,a ,,manual ,,of ,,the ,,hand ,,lathe3 ,,comprising ,,concise ,,directions ,,for ,,working ,,metals ,,of ,,all ,,kinds1 ,,ivory1 ,,bone ,,and ,,precious ,,woods2 ,,dyeing1 ,,coloring1 ,,and ,,french ,,polishing2 ,,inlaying ,,by ,,veneers1 ,,and ,,various ,,methods ,,practiced ,,to ,,produce ,,elaborate ,,work ,,with ,,dispatch1 ,,and ,,at ,,small ,,expense4 ,,by ,,egbert ,p4 ,,watson1 ,,late ,,of 8,,the ,,scientific ,,american10 ,,author ,,of 8,,the ,,modern ,,practice ,,of ,,american ,,machinists ,,and ,,engineers40 ,,illustrated ,,by ,,seventy-,,eight ,,engravings4 ,,philadelphia3 ,,henry ,,carey ,,baird1 ,,industrial ,,publisher1 #djf ,,walnut ,,street4 ,,london3 ,,sampson ,,low1 ,,son ,,marston1 ,,crown ,,buildings1 #ahh ,,fleet ,,st4 #ahfi4 ---------------------------------------- -------------------------------- ,entered according to ,act of ,congress1 in the year #ahfi1 by ,,henry ,,carey ,,baird1 ,in the ,clerk's ,office of the ,district ,court of the ,united ,states1 in and for the ,eastern ,district of ,pennsylvania4 ---------------------------------------- -------------------------------- ,,to ,,my ,,dear ,,son1 ,,egbert ,,perley ,,watson1 ,i ,,dedicate ,,this ,,little ,,book1 ,,in ,,the ,,hope ,,that ,,he ,,may ,,be ,a ,,good ,,man1 ,,and ,a ,,good ,,mechanic4 ---------------------------------------- -------------------------------- ,,preface4 ------- ,i did not write this little book with the intention of apologizing to the prospective reader1 so soon as ,i had done so1 but with the honest1 ,i hope not egotistical1 feeling that ,i had something to say that was not generally known4 ,we live to learn and to impart what we know to others1 and ,i have taken this method of giving my experience in a pastime that is elevating1 artistic in every sense of the word1 and a wholesome relief from the cares of business4 ,in regard to the work itself1 ,i can show samples of every thing of any importance described or given in it4 ,i have not made all of the patterns given in the back part1 for that is mere routine1 but in gross1 and in most details1 the book is the result of experience1 and will be found reliable as far as it goes4 ,that it does not cover every possible change and use to which the lathe can be put1 ,i am well aware4 ,something must be left for the workman to find out himself4 ,neither have ,i given any recipes for varnishes1 for those cannot be made by inexperienced persons4 ,moreover1 they can be had so cheaply and universally1 that it is mere folly for any amateur to make them4 ,saluting all persons who love the art of which this little volume is descriptive1 ,i am their sincere friend1 ,,egbert ,p4 ,,watson4 ,,new ,,york1 ,april #ae1 #ahfi4 ,,contents4 ------- ,,page ,,chapter ,i4 ,,the ,,foot ,,lathe #ac ,,chapter ,,ii4 ,,tools #bb ,,chapter ,,iii4 ,,scrapers1 ,,etc #cj ,,chasing ,,and ,,screw ,,cutting #cc ,,chapter ,,iv4 ,,chasers1 ,,etc #ce ,,chapter ,v4 ,,chucking #db ,,chapter ,,vi4 ,,metal ,,spinning #ea ,,chapter ,,vii4 ,,ornamental ,,cutting #ei ,,to ,,make ,a ,,pair ,,of ,,solitaire ,,sleeve ,,buttons #ei ,,chapter ,,viii4 ,,centres #fe ,,chapter ,,ix4 ,,fancy ,,turning #ga ,,chapter ,x4 ,,ornamental ,,woods #gg ,,varieties #gg ,,snake ,,wood #gh ,,tulip ,,wood #gi ,,granadilla #hj ,,tamarind #hj ,,cam ,,wood #ha ,,box ,,wood #ha ,,laurel ,,root #hb ,,white ,,holly #hb ,,ebony #hb ,,olive ,,wood #hc ,,sandal ,,wood #hc ,,rose ,,wood #hd ,,curled ,,maple #hd ,,birds' ,,eye ,,maple #hd ,,treatment #he ,,chapter ,,xi4 ,,wood ,,turning #hg ,,chapter ,,xii4 ,,tools ,,for ,,wood ,,turning #ij ,,chapter ,,xiii4 ,,tool ,,tempering1 ,,etc4 #ib ,,chapter ,,xiv4 ,,artistic ,,wood ,,turning #if ,,chapter ,,xv4 ,,stamp ,,inlaying #ajb ,,chapter ,,xvi4 ,,designs ,,in ,,mosaic #ajf ,,chapter ,,xvii4 ,,finishing ,,the ,,outside #aaj ,,chapter ,,xviii4 ,,inlaying ,,continued #aad ,,gluing ,,in ,,veneers #aae ,,ivory #aaf ,,polishing #aah ,,dyeing ,,ivory #aah ,,chapter ,,xix4 ,,ornamental ,,designs ,,for ,,inlaying #aba ,,chapter ,,xx4 ,,general ,,summary #abe ,,lacquers #abf ,,soldering #abg ,,varnishing ,,and ,,polishing #abi ,,brushes #aca ,,pearl #aca ,,miscellaneous ,,tools #aca ,,curving ,,veneers #acb ,,cutting ,,miscellaneous ,,materials #acc ,,index #ace ---------------------------------------- -------------------------------- ,,manual ,,of ,,the ,,hand ,,lathe4 ------- ,,chapter ,i4 ,,the ,,foot ,,lathe4 ,there are two distinct kinds of work done in foot lathes--the useful and the merely ornamental4 ,both afford enjoyment and profit to those who practise them4 ,the mechanic who earns his living by working ten hours a day in a workshop1 does not care to go home and pursue the same calling in the evening2 but he can institute an agreeable change in his life1 beautify his dwelling1 and cultivate his taste1 by the use of the lathe1 and thus obtain ornaments that would cost large sums if purchased at the stores2 or he may1 indeed1 make the lathe a source of revenue1 and sell the product of his skill and ingenuity at high prices to those who admire1 but have not the ability to construct4 ,to many mechanics1 even1 the lathe is merely a machine for turning cylinders or disks1 or executing beads1 ogees1 scrolls1 or curves of various radii1 so that1 after all1 the work is pretty much alike1 and ceases to be attractive4 ,this is quite a mistaken view4 ,there are no such goods in market as those made on lathes1 and peculiar tools used in connection with them--by lathes with traversing mandrels1 with geometric chucks1 with dome chucks1 and compound slide rests4 ,there are lathes that1 while one could chase up a five-eight bolt in them as well as on the simple pulley and treadle machine1 are also capable of executing all sorts of beautiful things--vases with bases nearly square1 or exactly square1 with round tops and hexagonal bodies1 with gracefully-curved angular sides and bases1 fluted vertically2 boxes with curious patterns1 resembling basket work2 in fact1 any combination of straight and curved lines1 cut in the sides1 it is possible for an ingenious man to invent4 ,strictly speaking1 these are not lathes1 for in order to do the things before mentioned it is necessary to use after attachments in connection with them1 so that the combination of them produces the results spoken of4 ,there is1 absolutely1 an unlimited field for the genius of workmen to exert itself in designing patterns and executing work of an ornamental character4 ,all ornamental work resolves itself into movements of three kinds--angular1 circular and straight4 ,from the combination of these with each other1 the times where they merge and emerge1 where a movement of one kind changes into any other1 where an ellipse becomes part of a circle1 where circles are generated across the circumferences of other circles1 where these patterns are drawn over and upon each other without destroying the character of either--we say1 by such movements1 and many others which it would be confusing to follow1 the most beautiful forms are made4 ,or1 if the taste of the workman runs upon mechanical instead of artistic things1 there are steam engines to be made1 steam boilers to be spun up1 of small size2 in fact1 any piece or machine that can be thought of4 ,it is almost unnecessary to specify the innumerable kinds of work that can be done in a hand lathe1 but the amateur who delights in metal turning may make trinkets of all kinds for his friends1 that shall vie in beauty with the best efforts of the jeweler and goldsmith4 ,this1 of course1 is dependent on the material used1 the taste of the workman1 and his originality of conception4 ,pins for ladies' wear can be made of boxwood and ebony1 glued together in sections1 of all designs1 and afterwards turned in beads and mouldings1 or otherwise ornamented in a chuck1 as will be shown hereafter4 ,sleeve buttons can be made of ebony and silver1 ivory and silver1 pearl and gold1 or any combination that is desired4 ,chess and checker men also afford a chance to display skill4 ,and1 besides these1 special work of any nature is within the capacity of the machine4 ,there is no family in this country that would not find it economy to have a foot lathe in the house1 where the members have mechanical tastes--not necessarily the male members1 for ladies use foot lathes1 in ,europe1 with the greatest dexterity4 ,some of the most beautiful work ever made1 was by ,miss ,holtzapfel1 a relative of the celebrated mechanist of the same name4 ,if there are shovels to be mended1 the lathe will drill the holes and turn the rivets4 ,if the handle of the saucepan is loose1 it will do the same4 ,if scissors or knives want grinding1 there is the lathe2 if the castors on the sofa break down1 there is the lathe2 if skates need repairs1 either of grinding or of any other kind1 there is the lathe4 ,in short1 it ought to be as much a part of domestic economy as the sewing machine1 for it takes the odd stitches in the mechanical department that save money4 ,let not the inexperienced reader1 who hears of a lathe for the first time1 be frightened at this array of terms1 or diverted from the use of it by the recital4 ,in its simple form1 as shown in ,fig4 #a1 it is readily understood1 and1 after a little practice1 easily managed by any one1 and1 after the first few weeks1 the amateur will realize the fruits of his application4 ,illustration3 ,fig4 #a4 ,at first1 it had not even a continuous rotary motion1 but the spindle was driven by a belt worked by a spring pole or its equivalent4 ,the belt was rolled round the spindle1 and the pole allowed to spring up2 the spindle then revolved the length of the belt1 or rope1 for belts were not thought of1 and the operation was repeated1 the work being done only when the force of the spring pole revolved the spindle and the job the right way4 ,foot lathes had1 prior to the introduction of the engine lathe1 been used on very heavy work4 ,it is but a few years1 comparatively speaking--not twenty--since cast-iron shafts1 six1 eight1 and ten inches in diameter1 were turned in such lathes4 ,for all that we know to the contrary1 many jobs1 far exceeding this in size1 have been thus executed4 ,in some shops1 there are still standing heavy oaken shears1 made of timber twenty inches deep1 and four or six inches wide1 faced with boiler iron1 and in the racks above there are long-shanked tools1 with which the men of old were wont to do the work4 ,these lathes are never used now1 except for drilling holes1 or for apprentices to practice on1 but they serve to show what machinists had to do in olden times1 when there were no vise benches to sit on and watch the chips curling off the tool1 as men do now4 ,illustration3 ,fig4 #b4 ,hand lathes are not in great favor in large machine shops4 ,they are not used1 or should not be1 for any purpose except drilling1 and then they are no longer hand lathes1 but horizontal drilling machines4 ,there is no simple work to be done on a hand lathe that could not be performed to better advantage and more cheaply on a machine constructed for the purpose4 ,some large machine shops keep a hand lathe going continually1 cutting off stud bolts1 facing and rounding up nuts1 and similar work4 ,this does not seem profitable4 ,a machine to do this work would do more1 of a better quality1 than hand labor could4 ,the foot lathe--the terms hand and foot lathe are synonymous--is generally used1 at the present time1 by small machinists1 manufacturers of gas fixtures1 amateurs1 etc42 men who do not work a lathe constantly1 but are called off to braze or solder1 or1 perhaps1 to fit some detail with a file4 ,for these uses the foot lathe is one of the cheapest of tools2 for the same person that does the work furnishes the power also1 so that a man working on a foot1 or hand lathe1 as it is often called1 ought to have first-class wages4 ,moreover1 a first-rate foot lathe turner is always a good mechanic1 for it takes no small degree of dexterity to perform the several jobs with ease1 and dispatch1 and certainty4 ,to always get hold of the right tool1 to use the same properly1 so that it will last a reasonable time without being ground or tempered1 to rough-turn hollow places with a square edge1 to chase a true thread to the right size every time1 without making a drunken one1 or a slanting one1 to make a true thread inside of an oil cup or a box--all these several tasks require good judgment1 dexterity1 and a steady hand4 ,of course1 where a slide-rest is used1 the case is different4 ,we allude1 specially1 to a cutting tool managed by the hand4 ,to do all these things1 however1 it is necessary to have tools1 and good ones1 or none4 ,it is an old saying1 that a bad workman quarrels with his tools1 but a good workman has a right to quarrel with bad tools1 if he is furnished with them1 through chance or design4 ,it is impossible to execute good work with a dull tool1 one badly shaped1 or unsuited to the purpose1 and1 therefore1 it is important to set out right at the beginning4 ,there is no tool more efficient in the hands of a good workman1 than the diamond point1 ,fig4 #b1 here shown4 ,for roughing off a piece of metal1 for squaring up the end1 for facing a piece held in the chuck1 for running out a curve1 or rounding up a globe1 it is equally well adapted4 ,it may be truly called the turner's friend4 ,,chapter ,,ii4 ,,tools4 ,any one who has watched a novice at work on a lathe1 must have remarked the difficulty he has in controlling the tool and keeping up the motion of the treadle at the same time4 ,the two operations are difficult to 8get the hang of10 to use a homely phrase2 but once conquered1 the work can proceed4 ,the natural tendency is to slack up or stop the motion of the treadle while the tool is engaged1 and the tool is1 therefore1 at one time under the work1 at another time above it1 at another jumping rankly in1 until1 finally1 the piece goes whirling out of the center or the chuck1 and the operator flushes all over at his awkwardness4 ,this1 of course1 is remedied by practice2 and as this work is written mainly for the information of beginners and amateurs1 we hope that experts and those who know all about hand lathes1 will excuse allusion to such simple things as holding the tool properly1 and kindred matters4 ,the lathe must be of such a height as the workman finds convenient1 so that he is not obliged to stoop much1 and1 at the same time1 low enough to allow the weight of the body to be thrown on the tool when hard work is to be done4 ,the speed of the lathe ought to be very high on the smallest cone1 and there should be three speeds1 at least1 for different work4 ,the object is to regulate the velocity of the work in the lathe1 and keep the motion of the treadle uniform1 as near as may be1 at all times4 ,it distresses a workman greatly1 when chasing a fine thread on a small diameter1 if he has to tread fast to get up the proper speed1 as he does when there are only two speeds4 ,on the contrary1 for larger jobs1 it is difficult to keep up a rotary motion if the foot moves slowly1 as it must in order not to burn the tool by a high velocity on some kinds of work4 ,foot lathes1 in general1 are not geared1 although some are1 and ought to have wider ranges of speed than they do4 ,where one class of work is done1 however1 it makes little difference1 but for general turning1 the speeds should vary4 ,another difficulty experienced by beginners is in holding the tool still--rigidly so4 ,they allow it to 8bob0 back and forth against the work1 if it runs untrue1 so that it is impossible to make a job4 ,the tool must be held hard down1 as if it grew to the rest1 and never moved1 nor receded1 until the cut begun is finished4 ,the 8rest0 should be of soft1 wrought iron1 since that material holds a tool with more tenacity2 imposing less strain on the arms of the operator4 ,it should be dressed off smooth as often as it gets badly worn1 or cut by indentations4 ,cast iron is not good1 and steel is not so good as wrought iron4 ,a special rest should be kept for chasing threads with1 since the least obstacle is enough1 when running up a fine thread1 to divert the chaser and spoil the job1 by making a drunken thread4 ,if we now suppose the lathe to be in good order1 the centers true and well-turned to a gauge1 the rod 7if that is the job7 between them and properly 8dogged10 the centers oiled1 and the rest at the right height1 we shall be all ready to start4 ,the rest should be high enough to bring the point of the tool a little above the center4 ,illustration3 ,fig4 #c4 ,to rough off the outside1 and make it run true1 is the first step1 and the tool must1 therefore1 be held as in ,fig4 #c1 or so that the point and part of the edge alone engage with the work4 ,this will take off a thin1 spiral cut1 without springing the shaft or making it untrue4 ,the whole surface of the shaft must be thus run over1 beginning at the right hand and shifting the tool as fast as one part is turned4 ,the tool should not be moved rigidly in a straight line toward the belt1 but by holding it hard down on the rest1 so that the bottom edge bears as in ,fig4 #b1 and rocking the tool on that angle1 so that the point describes a curve1 as in ,fig4 #d1 the work will be turned evenly and true4 ,illustration3 ,fig4 #d4 ,we must remark1 in passing1 that the person who reads these directions1 and then undertakes to turn by them1 will find that reading how to do a thing1 and doing it1 are two different matters4 ,it looks very nice to see a skater darting over the ice at his ease1 but try it once1 and1 if you never knew before1 you will understand what experience means4 ,trying to teach a person to be a turner1 in a book1 is analogous4 ,one can only indicate the general method1 and leave experience to do the rest4 ,illustration3 ,fig4 #e4 ,after the whole surface has been run over1 the same tool may be used on the flat side for reducing the work to one diameter throughout the length4 ,the reader must not assume that there is no other tool than a diamond point2 he will find many others adverted to1 as we proceed4 ,illustration3 ,fig4 #f4 ,it is most important that the ends of a rod or shaft should be squared up first1 before the body is turned1 for the removal of some slight inequality subsequently may cause the whole shaft to run out of truth4 ,the center must be drilled with a small drill1 and slightly countersunk4 ,when the end is squared up1 the center must be run back a little1 so that the tool point may project over the drilled hole1 and thus make it all true about the center1 as in ,fig4 #e4 ,this will make the work push over to one side of the center1 but that is of no consequence4 ,let it run as it will2 so long as it does not come out of the centers there need be no apprehension4 ,fig4 #f1 is another kind of roughing tool1 to do heavier work with4 ,illustration3 ,fig4 #g4 ,there are two kinds of tools used in foot lathes1 called straight and heel tools4 ,fig4 #g is a heel tool4 ,it is so called from the heel which is forged on the lower end4 ,one form of the straight tool has already been shown4 ,the heel tool is used on heavy work1 and the object of it is apparent1 namely1 to hold on the rest1 and so impose but little labor on the workman to retain it in place1 or prevent it from receding4 ,it is generally forged from half inch or five eighth steel4 ,the steel is held in a handle twenty inches long1 grooved on top to fit the steel1 and furnished with a handle at right angles4 ,this handle has a square eye in the top that the tool passes through4 ,a nut at the end of it screws up the eye and binds the tool fast in the groove1 so that it cannot slip4 ,it is given complete in ,fig4 #g4 ,the lower handle enables the workman to have great power over the edge1 and to direct it from or to the work without danger of catching4 ,the tool is used by resting the end on the shoulder1 as in ,fig4 #h1 and turning the lowest handle4 ,since the heel holds the tool from slipping1 there is no occasion to bear against it4 ,in fact1 there is no occasion1 at any time1 to force the tool from the workman1 but it must be turned sideways1 back and forth4 ,a piece1 properly centered1 may be cut in any way without destroying its truth4 ,illustration3 ,fig4 #h4 ,,chapter ,,iii4 ,,scrapers1 ,,etc4 ,to suit different kinds of work1 as previously stated1 various tools are needed1 but the reader must not expect to see them all illustrated in this book4 ,the workman will learn what tools he needs1 and make them for himself1 which will be of more advantage to him than engravings could be4 ,the tools here shown1 will be found very useful in different places4 ,illustration3 ,fig4 #i4 ,fig4 #i is the end of a thin-edged1 flat scraper1 and is chiefly to be used on brass work4 ,it may be of any length and size1 but for small lathes1 and light work1 it is cheaper and handier to make it of thin sheet steel1 one eighth or one tenth of an inch thick1 and to form the reverse end into a round nose1 or half-circle scraper4 ,illustration3 ,fig4 #aj4 ,it often happens that fillets or hollows occur1 as in finishing ornamental brass work1 in connection with flat surfaces4 ,by having such a tool as this1 the necessity of laying one tool down and picking up another1 is obviated1 for the two are combined in one4 ,for iron work1 it is customary to use a heavier and thicker tool for finishing4 ,as in ,fig4 #aj1 the front edge is slightly raised or concave1 to make it sharp and hold a cut well4 ,all turning tools for finishing iron are made thicker than those for brass1 and should have lips1 or curved cutting edges4 ,such tools cannot be used for brass1 as they are too sharp2 the edges jump into the metal and spoil the work4 ,a tool for scraping brass work of some kinds is made as shown in ,figs4 #aa and #ab4 ,illustration3 ,fig4 #aa4 ,illustration3 ,fig4 #ab4 ,there is no occasion to make the ends at different angles1 except the convenience1 before stated1 of having four cutting edges on one piece1 for any angle can be easily given by the position of the hand or the direction of the rest4 ,these tools1 here alluded to1 are only to be used when the job has been all turned true and the scale removed2 they scrape1 merely1 they do not cut4 ,such tools sometimes save a few steps at a critical period2 that is1 when the tool is well set and in place1 so that the work is done better and more expeditiously4 ,apart from this consideration1 there is the chance of cutting or injuring the hands1 by the proximity of sharp edges4 ,under the control of an expert1 however1 there is little danger from this cause1 as inspection will show4 ,skilful men that have worked a lifetime at their trade1 have few marks or scars on their hands1 as a general thing4 ,when these scrapers are used on cast iron1 or1 indeed1 on brass of a peculiar composition1 they sometimes 8chatter10 as it is called1 and leave the work full of deep1 unsightly marks1 like those on the edge of coins4 ,the cause of chattering is the rapid vibration of the tool1 so that it springs away from1 and against the work1 with great rapidity1 leaving traces of its edge on the work4 ,chattering may be prevented1 by putting a piece of sole leather on the rest1 between it and the tool4 ,the tools with long handles are chiefly intended for heavy work1 or that which requires both hands to the cut1 but there are smaller tools than these1 used by amateurs1 wherein the common file handle1 or one like it1 only a little longer1 is employed instead4 ,,chasing ,,and ,,screw ,,cutting4 ,in an engine1 or power lathe1 all screws are cut by trains of gears1 as mechanics well know1 but in the hand lathe1 which was the first machine1 screws1 both male and female1 must be made by chasers or hubs1 both inside and outside4 ,the chaser itself must be made first1 however1 and that is done by a simple tool called 8a hub40 ,illustration3 ,fig4 #ac4 ,illustration3 ,fig4 #ad4 ,illustration3 ,fig4 #ae4 ,the chaser is first forged in blank1 for an outside chaser1 as in ,fig4 #ad1 and as in ,fig4 #ae for an inside tool4 ,it is then filed up1 and held against a hub1 shown in ,fig4 #ac1 running in the lathe4 ,this rapidly cuts away the chaser blank1 and forms the teeth in it perfectly4 ,the lines across it are spiral grooves1 cut completely round from one side to the other1 so that the hub cuts the blank like any other tool4 ,fig4 #af represents the chaser4 ,illustration3 ,fig4 #af4 ,,chapter ,,iv4 ,,chasers1 ,,etc4 ,it is not always an easy task to chase a true thread on a piece of work1 and even 8the boldest holds his breath for a time10 if he has a nice piece of work all done but the thread1 and that in a critical part4 ,it is so easy to make a drunken thread1 or one in which the spirals are not true1 but diverge or waver in their path around the shaft1 that many are made4 ,that they are more common than true threads1 is well known to mechanics4 ,to start a thread true is quite easy with an inside chaser2 for1 strange as it may seem1 it is seldom that a drunken thread is made on inside work2 only have the bore itself true1 and the chaser will run in properly4 ,the case is different when a bolt or shaft is to be cut4 ,with fine threads1 the slightest obstruction on the rest will cause the chaser to catch and stop slightly4 ,no matter how slight the stoppage1 it is certain to damage the thread4 ,the injury is more perceptible on fine threads than on coarse1 for1 in the former1 if the threads do not fit 7as they will not if they are drunken1 one crossing the other1 when both parts are put together71 the drunken thread will not come fair with the other4 ,in coarse threads1 however1 it will not be so apparent1 for1 by making the drunken thread smaller1 it will have play and accommodate itself to its place4 ,this is not workmanship1 it is 8make-shift40 ,to chase a true thread the rest must be smooth and free from burrs or depressions4 ,nice workmen keep a special rest1 with a hard1 polished steel edge1 expressly for this purpose4 ,if the chasers themselves are smoothly finished at the bottom1 on an emery wheel1 they are all the better4 ,with these precautions1 and others noted below1 success is certain4 ,when a thread is to be started1 take a fine diamond-pointed tool1 and hold it on the end of the shaft to be chased4 ,set the lathe going1 and give the tool a quick twist with the wrist1 so that a spiral will be traced on the work1 like ,fig4 #ag4 ,illustration3 ,fig4 #ag4 ,some part of this will correspond with the pitch of the thread to be cut1 and there is less liability of making it drunken4 ,by a little practice1 one is able to hit the pitch of the chaser exactly in making a start4 8,there is no trouble1 after you once know how40 ,we have chased quantities of small screws1 with forty-eight threads to the inch1 and not a sixteenth of one inch in diameter4 ,if the chaser once hesitates on such screws1 they are spoiled4 ,for heavy threads--seven and eight to the inch1 which is about as hard work as any one wants to do1--it is the custom of some turners to use a tool with only two teeth1 and some use only a sharp-edged cutter1 like ,fig4 #ah1 to deepen the thread1 the chaser being used afterward1 to rectify the job4 ,there is danger with this tool1 unless it is used by an expert1 of digging out the thread1 so that the last end of it will be worse than the first4 ,illustration3 ,fig4 #ah4 ,another tool1 used in chasing heavy threads1 is a doctor4 ,this consists in having a fac-simile of the thread to be cut on the back of the chaser1 and in applying a short set screw behind1 so that1 as the iron is cut away1 the chaser may be followed up behind4 ,fig4 #ai is the doctor1 but the follower opposite the chaser is too narrow1 and should be made nearly half a circle to avoid slipping2 with this exception it is all right4 ,these tools1 and the screws made by them1 are all inferior to those made by lathes with traversing mandrels2 that is1 a mandrel which slides in and out of the head stock1 as in a ,holtzapffel lathe4 ,illustration3 ,fig4 #ai4 ,this lathe has a series of hubs1 unlike the one shown previously1 slipped over the back end of the lathe spindle 7furthest from the workman7 and a fixed nut on the head-stock1 which1 being put in communication with the hub on the mandrel1 drives the same in and out1 according to the direction the cone-pulleys are turned4 ,of course1 with such an attachment as this1 there is no danger of making drunken threads1 for the hubs which start the threads1 are cut with a train of gears in an engine lathe1 so that it is impossible for them to be incorrect4 ,moreover1 a square thread1 or a ,v-shaped thread1 can be made with them1 which is not the case with common chasers4 ,in lathes that have traversing mandrels to cut screws1 the tool itself remains stationary1 but as this is obviously a disadvantage in many kinds of work1 it is far better to have the tool advance and the mandrel revolve as usual4 ,by this plan much time is saved1 a greater range of work is possible with the same gear1 and a piece that is chucked1 or one that is between the centers1 can be cut with equal facility4 ,any common lathe can be rigged to do this by putting a shell on the back end of the mandrel1 between the pulley and the set screw1 and slipping the hub over the shell1 with a feather1 to keep it from turning4 ,to take a thread from this hub1 a round bar must be set parallel with the shears1 in easy-working guides4 ,the bar must have an arm at one end1 to reach over to the hub1 said arm to be fitted with a piece of hard wood1 to match the thread on the hub4 ,the other end of the bar has the cutting tool in it2 of course1 at right angles1 so as to run in to the work1 and bear on the tool rest4 ,the tool is held in an arm on the bar by a set screw1 so that it can be lengthened or shortened4 ,by this arrangement1 a true thread can be rapidly generated on any rod1 hollow cylinder1 or other kind of work--the pitch depending on the pitch of the hub4 ,it is necessary to have as many different hubs1 varying in pitch1 as there are different kinds of work to be done1 and1 although the thread on the hub is only an inch or half an inch long1 perhaps1 a screw of any length may be cut on a rod1 by simply shifting the cutter on the rest4 ,this same bar is also useful for turning1 as with a slide rest1 for1 by sliding it along gradually1 it acts1 in a measure1 like a fixed tool in a slide rest4 ,illustration3 ,fig4 #bj4 ,from these hints the amateur who takes a lathe in hand for the first time1 or is1 at best1 a neophyte1 may learn much to his advantage4 ,persons of a mechanical turn only need a hint1 when the mind springs to the conclusion with surprising rapidity4 ,the little tool1 shown in ,fig4 #bj1 is very handy in many instances1 particularly for running under the necks of screws when the thread is cut up to the head4 ,by so making them1 the head comes fair down upon its bed1 and holds much better4 ,,chapter ,v4 ,,chucking4 ,illustration3 ,fig4 #ba4 ,illustration3 ,fig4 #bb4 ,chucking work in the lathe is one of the most interesting branches1 for here there are no centers in the way1 to plague the workman1 and the tool has a fair sweep at all parts4 ,every one who uses a lathe1 should get a scroll chuck1 ,fig4 #ba1 of ,cushman's make1 7,a4 ,cushman1 ,hartford1 ,connecticut17 that is1 a chuck where the jaws move up together toward the center1 so that any round piece will be held perfectly true4 ,this is a great convenience1 for whether we have a ring to bore out1 or a wheel to turn off1 it is equally handy1 and is far better than the independent jaw chuck1 which has to be set up by measurement1 and repeated trials before it is right4 ,to those who cannot afford to purchase a scroll chuck1 a wooden one can be made to answer every purpose4 ,wooden chucks should be made of some hard1 fine-grained wood1 such as maple or mahogany1 so that they will hold well whatever is driven into them4 ,illustration3 ,fig4 #bc4 ,illustration3 ,fig4 #bd4 ,if we have a small cylinder head to turn1 for instance1 the back head1 which has no hole in it to put a mandrel through1 as the front one has1 the wooden chuck will come in play4 ,to make one1 the turner takes a square block of the proper thickness1 say one inch1 and saws the corners off1 so that it is eight-sided4 ,it is then ready to screw on the face plate of the lathe4 ,this is quickly done by having small screw holes in the plate for this purpose1 as shown in ,fig4 #a1 page #ag4 ,illustration3 ,fig4 #be4 ,the block is then all ready to work on1 and the face must be turned off true1 and a recess cut out in it to receive the head4 ,this is the head1 ,fig4 #bf4 ,illustration3 ,fig4 #bf4 ,on the back side1 there is a projection to fit the cylinder of the engine4 ,this must be turned first1 and the flange faced off true3 after that the head must be pryed out1 7by making a little recess in the chuck1 alongside of it17 reversed1 and put in the chuck again1 the finished side in1 so as to polish it on the outside4 ,fig4 #bg4 ,it must be driven up tight against the face of the chuck1 otherwise the flange will be thicker on one side than the other4 ,in finishing1 it will be found better to commence near the center1 and work out toward the largest diameter1 for it is necessary to get under the scale1 or sand1 left on in casting1 first1 before the work can be turned true1 and this is easiest done by beginning at the middle1 where the speed is low4 ,the scale is fused sand melted on the metal in the act of casting4 ,the best tool to do this with is the diamond-point1 for it can be employed universally on straight or hollow surfaces1 is easily ground1 and always works well4 ,after it1 comes the scraper1 previously shown4 ,if these chatter1 a piece of leather must be put between them and the rest4 ,it is also well to put a stout iron rod1 or piece of hard wood1 between the back center of the lathe and the face of the plate2 this keeps everything steady1 as shown below1 so that a beautiful luster will be given by the tool alone4 ,illustration3 ,fig4 #bg4 ,after the plate or head is firmly scraped1 it must be polished with flour emery and oil4 ,the emery first used must be ,no4 #a1 which is about like ,indian meal2 if the work is brass1 however1 this will not be needed4 ,this must be plentifully supplied with oil1 so that it is like cream1 and the workman1 taking a soft pine stick1 with the end pounded into a brush1 so that it will hold emery1 holds it hard up against the face of the head4 ,if it has been properly scraped1 a few revolutions will produce a fine-grained finish1 but if it is badly done1 the corners will be full of scratches and chatters4 ,it takes time and experience to make a good finisher1 and patience also1 for men who are good turners1 and can make excellent fits1 are sometimes botches at polishing4 ,after emery of the finest possible description has been used1 a little rouge powder should be put on a piece of buckskin and applied to the work4 ,this will make a polish equal to gold on brass1 and like silver on iron4 ,instead of these methods many persons burnish their work4 ,the burnisher is sometimes made of steel1 of bloodstone1 and of agate4 ,steel is the material generally employed4 ,it is polished as bright as can be on a buff wheel1 and must be preserved so1 otherwise it is useless to attempt doing anything with it4 ,pumice stone is very good for polishing with1 or rather for finishing the surface before polishing4 ,other substances will be mentioned hereafter4 ,steel and iron are best polished with a sharp tool and water4 ,to turn steel with a handsome surface1 the tool must be sharpened on an oil stone1 and the speed high1 then spit on the work and take light cuts1 and you will have a nice job4 ,to make a very brilliant polish on steel1 it is necessary to use emery and oil1 plenty of oil and not much emery1 but this makes such a nasty mess on the lathe1 that few good turners will do it4 ,a file should not be used in the lathe if possible2 filing a job makes it uneven1 and spoils the looks of it4 ,it is difficult to avoid scratches1 and the expert can generally tell the difference between work that has been turned true1 and that which has been filed1 and1 in nearly all cases1 it is quicker to turn the work to fit or to finish at once4 ,in polishing round work1 such as rods or shafts1 it is much cleaner1 and more expeditious1 to make a pair of clamps like ,fig4 #bh1 and put the emery and oil on leather pads between them4 ,the clamps consist of two straight pieces of soft or hard wood1 lined with leather1 though some use sheet lead4 ,the leather catches the polishing material and holds it1 and1 at the same time1 keeps it continually applied to the shaft4 ,the clamps are slipped over the same1 and the ends held in the hand4 ,this utensil also gives a fine finish to the work1 making it smooth and even4 ,it must be carried regularly along from end to end1 sometimes fast and sometimes slow1 so as to cross the lines1 or avoid making a twist in the polish like a screw thread1 which would otherwise be given4 ,a very beautiful and brilliant luster can be given to a shaft of iron or steel1 after it is nicely finished1 by holding a sheet of fine sand paper1 covered with chalk1 on it4 ,the glaze that this gives1 makes the work glisten like silver1 but it also takes off all the grease1 so that the shaft is very sensitive to moisture1 and is quickly rusted4 ,illustration3 ,fig4 #bh4 ,this discussion about polishing has led us away from the consideration of chucking1 which we shall enlarge a little more upon4 ,the chuck is a very necessary and even indispensable auxiliary when chasing4 ,threads cannot be caught in the jaws of a scroll chuck1 because1 if set tight enough to hold the work1 the threads are jammed so that they will not run in the part they were fitted to4 ,if a piece1 having a thread cut on it1 like ,fig4 #bi1 is to be turned outside1 it is very easy to chase the cap first and then the cup it fits1 so that the cap can be screwed into it and turned off where it belongs2 it will then be true1 and is easy to mill on the edge4 ,illustration3 ,fig4 #bi4 ,it must always be borne in mind that the chaser must be sharp4 ,if it is not1 drunken threads will be the rule1 not the exception4 ,the chuck shown in ,fig4 #cj1 will be found very useful for holding metallic disks1 small box covers1 or anything that requires merely a slight clasp2 it is also useful for holding round plugs1 pencils of wood1 or penholders1 to drill in the ends4 ,it can be made eccentric with the mandrel of the lathe1 if desired1 so as to turn a piece on one side1 or drill in a similar manner in the end of a plug4 ,it is merely a piece of boxwood bored out1 bored with holes1 which are sawed down into slots1 so as to form a series of jaws1 which are sprung in by sliding the ring down on them4 ,they are so easily made that a great many can be provided4 ,illustration3 ,fig4 #cj4 ,,chapter ,,vi4 ,,metal ,,spinning4 ,spinning sheet metal into various forms is another kind of work which can be done in the foot lathe1 and it is here that the amateur can show his taste and dexterity4 ,the process consists in forming a blank1 like this engraving1 into an ornamental base for a lamp1 or an oil cup2 in fact1 any thing whatsoever4 ,all that is requisite is to have a fac simile1 in wood1 of the shape you wish to make4 ,this is bolted or otherwise made fast to the face plate1 and the blank is then set up against it1 and held as the cylinder head1 shown in ,fig4 #bf1 is1 that is1 with a rod leading from the back center of the lathe to the work4 ,illustration3 ,fig4 #ca4 ,a tool like ,fig4 #cb is then used to press the metal into all the recesses or curves of the pattern4 ,the speed must be high1 and the metal quite soft and moistened with a little soap-suds or oil1 so that it will not be scratched by the tool4 ,to spin metal requires some dexterity1 but it is easily acquired after a little practice4 ,the rest must be furnished with holes1 like ,fig4 #cc1 and a pin1 so that the tool can be brought up against it like a lever4 ,illustration3 ,fig4 #cb4 ,illustration3 ,fig4 #cc4 ,still-another kind of metal spinning can be done in the lathe4 ,this relates to making circular shapes1 or cylindrical1 more properly--such as napkin rings1 the tops of steam pipes1 or similar things4 ,to do this1 a mandrel is requisite4 ,the mandrel must be of steel1 and turned to the desired pattern--like ,fig4 #cd1 for instance4 ,illustration3 ,fig4 #cd4 ,a ferrule is then made and soldered together with lapped edges1 so that there will be no seam4 ,the mandrel must be as much smaller than the size of the finished work as will allow it to come off freely1 for it will be apparent that if the work was spun up on the mandrel1 it could never be taken off4 ,the ferrule1 when put on them1 will stand eccentric to the mandrel1 as in this figure--that is1 when the tool bears on it4 ,in other respects the process is just the same as spinning on the face plate4 ,tripoli1 chalk1 whiting1 rotten-stone1 and similar substances are used to give the fine polish on such work4 ,illustration3 ,fig4 #ce4 ,we know of no prettier or more expeditious process of making a small steam boiler for a toy engine1 than by spinning it upon the lathe4 ,the boiler will be very strong1 have large fire surface1 and be without joints1 having only one at the bottom1 where it is easily kept tight4 ,fig4 #cf is the boiler4 ,the metal must be thin 7twenty gauge71 the sheet brass sold in the shops will answer1 as it is already annealed1 and the corrugations must not be too deep on the sides1 or the work will not come off the mould4 ,the center of the fire-box1 ,a1 must be left flat1 so that the flue will have a bearing on it4 ,for a small engine1 #a-;inch bore1 and #b-;inch stroke1 a boiler of the dimensions given here is ample4 ,the flue must be brazed or soldered at ,a1 and the bottom must be riveted at ,b1 for every two inches2 this is not necessary1 however4 ,there are only three pieces in this boiler--the shell1 the fire-box1 and the flue1 and the water must not be carried more than three-fourths of an inch over the crown of the furnace4 ,we shall now again revert to cutting tools4 ,illustration3 ,fig4 #cf4 ,probably many of our readers1 who use hand lathes not furnished with slide rests1 have wished for that indispensable appendage where boring is to be done4 ,for ordinary turning1 we do not appreciate a slide rest on a hand lathe so much as many do that we know1 but for boring out valves1 cocks1 or1 in fact1 anything1 a scroll chuck and a good slide rest are invaluable4 ,some persons are always 8meaning0 to do a thing1 yet never do it4 ,sometimes1 for the want of facilities1 at others for the lack of an idea4 ,if the latter be of any value1 we can furnish one or two on this subject that may be useful4 ,illustration3 ,fig4 #cg4 ,one way to bore out holes parallel1 without a slide rest1 is to do it with the spindle of the back head4 ,with a tool of peculiar construction1 holes varying in size1 can be bored beautifully in this way4 ,we present a view of such a tool in ,fig4 #cg4 ,it is merely a cross1 formed on the end of a center fitting the back spindle1 the same as the lathe center does4 ,the arms of the cross are made stout and thick1 so as to admit of a square hole being cut in them4 ,the hole is made by drilling in and driving in a square drift afterwards to take off the corners4 ,the shanks of the tools are well fitted to these holes in the arms1 so that a slight pressure of the screws in the sides of the arm will hold them steady4 ,when used1 the tool is put in the back spindle1 and the cutters set to the size required1 or less1 if there is much to take out1 and run through the work in an obvious manner4 ,any range of size can be had up to the diameter of the cross4 ,it is not well to run the cutters out too far1 however1 as they will jump and chatter1 or spring1 and make bad work4 ,the tool is so easily made that one can afford to have three or four1 for different jobs4 ,illustration3 ,fig4 #ch4 ,another plan1 but not so good1 is to make a common center and disk1 like ,fig4 #ch4 ,here the cutters have a slot in them1 through which a bolt passes and screws into the disk2 a small piece of wood put at the bottom of the tool1 between it and the cutter1 prevents it from slacking off so as to diminish the cut4 ,these tools will be found useful1 and will do good work if properly handled4 ,this latter tool is better for wood1 but will answer for any metal by varying the cutter4 ,to make a slide rest1 in the common way1 is a costly and tedious job4 ,for all purposes of boring1 a good one may be made as shown in the following engraving1 ,fig4 #ci4 ,illustration3 ,fig4 #ci4 ,this is simply a casting fitted with a screw and spindle1 as shown4 ,the spindle has a tool let in the front end and held there by a set screw1 and there is a wheel at the back end to run the spindle in and out4 ,the casting has a leg to it which enables it to fit the common post the rest for the hand tool fits4 ,there is also a key to prevent the spindle from turning round4 ,by this arrangement it is easy to bore1 not only parallel holes of any size1 but tapering ones1 which is often a great convenience4 ,by a simple change of tool1 it can also face off any casting1 and can easily be made to cut a thread1 of a given pitch1 by any ingenious workman4 ,not only this1 but it can also be made without planing2 or other work most amateurs have no facilities for4 ,it is within the range of ordinary lathe work1 and will be found indispensable4 ,the ,t-head may be of cast iron1 but the spindle should be steel1 with a brass nut let in the back end for the screw to work in4 ,,chapter ,,vii4 ,,ornamental ,,cutting4 ,i shall now give some examples of turning different things which are useful and interesting to work4 ,these are only hints1 and ,i make no claim to discovery1 or to anything specially novel or ingenious4 ,it would be very foolish to do that1 for what seems remarkably 8cute0 to the designer of any particular thing1 is often shown to be slow and unmechanical1 compared to other ways by other men4 ,i hope1 therefore1 that the expert will bear in mind the fact that1 while he may know better ways to do the same thing1 beginners are glad to receive instruction first1 and improve upon it1 so much as they are able1 after4 ,,to ,,make ,a ,,pair ,,of ,,solitaire ,,sleeve ,,buttons4 --,solitaire buttons are those which have so lately come in fashion2 that is1 a single stud with two eyes on the back for the button-holes of the wristband4 ,it is easier to make one stud on the back of the button1 and easier to fasten it to the shirt1 as that is the kind ,i shall describe4 ,illustration3 ,fig4 #dj4 ,illustration3 ,fig4 #da4 ,illustration3 ,fig4 #db4 ,go to any dealer in box-wood1 and procure waste stuff1 which he will sell at a small price4 ,take a piece an inch square1 put it in the chuck1 and turn it round on one end as far as you can1 then reverse it1 and turn the other end2 this will make a round plug4 ,take a ten-cent piece1 and chuck it1 either in a wooden or scroll chuck4 ,cut out the center1 so that you have a silver ring4 ,it will be necessary to have two rings1 one for each button4 ,put the box-wood in the lathe and turn the end as in ,fig4 #da4 ,on the shoulder you are to shrink the silver ring just made1 ,fig4 #dj4 ,to fasten the ring properly1 you have only to leave the center part of the box-wood a little larger than the silver ring--say the thickness of a sheet of paper--heat the ring slightly on a stove or over a spirit lamp1 and clap it on to its place4 ,when it is cool1 if properly done1 no power can remove it without destroying the button4 ,when the ring is in place1 it only remains to turn it off as ornamentally as the workman desires4 ,the edge may be milled1 and the face chased or left smooth4 ,the center of the button1 which is of wood1 may be drilled in1 and a square ebony plug put in1 which will give it a unique appearance1 as shown in ,fig4 #db4 ,in like manner ivory buttons may be turned and breastpins spun up1 either in gold or silver4 ,brass breastpins may be ornately turned1 and afterwards electro-plated for a trifle4 ,they will thus be cheaply made1 and the ingenious turner can please his lady friends by presenting them with specimens of his dexterity and taste4 ,illustration3 ,fig4 #dc4 ,at the commencement of this book1 ,i alluded to lathes with traversing mandrels1 and to varieties of work done by tools not generally employed--that is1 those which are not used by the hand1 but in connection with the lathe1 and driven by belting from a counter shaft over head4 ,i give an illustration of such a tool1 in one form1 in ,fig4 #dc4 ,it may be screwed in the tool post of the slide rest1 or otherwise attached to the lathe1 and the belt from the counter shaft carried over the small pulley4 ,the driving pulley over head should be very large1 so as to give a great velocity to the cutter1 at least fifteen hundred revolutions per minute4 ,the use of this tool is to make ornamental designs--circular carving1 it might be called--on all kinds of turned work1 as1 for instance1 in ,fig4 #dd1 where a small box for pins or needles is shown4 ,this box is made by putting a piece of hard1 fine-grained wood in the chuck1 boring the hole and cutting the thread4 ,it is then removed1 driven on a round mandrel held in the chuck1 turned off round outside1 and then prepared for the pattern as follows3--,the design settled upon1 the index plate must be brought into use1 and the points inserted in such holes as will bring the pattern out right1 or all the spaces equal--just as the teeth of gears are cut4 ,the tool shown in ,fig4 #dc1 may be any desired shape4 ,in the example of work1 ,fig4 #dd1 it is made half round1 and the pattern is called 8bamboo10 from a resemblance to wickerwork4 ,the pattern is made to break joint1 as mechanics say1 that is1 it alternates1 so that the commencement of one part meets in the middle of the other4 ,after one course is made all the way round1 the tool is shifted on to another course1 and the index changed as above mentioned1 until the whole has been gone over4 ,this produces a beautiful effect4 ,illustration3 ,fig4 #dd4 ,it is easy to see that a change of pattern is produced at will1 by altering the kind of tool and the index4 ,as1 for instance1 in ,fig4 #de1 where the pattern is entirely straight4 ,when the design is to be cut on such work1 it is extremely convenient to have a pair of centers to set on the lathe1 across the bed2 then the flying tool is not needed1 nor the index on the lathe pulleys either1 that on the centers being used instead4 ,when this box is held between the centers so as not to mar it1 the handle may be turned and the work run along under the cutter1 with great facility4 ,the grooves shown in the box are first drilled at each end with a common drill1 just to the corner of the drill1 so that a neat and handsome finish is given2 a ,v-shaped cutter is then put in a mandrel between the centers of the lathe1 and the pulleys set going1 so that when the work is run under the tool1 the slot or groove will be formed4 ,the circlet1 at the top of the box1 is made by a crescent drill ground very thin and made sharp--a drill like a fish's tail1 only formed on a half circle4 ,illustration3 ,fig4 #de4 ,of course1 these methods of doing this kind of work can1 as ,i have said before1 be varied infinitely1 and are only cited as applicable to a common foot lathe4 ,,chapter ,,viii4 ,,centers4 ,an indispensable article on a foot lathe1 where any fancy work is to be done1 is the centers--of which ,i have before spoken--shown in ,fig4 #df4 ,these consist of a common set of heads1 with spindles fitted to them4 ,one spindle has an index plate and spring1 and the other has a common center4 ,these heads set on a slide that is moved back and forth over a rest1 screwed to the lathe bed as usual4 ,it is easy to see that1 with this1 we can do some very fine cabinet work4 ,suppose we have a round vase turned up handsomely1 and wish to flute the base or make it a series of curves all round2 to do this1 we have only to put it in the centers1 set the index so as to come out even1 as before explained1 and go ahead4 ,illustration3 ,fig4 #df4 ,the kind of cutter to be used is a sort of gouge1 set in a cast-iron head1 something as a plane iron is set in its stock4 ,that is1 fitted tight to a groove and held by a set screw4 ,two of these cutters should be used1 at equal distances apart1 and the cutter head should be keyed on a short shaft1 set between the main centers of the lathe4 ,the whole should be accurately balanced1 or else the work will be full of chatters or ridges4 ,since centrifugal force increases as the square of the velocity1 any thing that runs a little out of truth1 will be very much exaggerated as the speed increases4 ,by using cutters of different shapes1 beautiful effects can be produced2 as1 for instance1 suppose we take a common round-nose cutter1 set the index so as to divide the circle of the job we are to work on in twenty-four parts1 and execute that part of the design1 then take a tool forming an ogee1 and work out the spaces intervening1 we shall find that the article1 when completed1 will have a beautiful appearance1 and that1 instead of being round1 the bottom will be octagonal1 which will present a pleasing contrast to the rest4 ,illustration3 ,fig4 #dg4 ,the centers can be set at any angle with the cutter shaft and a pineapple pattern can be made on straight surfaces1 by executing one part at one angle1 then reversing the rest that carries the centers1 and finish the remainder1 one part of the pattern crossing the other4 ,i present here views of a novel ornament which exhibits great mechanical ingenuity and manual dexterity1 but is otherwise of no value4 ,it consists1 in one form1 of a globe with a series of rings or globes inside1 and a six-armed spur projecting through holes--all cut out of one solid piece4 ,fig4 #dg4 ,illustration3 ,fig4 #dh4 ,fig4 #dh shows how the points are turned4 ,after the internal rings are cut out with a quadrant tool like ,fig4 #di1 and the spur also severed1 by cutting in the ends of the holes 7not boring them out solid71 the globe is put in a shell chuck1 with three set screws in it1 as shown4 ,the set screws go through the holes in the globe1 and the cross pieces1 in between the spurs1 serve to steady the job4 ,any number of points may be turned in the globe4 ,fig4 #ej shows a polygon with many spurs turned inside4 ,at first sight it would appear that the tool1 severing the rings1 would cut off the points also1 but it will be seen that this is not the case1 for the holes being bored so as to leave a core standing 7which afterward serves to make the points of the spur71 the severing tool falls into the holes and goes no further1 and each division serves as a guide for the tool in the next hole1 so that the globe is made the same size1 without jags4 ,the quadrant tool1 shown before1 must be followed round the shell in the act of cutting it out1 so that it will make the same round1 and the globe must be shifted in the chuck1 to reach all the holes4 ,it is no easy task to make this little affair1 for all it looks so simple4 ,illustration3 ,fig4 #di4 ,illustration3 ,fig4 #ej4 ,,chapter ,,ix4 ,,fancy ,,turning4 ,illustration3 ,fig4 #ea4 ,fig4 #ea is another1 a little more ornate and of a different pattern4 ,the process is essentially the same1 except that there are no spurs and a solid disk is left inside4 ,this disk is turned out of a ball1 left inside the exterior shell4 ,one side of it is squared up before the ball is cut free from the globe1 and the job is then reversed and the other side squared4 ,the ball is then cut free1 and the loose disk is held fast between a flat-ended driver in the live spindle1 and a loose1 flat-ended button on the back center4 ,the diameter is then decided through the hole which is toward the reader4 ,illustration3 ,fig4 #eb4 ,a little tool1 which is very convenient for making small screws1 is here shown in ,fig4 #eb1 rather out of place1 but it was overlooked before4 ,in construction it explains itself4 ,holes of different sizes are made in a steel rod1 and the end filed into shape1 as seen4 ,it has been found difficult by some to make these cutters work1 but that was because they were not properly made4 ,the trouble lies in drilling the hole4 ,when the drill starts at first1 the hole is larger on the outside1 so that the screw blank1 when cut1 gets tighter as it goes in1 and twists it off4 ,the remedy is1 to drill the hole in some distance and then turn off the outside end1 so that it gets where the bore is the same size4 ,this refers only to small bolts1 a sixteenth of an inch in diameter2 where they are large1 the trouble mentioned is not experienced4 ,it is convenient to have two sizes in the tool so that the heaviest part of the work can be done by one cutter1 the tool reversed by turning it over in the fork of the jaws1 and finishing the blank with the last cutter4 ,a watchmaker's fine saw is to be used to sever the screw from the rod4 ,the tool itself is to fit in the spindle of the tail stock1 and the screw wire is held by a drill chuck4 ,in the matter of ornamental work1 there are other details and plans in vogue among experienced turners1 which can only be alluded to1 not discussed at length1 for the reason that the styles are so numerous that an elaborate work might be made of them alone1 with great profit4 ,the scroll chuck or geometrical chuck1 as it is sometimes called1 is a complicated piece of mechanism1 too costly for general use1 and too limited in its application1 to mechanics in general1 to be of much utility4 ,it does such work as may be seen on bank bills4 ,the chuck plate1 on which the work is fixed1 is connected1 by a train of gearing on its back1 with a fixed gear about the spindle on the head stock1 so that when the relation these gears bear to one another is altered1 the motion of the work on the chuck is accelerated or retarded1 or is made to assume certain positions4 ,an elliptic chuck is quite another thing1 the work done by it is shown in ,fig4 #ec1 which consists1 chiefly1 of ornamental designs disposed in a certain order4 ,in fact1 the changes that can be made are infinite4 ,illustration3 ,fig4 #ec4 ,mandrels--arbors1 as many call them--are very useful tools4 ,mandrels are made of wood and steel--usually steel1 and never of wood1 unless for some special reason4 ,as1 for instance1 when a large brass ring has to be turned4 ,for this use a wooden mandrel is cheaper and more quickly made than a steel one4 ,besides1 it is quite as good4 ,wooden mandrels should have iron center plates let in them1 so that they will run true2 if the center was made in the wood itself1 it would be liable to run out4 ,take a piece of sheet iron1 one eighth of an inch thick and one inch square1 hammer the corners thin1 then turn them over at right angles with the plate4 ,this gives four sharp corners1 so that1 when driven in the end of a block1 it will not slip2 three small screws will hold the plate to the mandrel so that it cannot get loose4 ,the center must then be countersunk1 as any other is4 ,such a mandrel1 made of hard wood1 hickory for instance1 will last a long time4 ,fibrous wood such as white oak1 makes a good mandrel1 for the reason that work1 driven on it1 compresses the fibers instead of scraping them1 so that the size of the mandrel is unchanged4 ,steel mandrels should be turned two in one1 or largest in the middle1 for small work1 each end being a different size4 ,each end should be thoroughly centered with a drill1 and countersunk1 and a flat place filed so that the dog will hold2 not a scratch with a tool should ever be made in one1 though few persons will take the pains to avoid doing this4 ,it is unnecessary to tell the mechanic he must have a rack for his tools1 but we may tell the beginner so1 and he will find it a great convenience4 ,now-a-days1 the twist drills1 made and sold in all the tool stores1 are so uniformly superior to any thing that can be made by hand1 or by individuals1 and are1 moreover1 so cheap1 that it is foolish to make drills4 ,those who have never used them1 should not fail to order sets4 ,they run all sizes1 from a needle to an inch4 ,there are not a few turners who spoil work simply from heedlessness4 ,not because they do not know any better1 but because they are averse to taking a little extra pains4 ,if a mandrel runs out of truth a very little1 sooner than alter it1 or make a new one1 they will try to 8make it do40 ,the result is easily seen when work is to be put together4 ,moreover1 many persons use little caution in setting their work in the lathe4 ,instead of always putting it in the same place1 driving it from the same side of the face plate1 it is entered at hap-hazard4 ,it is not good to get into the habit of doing work in this way1 for it soon leads to recklessness4 ,some are too lazy to go and grind their tools1 when they know it should be done1 and continue to use them to the ultimate damage of the work4 ,it is easy for the practiced eye to see these apparently small things1 for they constitute a great part of the difference between a good workman and a bad one4 ,,chapter ,x4 ,,ornamental ,,woods4 ,in the matter of wood working1 the amateur has a field as wide and attractive as the most enthusiastic could wish4 ,of course1 under this head only those that are ornamental are considered1 leaving the plainer and rougher materials for domestic purposes4 ,,varieties4 ,most amateurs ransack the stores of dealers in foreign woods1 for rich and rare varieties1 leaving our own native woods for others1 of deeper hue and harder grain4 ,yet it would be difficult to find more beautifully veined wood than chestnut1 butternut1 some varieties of ash1 the root of the black walnut1 ,california rosewood1 and oak2 all of which are indigenous4 ,in foreign woods there are innumerable varieties1 but as comparatively few of them are to be had1 there can be nothing gained to the amateur by mere enumeration4 ,i have said comparatively few are to be had in shops1 and that is true for this reason2 the woods the amateur can readily obtain1 are the woods of commerce2 that is1 those used in the arts and trades4 ,no one imports woods at a venture1 or on chance of sale4 ,dealers know their customers1 and when1 by chance1 they find a captain of some foreign trader1 who has a fancy lot which he has brought over1 they send word to their best buyers1 who come and view the lot1 and take that which suits them1 and the rest1 worm-eaten and 8wind-shaken10 it may be1 is either burnt up1 or thrown on one side for some button maker1 who may find in the short odds and ends a profitable bargain4 ,i shall1 therefore1 mention but a few of the leading varieties of choice woods1 and these the most marked and contrasted4 ,very many differ only in the name1 and1 as far as mere exterior goes1 are hardly distinguishable from each other1 while others are positively ugly4 ,,snake ,,wood4 ,prominent on the list of foreign woods is snake wood1 or1 as it is sometimes called1 leopard wood4 ,the markings and mottlings in this wood are certainly superb in fine specimens4 ,i have now before me a small vase1 made of this material1 which exhibits the most beautiful cloudings and veinings4 ,the pattern1 so to speak1 is in alternate black and red blotches1 like those on the back of a snake4 ,when varnished and ,french polished1 these are brought out in strong relief1 and the effect is very fine4 ,there is one drawback to its use1 however1 and that is its brittleness4 ,notwithstanding the lathe be run at a high speed1 it will frequently sliver and crack in the most unlooked-for and vexatious manner1 and it is unsafe to undertake any very delicate or fine work that requires time and minute separation on the surface in this material2 for general work1 however1 which has mouldings and convolutions on it1 it is easily manipulated1 and is susceptible of a brilliant polish4 ,further3 it has the advantage of being 8fast colors10 which is more than can be said of many other foreign woods4 ,whatever color may be developed in turning1 will be retained to the end of time4 ,this is not true of either tulip or granadilla wood4 ,both of these are brilliant in the extreme1 when freshly cut1 but by exposure to the air1 fade away into the most sombre colors4 ,,tulip ,,wood4 ,this is a moderately hard wood1 of a peculiar salmon-pink1 veined with reddish brown and gray4 ,the veinings are chiefly parallel with the grain1 not straight1 of course1 but wavy and mottled4 ,as previously remarked1 it is beautiful when first cut1 but gradually fades into a dingy1 reddish brown4 ,it is a handsome wood for contrasting with ebony1 or any dark variety1 and is chiefly used for inlaying costly furniture1 such as musical instruments1 work boxes1 etc41 etc4 ,it is undeniably handsome1 however1 and by no means to be disparaged4 ,,granadilla4 ,this is commonly called cocoa wood4 ,it is hard1 finely-veined1 and capable of a handsome polish4 ,it is largely used in the manufacture of table and pocket cutlery1 for the handles4 ,it comes in logs1 from two to eight inches in diameter1 and is one of the most easily worked woods4 ,quantities of it are employed for the handles of seals or letter stamps1 in which instruments its brownish yellow color and markings must be familiar to many4 ,it fades1 however1 so that in time it becomes almost uniform in its tone4 ,,tamarind4 ,this wood is very unfrequently met with4 ,i obtained1 by chance1 a large log of a wood-worker1 and was highly pleased with it4 ,it can scarcely be called variegated1 except so finely as to be unnoticeable1 but for a rich brown color and tint it is unapproachable4 ,it is chocolate brown in hue1 and so hard and close in fibre1 as to rive like the husk of a cocoanut1 while under a burnisher alone it polishes like ivory4 ,it is seldom one meets with a wood so wholly satisfactory1 in its general nature1 for all kinds of work where a hard grain and fine surface is desirable4 ,,cam ,,wood4 ,this is a dye wood2 that is1 the shavings boiled in water1 or treated with alcohol1 yield a handsome dye1 which is largely used in the arts4 ,it is moderately hard1 in about the same degree as mahogany1 and is plain in surface2 it is handsome for inlaying and veneering in contrast with ebony1 but changes to a brown with age4 ,,box ,,wood4 ,this is so well known to be a fine-grained1 buff yellow color1 and easily worked wood1 as to need little further explanation of its characteristics4 ,it is becoming scarcer and dearer every year1 but is of little general value to the amateur from its monotonous sameness2 one piece being like all the others2 whereas1 with snake wood1 or granadilla1 perpetual surprises await one4 ,refuse box wood1 in odd-shaped pieces1 can be bought very cheap from those who make it a business to fit up blocks for engravers1 and also from wood-type makers4 ,,laurel ,,root4 ,this is a peculiar wood1 and1 in my opinion1 more peculiar than pretty4 ,it has a singular feeling under the tool1 cutting much like cheese or gum2 like any thing else1 in fact1 but wood4 ,in veining1 it closely resembles brier wood and bird's eye maple2 pipes have been made of it4 ,it is quite sound1 but cannot be said to be handsome4 ,it is the root of the common swamp laurel1 ,i am told1 and requires long seasoning and drying to be manipulated4 ,,white ,,holly4 ,this is a pure white wood1 very easily bent1 turned1 and cut1 straight of grain1 and very useful for inlaying4 ,quantities of needle cases1 fans1 and such wares1 are made of it4 ,it is a native of this country1 though the best is said to come from ,england4 ,this seems quite unnecessary1 for ,i have picked out of my wood-pile quantities of white holly1 as handsome in color and in grain1 as one could wish to see4 ,,ebony4 ,every one has his prejudice1 and ,i have no doubt but that many will consider me lacking in taste if ,i condemn this wood4 ,it has one sole redeeming feature--blackness--which renders it indispensable in many cases4 ,yet ,i have seen rock maple dyed black1 that put ebony to shame for richness of color and fineness of grain4 ,no ebony that ,i ever saw was black1 naturally4 ,it was brown1 and became black by oiling and varnishing4 ,there is a variety1 called 8bastard ebony10 which is full of whitish brown stripes1 and is soft like pine1 but the true ebony is not to me a precious wood1 although it is expensive1 and1 in some cases1 undeniably handsome4 ,in spite of all selection1 aided by good judges1 ,i have frequently found my 8black ebony0 any thing but black2 it is full of season streaks and cracks1 and splits in the most perverse and unexpected manner4 ,,olive ,,wood4 ,this is the wood of the olive tree1 and is chiefly valuable for its odor2 that is1 to those who like that odor4 ,in color it is like white wood1 and is without any marked feature1 except that of scent4 ,,sandal ,,wood4 ,this is a fragrant wood1 light buff-colored1 and very soft1 and straight in grain4 ,in general it is like pine wood1 splitting straight1 working easily1 and valuable solely for its odor4 ,,rose ,,wood4 ,this is an exceedingly beautiful wood1 and is so well known1 in its general nature1 as to need no recommendation4 ,in marking1 it is so delicate as to admit of the finest work1 and yet retain the beauty of the pattern4 ,,curled ,,maple4 ,this is one of the most beautiful of our native woods2 in point of color1 and power of retaining it1 in marking and in variety1 it is1 to me1 one of the most beautiful of all woods4 ,the vein has a sinuous sweep and curve to it1 which is heightened by varnishing and polishing1 to a marked degree4 ,all of the handsome woods1 however1 have a peculiar intractability1 so to speak1 which renders them slow and tedious to work4 ,in fact1 it is just this stubbornness of grain which renders them beautiful1 for1 by running in all directions1 interlacing the fibres1 so that the end of the grain is alternately presented side by side with the parallel grain1 the light is caught and retained on dead surfaces that absorb it1 making those beautiful contrasts which the most uncultivated admire4 ,,bird',s ,,eye ,,maple4 ,this is also a handsome wood1 full of round spots interspersed with circular markings1 the whole forming a handsome contrast when well handled4 ,pear and apple tree woods are also handsome1 but none of the native woods exhibit so great variety in tint and markings1 as those which grow in tropical countries4 ,there is no occasion to continue a mere list of woods which can be found in any shop1 and this branch of the subject will be dropped4 ,,treatment4 ,the first thing that occurs to the workman when he possesses or sees a handsome piece of wood1 is3 ,what shall ,i make with it8 ,many kinds of wood show well in large works1 but in smaller wares1 such as sleeve buttons1 and napkin rings1 they look like common wood2 it is1 therefore1 labor lost to spend time in working out a nice job to show the veining and marking of the wood1 because such veining is not brought out fully4 ,the first care is to select sound wood4 ,it is one of the most vexatious things in the world to have a nice job nearly done1 and find a large worm hole extending right through the center of it1 interfering with the tool and destroying the beauty of the piece4 ,in such a case1 the only resort is to plug it up1 but no matter how skillfully this is done1 the plug is certain to show1 and always mars the appearance4 ,some kinds of foreign woods are almost always worm eaten4 ,snake wood1 for instance1 is very liable to that fault1 and too much care cannot be taken in examining it4 ,ebony is not so liable to it1 and native woods are peculiarly free from it4 ,,chapter ,,xi4 ,,wood ,,turning4 ,illustration3 ,fig4 #ed4 ,in turning wood1 the speed cannot be too high1 or the tool too sharp4 ,the faster the speed1 the more perfect the surface produced by the tool4 ,in centering1 also1 it is necessary to use care in getting a sound place to begin on2 otherwise1 when in the middle of a job1 the centers change and the work is spoiled4 ,this1 of course1 relates to work that is turned on centers1 such as chess-men1 penholders1 rulers with ornamental ends1 8what-not0 legs2 in fact1 anything of that class4 ,the driving center or one that goes in the head of the lathe1 commonly called the live center--in opposition to the one in the back end of the lathe head1 which does not move1 and is called the dead center--should be properly made1 or much confusion will be the result4 ,very many use the common bit1 like ,fig4 #ed1 which is a very poor device for the purpose4 ,there being no guard at the corners of the bit1 they are liable to slip when strain is brought on the work by the tool2 it is1 therefore1 necessary to make the driving bit1 or center1 like ,fig4 #ee1 which represents a section through the front edge and the flat pieces at the top1 to prevent the work from slipping4 ,illustration3 ,fig4 #ee4 ,in turning very small work1 say penholders for example1 ,i have found centers useless to drive from1 and after trying dogs1 commonly used for metal turning1 and many other devices1 have found no more efficient or expeditious plan than to round the end of the wood slightly with a pocket-knife1 as in ,fig4 #ef2 insert the rounded end in a chuck1 and place the other in the back center4 ,in this way1 ,i am able to command the whole range of the work1 from end to end1 without interference1 and to have the small tip where it is necessary to have it to keep steady2 that is1 near the center4 ,illustration3 ,fig4 #ef4 ,i saw all my pieces for turning1 into square strips4 ,i never split them2 splitting shivers and cracks hard and precious wood1 and makes unsound that which was previously sound4 ,besides1 it is more economical and more expeditious4 ,if you cannot saw them yourself1 handily1 take them to the nearest wood-worker who has a circular saw1 and he will do it for a trifle4 ,,chapter ,,xii4 ,,tools ,,for ,,wood ,,turning4 ,it does not seem necessary to go into the discussion of tools1 or shapes of tools1 for wood turning1 for the grand and great reliance for roughing is the gouge1 and a skillful workman will do as many things with it as the ,russian carpenter is said to do with his axe1 which is almost his only tool4 ,for smoothing1 there is the flat chisel1 and for special work1 every one will find tools1 or1 rather1 make those he finds best suited to his needs4 ,i would1 however1 here say with great earnestness1 that it makes all the difference in the world what kind of steel you get in your tools1 whether they are worth any thing or not4 ,i never found any turning tools in stores1 that ,i considered worth any thing4 ,they are generally made for working soft woods1 such as pine1 but the amateur needs tools of a different class and temper4 ,hard woods are full of dust on the outside1 and seem more or less impregnated with silica1 the principle which forms the coating on the stalks of rye and cereal grains generally1 which destroys the cutting edge in a short time1 and also draws the temper4 ,i have therefore found it convenient to make my own tools out of the best steel ,i could buy1 and temper them myself4 ,the difference is very marked1 for where ,i formerly went to the grindstone every few minutes1 ,i now use a tool a long while1 thus saving many steps and minutes4 ,i therefore repeat--choose your steel from such as you find the best1 and harden it yourself4 ,if you don't know how1 a few trials will enable you to do it 8everytime10 as the saying is4 ,i have found ,sanderson's1 ,jessops1 and ,stubbs1 all good steel2 also ,park ,brothers ,american steel first-rate for general work4 ,no doubt there are some who will take up this book1 and for the first time read of the matters contained therein1 to whom hardening and tempering are 8all ,greek20 to such ,i will explain the process4 ,very often amateurs buy tools which are good if they were only properly hardened1 and to them also1 it may be of service--if they do not already know it--to be able to do this simple thing4 ,,chapter ,,xiii4 ,,tool ,,tempering1 ,,etc4 ,the great object is to harden at as low a heat as possible1 so as not to injure the steel4 ,the tool must not be treated as a blacksmith does iron1 nothing like so hot1 but so as to be of a dull cherry color4 ,steel that will not harden at this heat is poor stock4 ,when so heated1 plunge it into cold water4 ,this will make the tool hard and brittle1 like glass1 so that it is not fit to cut with2 you must then rub it bright on a piece of emery paper or a grindstone1 and hold it in the fire for a second or so at a time1 until the temper is drawn to the right degree of toughness and tenacity4 ,this will be1 for turning-tools for hard wood1 of a dull blue-brown1 say violet1 color4 ,straw brown is hard enough to cut steel1 and you do not want such a temper for wood in general1 but for some purposes1 it is desirable to have a very hard tool4 ,when the edge crumbles1 it is too hard1 and must be lowered in temper2 when it rounds over1 or dulls quickly1 it is too soft1 and needs to be hardened4 ,this much in the way of tools of which more will be said hereafter4 ,many things are not held in the centers at all1 but are grasped by chucks1 of different patterns or shapes4 ,this1 to me1 is the most satisfactory way of turning1 inasmuch as it allows perfect liberty and sweep in all directions1 and does not restrict the fancy or imagination of the workman4 ,illustration3 ,fig4 #eg4 ,illustration3 ,fig4 #eh4 ,it is not necessary to mention what kinds of work can be done1 for that will occur to every one1 but ,i will merely give here an illustration of the facility which the chuck affords for all kinds of work4 ,fig4 #eg is a box cover1 and being held at first by the corners1 permits the inside to be turned out to fit the bottom4 ,afterwards1 whatever finish or pattern is desired1 can be given to the top4 ,there is in every lathe1 a center screw1 like ,fig4 #eh1 which is useful for holding work that has1 or is to have1 a hole in it1 but for fine work it is not suitable1 for the obvious reason that the screw spoils it4 ,fig4 #eg is the scroll chuck1 and is a favorite instrument of mine4 ,i could dispense with many things--the face-plate of the lathe for one--better than ,i could with this4 ,if ,i want to make a sleeve-button1 there is my friend1 the scroll chuck1 ready to hold the piece true to the center1 without any adjustment whatever and hold it firmly1 too4 ,if ,i wish to bore out a ring1 the chuck will grasp true1 and hold it without spring3 in fact1 not to dilate unnecessarily1 ,i call it the one thing no turner can afford to be without4 ,there are many in the market1 but the best one for general work of this class1 ,i have found to be that made by ,a4 ,f4 ,cushman1 of ,hartford1 ,connecticut4 ,he makes a very small chuck1 also1 for holding drills1 that is exceedingly convenient for them1 and for holding screw wire1 or any work of that class4 ,the 8,beach ,chuck10 made by the ,morse ,twist ,drill ,company of ,new ,bedford1 ,massachusetts1 is also a good chuck1 but as ,i am not now discussing the merits of chucks1 ,i will return to the subject in hand--treatment of woods4 ,i do not design1 in this little work1 telling any one how to hold a tool1 for it is to be presumed that at least that part of the craft has been acquired4 ,even if ,i did essay to tell them1 ,i could no more impart such knowledge than one could skate by seeing another person do it4 ,observation and practice are the only teachers4 ,,chapter ,,xiv4 ,,artistic ,,wood ,,turning4 ,some of the most beautiful work1 really artistic in every sense of the word1 is made by laying up woods of different colors1 but of the same general character as regards hardness4 ,if this latter precaution1 which ,i have italicised1 be neglected1 the result will be wholly unsatisfactory1 for where two or more woods of different densities are laid up together1 side by side1 the tool will act upon the hardest very well1 but will glide or spring over the inferior material1 and thus leave an uneven surface4 ,white holly and ebony work well enough together1 but ,i do not consider ebony a hard wood4 ,of course there are many who will dispute this assertion1 but it is easy enough to pick out specimens of any wood that are hard1 but what ,i mean to say is1 that1 in general1 it is not a truly hard wood1 like rosewood or even cocoanut4 ,white holly is almost as soft as pine1 and contrasts finely with the only natural black wood that we have4 ,there is one other black wood1 of which ,i have seen specimens1 that is perfection itself1 so far as color1 grain1 and strength are concerned4 ,indeed1 it can scarcely be said to have a grain1 so firm and solid is it in texture4 ,it turns like horn1 or ivory1 and is of the 8darkest1 deepest1 deadliest10 black4 ,unfortunately1 ,i cannot give the name of it1 for the reason that the gentleman who gave it to me1 did not know himself what it was1 and he obtained it from the captain of a vessel trading to ,africa4#a ,mere white and black wood1 side by side1 do not look well unless some kind of pattern or design is observed1 and if the pattern is obtained only at great expense of time and labor1 it is also unsatisfactory4 ,i shall show1 further along1 how different designs can be produced rapidly and accurately1 with but comparatively little labor4 ,by inlaying1 too1 many most beautiful designs can be produced1 with but little labor compared to that which is generally bestowed upon such work4 ,this kind of ornamentation is beautiful upon work tables1 work boxes1 cigar stands1 paper knives1 fan handles1 fancy boxes1 inkstands1 card cases1 vases1 picture frames1 penholders1 sleeve buttons1 ear-rings1 chess and checker men1 napkin rings1 fancy drawer knobs1 jewel caskets1 watch holders1 glove boxes1 in fact1 the whole array of fine cabinet work1 looks better when neatly and tastefully inlaid with woods that match and harmonize with the subject1 and with each other4 ,i think that some of the methods ,i practice are new to most persons1 and ,i am sure they will be found accurate and expeditious2 which last is a point of no small importance2 for when a person works a long time over an elaborate thing1 he gets terribly tired of it after while1 if it is slow and plodding4 ,in fact1 where there is much that is uniform in character1 as in making a check pattern1 in black and white colors in squares1 not over the tenth of one inch wide--it is impossible to make any thing like regularity1 or fine fitting1 and close joints1 by handling each piece separately4 ,i therefore have a variety of what ,i call 8stock0 on hand1 ready laid up1 in all colors and dimensions1 so that ,i can choose from it exactly as ,i would pick out a tool4 ,this stock consists of wood laid up in the patterns shown in ,figs4 #ei-fg1 and of sizes varying according to my designs1 but generally very near the sizes here shown4 ,illustration3 ,fig4 #ei4 ,illustration3 ,fig4 #fj4 ,illustration3 ,fig4 #fa4 ,illustration3 ,fig4 #fb4 ,illustration3 ,fig4 #fc4 ,illustration3 ,fig4 #fd4 ,illustration3 ,fig4 #fe4 ,illustration3 ,fig4 #ff4 ,illustration3 ,fig4 #fg4 ,these are laid up in long strips1 say twelve inches long1 or as may be conveniently handled4 ,they are all sawed out with a fine circular saw1 by some one who understands cutting hard wood for this purpose4 ,the stuff must be shoved through the saw with a very regular1 gradual feed1 so as to cut a smooth surface1 and if the saw is not right for cutting smooth on the side1 it must be made so2 for it will not do to plane the strips after they are sawed1 as there never would be any uniformity between them1 and the joints would be very imperfect4 ,in gluing them up1 there is nothing particular to be observed1 except that the glue must be very hot1 laid on well with a stiff brush1 and the stuff clamped between two thick boards1 which have been planed perfectly true on the faces2 so that the union will be perfect between the strips4 ,in this way the job will be well done1 and the sections will show uniformly4 ,as it is the sections that are mainly used1 this is a matter of great importance2 for when it is necessary to have an ornamental border to a work-box1 for example1 it is only requisite to saw off as many sections1 from the end of any of the blocks1 as may be desired2 as in ,fig4 #fh4 ,it is then a simple and easy thing to lay them in1 one after another1 in the place that has been left for them4 ,illustration3 ,fig4 #fh4 ,illustration3 ,fig4 #fi4 ,i do not saw off each square strip by itself before ,i glue the stock1 but ,i lay up several flat pieces1 as in ,fig4 #fi1 which represents one end section of the strips1 longer than it is high1 the saw removes some in cutting1 so that when ,i saw down through the top vertically1 as shown by the straight line ,a1 ,i obtain square strips in long pieces1 but all glued together so they are easy to handle1 these ,i afterward glue together again1 so that white and black alternate1 as in the checker-board1 and ,i then have the pattern precisely uniform in all the length of the stock4 ,i claim originality for this plan1 and also expedition in execution2 more than either ,i get entire uniformity4 ,of course it is easy to make any other pattern in the same way1 and it is surprising to see how many rectangular and acute-angled patterns can be made with these sections4 ,it is sometimes possible to get veneers of the right thickness1 but any veneer cutter will saw the wood as desired4 ,since the paragraph above was written1 ,i have seen some 8,tunbridge ,ware0 work made in ,england1 which is1 ,i am sure1 done in the same way4 ,therefore1 ,i am not the originator of the idea1 but ,i can certify that it is a good and a quick way of making very elaborate patterns4 ----- ,footnote #a3 ,i have since learned that it is called ,african 8,black ,thorn40 ,,chapter ,,xv4 ,,stamp ,,inlaying4 ,of course there are times and places where the sameness and rigidity of angular patterns are tedious1 and the eye and hand1 fatigued by it1 desire a change into something more graceful and harmonious in effect4 ,the smaller the pattern1 the more tedious1 irksome1 and expensive the goods4 ,to avoid delay is one object of the workman1 but to obtain perfection is the chief4 ,in order to do this1 we must have some plan or some tool to multiply the same shape with great rapidity and regularity4 ,illustration3 ,fig4 #gj4 ,in fine workmanship1 or rather in small pieces1 it would be impossible to cut out any great number with the certainty of their being at all similar2 some would be large1 some small1 and all different4 ,let us imagine that it is desired to inlay a laurel wreath1 or a garland of stars in an elliptic pattern about the edge of a box cover1 as in ,fig4 #gj4 ,it will be seen that to cut each one in with a chisel would be an endless task4 ,i therefore propose to do it much quicker than it can be done by other plan1 and that is by a stamp4 ,i make a steel stamp1 or punch1 of the exact size of the pattern ,i wish to let in the box1 and am careful to have it bevel inwards1 from the edges toward the top1 as in ,fig4 #ga1 not only to avoid breaking down the edges1 but to make a clean1 sharp impression in the wood4 ,it is necessary to cut in pretty deep1 for1 with all your care1 you cannot avoid breaking the edge to some extent1 and it can only be practised on any solid1 sound wood1 not veneered4 ,except for large patterns1 ,i do not put veneers in these incisions1 or stamp markings1 as ,i could not cut them out so small1 as the pattern shows in the engraving1 but ,i either make a cement of white lead1 and push that into the holes1 or1 using the same stamp ,i cut in the pattern in the wood with1 ,i cut pieces out of thin sheet ,german silver1 and push them in with great ease4 ,if ,i use silver1 ,i am careful to cut in below the surface of the cover on the box1 so that ,i can put the cover in the lathe again1 and refinish the top so as to be flush with the silver4 ,in this way ,i get a true1 uniform1 and even pattern1 which looks as if it had grown in its place2 for grace and elegance of appearance1 it cannot be surpassed4 ,where it is absolutely necessary to use a chisel and cutting tool to inlay with1 ,i still make stamps1 even so large as half an inch superficial area1 for they are soon cut out1 and serve to mark the outlines for the chisel1 so that it is easier to cut the pattern by their aid4 ,illustration3 ,fig4 #ga4 ,in straight lines1 or even in letting in circles1 parts of circles1 ellipses1 in fact1 any curved or angular work with veneers1 ,i invariably cut the pattern out before laying it on the box1 and then fit the other colored pieces in the spaces left4 ,very many veneers cannot be handled at all when dry1 without breaking all to pieces and spoiling the pattern4 ,it will be necessary to soak ebony1 for instance1 for some time before you want to use it4 ,with this precaution1 you can cut it in any shape without danger4 ,it is the same with maple veneer4 ,when ,i have cut out an intricate pattern in ebony1 and wish to inlay the same with holly1 ,i obtain an exact duplicate of the shape the holly should have1 by placing it1 wet1 over the ebony1 holding it firmly1 so that it cannot slip1 and then rapping the holly with the end of a tool handle4 ,in this way a fac simile of the pattern is transferred in wet lines to the holly1 and you have only to follow them over with a lead pencil to get a perfect shape4 ,then take a sharp square-ended knife1 and laying the veneer on a hard surface1 cut slowly and carefully all round the marks1 and after a few incisions1 you will have the satisfaction of seeing it come out perfect4 ,,chapter ,,xvi4 ,,designs ,,in ,,mosaic4 ,these methods greatly expedite the labor of inlaying1 for mere labor much of it is2 that is1 when repetition of the pattern is frequent1 as it is in small designs4 ,the great trouble and vice of amateur mechanics is haste2 they are too anxious to see the result of a design to give it proper attention in detail1 and1 as a consequence1 it lacks that nicety and uniform elegance that characterize the shop-made goods4 ,for where men work by the day1 they are not too energetic as a rule4 ,,designs ,,in ,,mosaic4 ,by this ,i mean the employment of small bits of different colored woods to produce a certain effect4 ,i have seen many that were made to represent foliage of trees1 the wood being stained green1 of course1 but these works of art seem to me labor thrown away1 and1 except as mere curiosities1 are in no wise attractive2 for no workman can do more than imitate nature in this line1 and it is a poor imitation4 ,illustration3 ,fig4 #gb4 ,a legitimate branch of this line of work is that wherein small bits1 say of the size of ,fig4 #gb1 can be conveniently used4 ,when laid in nicely1 and the colors arranged to harmonize1 they certainly look well1 resembling the straw flower work1 or inlaid straw work of ,japan4 ,the wood may be dyed any color desired1 but it is much nicer to use those colored by nature1 which do not fade4 ,i give here a list of naturally colored woods1 useful for this kind of work4 ,black--,ebony4 ,red--,cam ,wood1 ,tulip ,wood4 ,yellow--,boxwood4 ,white--,holly4 ,brown--,walnut1 ,cocoa4 ,red ,brown--,spanish ,cedar 7cigar box74 ,these woods all inlay well except the ,spanish ,cedar and ,walnut1 which are apt to chip and sliver off on the edges1 when cut thin4 ,cam wood is a pretty red wood1 very close in grain1 but not to be had in veneers1 as it is used chiefly for making dyes4 ,most of this kind of work looks better when ranged in angles about a center1 though ,i recently saw a work-box in ,boston1 which had an accurate representation of a worsted pattern worked on a canvas1 but as the workman had unfortunately selected a very ugly pattern1 and the woods had faded1 his labor was wholly thrown away4 ,after having arranged or laid one course in mosaic work1 it is comparatively easy to follow the whole around1 but it is absolutely essential that the pieces to be let in should be fac similes of each other1 for unless this is the case1 the pattern will come out wrong when the ends are joined1 or where it meets4 ,great care must be observed in this1 and as it would be almost impossible to cut slips of veneer so small1 and be accurate1 ,i prefer to take a slip of wood1 and saw off of the end1 having1 of course1 previously planed and callipered the stick perfectly true4 ,here let me say1 that the saw ,i use for this purpose1 is the watchmakers' dividing saw1 the same as jewellers use4 ,some of the saws are scarcely larger than a horse hair1 while others are three-tenths of an inch deep and very narrow4 ,with this instrument ,i can work very delicately as regards thinness and smoothness of surface4 ,it is also admirable for scroll sawing1 of which more hereafter4 ,of course1 all these are small jobs1 and small1 fine work2 when it comes to more elaborate patterns1 such as are generally found on tables1 work-boxes1 musical boxes1 and similar things1 it requires more time1 but as the pattern is large1 it requires no particular patience beyond that which a very fine piece of work does4 ,but where the pieces are small1 as in mosaic1 it takes a great deal of patience to pick up one after another1 and no small degree of artistic talent to bring them all in in the right place4 ,,chapter ,,xvii4 ,,finishing ,,the ,,outside4 ,when the pattern has all been laid1 the next thing that remains is to finish the exterior1 and polish it or oil it as may be desired4 ,to do this it is1 of course1 necessary to use great care4 ,the veneers1 if they have been used1 are very thin1 about the twenty-fifth part of an inch1 and there is not much to come off4 ,it must therefore be scraped very carefully with a sharp scraper1 either in the lathe1 or1 if the work be a flat surface1 by a scraper held in the hand1 and made of sheet steel of the best quality4 ,in using the scraper1 care must be taken to humor the grain of the wood1 so that it will not be roughened up by being rubbed the wrong way4 ,when it has been scraped sufficiently smooth1 it must be thoroughly rubbed with sand paper1 until it has an even1 uniform surface all over4 ,if it is to be varnished and polished1 ,french polish as it is termed1 such as is seen on pianos1 it will require a long time and much experience to make it a success4 ,the reason is this3 the polish is really given to the gum of which the varnish is composed1 and not to the wood itself4 ,the gum sinks into the pores of the wood and fills them up1 and hardens as it is applied1 but the fluids in which the gums are dissolved1 either turpentine or oil1 evaporate comparatively slowly1 so that before each coat is applied1 the previous one must be dry and hard1 or else the next one will be streaky1 and the surface will be ridgy4 ,the length of time depends greatly on the weather2 from three to six months being required to properly dry and harden a piano-case so that it will wear--six months is1 however1 extreme1 and is only the case in very warm weather4 ,it will easily be seen why so many amateurs fail in producing that vitreous glaze1 or polish1 which is so universally admired4 ,not one in fifty has patience enough to wait until the first coat dries1 before the second is applied1 and they keep trying the varnish1 to see if it won't work1 in a day or two after it has been put on4 ,it sometimes takes ten days before the third coat is ready to apply the next4 ,it is a common fault to apply too much varnish on the first coat4 ,it is necessary to rub it into the grain of the wood1 so that it is thoroughly charged with it1 and sinks into the pores4 ,by rubbing it is merely meant to take a little on the brush and cover the surface gradually1 without trying to make it look well or ill4 ,the ground work has to be put on first1 before any thing can be done toward ornamenting4 ,after one coat has been put on1 it must be rubbed down with sand paper to remove any varnish that may not have sunk into the work1 and when all is fair and smooth and dry1 a second coat may be applied and treated in the same way4 ,the third coat may be applied rather more freely1 and must be left to get thoroughly hard before treating it4 ,it must then be rubbed freely with pumice stone flour1 and water4 ,this will leave it bright and hard if the varnish has been skillfully put on1 and a coat of flowing varnish may now be put on for the last4 ,flowing varnish is so-called because it is lighter in body than most varnishes1 and is intended as the last of all1 to produce that elegant glossy surface which characterizes all fine work4 ,many persons use shellac varnish1 which is simply gum lac 7the proper name is 8lac071 which is a gum found in the ,indies2 the trade give it the names of shell-lac and seed-lac1 and one other which ,i have forgotten3 shell-lac is the kind used for varnish4 ,the gum is simply dissolved in alcohol of high proof2 the solution being aided by exposure to a warm place and agitation from time to time4 ,as this varnish dries immediately1 or within an hour1 owing to the rapid evaporation of the alcohol2 it is very convenient for amateurs who are of an energetic turn of mind1 and wish to see their productions turned and finished in a breath1 as one may say4 ,it takes a fair polish1 but is by no means so durable or beautiful as copal or hard varnishes4 ,on some woods1 as1 for instance1 cherry1 pine1 or cedar1 it is very appropriate1 and looks well4 ,it is quite easy to write these instructions and observations down1 but there is a dexterity1 acquired only by practice1 which cannot be told to any one1 and the operator must1 if possible1 inform himself by visiting the nearest cabinet or piano factory1 and see with his eyes for himself4 ,i should have said previously that ivory black introduced into shell-lac varnish1 gives a very good black lacquer1 closely imitating japan1 while other colors1 such as blue1 carmine1 green1 or yellow1 have the effect of enamel when handsomely rubbed down and polished with several coats4 ,i have seen some most beautiful knobs for drawers1 fancy handles1 etc41 made in this way1 that looked like porcelain4 ,oiled wood looks well in furniture1 and there may be some who desire to use it on fancy work4 ,it is simply linseed oil applied in successive coats2 but it requires time to dry1 and always has a disagreeable odor about it4 ,,chapter ,,xviii4 ,,inlaying ,,continued4 ,a very convenient tool for inlaying veneers edgewise1 so as to produce alternate dark and white lines is made by taking a piece of steel1 one fourth of an inch by one sixteenth thick1 and making a chisel1 like ,fig4 #gc4 ,the bottom is rounded to prevent it from digging in4 ,to use this tool1 or to inlay fine white and black lines1 or white lines alone1 all over the surface of any piece of wood in any pattern desired1 it is only needful to mark out the pattern first1 incise it all around with a sharp keen edge1 such as a knife blade broken off to form a square end1 and then follow the lines with this tool1 when the wood will come away1 leaving a clean channel1 in which the veneer may be inserted with expedition and neatness4 ,in crossing the corners1 it is necessary to use caution1 so that they be not broken away1 for no inlaying looks well if chipped1 or ragged at the edges4 ,this is especially convenient for drawing lines across mahogany boxes that have been put together before inlaying was thought of for them4 ,the veneers should all be glued together1 side and side first1 that is1 if two colors are used1 then they will fit on the ends properly1 and may be handled with more expedition4 ,illustration3 ,fig4 #gc4 ,,gluing ,,in ,,veneers4 ,in a previous part of this little work ,i have advised the use of waterproof cements for fine inlaying1 so that dampness will not affect them1 but as this is not always convenient1 it is well to make the glue so that it can be used and the work finished off in a short time4 ,this is easily done by making the glue as thick as it will run1 or so that it is like a jelly4 ,if applied in this condition1 it will set hard in thirty minutes1 and the work may be cut down without fear or danger of its moving4 ,i have done this frequently1 in order to see what kind of work ,i was making4 ,always put a clamp on your work wherever you can1 for although the glue will adhere of itself to the wood1 it adheres much more strongly if pressed down by a clamp4 ,also1 never put a veneer on a piece of work that is uneven1 for although it may set square under the pressure of the clamp1 when you come to scrape it1 it will give way and yield to the inequalities1 and when varnished and polished1 will be full of depressions4 ,don't be afraid to rub down with sand paper1 under the impression that you are spoiling the work1 but let the varnish get thoroughly dried1 and be hard before you attempt it4 ,be sure1 also1 to remove every particle of varnish if you touch it at all1 otherwise that which remains will take a coat while the bare wood will not take so much1 and you will have a surface full of scars and ridges4 ,it is not necessary to touch the wood in rubbing down1 but go down to the wood1 so that a waxy appearance is presented1 and you will have a handsome finish that will add greatly to the beauty of the work4 ,white holly is easily soiled when used in connection with ebony1 by the dust from it1 and it will be necessary to rub it1 or scrape it delicately1 before varnishing1 without touching the ebony4 ,,ivory4 ,this substance is certainly a most attractive one to the turner4 ,pure in color1 hard1 solid and strong beyond belief in texture or grain1 it has the fewest disadvantages of any substance we use4 ,it is easily dyed to any shade1 and will hold it a long while4 ,either for jewelry1 or rather for personal adornment1 or articles of utility1 it is well adapted1 and but for the cost of it would be in general use4 ,it is getting dearer and scarcer each year4 ,the best comes from ,ceylon1 and that in least repute from ,african elephants2 the former is said to be much stronger and more solid4 ,of its general manipulation there is not much to be said1 except that the workman will find it trying to the edge of his tools4 ,in all respects it can be cut and turned like hard woods4 ,illustration3 ,fig4 #gd4 ,it is easily softened by immersion for a time in weak acid1 so that its friability1 toughness1 or tendency to resist the carving tool1 is destroyed1 and this without injuring the goods1 unless the acid is too strong4 ,as it is so expensive in general1 it is well for the amateur to know that he can purchase it in all shapes1 either in squares like ,fig4 #gd1 or in flat1 cord-like slips1 from dealers in it4 ,i will mention one person1 ,f4 ,grote1 #gh ,fulton street1 ,new ,york1 who generally has a good assortment of this kind4 ,it is extremely convenient to find pieces of the exact size and shape one needs1 and it is also economical1 both in time and material1 for all ivory must be sawed1 and that is slow work where there are no facilities4 ,after the article1 whatever it may be1 is turned1 it may be either dyed1 or polished in its natural color4 ,,polishing4 ,this is performed in the easiest way4 ,a wet rag will polish ivory1 but in order to put on a brilliant gloss1 take starch1 or ,spanish white1 saturate a wet rag with it1 and hold it on the work2 when dried off and rubbed with a woolen cloth or a piece of chamois leather1 it will have a brilliant and durable gloss4 ,,dyeing ,,ivory4 ,i tried a great many plans and recipes for dyeing ivory before ,i hit upon any that were in all respects satisfactory4 ,most of them were nasty1 involved the purchase of drugs and dyes that were sure to be adulterated1 and the results were vexatious1 but one day1 in dyeing some silk with family dye color1 prepared by ,howe and ,stevens1 of ,boston1 ,massachusetts1 the idea occurred to me to try it on ivory4 ,it succeeded to admiration1 and ,i had found what ,i had so long sought1 namely1 a clean1 cheap1 simple and sure method of coloring ivory to any shade needed1 in a short time4 ,the color can always be had1 ready for use1 in any town1 as much so as a bottle of ink1 while the various shades and gradations of tint are ready made to hand2 there is no need of stale urine1 or any other mess1--simple immersion in the hot liquid from ten to twenty-four hours will give a permanent and brilliant hue to any article4 ,i have never seen such brilliant colors as these dyes give4 ,the solferino and the black are particularly handsome1 and are insoluble in water2 that is1 the goods may be washed without injury4 ,the solferino will not bear hard rubbing in water1 but the black and other colors will1 without injury4 ,the depth to which the color penetrates depends upon the length of time the goods are immersed1 but twenty-four hours1 and even six hours in some cases1 will answer all purposes4 ,for chess-men1 the solferino is a splendid color1 while all the other tints can be had for other kinds of fancy work4 ,ivory is particularly suitable for mosaic inlaying1 as it never chips1 and can be cut into the smallest and thinnest pieces without danger of fracture4 ,it will hold on wood with glue1 though there are other cements1 stronger1 for the purpose4 ,it can also be dyed before inlaying1 and afterwards rubbed down to a uniform surface1 but the work must be done well1 as the dyes do not always penetrate equally1 and if the work is delicate and the design small1 it is apt to change the colors to rub them down4 ,napkin rings1 breast pins1 masonic mallets and emblems generally1 miniature gothic chairs with carved backs for ornamental purposes1 chess and checker men1 small boxes for lip and eye salves1 needle cases1 thimble cases1 ring and jewel boxes1 penholders1 silk-winders1 card cases1 all afford a fine opportunity for the skill and taste of the amateur4 ,,chapter ,,xix4 ,,ornamental ,,designs ,,for ,,inlaying4 ,although a handsomely veined piece of wood is as beautiful a thing as any one would wish to see1 there are occasionally pieces of work that look well inlaid1 and for this it is desirable that we should have as pretty patterns and judiciously chosen woods and contrasts as we can get4 ,i give here what ,i think is a pretty design for the cover of a round box4 ,it is easily made1 and ,i venture to suggest that the following colors will be found agreeable2 ,no4 #a1 tulip with outside edge of white holly1 tulip to be cut across the grain4 ,no4 #b1 ebony cut out of a solid veneer1 that is not pieced4 ,it will save a great deal of time and labor to glue this veneer on to mahogany a quarter of an inch thick1 and then saw the pattern out with a fine turn-saw4 ,to get the veneer off whole1 soak it in warm water for a few minutes4 ,no4 #c1 boxwood4 ,no4 #d1 ebony4 ,no4 #e1 tulip1 or1 if you can get it1 turtle wood4 ,it is sometimes to be had of ,henry ,a4 ,kerr1 ,center street1 ,new ,york1 dealer in woods4 ,the central flower can be omitted or executed4 ,it is a good deal of work1 but will make a beautiful piece when well done4 ,turtle wood is very remarkable1 being yellow inclining to salmon1 mottled with brownish black streaks1 sometimes black with superb crimson markings1 like a summer sunset after a thunder storm4 ,fig4 #gf is another similar pattern4 ,of course the workman will make such disposition of the colors as he pleases4 ,when these are varnished and ,french polished1 they certainly look splendidly1 and are specimens of work that any one may be proud of2 of course supposing them to be well fitted as to joints1 and without the glairy1 sticky appearance that characterizes varnish half rubbed down1 and that worked before it has hardened4 ,hardening and drying are two different things4 ,varnish dries before it hardens1 and requires time1 the more the better1 to season1 so it can be polished4 ,this is a very easy pattern to fit1 and any one of experience can make it complete in four or six hours4 ,fig4 #gg is still another pattern1 but what is shown dark1 as at ,a1 in the outer circles should be light to represent tulip wood4 ,tulip contrasts splendidly with ebony4 ,the center or body of the cover should be rosewood4 ,this must be put on first1 all over the whole surface1 and a white holly ring put on the outside edge4 ,the exterior and interior circles1 which form the pattern1 are then cut out by a tool like a carpenter's bit used in the lathe1 as in this diagram4 ,the letter a is round1 and will1 of course1 make a slight center hole in the box cover1 but as it is covered up that is a matter of no moment4 ,the inner circles ,b should also be tulip1 or some wood that contrasts with ebony2 mahogany is very handsome4 ,this pattern is not pretty1 but it is striking and unique1 which is sometimes the same thing4 ,of course1 the distances of the circles must be determined beforehand with a pair of compasses4 ,in scroll sawing much can be done that is pleasing to the eye in small works1 but for large designs and intricate ones1 the amateur will find an upright or jig saw necessary1 unless he be more than usually patient4 ,for the joints of boxes before veneering ,i always prefer screws rather than dovetailing1 which takes a long time1 and is no better when done2 screws are sure1 never start1 and save time1 which is a great consideration with amateurs1 whose tasks are often1 indeed1 in nearly all cases1 carried on after some other labor is over1 in the interim between arduous toil4 ,white woods1 such as holly1 need white glue1 else the joints will show4 ,beware of dust in your varnish brush1 and take care that you soak it for half a day before using it1 else the hairs will come out on your work and ruin it4 ,flat1 camel's hair brushes are to be used1 and can be had in every paint store4 ,use only the whitest copal varnish for your white holly1 else you will find it yellow holly after the varnish has been put on4 ,most varnishes need thinning slightly with turpentine before use1 especially if they have been kept some time4 ,keep your lathe centers so that they run true on the points at all times1 and have a mark on them so that they always enter from the same side of the lathe mandrel4 ,when you put clamps on to hold your veneers1 as you always should1 be careful1 if your wood is soft1 that you do not set the clamps so tight as to sink the veneer into the lower wood1 for the result will be an uneven surface1 that nothing can remedy4 ,be careful to have clean glue and clean surfaces if you wish to make sound work4 ,dust or grit ruins glue so that it will not hold4 ,,chapter ,,xx4 ,,general ,,summary4 ,in polishing metals1 whether brass1 iron1 steel1 or of whatever nature1 it is essential that the tool marks and scratches of files1 or other agents1 should be entirely removed before the final gloss is given1 otherwise the work will have a cheap look that detracts very much from its appearance4 ,if emery of the finest character 7flour7 is used1 with oil1 the result will be very beautiful1 but this makes a mess about the lathe it is desirable to avoid4 ,polish with oil is softer in appearance than dry polishing1 and is much more durable1 being not so liable to rust and tarnish4 ,dry polishing is performed with sand paper of various grades1 running from to #j4 ,this gives a very bright1 dazzling finish1 that is easily rusted4 ,brass must be treated with rotten stone and oil to be nicely polished1 and after this the burnisher should be used4 ,lacquers are employed for the purpose of preserving the polish unimpaired1 and are made as follows3 ,,lacquers4 #b gals4 ,alcohol1 proof1 specific gravity not less than #ie per4 cent4 #a lb4 ,seed-lac4 #a oz4 ,gum ,copal4 #a oz4 ,english ,saffron4 #a oz4 ,annotto4 ,another4 #dj ozs4 ,proof ,alcohol4 #h grs4 ,spanish ,annotto4 #b drs4 ,turmeric4 oz4 ,shellac4 #ab grs4 ,red ,sanders4 ,when dissolved add #cj drops ,spirit of ,turpentine4 ,directions for ,making4--,mix the ingredients1 and let the vessel containing them stand in the sun1 or in a place slightly warmed1 for three or four days1 shaking it frequently till the gum is dissolved1 after which let it settle from #bd to #dh hours1 when the clear liquor may be poured off for use4 ,pulverized glass is sometimes used in making lacquers1 to carry down the impurities4 ,the best burnisher is a piece of bloodstone ground to shape and set in a handle2 they can be bought for about a dollar and a half at any watchmakers' tool store4 ,rouge powder is also an excellent thing for polishing brass and ,german silver4 ,german silver1 in wire1 also in sheet1 can be had at the same place4 ,for silver plating fluid the workman will find that manufactured by ,howe ,stevens1 ,boston1 ,massachusetts1 to be the best of its class1 as it leaves a thin coating of pure silver on the metal1 which can be renewed from time to time1 as it wears1 by a fresh application4 ,any articles that require to be gilt can be best done by electro platers1 who will deposit as much gold on the surface as one desires1 even to the thirty-second part of an inch4 ,it is better1 however1 to buy a small battery1 which can be had for four or five dollars1 and do this for yourself4 ,very many other things can be electro-plated1 and fac similes of medals produced at a small cost1 which will be both instructive and ornamental4 ,,soldering4 ,there are many ways of soldering1 but the amateur will find the spirit lamp and the soldering iron the most convenient and expeditious4 ,in soldering tinned surfaces1 no particular care is needed1 as the solder will adhere easily1 but in brass1 or other metals1 it does not do so without the aid of a rosin flux or acid solution4 ,these simply act to make the surfaces chemically clean1 so that the solder will hold4 ,in fact1 cleanliness is absolutely indispensable to success1 for the solder will crawl off of any thing that is dirty or greasy1 even though it may not appear to be so4 ,lead and tin are used for solder1 and can be bought of any tinner very cheaply4 ,the end of the soldering iron 7which is not iron1 but copper1 by the way7 should be tinned1 otherwise the solder will not hold on it1 neither will it follow when the iron is drawn along a seam4 ,the iron is readily tinned in this way4 ,file it to the shape you want it1 and put it in the fire1 heating it pretty hot1 but nothing like redness4 ,you are then to wipe it clean quickly on a rag wet with soldering fluid1 which can be had in drug stores1 and is made of muriatic acid and sheet zinc dissolved in the same2 the zinc must be clean1 and in small strips1 and shaken gradually until dissolved4 ,the solution must then be well diluted with water4 ,it is used by wetting the rag aforesaid with it and rubbing the iron in it2 if block tin in strips be now rubbed on the end of the iron1 it will adhere1 and the iron will be ready for use4 ,the iron must not be heated so as to melt off the tin and expose the copper underneath2 for the iron is then useless until tinned again4 ,the soldering fluid is always to be used when brass1 or any surfaces not coated with tin1 are to be united4 ,by the spirit lamp you can join metallic surfaces very easily and quickly as follows3 take your plate1 or whatever it is you wish to join together1 and scour it bright with fine sand-paper or pumice stone and water1 on the faces to be united4 ,apply the soldering fluid1 hold it over the spirit lamp blaze1 and as soon as it is well heated1 rub it over with a stick of tin2 when it is well tinned1 lay it on a hot flat iron or the stove for a minute1 until you have tinned the other piece1 then clap both together1 and they will set instantly4 ,the blowpipe is very convenient for soldering small pieces together that cannot be touched with the iron1 but as it requires some skill to use it1 the amateur is not likely to be very successful with it4 ,the articles to be soldered in this way1 should be placed on a piece of charcoal1 so that the heat will be equally distributed and kept up during the process4 ,,varnishing ,,and ,,polishing4 ,on no account is a second coat of varnish to be applied before the first one is dry4 ,if this is done the result will be a sticky1 ridgy1 dirty looking job4 ,before the work is varnished even1 it must be thoroughly sand-papered to remove inequalities1 and the last sand-papering should be with the finest grade4 ,then apply the varnish1 taking care not to put too much on for the first coat4 ,when that is dry and hard1 sand-paper with fine paper again and varnish again4 ,three to four coats are enough for ordinary work4 ,when the last coat is dry and hard1 get some floated pumice stone flour1 that is1 pumice stone flour that has been washed1 mix it with water to about the thickness of cream2 apply it to a woolen rag1 and rub it gently over the work2 not too hard1 for that would cut the varnish off down to the wood4 ,after a while you will see that the surface of the varnish begins to have a hard1 smooth body1 like carriage work4 ,when this occurs1 you can wash the pumice stone all off1 and take a little ,tripoli or rotten stone and oil1 and rub gently all over the job2 you will then have a surpassingly beautiful and brilliant surface1 that will show the grain and vein of the wood to perfection4 ,if you desire the gloss that varnish gives1 you must apply a thin coat of wearing varnish after this4 ,in varnishing1 you must buy 8rubbing varnish0 if you intend to polish and oil varnish1 not spirit1 which is apt to crack and rub up under the treatment4 ,,brushes4 ,in varnishing1 you1 of course1 desire to have a true and even surface1 without a ridge to show where the brush left it4 ,camel's hair flat brushes are used for this purpose1 but they will not answer in spirit varnishes1 as the hairs drop out or are loosened from the action of the spirit on the shellac or glue1 which holds them in4 ,bristle brushes are the best for general use4 ,they must be soaked for an hour or more in cold water1 to fasten the bristles before using4 ,,pearl4 ,this substance is easily sawed into shape1 and is easily turned with a common steel tool4 ,it is polished readily with pumice stone and water and 8putty powder10 this last to be had of chemists or lapidaries4 ,it is better to preserve the colored surface as nature left it1 for the beautiful rays and tints presented by it are owing to a peculiar disposition of thin scales on the surface1 which retain the light2 if these be destroyed1 the beauty of the material is lost4 ,it is to be had of marine store keepers generally1 or the amateur can get it more readily of the nearest button manufacturer4 ,,miscellaneous ,,tools4 ,if you buy any tools1 always buy the best that money can get4 ,p4 ,s4 ,stubs' files1 wire1 rimmers1 and screw plates1 are standard tools1 and the amateur cannot go astray in choosing them4 ,a vise is indispensable1 and it should be large enough to hold the work without springing4 ,,curving ,,maple ,,veneers4 ,if you wish to curve a veneer so that it will fit a half or a whole circle1 it is easily done by dipping it in hot water1 when it will instantly curl up into any shape you want4 ,i do this with bird's eye maple4 ,this wood is easily stained any hue1 and is rather handsomer in chocolate brown than in its natural color4 ,it is then the nearest to ,french oak of any wood that we have1 and that is unquestionably superb4 ,such markings and mottlings as it has1 surpass anything ever seen2 it is a deep1 rich1 chocolate brown color1 full of snarls1 curves1 and knots1 not over five eights of an inch in their largest diameters1 and so beautiful that it seems as if some hand must have arranged them4 ,the ,french oak is susceptible of a splendid polish1 but ,i am unable to say how it works1 for ,i never worked any1 nor do ,i know where to get it4 ,curled maple will also take a handsome dye4 ,get ,howe ,stevens's ,dye ,colors in powder--they can be had in any apothecary's store1 of any shade--put it in an earthen dish and boil it1 then dip or sponge the veneer with it4 ,the color will strike through and through1 and you may sand-paper it as much as you please without removing it4 ,it is a very beautiful job to take a plain ogee moulding and curl a bird's eye maple veneer on the round part1 and an ebony veneer on the fillet or hollow1 and then varnish and polish it4 ,it makes one of the most beautiful picture frames that ever was seen2 having all the effect of mouldings made from the solid wood4 ,,cutting ,,miscellaneous ,,materials4 ,by these ,i mean horn jet1 malachite1 alabaster1 cannel coal1 glass1 and similar substances4 ,for all of these1 except malachite1 steel will answer1 but that steel will not touch4 ,it is not a nice material to work1 being apt to check and crack in the most unlooked-for manner4 ,to those who have never seen it1 ,i will say that it is a stone1 or species of marble1 obtained in ,russia1 and is green in color1 marked with white and greenish gray stripes4 ,the green is specially brilliant1 and the effect is very fine4 ,although it is so hard that steel will not cut it1 it is easily scratched in use1 and is a soft stone1 and can be readily cut on a common vulcanite emery wheel1 and polished on a razor strop covered with rouge powder4 ,it is frequently used for jewelry4 ,glass is easily filed in a lathe with a common file1 but ,i do not know what any one should wish to work glass for1 as it is exceedingly dangerous from the splinters which fly from it1 is quite friable and easily broken1 and is1 moreover1 so common that no value attaches to it4 ,very pretty vases can be made out of alabaster by turning them in the lathe4 ,illustration ,illustration ,illustration ,,index4 ------- ,acid in soldering1 #abg ,african black-thorn1 #ig ,alabaster1 ,cutting1 #acc ,apple-,wood1 #he ,arbors1 #gd ,artistic ,wood-,turning1 #if ,bamboo ,pattern1 #fc ,bank-,bills1 ,work on1 #gc ,bastard ,ebony1 #hc ,beach ,chuck1 #id ,bird's-eye ,maple1 #hd ,bit for ,turning1 #hh ,black ,thorn1 #ig ,boiler for ,toy ,engine1 #ec ,boring1 #ee ,boxes1 ,joints of1 #abc ,box for ,pins1 #fb ,boxwood1 #ha ,brushes for ,varnishes1 #aca ,burnisher1 #abf ,buttons1 ,solitaire ,sleeve1 #ei ,cam ,wood1 #ha ,centers1 #fe ,chasers1 #cc1 #ce ,chasing1 #cc ,chucking1 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,holtzapfel1 ,work by1 #af ,horn1 ,cutting1 #acc ,hubs1 #dj ,indigenous ,woods1 #gg ,inlaying1 #ig1 #aad ,inlaying1 ,designs for1 #aba ,inlaying ,stamps1 #ajb ,iron for ,soldering1 #abh ,ivory1 #aaf ,jet ,cutting1 #acc ,joints of ,boxes1 #abc ,lacquers1 #abf ,lac ,varnish1 #aab ,lathe1 ,foot1 #ac ,lathe1 ,height of1 #bb ,lathe1 ,holtzapfel1 #ch ,lathe1 ,speed of1 #bc ,lathe1 ,uses of1 #af ,lathes1 ,hand1 #ai ,laurel ,root1 #hb ,leopard ,wood1 #gh ,malachite1 ,cutting1 #acc ,mandrels1 #ch1 #gd ,maple1 ,bird's-eye1 #hd ,maple1 ,coloring1 #acb ,maple1 ,curled1 #hd ,metal ,spinning1 #ea ,metals1 ,polishing1 #abe ,miscellaneous ,tools1 #aca ,mosaic ,designs1 #ajf ,natural ,colored ,woods1 #ajg ,novel ,ornament1 #fh ,oiled ,wood1 #aac ,olive ,wood1 #hc ,ornamental ,cutting1 #ei ,ornamental ,designs for ,inlaying1 #aba ,ornamental ,woods1 #gg ,ornamental ,work1 #ad ,outside ,finishing1 #aaj ,parallel ,holes1 to bore1 #ee ,patterns1 #ii ,pearl1 #aca ,pear ,wood1 #he ,polishing1 #df1 #abi ,polishing ,metals1 #abe ,polishing ,ivory1 #aah ,polygon and ,spurs1 #fi ,rack for ,tools1 #ge ,rest1 ,slide1 #eg ,rest1 ,the1 #bd ,rosewood1 #hd ,rosin ,flux1 #abg ,rouge ,powder1 #abg ,roughing off1 #bd ,sandal ,wood1 #hc ,sawing1 ,scroll1 #abc ,scrapers1 #cj ,screw ,cutting1 #cc ,screws1 ,tool for ,small1 #gb ,scroll ,chuck1 #gc ,scroll ,chuck1 ,cushman's1 #db ,scroll ,sawing1 #abc ,shellac ,varnish1 #aab ,silver-plating ,fluid1 #abg ,sleeve ,buttons1 ,solitaire1 #ei ,slide ,rest1 #ed1 #eg ,snake ,wood1 #gh ,soldering1 #abg ,soldering ,iron1 #abh ,solitaire ,sleeve ,buttons1 #ei ,speed of ,lathe1 #bc ,spinning ,metals1 #ea ,stamp ,inlaying1 #ajb ,steel ,mandrels1 #ge ,straight ,tools1 #bg ,tamarind1 #hj ,tempering ,tools1 #ib ,tinning ,soldering ,iron1 #abh ,tool for ,boring ,holes1 #ee ,tool for ,inlaying1 #aad ,tool for ,small ,screws1 #gb ,tool ,tempering1 #ib ,tools1 #bb ,tools1 ,holding1 #bc ,tools1 ,miscellaneous1 #aca ,tools for ,wood ,turning1 #ij ,traversing ,mandrel1 #ch ,treatment of ,woods1 #he ,tulip ,wood1 #gi ,tunbridge ,ware ,work1 #aja ,turning1 ,fancy1 #ga ,turning1 ,wood1 #hg ,turning1 ,artistic ,wood1 #if ,turtle ,wood1 #abb ,twist ,drills1 #ge ,uses of the ,lathe1 #af ,varieties of ,woods1 #gg ,varnishing1 #aaa1 #abi ,veneers1 #ajd ,veneers1 ,curving1 #acb ,veneers1 ,gluing in1 #aae ,white ,glue1 #abc ,white ,holly1 #hb ,wooden ,chucks1 #dc ,wooden ,mandrels1 #gd ,woods for ,inlaying1 #ajg ,woods1 ,ornamental1 #gg ,wood ,turning1 #hh ,wood ,turning1 ,artistic1 #if ,work1 ,ornamental1 #ad ---------------------------------------- -------------------------------- ,,transcriber',s ,,note3 ,obvious print and punctuation errors were corrected4 ,spelling and hyphenations were made consistent based on frequency of usage within text and common usage for that time period4 ,pg #bj1 excute - execute ,pg #eg1 cuttter - cutter ,pg #fb1 ,fig4 #dc1 ,it may - ,fig4 #dc4 ,it may ,pg #fi1 th - the ,pg #ajh1 a regenerally - are generally ,pg #aab1 thorougly - thoroughly ,pg #aba1 colors will will be found - colors will be found ,pg #acj1 sandpaper - sand-paper ,pg #acf1 tuning - turning