cc4 ,the marking of work so that it will be known to whom it belongs and doing it in a neat and workmanlike manner is sometimes a problem4 ,using a gummed label with the name written on it has been tried1 but the labels frequently come off4 ,the name has been scratched with a sharp-pointed tool1 but it is not an easy thing to do and certainly does not look well4 ,the way described below however has proved very satisfactory4 ,have each pupil design a little trade mark of his own1 and work it out on the end of a piece of tool steel1 #a_/h inch or #c_/af inch square1 round or hexagonal4 ,this can be done by a little filing1 perhaps the use of a drill if the design should call for it1 and a little emery paper to take off all sharp edges4 ,this serves as a stamp with which he may mark all of his work4 ,the instructor has a book with the names of the pupils1 and after each name he may stamp this mark and thereby register it so that he may tell at any time to whom work belongs4 ,figure #cc shows a stamp and a few suitable designs4 ,,coloring4 ,the most satisfactory color that can be given copper is a bronze which comes naturally if left to come in contact with varying atmospheres4 ,if the object has a good polished surface in the first place the color seems to become richer as time goes on4 ,a color that is satisfactory in many cases is obtained in the following way3 ,place in a porcelain dish and bring to a boiling heat1 liver of sulphur1 #a oz41 and water1 #a qt4 ,dip the object to be colored in this solution while hot and then rinse in clean water4 ,this gives the object a very dark color4 ,take a little powdered pumice stone on a piece of cloth and rub over the surface lightly bringing the copper color to the surface where desired4 ,a greenish color is given copper by submitting the object to the fumes of spirits of ammonia4 ,beautiful colors are obtained by heating the object to different degrees1 over a gas plate1 but these results are not permanent4 ,chapter ,x4 ,,enameling4 ,enamel may be applied to metal objects and add a great deal to their value and attractiveness if used sparingly4 ,the enamels most used are transparent and opaque2 the transparent reflects the color of the metal adding a great deal of life to the work1 the opaque gives color on the surface only4 ,the process1 as described in this chapter1 touches but the elementary stages of the art that are within the possibilities of high school work and possibly the upper grammar grades4 ,enamel may be applied by any of the following methods3 ,first3 ,by covering the entire surface of the object with enamel4 ,second3 ,by using a flat wire which is bent into sections the shape of the design and soldered to the object2 the wire forms partitions to receive the enamel4 ,third3 ,by cutting away the design by the use of engraving tools1 making channels about #a_/cb of an inch deep to receive the enamel4 ,fourth3 ,by using a chasing tool either from the front or from the back of the work1 forming raised or sunken partitions to receive the enamel4 ,the first and second methods are difficult ones1 requiring a great deal of experience in handling metal and enamel to obtain satisfactory results4 ,the third and fourth methods are comparatively simple and are within the possibilities of those for whom this book is intended4 ,in the third method the design is first transferred to the object by the use of carbon paper and then made more permanent with a scratcher4 ,the design is cut out with the engraving tools1 ,figures #f1 #cd and #ce1 about #a_/cb of an inch deep4 ,all edges should be kept as smooth as possible and the channels should be uniform in depth4 ,for convenience in holding1 if the work is small1 it may be fastened to a little pitch or wax spread on a block1 or it may be placed on the pitch block as described under embossing on page #fd4 ,the handle of the tool is held in the palm of the hand1 and the thumb1 placed within an inch of the point1 serves as a guide while cutting1 ,figures #cd and #ce4 ,by wriggling the tool a little from one side to the other1 greater progress is possible4 ,illustration3 ,,figure #cd4 ,in the fourth method the design is transferred to either side of the object4 ,after placing it on a pitch block1 depressions may be made from the face or lines raised from the under side4 ,after the partitions have been formed1 the object must be thoroughly cleaned and brightened by dipping in a bath of nitric acid4 ,after dipping1 which should be done quickly on account of the rapid action of the acid on the metal1 it should be rinsed thoroughly in clean water4 ,this process removes all dirt and leaves the metal bright4 ,after this cleaning1 the fingers should not touch any part of the object that is to receive the enamel4 ,to prepare the enamel for application it must be ground4 ,first break it into small pieces with a hammer4 ,to keep it from flying about1 it is well to roll it up in a piece of heavy wrapping paper4 ,it is then placed in a porcelain mortar and1 with a little water and a pestle1 it is ground about as fine as fine sand4 ,the water is poured off and the enamel rinsed several times in clean water until the milky substance disappears4 ,unsatisfactory results often come from lack of care in washing the enamel4 ,after washing it is removed from the mortar to a small saucer by the use of a palette knife4 ,while still wet1 which allows its being spread more easily1 the enamel is applied to the object with a soft hair brush4 ,all of the enameling suggested in this book may be done with an ordinary blow-pipe or a ,bunsen burner1 but more satisfactory results are obtained with a kiln4 ,illustration3 ,,figure #ce4 ,to apply the process to a definite piece of work1 the steps necessary in enameling the ,stamp ,box cover on ,plate #bd1 ,no4 #c1 will be taken up4 ,it will be assumed that the box is made1 ready for the application of the design as shown on the plate4 ,the design is first transferred to the cover and then cut away4 ,it is cleaned with kerosene and dipped in nitric acid as before explained4 ,after being thoroughly washed1 it is ready for the enamel4 ,in applying the enamel care must be taken not to get particles outside of the channels4 ,after the moisture has evaporated and the enamel has been fired it settles considerably so that this must be allowed for by rounding it above the surface4 ,after the enamel has been applied1 the strip that is soldered to the under side of the cover must be protected from the heat before firing1 as the temperature required for fusing the enamel is several times greater than that required for soldering4 ,the soldering is protected by placing a paste made of yellow ochre and water about the soldered joint both inside and outside of the strip4 ,the more of this clay we bank about the joint the more protection there is4 ,when the above has been done1 the object must be left in some warm place until the moisture from both the enamel and the clay is thoroughly evaporated4 ,it is then ready for firing4 ,if the blow-pipe or the ,bunsen burner is used1 take a tripod and place a piece of heavy iron netting over the top and place the object on top of the netting4 ,the flame should always be applied to the under side4 ,watch the enamel as the firing goes on and when it settles and glazes the heat should be withdrawn4 ,the object should be allowed to cool very slowly4 ,hurrying at this point only increases chances for accidents4 ,if1 when cool1 it is found that the channels in places are not full of enamel1 the object is again cleaned in the nitric acid1 more enamel applied1 and fired as at first4 ,the cover is now ready to finish4 ,the enamel may be stoned down level with the top with an emery stone1 or it may be left just as it comes from the fire in the first place4 ,if stoned down1 it is necessary to fire it again just enough to give it a glazed surface4 ,the directions as given apply to either transparent or opaque enamel2 but1 in addition to the above1 when transparent enamel is used1 the surface to be enameled must first receive a coating of flux to retain the transparency4 ,the flux is treated and applied just the same as the enamel already described4 ,the upper half of ,plate #bf shows boxes treated with enamel4