,transcriber's ,note ,bold text is marked with equals signs1 italic text is marked with underscores4 ,,seat ,,weaving ,,by ,l4 ,,day ,,perry ,supervisor of ,manual ,training1 ,joliet1 ,illinois1 and ,instructor1 ,department ,esthetic and ,industrial ,education1 ,summer ,quarters1 ,the ,university of ,chicago ,illustration ,,the ,,manual ,,arts ,,press ,,peoria1 ,,illinois #aiag ,copyright1 #aiag1 by ,l4 ,day ,perry ,,foreword ,woodworking shops in manual training schools far outnumber those for other manual activities1 and as a result1 courses in woodwork have come to be termed the stable courses in a handwork curriculum4 ,however1 experience in woodwork alone is not sufficient1 and needs to be supplemented by other and more varied activities to give to the boy a proper foundation for choice of vocation4 ,a definite way to produce necessary variety as applied to woodwork1 especially if woodwork is the only course offered1 is thru the use of such mediums as cane1 reed1 rush1 splints and allied materials in correlation with the wood4 ,these materials add life to the problems and generally arouse interest and enthusiasm in the work at hand4 ,the result is careful application to construction details1 with resultant appreciation of constructive design4 ,it would prove a difficult task to make a fair estimate of the value such mediums have in manual training shops4 ,their use produces very definite reactions upon boys who could not be reached by woodwork alone1 awakening them to a new interest in their work and making them more workmanlike and exacting in construction4 ,there exists some element in such mediums which cannot be defined1 but which nevertheless stimulates the average or mediocre boy1 as well as the exceptional one1 to produce the best work of which he is capable4 ,experience with these materials utilized in correlation with wood will prove the truth of these statements and demonstrate that they are not only worth while1 but necessary to any well-rounded course in wood4 ,the originals of the projects illustrated by the photographs were1 with few exceptions1 constructed by boys of average ability in the eighth grade4 ,they indicate the character of work which may be expected of boys in that grade1 and1 in a measure1 the first two years of high school4 ,practically the entire emphasis is laid upon weaving as applied to some form of seat1 either as a decorative feature or as a necessary part of the structure4 ,these materials may be utilized in various ways on varied types and forms of furniture other than seats1 a few of which are suggested4 ,experience with them will lead the worker to new and interesting fields of a distinctly educational nature4 ,joliet1 ,illinois1 ,november1 #aiaf4 ,l4 ,,day ,,perry4 99 99 99 99 99 ,,acknowledgments ,acknowledgments are hereby made to ,the ,bruce ,publishing ,co41 for permission to re-use the material in ,chapters ,i and ,,ii which appeared in ,the ,industrial ,arts ,magazine in a modified form2 to ,the ,periodical ,publishing ,co41 for the photograph shown in the frontispiece2 to ,m4 ,f4 ,gleason1 ,joliet1 for the sketches shown in ,figs4 #e1 #f and #h2 to ,t4 ,s4 ,moore1 ,joliet1 for his cooperation in all the photographic work2 and to the instructors in the ,joliet ,department of ,manual ,training who have assisted in working out a number of the problems4 ,l4 ,d4 ,p4 ,,contents ,,page ,foreword #c1 #d ,acknowledgments #d ,chapter ,i4--,caning2 ,the ,seven ,steps #g ,cane #g1 #h ,equipment #h1 #i ,beginning the ,operation #i1 #aj ,the ,seven ,steps in ,caning #aj-ad ,chapter ,,ii4--,caning ,suggestions #ae ,irregular ,areas #ag-ba ,five-,step ,caning #ba1 #bb ,the ,design ,element #bb-be ,chapter ,,iii4--,reseating a ,chair2 ,hand ,caning #bf ,the ,process #bg-ca ,refinishing #ca-cc ,chapter ,,iv4--,reseating a ,chair2 ,cane ,webbing #cd ,the ,process #ce-dj ,chapter ,v4--,rush ,seating #da ,historical #da-db ,rush #db-dc ,other ,materials #dc-dd ,preparation of ,materials #dd-df ,the ,weaving ,process #df-di ,rectangular ,seats #di-ej ,irregular ,seats #ej-ea ,suggestions #ea-ed ,finish #ed ,chapter ,,vi4--,reed and ,splint ,weaving #ee ,primitive ,methods #ef-eg ,bleaching #eg-eh ,staining #eh-ei ,other ,materials #ei-fb ,chapter ,,vii4--,seats of ,reeds and ,splints #fc ,indian ,splints #gb-gi ,a ,rustic ,chair #gi-hj ,a ,woven ,table #ha ,willows #ha-hb ,weaving ,materials3 ,where to ,obtain #hd ,illustration3 ,a ,,typical ,,alley ,,scene ,,in ,,hong ,,kong ,,showing ,,native ,,men ,,and ,,women ,,sorting ,,and ,,stripping ,,rattan4 ,courtesy1 ,periodical ,publishing ,co4 ,,chapter ,i ,,caning2 ,,the ,,seven ,,steps ,that caning has not been undertaken to any appreciable extent in school shops is due to the fact that instructors are unfamiliar with the weaving processes4 ,caning is not difficult4 ,it1 in common with many other lines of activity1 is best learned thru observation4 ,however1 it may be undertaken by the average person after careful study of printed directions and illustrations4 ,if the worker will closely observe his own work as it progresses1 and follows instructions carefully1 he should have no unusual difficulty in caning an area very acceptably in the initial attempt4 ,particular attention should be paid to directions which tell of errors to avoid4 ,errors creep in1 in a very unobtrusive manner at times1 and the amateur will find them hard to detect4 ,cane4--,cane is the name applied to a great number of plants which possess long1 slender1 reedlike stems4 ,the name should apply only to a class of palms called rattans4 ,these plants are found thruout the ,indian ,archipelago1 ,china1 ,india1 ,ceylon1 and the ,malay ,peninsula4 ,they grow in dense1 dark forests and form a matted undergrowth which makes passage difficult or impossible4 ,these palms are trailing in tendency1 yet frequently grow to tree height4 ,they then fall over and lie on the ground4 ,the stem is covered with beautiful green foliage1 grows to a length of #ajj to #cjj ft41 and rarely exceeds #a in4 in diameter4 ,the stems are cut into lengths of #aj to #bj ft4 for export4 ,the outer bark is stripped into widths varying from to in4 ,these strips are put into hanks of #a1jjj lineal feet each4 ,the cane is then ready for the cane weaver4 ,a hank of cane costs from #fj cents to #a4 ,the width of the cane and its quality determines the price per hank4 ,it may be purchased from any upholstery supply house4 ,cane is named from the narrowest to the widest in order3 carriage1 superfine1 fine-fine1 fine1 medium1 common1 narrow binder1 and wide binder4 ,cane from ,india has a very glossy surface1 while that from other localities is duller4 ,the right side of the cane is easily determined by this glossiness4 ,cane for weaving purposes should not be confused with the popularly called cane or bamboo of our southern states1 where it forms the well known cane-brakes4 ,this cane rarely exceeds a height of #bj ft4 ,it grows rapidly and very straight1 and to an appreciable diameter4 ,such cane is used for bamboo furniture1 walking sticks1 poles1 etc4 ,the ordinary domestic sugar cane1 also1 should not be confused with seating cane4 ,illustration3 ,,fig4 #a4 ,,the ,,caning ,,needle4 ,equipment4--,the tools needed in cane weaving are few in number4 ,a special one is called the caning needle4 ,this may be made in the school shop4 ,fig4 #a shows a working drawing of the needle4 ,its length is variable1 depending upon the work at hand4 ,it is desirable to have a number of different lengths4 ,the tool is made of good flexible steel wire4 ,this is flattened at one end1 an eye cut in it1 blunt pointed1 and slightly curved as indicated4 ,the other end is inserted in an ordinary small tool handle1 extended thru and riveted4 ,the riveting prevents the wire from drawing out of the handle under a pulling strain4 ,the other tools needed are a scratch awl1 and a pair of scissors or knife4 ,a button-hook with the hook straightened or cut off may take the place of the awl4 ,a pair of dividers and rule are necessary for marking4 ,several wood pegs are needed4 ,these may be classed with the tools4 ,they are made from a in4 dowel rod1 or the equivalent4 ,cut them about #d in4 long and point them as you would a lead pencil4 ,the amateur is inclined to use a number of pegs4 ,four should prove amply sufficient4 ,beginning the ,operation4--,fig4 #b is a photograph of an upholstered leg rest with caned sides4 ,this rest will be used for our initial work in cane weaving1 inasmuch as the area for caning is rectangular4 ,it is not advisable for the beginner to have his initial experience on a chair seat1 for the area is usually of an odd shape1 and arms1 legs1 and back interfere4 ,however1 any rectangular area on which there are no projections to bother may be used for the first trial4 ,illustration3 ,,fig4 #b4 ,,leg ,,rest4 ,it is assumed that the sides of the rest have been fitted4 ,the rails and stiles are then assembled with glue1 without the posts4 ,when the glue has set the proper length of time1 and the frame is cleaned and sanded1 the rails and stiles are ready to dimension4 ,draw pencil lines entirely around the inner sides of the rails and stiles1 in4 from the edges4 ,this distance remains constant1 usually1 on all areas and with canes the various widths4 ,with a pair of dividers set at in4 space off points on the pencil lines1 starting from the intersection of the extended lines on each rail4 ,fig4 #c is a working drawing of a corner1 dimensioned as suggested4 ,it will make clearer the directions4 ,it is fundamental that the spacing be done in the same direction on parallel rails1 for at times the last space will be a short in4 or whatever dimension is used4 ,in such cases it is necessary to redivide the last several spaces into divisions as near in4 as possible4 ,it thus becomes obvious why spacing must be done in one direction as stated4 ,this applies to all rectangular frames4 ,illustration3 ,,fig4 #c4 ,,sketch ,,of ,,corner ,,for ,,caning4 ,with a in4 wood bit bore holes thru the rails and stiles at the points marked4 ,countersink the holes slightly on the underside of the frame4 ,this is not absolutely necessary but aids considerably in locating the holes1 and in other ways4 ,in shops where power machinery is available a vertical borer may be used for this purpose4 ,it is best to carefully mark the points for boring with a center punch4 ,the twist bit will then start accurately and the danger for getting out of line will be reduced to a minimum4 ,the dimensions given here are for fine-fine cane4 ,use sandpaper to remove pencil lines and rough edges left from boring2 then clamp the frame over the edge of a table or bench with a carriage clamp2 sit while doing the weaving4 ,the ,seven ,steps in ,caning4--,fig4 #d shows the seven steps in caning4 ,refer to this photograph thruout the following directions4 ,the numbers on the photograph refer to the steps4 ,illustration3 ,,fig4 #d4 ,,the ,,seven ,,steps ,,in ,,caning4 ,step #a4 ,a hank of cane should be soaked for a few minutes in warm water1 or longer in cold4 ,do not soak it too long4 ,start a strand by drawing one end thru a hole next to a corner hole1 and let it project about #c in4 below4 ,fasten with a peg4 ,then starting at the peg1 pull the entire strand thru the thumb and forefinger to prevent twisting1 and pull the end down thru the hole on the opposite parallel rail next to the corner hole1 and then up thru the hole next to it4 ,see that the right side of the cane is out on the underside of the frame as on the top4 ,pull the cane reasonably taut1 and fasten with a peg to prevent the strand from slipping back and becoming loose4 ,draw the cane thru the thumb and forefinger again2 pull it across the frame and down thru the hole next to the peg and up thru the hole next to it4 ,pull taut and fasten with the second peg4 ,this operation is repeated until all holes have been utilized on the two parallel rails1 except those on the corners4 ,thruout the seven operations it is necessary that the cane be kept from twisting by drawing the remaining part of the strand thro thumb and forefinger4 ,step #b4 ,the second step is identical with the first1 with the difference that the other two parallel rails are used1 and that the canes run over the first set of parallel canes4 ,if the first strand of cane has not been entirely used up in the first step1 the remainder is used to begin the second step4 ,illustration3 ,,fig4 #e4 ,,method ,,of ,,tying ,,ends ,,of ,,cane4 ,step #c4 ,this step is a repetition of the first two4 ,the canes of this series run over the first and second series and parallel with the first4 ,as each strand is used up bind the end by pulling it under a cane1 crossing from one hole to another underneath the frame and cutting off about in4 from the cane4 ,fig4 #e shows how this binding is done4 ,the loose end at the starting point is tied in this way1 and all subsequent ones should be tied as they come1 thus avoiding interference by many pegs1 and insuring neat binding4 ,step #d4 ,the actual weaving begins with this step4 ,it may be done entirely by hand1 without resort to the needle1 but it is slow work4 ,the needle should be used4 ,start at a hole next to a corner on either rail that has been used but once1 working from caned side toward the open frame4 ,go over and under the strands necessary to form the weave1 turning the needle from side to side in order to catch the canes behind the point4 ,when across thread the needle with the strand and pull thru1 being careful to avoid a twist4 ,pull the end down thru the hole1 pairing the canes4 ,pull the cane up thru the next hole2 then start the needle from the opposite side of the frame and repeat the first operation1 thus pairing another set of canes4 ,continue until all canes are paired and all holes used4 ,soak the woven cane with a wet sponge1 and with two pegs straighten the strands of cane and force all pairs together4 ,small1 open squares are thus formed over the area being caned4 ,unless the cane is soaked it will prove rather difficult to pair the canes4 ,step #e4 ,this step is the weaving of one set of diagonals4 ,start the strand at any corner hole4 ,use one hand over and one under the frame4 ,as the worker becomes skilful he will find it easier to give the cane a slight curve and work with both hands on the upper surface4 ,use an end of cane long enough for convenient handling2 then pull the entire strand thru the length of the frame1 provided the area is not too great4 ,care must be taken to avoid twisting the cane4 ,the cane will run easily1 and partially under a cane at the corners of the squares1 if correctly done4 ,fig4 #f shows this clearly1 as does the illustration in ,fig4 #bg4 ,the second illustration is a photograph of a strip of cane webbing1 is approximately half size1 and will supplement the freehand sketch4 ,the corners will bind1 and the strand will pull with difficulty if the cane is incorrectly woven4 ,on parallel canes note that the canes either run over or under the pairs4 ,illustration3 ,,fig4 #f4 ,,freehand ,,sketch ,,of ,,caning4 ,step #f4 ,this step is identical with the preceding one4 ,the canes are at right angles to the first diagonals4 ,in this step and the preceding one note that two strands run into the corner holes4 ,this holds true in all rectangular frames where a corner hole is bored4 ,it permits the strands to run in as straight a line as possible4 ,if it is necessary to turn abruptly to enter a hole it is obvious that an error has been made by the weaver4 ,step #g4 ,pull a cane of the same size as used in the other steps up thru a hole1 over the binder cane and down thru the same hole4 ,a loop is thus formed and the binder secured4 ,pull taut1 then enter the next hole1 pull up the cane over the binder and down1 and so on4 ,this operation may be repeated at every other hole when the holes are close together4 ,the two ends of the binder are finally overlapped and secured1 and the operation thus completed4 ,at times1 when the last strands are woven1 it may prove advisable to secure canes underneath the frame by plugging the necessary holes2 at least in instances where the canes have a tendency to work loose4 ,illustration3 ,,suggestive ,,projects4 ,,chapter ,,ii ,,caning ,,suggestions ,as weaving progresses difficulty will be experienced in inserting cane ends in the holes1 due to their becoming filled4 ,force the scratch awl thru and turn it several times4 ,this will effectively force an opening4 ,in many instances long ends of cane remain from one series to another4 ,these generally1 as previously mentioned1 should be used in succeeding steps4 ,there is one limitation4 ,they should be used provided it is not necessary to carry them over more than four holes on the under side of the frame4 ,the fewer loose ends left1 the better1 for the caning is thereby neater and better4 ,it is generally advisable to use a full length strand to avoid a number of loose ends4 ,the amateur will find his greatest difficulty in properly weaving the diagonals at the edges2 that is1 immediately upon entering or leaving a hole4 ,many commendable pieces of caning are spoiled by ragged1 improperly woven edges4 ,care must be taken to see that the cane goes over and under the proper strand or strands at these points4 ,fig4 #f clearly shows how the diagonals should run4 ,study it carefully4 ,the addition of a binder is generally a matter of taste4 ,perhaps #ej per cent of modern hand caned furniture does not employ a binder of any description4 ,the series of regularly exposed holes are rather pleasing and in no way detract4 ,however1 in chair seats a binder is essential to protect the ends of canes1 for they are subject to hard wear4 ,binders of reed or of wood called splines may be used on hand-caned frames4 ,if either is used a groove in4 deep and in4 wide is cut coincident with the holes before weaving is begun4 ,after the area is caned the strips are fitted and glued in4 ,use little glue4 ,tap the splines firmly with a mallet used over a block of wood1 until they are flush with the woven cane4 ,chapter ,,iv gives the method in detail4 ,the size of the holes and the distance between them is determined largely by the size of the cane used4 ,some prefer coarse meshed areas1 while others desire them closely woven4 ,there is1 however1 what we may term a standard mesh4 ,the individual may vary the dimensions given to suit himself4 ,the ,jacobean or early caning was invariably of coarse mesh4 ,illustration3 ,,fig4 #g4 ,,wingback ,,chair4 ,carriage and superfine cane require in4 holes and in4 spaces2 fine-fine cane requires in4 holes and in4 spaces2 fine cane requires in4 holes and in4 spaces2 medium1 in4 holes and in4 spaces4 ,fine-fine and fine cane are the best sizes for shop use4 ,a small amount of medium binder is desirable4 ,one hank of cane will ordinarily be sufficient for a half-dozen areas of approximately #ab in4 by #ab in4 ,most old pieces of period furniture utilizing cane employ a particularly narrow split horizontally and vertically1 and a wider split diagonally4 ,the opposite practice may be employed--a finer split of cane being used diagonally than horizontally and vertically4 ,both effects are pleasing4 ,in all illustrations of rectangular areas shown herein1 corner holes are bored and utilized in the cane weaving4 ,these are not absolutely necessary2 in fact caned areas on many pieces of period and modern furniture do not utilize corner holes4 ,in such instances two diagonal strands are run in each hole on either side of the corner4 ,a comparison of the areas1 the one employing a corner hole1 and the other not1 will lead the observer to conclude that the former appears complete while the latter appears unfinished4 ,illustration3 ,,fig4 #h4 ,,sketch ,,of ,,strip ,,to ,,cover ,,cane ,,ends4 ,it is frequently necessary or desirable to cover up the cane on the back or inside of an article4 ,this is true of places exposed to view1 and is especially advisable on such pieces of furniture as the wingback chair shown in ,fig4 #g4 ,this chair of ,william and ,mary design was made in a school shop1 is hand caned1 and of mahogany4 ,the exposed cane is covered with strips of mahogany in4 thick and #a in4 wide in which a groove in4 deep and in4 wide has been run4 ,this groove may be made with saw1 chisel1 or combination plane4 ,fig4 #h shows a sketch of such a strip4 ,it makes a neat1 pleasing cover4 ,many pieces of so-called expensive furniture have ragged1 exposed caning4 ,this is unsightly and is not to be commended4 ,wherever it is found desirable to leave cane natural1 it is necessary that the frame be stained before caning is begun4 ,box fuming will not permanently color cane4 ,oil stains make no appreciable impression if rubbed off at once4 ,but water1 acid1 and alcohol stains produce decided colors4 ,if the worker desires to color the cane approximately the same shade as the article1 the caning may be done on the white wood and the entire article stained at the one operation4 ,cane may be shellacked or varnished or left natural1 as desired4 ,irregular ,areas4--,fig4 #i shows a close view of the back of the chair illustrated in ,fig4 #g4 ,this is a typical example of an irregular-shaped area for caning4 ,the principles of weaving remain the same in areas of any shape1 yet each requires slightly different treatment4 ,each has its individual problem4 ,it is necessary to skip some holes altogether4 ,this is never done in rectangular shapes4 ,a close inspection of the photograph will reveal many skipped holes4 ,this is necessary to keep parallel strands equidistant1 and diagonals straight4 ,illustration3 ,,fig4 #i4 ,,back ,,of ,,chair ,,showing ,,oddly ,,shaped ,,areas4 ,illustration3 ,,fig4 #aj4 ,,method ,,of ,,locating ,,holes ,,on ,,wing ,,of ,,chair4 ,to clearly understand how the holes are located on a wing of this chair refer to ,fig4 #aj4 ,the left upright and lower rails are at right angles to each other4 ,the upper rail is curved and the right upright slanted4 ,measurements are begun at the lower left hand corner and proper distances spaced on the left upright4 ,with the arm of a try-square against this upright1 points are marked on the opposite upright in line with those on the former4 ,this operation is repeated on the lower rail and the upper curved one4 ,strands of cane will then obviously run parallel4 ,inasmuch as there are five holes in the base and eight in the top it is necessary that three vertical strands be run into the slanting upright in any holes which will permit the strands to run parallel to each other4 ,the photograph of the caned wing1 shown in ,fig4 #aa1 should make very clear the foregoing explanation4 ,experience with several unusual shapes is necessary before the weaver feels confident of readily caning any area of odd shape4 ,illustration3 ,,fig4 #aa4 ,,close ,,view ,,of ,,wing4 ,in weaving the diagonals it is frequently necessary to run several in one hole in order to keep the canes as straight as possible4 ,just when this should be done can only be determined by the worker4 ,a diagonal should never be permitted to swing to any great degree out of a straight line4 ,a close observation of the photograph of the wing will reveal many diagonal canes in one hole1 and several holes skipped entirely4 ,illustration3 ,,fig4 #ab4 ,,caning ,,of ,,five ,,steps4 ,five-,step ,caning4--,cane weaving of five steps is not common4 ,it may be done in many cases where it will not be subject to hard wear4 ,it is neat in appearance and is much simpler than seven-step caning4 ,the presumption should not be made that this weave will in any way supplant the regular weave1 but in instances where decoration is the object1 and not service particularly1 this weave will prove sufficient and effective4 ,fig4 #ab illustrates a frame caned with the five steps4 ,the distance between holes was purposely made greater than usual1 to show the weave clearly4 ,the first strands are strung in1 in the same manner as described in the seven steps4 ,the second series of strands are interwoven with the first4 ,the over and under weave is used4 ,each alternate row of each series is either over or under4 ,the first diagonal strands run over the preceding two series4 ,they are not woven as in seven-step caning4 ,the second diagonal strands run over the first diagonals and under the intersection of the other strands1 including every alternate first diagonal4 ,this resolves itself into simple over and under weaving4 ,note that but one strand of a diagonal enters a corner hole4 ,this is not true of seven-step caning1 as elsewhere indicated4 ,it is advisable to utilize a wider cane in the first two steps1 than is used in the subsequent ones4 ,illustration3 ,,fig4 #ac4 ,,davenport ,,with ,,caned ,,panels4 ,the ,design ,element4--,caning is not a fad4 ,cane was commonly used in ,carolean furniture in ,england about #affj1 and has continued in use for seating purposes thru the various subsequent periods4 ,the application of cane as used today on ,french furniture1 as in panels1 is historically wrong4 ,however there can be no valid objection to its use in panels if no attempt is made to name it a true period style4 ,also it must be conceded that period furniture was not always well designed1 and there can be no well sustained objection to the use of cane in panels1 provided it is in keeping structurally and decoratively with the particular piece of furniture4 ,the introduction of cane at first was undoubtedly brought about by a desire for something light1 substantial and serviceable1 and it blended well with the oak of the period4 ,cane is much used on modern furniture1 and without doubt it adds to the beauty of the given pieces4 ,in many cases the decoration is overdone and instead of improving the article the cane in reality detracts4 ,properly used1 it enriches by breaking up flat uninteresting areas1 and lightening the appearance of otherwise massive1 cumbersome articles4 ,illustration3 ,,fig4 #ad4 ,,rocker ,,with ,,caned ,,sides4 ,illustration3 ,,fig4 #ae4 ,,book ,,shelves ,,with ,,caned ,,panels4 ,under proper correlation with wood in school shops it promotes an appreciation of constructive design in which the element of beauty is a prime consideration4 ,it is a practical medium in which the aspect of design as an element of utility is paramount4 ,it has distinct commercial value1 for the boys who have had training in the shops may do chair seating outside and earn considerable money4 ,by such work they come to see a distinct relation between the commercial field and their shop experiences4 ,this is a point of view which is very desirable in present-day industrial education4 ,figs4 #ac1 #ad1 #ae1 and #ag show pieces of furniture made in manual training shops by eighth grade boys4 ,these pieces comprise a group1 with the addition of the leg rest shown in ,fig4 #b for a library or living room4 ,the cane in each instance adds materially to the artistic effect of the problems2 they have tone4 ,the cane forms pleasing groups well related to the wood mass4 ,the cane is natural1 the wood fumed and finished flat4 ,the two tones of color are in perfect harmony4 ,illustration3 ,,fig4 #af4 ,,library ,,table4 ,illustration3 ,,fig4 #ag4 ,,table4 ,,sides ,,caned4 ,fig4 #af shows a library table of oak constructed by an eighth grade boy4 ,the lines are very pleasing and the long vertical caned panel adds a distinct note to the structure even tho purely decorative4 ,many modifications of the standard weave in caning are in vogue1 but are more or less fads4 ,a rotary weave is rather prevalent on certain types of furniture1 as is what may be termed the spider-web weave4 ,these are mentioned merely to suggest that caning is subject to variation4 ,however1 the standard weave1 of seven steps1 will not be supplanted to any appreciable degree1 for it adapts itself to almost all types of furniture both decoratively and structurally4 ,it must not be presumed that the method described in ,chapter ,i is the only one which may be employed in weaving this standard weave4 ,there are several methods of weaving which arrive at the same ultimate result1 but the one described is the simplest1 and the most direct1 and withal the one best adapted to general use1 particularly to school-shop pupils4 ,illustration3 ,,suggestive ,,projects4 ,,chapter ,,iii ,,reseating ,a ,,chair2 ,,hand ,,caning ,in many localities it is impossible to find a professional to reseat caned chairs either by hand or with cane webbing4 ,many chairs in good repair and worthy are relegated to the attic because of broken or sunken seats4 ,upholsterers generally will not be troubled with such jobs of caning for the work does not pay unless there is an amount sufficient to keep them steadily employed4 ,usually they are not adept enough to do such odd jobs as may come to them1 even tho willing to do the work1 within a time consistent with sufficient money returns4 ,chairs of ordinary size may be caned for a minimum of #a and a maximum of #b4 ,if the holes have previously been bored1 much labor is thus avoided1 and the charge is naturally made less4 ,the professional cane weaver has various ways by which he determines the cost for recaning a given seat4 ,perhaps the most common method employed is that of charging so much per hole4 ,this is from #a to #b cents4 ,the difficulty in handling very fine cane is also a factor in deciding what to charge4 ,usually a casual looking over of the chair by the expert is all that is necessary to fix a price4 ,no charge of less than #a on a hand caned seat will sufficiently remunerate the worker4 ,fig4 #ah shows a hank of cane and rolls of machine woven cane4 ,any boy who has had instruction and sufficient experience in caning in the manual training shop may readily undertake jobs of caning4 ,the boy who will investigate will find that he may work up a sizeable trade in chair seating in a short time4 ,in fact several boys will not overcrowd a given field4 ,such work will pay the amateur well4 ,he does not1 nor cannot expect professional wages4 ,it is of considerable value from the pupil's standpoint alone1 that is1 this correlation with his manual school activities4 ,the amount of pay initially is not the main question2 it is the educational value derived4 ,he would undoubtedly find willing help at his shop at any time a job of peculiar treatment presented itself4 ,the ,process4--,many chairs which the owners would wish hand caned have no holes bored for the work4 ,they previously held machine woven cane4 ,fig4 #ai shows a sketch of a chair bottom of ordinary or standard shape4 ,the area is irregular4 ,the sketch shows the method of determining the location for the holes4 ,illustration3 ,,fig4 #ah4 ,,hank ,,of ,,cane ,,and ,,rolls ,,of ,,machine ,,woven ,,cane4 ,as stated in the discussion of the seven steps in caning1 the holes are invariably in4 from the inner edges of the rails4 ,in this instance the line from which the holes for the front rail are located is parallel with the front rail2 it is coincident with the line on which the holes are bored4 ,the line on the back rail must be parallel with it2 the line runs thru the center of the center hole4 ,the lines on the side rails are parallel to each other and at right angles to the first two4 ,these four lines are shown as dash lines on the drawing4 ,their function is simply to determine the location for the holes to be bored on the lines in4 from the inner edges of the rails4 ,those lines are shown in the sketch as full lines4 ,illustration3 ,,fig4 #ai4 ,,sketch ,,of ,,chair ,,seat ,,of ,,odd ,,shape1 ,,showing ,,method ,,of ,,finding ,,location ,,of ,,holes4 ,when the working lines are determined1 the centers of the front and back lines are located4 ,the lines connecting corresponding holes on the front and back rails must be parallel to the line connecting the center holes on these rails4 ,this rule applies to the locating of the holes on the side rails4 ,it also applies to any seat of odd shape4 ,the distance between holes will vary somewhat at different places on the seat frame4 ,this is the result of working to rule1 and is necessary to keep strands equidistant and parallel4 ,at times respacing at several places will be necessary4 ,when it is1 simply redivide into as nearly the given dimensions as possible4 ,illustration3 ,,fig4 #bj4 ,,first ,,step ,,half ,,completed4 ,illustration3 ,,fig4 #ba4 ,,first ,,step ,,completed4 ,,second ,,begun4 ,after the holes have been bored and cleaned the seat is ready for caning4 ,start at the center hole in the back4 ,pull the cane up thru this hole and across the frame1 and down the center hole in the front4 ,work both ways on the frame4 ,fig4 #ai shows a cane started in this manner4 ,it is best that the amateur work from the center1 both ways4 ,he may begin otherwise when he understands the work better4 ,the caning operations on the seat to be shown are the same as those described in the seven steps in caning4 ,they never vary4 ,the only new thing involved here is the shape of the seat4 ,fig4 #bj is a photograph of a chair seat of an odd shape1 an irregular ellipse4 ,it shows the first step half completed4 ,note here that the last strand skips two holes1 one at the front and one at the back4 ,this is necessary to keep strands as nearly the same distance apart as possible4 ,fig4 #ba shows the first step completed and the second partially so4 ,it is not necessary to start at the center with this series1 altho it is advisable with the beginner4 ,note that two holes have been skipped here1 as in the first step4 ,fig4 #bb shows the second step finished and the third under way4 ,these strands run directly over those of the first series4 ,pegs are always used to keep strands taut4 ,their proper use has been explained4 ,fig4 #bc shows the third step completed and the fourth under way4 ,this shows the actual weaving1 and the method of using the needle4 ,it has been pushed thru in the manner previously described2 and is shown threaded1 ready to be pulled back1 thus making the weave4 ,the needle may not be used1 but will do the work rapidly4 ,handwork alone here is tedious4 ,fig4 #bd shows the diagonal weave under way4 ,in ,fig4 #be this weave is completed and the second diagonal started4 ,fig4 #bf shows the method of fastening the binder4 ,this has been described4 ,illustration3 ,,fig4 #bb4 ,,the ,,second ,,step ,,finished ,,and ,,the ,,third ,,under ,,way4 ,illustration3 ,,fig4 #bc4 ,,the ,,third ,,step ,,completed ,,and ,,the ,,fourth ,,under ,,way4 ,,the ,,caning ,,needle ,,in ,,use4 ,the first three series of strands should not be pulled very tight1 otherwise the final weaving will prove difficult4 ,the finished seat1 when dry1 should ring when struck sharply with the fingers4 ,the method of tying cane1 preventing twists1 etc41 has been explained4 ,reference should be made to these points1 when anything is not fully understood in this discussion of chair seating4 ,illustration3 ,,fig4 #bd4 ,,the ,,first ,,diagonal ,,weave ,,under ,,way4 ,,the ,,fifth ,,step4 ,illustration3 ,,fig4 #be4 ,,first ,,diagonal ,,completed ,,and ,,the ,,second ,,begun4 ,,the ,,sixth ,,step4 ,note that many holes have been skipped in each series1 especially in the last two1 and also that more than one diagonal of a given series enters the same hole4 ,in every case it will enter that hole which leaves its course in as straight a line as possible4 ,in rectangular areas it is never necessary to run two diagonals into the same hole1 except at the corners4 ,this applies to two diagonals of the same series4 ,refinishing4--,the refinishing of a chair is a distinct problem1 and one which the cane weaver should understand4 ,he should acquire ability for finishing along with skill in caning1 inasmuch as a chair which needs a new seat invariably is in need of refinishing4 ,the method is as follows3 ,remove the cane from the seat4 ,if the finish is in fair condition merely wash the chair with warm water and soap4 ,when dry sand the surface somewhat1 wipe clean1 and follow with a coat of good varnish4 ,in forty-eight hours rub with pumice stone and oil1 and follow with an application of furniture polish1 well rubbed4 ,a good polish which may be made in school shops is composed of two parts of raw oil1 two parts of turpentine1 one part vinegar1 and a very small amount of alcohol4 ,boiled oil may be used in the absence of the raw product4 ,shake the container constantly when using1 for the parts are almost all merely held in suspension4 ,should the chair be in poor condition1 remove all varnish with any good varnish remover found on the market4 ,apply as directed with a stiff brush1 running the solution well into all crevices4 ,later rub off the softened finish with excelsior or burlap4 ,a scraper1 an old plane bit1 or a rather dull chisel will prove effective in corners and recesses4 ,apply a second coat of remover if conditions warrant it and clean again1 then when the surfaces are dry1 sand until clean and smooth4 ,follow with a coat of oil stain of the color desired2 then two coats of varnish1 allowing each coat to dry #dh hours4 ,sand the first coat lightly1 and rub the second with pumice stone and oil4 ,a filler is not generally necessary in refinishing4 ,the ground coat may be of shellac instead of varnish if the worker prefers it4 ,the chair need not be stained if it was finished natural originally4 ,illustration3 ,,fig4 #bf4 ,,method ,,of ,,fastening ,,binder4 ,,the ,,seventh ,,and ,,last ,,step4 ,in caning the seat special care must be exercised to avoid marring the varnished frame4 ,if the needle is used in the fourth step the frame needs protection from it4 ,pieces of bristol or card board may be placed under the needle on either side of the frame4 ,the needle is bound to mar the surface of the frame if this precaution is not taken4 ,in many instances it is policy to cane the seat after the old finish has been removed2 this to avoid any possibility of marring the seat frame later4 ,however1 it is better practice to refinish the chair first1 and cane the seat last4 ,illustration3 ,,suggestive ,,projects4 ,,chapter ,,iv ,,reseating ,a ,,chair2 ,,cane ,,webbing ,the seating of chairs with machine woven cane is a much simpler process than that of hand caning them4 ,under similar conditions less time and skill are required on areas of like dimensions4 ,machine woven cane1 as its name implies1 is a manufactured product made on power looms or machines4 ,commercially it is sold under the name of cane webbing4 ,it is obtainable in widths ranging from #h in41 increasing by #b in41 to #ah in41 and in rolls of indefinite lengths4 ,it may be procured in meshes of varying fineness1 utilizing cane of various sizes4 ,in specifying open woven cane it is necessary that the purchaser indicate his wants in essentially this way3 ,ten feet medium open woven cane webbing1 of ,no4 #a fine cane1 #ab in4 wide4 ,a roll of such cane has been referred to in ,fig4 #ah4 ,cane webbing may also be purchased in close woven1 in both the plain and diagonal weaves4 ,the specifications for purchasing are identical with the open woven except that the term close woven is specified together with the character of weave4 ,fig4 #bg shows cane webbing approximately half size1 in open and close woven meshes4 ,as in hand caning1 any boy with proper inclination who has had the necessary experience in the shops1 may avail himself of the opportunities for seating chairs in his community4 ,the educational and pecuniary advantages are identical to those mentioned in relation to hand caning4 ,the relative ease with which he may acquire skill in handling the materials precludes satisfactory workmanship for prospective customers4 ,the cost of jobs is readily determined1 for the amount and cost of webbing is easily ascertained1 and experience soon determines the length of time required4 ,cane webbing costs approximately as follows3 ,for #ab in4 widths1 #ba cents2 #ad in4 widths1 #bf cents2 #af in4 widths1 #cj cents2 and #ah in4 widths1 #ch cents4 ,this cost applies to open woven and is the charge per running foot4 ,close woven is sold by the square foot at about #cj cents1 regardless of width4 ,it is possible to procure special wide widths1 but these are not generally found on the open market4 ,illustration3 ,,fig4 #bg4 ,,open ,,and ,,close ,,woven ,,cane4 ,illustration3 ,,fig4 #bh4 ,,the ,,seat ,,frame ,,with ,,webbing ,,and ,,tools4 ,for example1 a chair seat which requires a #ab in4 square of open woven webbing1 and which has the groove made1 may be reseated for #ej cents4 ,the entire job could be finished in about half an hour4 ,this may be made less if several chairs are to be reseated at a time4 ,however1 it may be termed the minimum charge consistent with fair money returns4 ,there are instances when the seat frame requires grooving1 and inasmuch as running it in by hand is a laborious and tedious process the worker must of necessity carefully estimate time before he determines upon charge4 ,the ,process4--,the following may be termed the steps in inserting cane webbing4 ,no special difficulty should be encountered in properly seating the frame at the first attempt4 ,step #a4 ,fig4 #bh shows a commercial chair seat with groove cut by a router after it has been assembled4 ,there are no angles on the seat4 ,the groove is standard1 with dimensions in4 deep and in4 wide4 ,this groove may be cut by hand with a universal plane and chisel before permanently assembling the parts4 ,in fact this is a necessary procedure in grade schools and other schools where special machine tools are unavailable4 ,the necessary tools for pressing in the webbing lie near the frame1 ,fig4 #bh4 ,these are a small mallet1 a chisel1 and several hard wood wedges4 ,the wedges are made in several widths1 to enable them to enter the groove at the abrupt curves1 are #d in4 long of in4 stock1 tapered to in4 on the faces4 ,illustration3 ,,fig4 #bi4 ,,inserting ,,the ,,cane ,,webbing4 ,illustration3 ,,fig4 #cj4 ,,trimming ,,the ,,edges4 ,step #b4 ,the cane should be boiled in water for a minute or so1 or allowed to soak for several minutes in warm water until thoroly pliable4 ,then lay it on the frame and cut it to the shape of the seat1 allowing half an inch excess around the entire piece4 ,a pattern of card or bristol board will prove of material assistance to the amateur as well as the expert4 ,the front line or edge of the pattern must run parallel with the horizontal or vertical strands of cane4 ,pull out all weavers at the edges of the piece of cane where they run over and parallel with the groove4 ,then lay the webbing over the frame1 and see that the weavers run parallel with the front of the frame4 ,with wedge and mallet as illustrated in ,fig4 #bi begin at the front and force the webbing into the groove4 ,insert on the opposite side next1 then the other two sides in order4 ,the curves may be done last4 ,step #c4 ,the edges of the webbing will project up beyond the groove4 ,these are cut off as illustrated in ,fig4 #cj by means of a mallet and chisel at the outer edge in the bottom of the groove4 ,run either liquid or hot glue into the groove4 ,an oil-can with large holed nozzle is excellent for this purpose4 ,the liquid glue should be heated if used in this way so it may flow easily4 ,this glue is to be recommended for the amateur in that no great haste is required as in the case with hot glue4 ,a small stiff round brush will serve the purpose very well in absence of the oiler4 ,illustration3 ,,fig4 #ca4 ,,inserting ,,the ,,spline4 ,illustration3 ,,fig4 #cb4 ,,sketch ,,of ,a ,,portion ,,of ,a ,,spline4 ,step #d4 ,fig4 #ca shows the method of inserting the spline4 ,splines may be had either of wood or reed1 are curved on the upper edge and wedge shape in cross-section4 ,they are standard in width and thickness and will fit a groove of the size indicated in ,step #a4 ,fig4 #cb is a freehand sketch of a spline1 showing particularly its shape in cross-section4 ,wood splines1 preferably of hickory1 may be purchased in #e ft4 lengths1 and reed splines in lengths of #h or #aj ft4 ,both hickory and reed are recommended because of their pliability and ease in handling4 ,steam or soak them in hot water until thoroly pliable2 then insert in the groove as illustrated4 ,note that the joint is made at the rear of the seat4 ,the mallet used is of rawhide and will not mar the spline4 ,a wooden mallet of small size is a satisfactory tool4 ,cut off the extra length of spline with the chisel1 force the spline down nearly flush with the frame with mallet and wedge1 sponge off the excess glue from the surface1 and allow the webbing to dry4 ,step #e4 ,the finished seat is shown in ,fig4 #cc4 ,as the cane webbing dries it becomes taut1 and irregularities of the surface1 if not too pronounced1 will disappear entirely4 ,therefore1 the worker need not consider them primarily4 ,light sanding of the cane when thoroly dry will eliminate the small hairlike projections on the surface4 ,singeing the surface with a blow torch or gas flame will do the work more effectively1 but great care must be exercised to avoid burning the webbing itself4 ,the singeing must be done rapidly and the flame not be permitted to remain at one spot more than an instant4 ,dampen the surface to minimize the danger of burning4 ,illustration3 ,,fig4 #cc4 ,,the ,,finished ,,seat4 ,illustration3 ,,fig4 #cd4 ,,chair ,,with ,,caned ,,panel4 ,the chair shown in ,fig4 #cd was made by an eighth grade boy4 ,the slip seat is upholstered1 and a panel of cane webbing utilized on the back4 ,in instances of this character where the area is rectangular1 splines are cut1 mitered1 and fitted previous to inserting the webbing4 ,the splines are used dry4 ,manufacturers1 in instances where the seat area is all curved1 generally fit the pliable spline1 allow it to dry1 and then insert it with the webbing4 ,this assures tight joints4 ,this procedure is not recommended for the ordinary shops for the simple reason that the shrinkage is not appreciable4 ,illustration3 ,,fig4 #ce4 ,,frame ,,illustrating ,,steps ,,in ,,inserting ,,woven ,,cane4 ,the frame illustrated in ,fig4 #ce is purely supplementary to the steps1 but as with the ,seven ,steps in ,caning1 it should be used in demonstrating the processes to classes4 ,it materially assists in making the processes clear to the students1 previous to allowing work on their projects1 and assures a general understanding1 at least1 of proper procedure4 ,the different panels are lettered for convenience and need no elaborate explanation3 ,a is the open frame with grooves cut for the webbing4 ,b is the webbing inserted with ragged edges exposed1 ready for cutting4 ,c is the webbing with edges properly trimmed and a spline inserted4 ,d is the completed panel4 ,inserts of cane webbing may be utilized on pieces of furniture other than seats4 ,these inserts could be used on every article illustrated in ,chapters ,i and ,,ii1 with similar pleasing effects1 and with less labor4 ,however1 there is an obvious element in hand caning which naturally and logically gives it precedence over the inserted cane4 ,,chapter ,v ,,rush ,,seating ,rush seating1 employing either genuine rush or substitutes1 may be done to good advantage and with excellent results in manual training shops4 ,no equipment is needed to maintain such work4 ,the addition of a woven seat to a chair or stool constructed in the shops will necessarily employ a new1 interesting medium in conjunction with woodwork2 and materially increase the pupils' knowledge of materials and possible combinations4 ,and1 as with caning1 the resultant interest in the work at hand more than justifies its introduction in manual training shops4 ,rush seating employs a very simple weave4 ,different materials employed in weaving naturally require different degrees of skill1 and the difficulties encountered are those resulting from handling materials and not because of the complexity of the weave4 ,one may very readily undertake the rushing of ordinary seat frames after a study of printed directions and illustrations4 ,it should be understood at the outset that1 in discussing rush seating1 materials other than genuine rush are included in the term4 ,historical4--,in the ,british ,museum in ,london is a seat of curious shape of ,egyptian manufacture1 which1 it is estimated1 was made previous to #djjj ,b4,c4 ,a small amount of rush still clings to the seat frame4 ,the relative date of the construction and weaving of the chair seat would indicate that rush seating is by no means a modern art1 altho at present rush is extensively employed in furniture4 ,the use of rush in ,england dates no earlier than #agbj4 ,several types of chairs were made there between that date and #ahgj4 ,in ,france rush was used extensively in the seating of furniture of ,normandy and ,brittany about #agej4 ,flanders produced rush seated chairs at an early date1 and many were constructed in this country in early colonial days1 prior to #aggf1 as well as later4 ,such chairs were undoubtedly patterned after those brought over from ,holland1 ,france1 and ,england to the early settlements in ,america both before and after the ,revolutionary ,war4 ,illustration3 ,,fig4 #cf4 ,,adaptation ,,of ,,ladder ,,back ,,chair4 ,in early times rush always served a function in the seats of chairs and stools1 and was very seldom if ever used on the better class of furniture4 ,the use of cane or rush on furniture for decorative purposes only is distinctly a modern idea4 ,utility rather than beauty prompted the introduction of seats of rush4 ,modern furniture of excellent design and workmanship employs rush seats4 ,these are either woven over a separate frame and inserted or are an integral part of the chair1 being woven over the seat rails of the chair itself4 ,fig4 #cf shows a modern adaptation of a ladder back chair with rush seat4 ,the rush on this chair is woven over the rails4 ,fig4 #cg shows a flat view of the seat4 ,rush4--,rush is the name applied to many fistular1 stemlike plants of similar or like growth4 ,properly1 rush belongs to the sedge family4 ,the different species vary greatly in appearance2 some are low and slender1 some are tall and leafless1 and some are broad leaved4 ,they are found in wet places thruout the northern hemisphere1 along banks of sluggish streams1 and in lowlands and marshes4 ,the great bulrush is common and familiar1 while the chair-maker's rush is not as well known4 ,the plants most commonly known as rush are called by the names of flag and cattail4 ,in fact1 flag and cattail are very generally used for rush seating4 ,the technical names of the different species of rush are not pertinent or desirable here4 ,illustration3 ,,fig4 #cg4 ,,seat ,,of ,,ladder ,,back ,,chair4 ,other ,materials4--,materials other than rush may be used for rush seating1 as has been stated4 ,rush is rather hard to manage in that no appreciable length may be handled because of the shortness of the leaf4 ,twisting is necessary4 ,fiber1 or similar materials1 is to be recommended for shop use because a great length is procurable1 and the twist is made4 ,it is made of machine-twisted paper1 and comes in long indefinite lengths4 ,it is tough1 strong1 and serviceable1 and procurable in spools of about one hundred pounds each4 ,fig4 #ch shows such a spool together with a bundle of rush4 ,it is manufactured with or without a flexible wire center and costs from #aj to #ae cents a pound4 ,it may be had in several colors and sizes4 ,raffia is well known thru its general use in basketry and allied work4 ,in rush seating it has no conspicuous place1 altho it may be utilized to great advantage4 ,raffia is the leaf of a certain palm1 cut in narrow widths and varying in length from #b to #e feet4 ,it is bought in hanks by the pound1 bleached or unbleached1 and in colors4 ,the natural unbleached raffia costs about #be cents per pound2 colored about #ge cents4 ,the hanks should not be untied1 but as strands are needed they should be pulled out from the head end of the hank4 ,if improperly handled1 raffia will become badly tangled4 ,illustration3 ,,fig4 #ch4 ,,spool ,,of ,,fiber ,,and ,,bundle ,,of ,,rush4 ,corn husks1 taken from close to the ear1 may be used1 particularly for seating chairs of toy furniture4 ,the husks near the ear are not as coarse and brittle as those outside4 ,the shortness of the husks precludes their general use1 altho they produce an excellent seat when properly woven4 ,the materials mentioned by no means exhaust the list of available mediums for rush seating1 but will give considerable and sufficient variety for shopwork4 ,as the weaver comes to appreciate the limits and advantages of the various mediums for certain grade work1 he may utilize local plants and grasses suitable for such work4 ,preparation of ,materials4--,rush--and in the term are included cattail and flag--is common to almost any locality in our northern states4 ,it should be gathered when full grown and still green4 ,it is ready for cutting when the tips of the leaves begin to turn brown4 ,this is usually about the middle of ,august4 ,the leaves are tied in loose bundles for convenience in handling1 and dried in the shade1 preferably a darkened room4 ,they should remain here until thoroly dry4 ,before using1 soak the rush about ten hours in water4 ,less time is required if warm water is used4 ,when it is soft and pliable it is ready for weaving4 ,illustration3 ,,fig4 #ci4 ,,isometric ,,drawing ,,of ,,frame ,,for ,,rush ,,seating4 ,before weaving1 the butt ends of the leaves are cut off about a foot from the base4 ,these are too coarse and stiff to weave properly4 ,one leaf may be used or two leaves may be twisted together to make a strand4 ,three leaves make a coarse strand1 two a medium1 and one a fine strand4 ,a long1 tight twist is necessary to produce an even1 smooth strand4 ,the twisting is always done in one direction4 ,one leaf is recommended for beginners in rush seating1 for adding to one is much simpler than adding to several4 ,the under side of the seat need not be as smooth and as well woven as the top4 ,in fact1 twisting need not be done underneath at all unless the individual worker so desires4 ,raffia is easy to manipulate because of its pliability1 even when dry4 ,several lengths will need to be twisted together to produce a strand of sufficient size4 ,it requires little soaking to make it ready for use4 ,raffia produces an even1 smooth surface of pleasing appearance1 and is very desirable in a seat4 ,illustration3 ,,fig4 #dj4 ,,method ,,of ,,weaving ,,the ,,first ,,strand4 ,fiber may be woven as it comes from the spool4 ,however1 it is better to dampen it by plunging a quantity in water and removing at once4 ,when it dries after weaving1 a slight shrinkage results1 thereby making a tauter seat than could be woven with dry strands4 ,inasmuch as the fiber is paper1 it cannot be soaked in water4 ,the ,weaving ,process4--,with the frame ready and rush in proper condition the weaving may be started4 ,fig4 #ci shows an isometric drawing on which corners are lettered and the rails numbered in order4 ,fig4 #dj shows another drawing on which the corners and rails are similarly lettered and numbered1 showing graphically the method of weaving the first strand4 ,the arrows indicate the direction of weave4 ,the operation is practically complete once around the frame4 ,reference may be made to either drawing in the following detailed directions for weaving4 ,start arbitrarily at any corner--in this case1 ,a4 ,a strand of rush tightly twisted is laid over rail #a next to the cap with its short end turned down4 ,the beginner may find it advantageous to tack the end in place4 ,draw the strand over the edge and bottom of rail #a and up at the inner corner1 then over the top and edge of rail #b4 ,this binds the loose end in place if it has not been previously tacked4 ,pull the strand directly across the frame opening to the top of rail #c at corner ,b4 ,draw it over the edge of the same rail and under1 then up at the inner corner and over the top and edge of rail #a4 ,pull directly across the frame opening to the top of rail #d at corner ,c4 ,the operations at corners ,c and ,d are identical to those at ,a and ,b1 and these repeat themselves indefinitely at each corner1 or until the seat is completed4 ,this applies to square seats only4 ,the end of the last strand may be secured with a tack under the proper rail1 or twisted around a strand underneath the seat4 ,illustration3 ,,fig4 #da4 ,,stick ,,for ,,stuffing ,,interior ,,of ,,seats4 ,the strand is twisted as the weaving progresses4 ,this may be done with the palm of the hand and thigh1 in much the same manner as a shoemaker waxes his thread4 ,if one leaf of rush is used to make the strand1 new leaves are added by tying the two ends in a square knot at a corner1 or wherever such joining will not show on the finished seat4 ,when more than one piece of rush is used for a strand the pieces should be of uneven lengths initially4 ,one leaf or piece at a time is then added4 ,the upper or top end of the leaf is used to begin the seating and each leaf added is attached at its top end4 ,some expert rush seaters do not tie knots in making strands1 but add leaves by twisting the end of the preceding leaf about the added one1 like the color on a barber pole1 as one old rush weaver remarked4 ,adding by twisting only is difficult1 and requires great patience and dextrous handling of the material4 ,in fact rush should be used by the more skilful boys only4 ,others may use the excellent substitute1 fiber4 ,care must be exercised to keep the strands from overlapping improperly at the corners4 ,the strands should fit snugly where they go over the rails4 ,to assure this1 tap them sharply with a mallet used over a block of soft wood4 ,this may be done at frequent intervals or when several strands have been woven over each rail4 ,uniform tension on the strand is desirable and this should be tight4 ,illustration3 ,,fig4 #db4 ,,method ,,of ,,filling ,,in ,,center4 ,as the work progresses the interior between the upper and lower rows of strands is stuffed4 ,this is done with the same material as that used in the weaving4 ,the butt ends of rush are used to stuff the seat of rush2 raffia is used to stuff a raffia seat2 craft paper to stuff a fiber seat2 and so on4 ,the packing should be done in a thoro manner1 for it builds up the seat and prevents its breaking down at the inner edges of the rails1 and sagging with continued use4 ,a slightly curved hardwood stick about #ab in4 long may be used to advantage to do this work4 ,fig4 #da shows a sketch of such a stick4 ,it is in4 in diameter at one end and tapered to in4 by in4 at the other4 ,considerable force needs to be exerted in packing1 and caution used to avoid breaking strands4 ,rectangular ,seats4--,as stated1 in weaving a square seat the initial process is repeated at all corners until all openings are filled4 ,in rectangular seats the spaces on the short rails will fill before those on the long rails4 ,weaving around corners is then manifestly impossible4 ,fig4 #db shows a partly woven seat with the short rails filled1 and the process of filling up the remaining area under way4 ,the method is this3 ,go over and under a long rail1 across half the frame opening and up thru1 then across the remaining distance1 and over and under the other long rail4 ,repeat until the seat is completed4 ,fig4 #dc is a sketch of a partly woven seat1 illustrating the method of filling in the center just described4 ,it supplements the photograph and makes the method clearer4 ,illustration3 ,,fig4 #dc4 ,,method ,,of ,,filling ,,in ,,center4 ,it should be noted that the strands in crossing at the center must be compressed one-half of their diameters4 ,they will need to be tapped sharply with a small mallet or hammer to produce proper crowding4 ,fig4 #dd shows a stool seat of fiber woven by an eighth grade boy4 ,fig4 #de shows the complete stool4 ,the seat is woven over a separate frame and inserted4 ,fig4 #df is a child's chair of oak1 with a seat of fiber woven over the rails of the chair4 ,irregular ,seats4--,the usual or standard shape of chair seat is like the one illustrated in the drawing1 ,fig4 #dg4 ,the front rail is longer than the back1 and the side rails are equal in length4 ,seats of this shape are rather difficult to weave because special treatment is necessary to fill up portions of certain rails4 ,illustration3 ,,fig4 #dd4 ,,completed ,,top ,,of ,,fiber4 ,with reference made to the drawing1 the method employed in locating lines for rushing1 and for rushing such a seat is this3 ,with the beam of a square laid against rail #d with its corner against the cap at corner ,a1 scribe a pencil line across rail #b4 ,similarly1 mark the same rail using the square against rail #d at corner ,d4 ,stated in other words1 these lines may be obtained by determining the difference in length between the front and back rails1 and laying off one-half this difference from each corner on the front rail4 ,this distance is indicated by the brackets in the drawing4 ,illustration3 ,,fig4 #de4 ,,completed ,,rush ,,seated ,,stool4 ,illustration3 ,,fig4 #df4 ,,child',s ,,chair ,,with ,,fiber ,,seat4 ,now tie with a string as many strands of rush as will be needed to fill in this difference between front and back rails4 ,fasten them underneath the rail at corner ,a4 ,then use one strand1 twisted1 and weave around corners ,b and ,c and fasten under the rail at corner ,d4 ,the weaving is identical to that described in square seats4 ,weave in each strand in the bundle at the same corners and tie under the rail at corner ,d2 or until the spaces marked off on the front rail are filled4 ,it may be necessary to add to or to remove strands from the bundle if calculations as to number of strands necessary were inaccurate4 ,tie all loose ends together at corner ,d1 fasten securely and cut off all extra lengths4 ,start now as in beginning a weave on a square seat1 weaving around all corners in the regular way4 ,the first strand around will effectively bind the bundles of ends at corners ,a and ,d4 ,suggestions4--,in using paper fiber or similar materials which come in long lengths1 a strand #bj or #be ft4 in length may be used at one time in weaving4 ,for convenience in handling it should be formed in a loop and held together with a strong rubber band4 ,the strand may be unlooped a little at a time as the weaving progresses4 ,in using rush1 raffia1 and like materials1 the strand is made as the weaver works1 so at no time is there a strand exceeding #e ft4 or so in length to handle4 ,no special expedient is therefore needed4 ,illustration3 ,,fig4 #dg4 ,,method ,,of ,,starting ,,weave ,,on ,,seat ,,of ,,irregular ,,shape4 ,raffia1 fiber1 etc41 may be purchased from supply houses and in many cases direct from the manufacturers4 ,rush may be gathered in many communities by an energetic instructor and pupils1 and properly cured4 ,in fact1 gathering the raw material and preparing it for use is desirable in many ways1 and is to be encouraged4 ,ordinarily rush may be obtained from manufacturers of rush seats4 ,it costs #ae cents per pound1 dry4 ,illustration3 ,,fig4 #dh4 ,,working ,,drawing ,,of ,a ,,stool ,,for ,,rushing4 ,fig4 #dh is a working drawing of a stool or seat4 ,the constructed problem would appear very similar to the one shown in ,fig4 #de4 ,the seat frame is fastened to the base with concealed screws4 ,the upper caps are temporarily fastened until the weaving is completed1 when they are removed and the frame fastened to the base as indicated4 ,the caps are then replaced permanently4 ,generally speaking1 for initial work in rush seating it is advisable to weave over a separate frame4 ,such a frame is conveniently handled1 and better work will result4 ,finish4--,some agent to preserve a rush seat is necessary4 ,rush should be coated with equal parts of oil and turpentine1 followed by two coats of tough1 elastic varnish4 ,the necessary time should elapse between coats4 ,some manufacturers do not use oil1 and apply varnish only4 ,raffia and husk seats should be treated as rush4 ,fiber is varnished only4 ,a brittle varnish is to be avoided1 for it will chip off with a little use1 and a seat is subject to hard wear4 ,illustration3 ,,suggestive ,,projects4 ,,chapter ,,vi ,,reed ,,and ,,splint ,,weaving ,reeds which are used extensively for basket-making and weaving in general are procured from the species of palm described in ,chapter ,i4 ,these reeds should not be confused with the term reed applied to several distinct species of large water loving grasses4 ,such reeds are usually designated under the name of grasses4 ,there are a thousand species of palm distributed over the tropical regions of the entire world1 but only a few are native in the ,united ,states1 and these are of no distinct commercial value4 ,the rattan or cane palms of ,india and the ,malay ,islands grow to an unusual height1 and are imported into this country in great quantities4 ,these rattans and the trailing palm of the species ,calamus have as main export centers ,singapore and ,calcutta4 ,these palms are stripped of leaves and bark and split into round and flat strips of different diameters and widths4 ,the outer bark1 when stripped into proper sizes1 is known as chair cane2 the entire palm1 with leaves removed1 is commercially known as rattan2 and the flat reeds are frequently sold as flat rattan and pith cane4 ,inasmuch as these flat and round strips1 split from the palm plant and exported under the name of rattan are called reeds1 we shall refer to them under that name in all discussions to follow4 ,there are two qualities of reed on the market sold under the names of ,china reed and ,german reed4 ,the former is inferior in quality and the latter is superior1 being strong1 tough and durable4 ,the ,philippine ,islands give promise of producing a liberal supply of reed of good quality that is claimed to equal the ,german product4 ,the problem1 however1 is one of gathering and marketing the product4 ,the government has made a partial survey of the rattan supply1 and this justifies the belief that the ,islands will eventually compete with the world market4 ,primitive ,methods4--,briefly the primitive process of converting the rattan1 or raw material1 into cane and reeds1 or the finished product1 is this3 ,the rattan stems are thoroly dried or seasoned1 and the nodules are pared off with a peculiar native knife4 ,then the rattan is sorted into sizes and selection made as to grade4 ,the sorting is based upon external color and diameter of the rattan4 ,the rattan is then immersed in water1 and the stem is rubbed vigorously with sand and cocoanut husks to remove dirt and foreign substances4 ,it is then bleached by means of sulphur fumes1 either in the stem or after the peel and core have been prepared4 ,the method of preparing the peel and core is this3 ,the peel1 or outer covering1 is removed with a heavy knife2 it is then stripped to selected thicknesses and widths by drawing it by hand thru two knives set at required distances apart4 ,this peel is commercially called cane4 ,the core is then stripped into as many strands as necessary1 depending upon the diameter of the cores required4 ,these are rounded by drawing them thru a sheet of tin or iron perforated with holes of different diameters4 ,the rounded cores are called reeds4 ,considerable rattan is still converted into the finished products by hand processes thru these laborious stages4 ,machines have been perfected which do practically the entire work4 ,particularly have the ,germans brought this industry to a perfected state4 ,still in various sections of ,india1 ,china1 and the ,philippines hand working of rattan is a thriving industry2 an industry seemingly peculiarly adapted to the natives4 ,the ,philippine method of preparing the raw material varies somewhat from the ,chinese method in that the natives do not bleach the rattan4 ,reed may be procured in large or small hanks1 in coils and in bundles1 with the cost determined by weight4 ,schools generally will find it advantageous to buy it in small hanks1 because of ease in handling and for economic reasons4 ,round reeds are shown three-fourths size in ,fig4 #di1 from ,no4 #j to and including ,no4 #g1 also winding1 half-round and flat reeds4 ,winding reed is thin and slightly rounded on one surface4 ,half-round is as its name implies4 ,flat reed may be obtained in several widths from in4 to in41 and if of good quality1 one surface will show a decided bevel on the edges and appear much smoother than the other4 ,thus the right side is determined4 ,there are many more sizes on the market than are indicated in ,fig4 #di1 but those shown should supply adequate1 if not liberal variety for the ordinary school shop4 ,the cost of reed cannot be given with any degree of accuracy at present4 ,the price is determined by the quantity bought1 and by the quality and size4 ,under normal commercial conditions round reeds will cost from #cj cents to #a per pound for ,nos4 #a to #h1 and flat reed about #be cents per pound4 ,illustration3 ,,fig4 #di4 ,,specimens ,,of ,,reeds1 ,,three-,,fourths ,,of ,,actual ,,size4 ,bleaching4--,reed is procurable either bleached or unbleached4 ,ordinarily it is better to buy the bleached product4 ,however1 if the worker desires to bleach the reed1 the method for small quantities is as follows3 ,in a tub two-thirds full of water dissolve ten pounds of chloride of lime4 ,immerse the reed in this solution1 weighting it down to insure covering it all1 and let it stand about #d hours4 ,remove it from the tub and wash thoroly in running water4 ,the best way to do this is to lay the reed on an inclined surface and turn a forceful stream of water upon it4 ,chloride of lime has a bad effect upon the hands in that it makes them sore and tender1 so care must be taken to properly rinse the reed4 ,a little tallow rubbed over the hands will materially offset the tendency to tenderness1 and generally keep them in good condition4 ,staining4--,bleached reed takes stain much more readily and evenly than does the natural or unbleached4 ,it may be stained any color with prepared stains1 but ordinarily these leave the reed muddy in appearance due primarily to the difficulty in brushing in or wiping off the stain in the recesses which weaving leaves4 ,perhaps the best agent for coloring reed1 and at least a very desirable one1 especially after it has been woven1 is naptha4 ,the preparation of the stain and the process of coloring is as follows3 ,obtain the necessary amount and variety of colors ground in oil2 mix the required colors with a little naptha2 then to determine the shade of color test with a reed4 ,reed absorbs a given amount of color1 therefore the shade will prove out practically the same when tested with a small quantity of naptha1 as when tried out with a greater amount4 ,add the required amount of naptha to the solution1 avoiding thinning too much2 otherwise the color produced will be sickly in appearance4 ,five pounds of color to about #c gallons of naptha will prove about the right ratio4 ,for instance1 to obtain a rich nut brown mix #a pound of chrome yellow and #e pounds of burnt umber with a small amount of naptha4 ,stir until the colors are liquid1 then gradually add #d gallons or so of naptha1 and stir well4 ,the intensity of the brown may be varied by using more or less chrome yellow4 ,coiled hanks of reed may be immersed in the solution1 immediately withdrawn and hung to drain dry above the receptacle1 thus permitting surplus stain to drain back into it4 ,the stain may be used repeatedly1 and as it is very volatile it should be kept in a tightly corked red can when not in use4 ,it is also highly inflammable1 and should be used in a room in which there is free circulation of air4 ,if colors have been mixed properly and thinned to the right consistency1 the reed will dry rapidly and the color will be sharp and clear1 free from muddy effects4 ,a woven article such as a basket or woven top footstool may be dipped1 or the color poured over and allowed to drip dry4 ,in some instances it is good policy to wipe surplus stain off lightly4 ,then1 in the case of the footstool or similar project1 if the worker so desires he may stain the wood a darker shade than the top with a prepared stain4 ,reed is very effective without stain2 many of the stools shown herewith are left natural4 ,reed may be shellacked or varnished4 ,because of its porosity it soils very easily unless some finishing agent is used1 and a good grade of elastic varnish is recommended as a finish1 especially when the woven article is subject to severe use4 ,other ,materials4--,reed is not the only good medium adapted to weaving1 either in correlation with wood or when used alone4 ,on the stools illustrated several other materials have been used1 as inner hickory bark and ,indian splints and fiber4 ,binding cane1 rope1 and even willow may be utilized with success4 ,paper fiber was discussed in detail in ,chapter ,v and needs no elaboration4 ,fig4 #fj shows a stool partly woven with this serviceable material4 ,sufficient to say that this fiber adapts itself admirably to almost all work where reed is commonly employed1 and in many instances is1 commercially1 supplanting reed4 ,inner hickory bark may be obtained of manufacturers of rustic furniture either directly or indirectly4 ,they may be obtained first hand if hickory trees grow in the locality1 thus enhancing the educational value of weaving4 ,in the spring or early summer when the sap is up and the bark slips easily1 a hickory tree may be cut down1 and the rough outer bark shaved with a draw knife from the top of the log the full length of the trunk1 leaving a surface from #h in4 to #aj in4 wide4 ,with a heavy knife split the inner bark on either side of the shaved strip2 then beginning at one end peel back the inner bark the full length of the log4 ,this process may be repeated until the log is stripped4 ,the thickness of the inner bark depends upon the size of the tree and the species4 ,manufacturers of hickory furniture claim that the pignut possesses a thicker bark than any other species1 the bark running from in4 to in4 in thickness1 and they accordingly use this tree in preference to others when available4 ,the rolls of thick inner bark are allowed to dry for several weeks4 ,then they are placed in water1 to remain until pliable4 ,they are then split into strips of proper thickness and width4 ,factories use a very simple motor driven machine for making the strips1 and any manual training shop can devise some scheme for accomplishing this work4 ,these strips cut in indefinite lengths must be made pliant by a thoro soaking just previous to use4 ,in weaving they should be pressed close together with the fingers or with the aid of a hammer1 as there is an appreciable shrinkage especially in their width upon drying4 ,such strips are used mainly by builders of rustic outdoor and porch furniture for the weaving of the backs1 arms and seats of chairs1 and have at present no general use in school shops4 ,their use here should be encouraged4 ,if bought of the manufacturer these strips cost #dj cents per pound1 dry4 ,they are put up in coils1 and are in4 wide and in4 thick4 ,they may be stripped into narrower widths by means of a hand stripper1 soon to be described4 ,illustration3 ,,fig4 #ej4 ,,sketch ,,of ,,hand ,,stripper ,,and ,,gage4 ,indian splints of ash and hickory may be obtained from dealers in the raw products4 ,these strips are cut from the wood of the tree in long shavings in a manner similar to obtaining the inner hickory bark1 and stripped into desired widths and thicknesses4 ,one kind of ash splint is made in three weights or thicknesses1 fine1 medium and heavy1 and in strips #a in4 wide4 ,it is sold in coils of #bjj ft4 each at #h4jj for #d1jjj ft4 ,the strips are a number of feet in length4 ,hickory splints are sold in coils of a dozen strands each4 ,these strands are #h ft4 to #aj ft4 long by in4 wide1 and slightly less than in4 thick4 ,a coil weighs about three-fourths of a pound and costs #e cents4 ,illustration3 ,,fig4 #ea4 ,,working ,,drawing ,,of ,,hand ,,stripper ,,and ,,gage4 ,the ash splints particularly1 need to be restripped to widths needed by the worker4 ,for ordinary purposes the hickory strips are right for seating purposes4 ,the stripping is done by means of a combination hand stripper and gage shown in ,fig4 #ej4 ,a working drawing of it is shown in ,fig4 #ea4 ,it is made of maple preferably4 ,the cutters are of a watch spring1 pointed and sharpened as indicated4 ,the end piece is removable to permit changes of the cutters4 ,to use1 merely hold the splint flat between the right hand and stripper1 press the strand down on the cutter and pull it across the cutters with the left hand4 ,two persons may do the operation more readily and speedily than one4 ,it is a good policy to make several of these devices with cutters at different distances apart so splints of various widths may be cut without resort to a change of cutters4 ,splints need to be soaked in water for a number of minutes before using4 ,they will be found to be somewhat less pliable than inner hickory bark1 and different in color1 varying from almost white to a light brown4 ,inner bark is a nut brown in color4 ,the splints stain well1 and may be dipped in identically the same manner as reeds4 ,inner bark needs no stain2 in fact is more pleasing if left natural4 ,illustration3 ,,fig4 #eb4 ,,rolls ,,of ,,splints1 ,,inner ,,bark1 ,,and ,,reed4 ,ash splints are extensively gathered and prepared by the ,indians in certain sections of ,canada and the northern states4 ,there they are woven into baskets of intricate design and beautiful colors1 usually in combination with other materials1 as sweet grass4 ,splints may be used for almost every purpose for which flat reed is utilized1 and in numerous cases is superior and preferable to reed4 ,in ,fig4 #eb is shown in order1 two rolls of hickory splints1 a bundle of inner hickory bark strips1 and a small hank of flat reed4 ,these are in the original bundles as they come from the dealers4 ,,chapter ,,vii ,,seats ,,of ,,reeds ,,and ,,splints ,the discussion of the weaving processes to follow is confined1 in the main1 to stools or seats4 ,fig4 #ec shows several stools different in design both in wood construction and in weaving4 ,in two instances it will be noted that weaving is done over a separate frame1 one being inserted between the rails1 the other fastened on top1 leaving a little projection4 ,reference is made to several possible weaving designs and the use of various mediums and combinations4 ,the possible combinations of materials are merely suggestive of possible other ones1 and the individual worker will find that many designs of varying complexity may be worked out4 ,an excellent method for working out possible designs is that of using black and white paper strips in4 in width4 ,the design will show up very clearly because of the contrast of the black and white4 ,experimenting with the weave on the seat itself is rather tedious and unsatisfactory4 ,the paper strips are an excellent means to an end4 ,the stool top illustrated in ,fig4 #ed employs a simple over-and-under weave1 utilizing flat reed4 ,the worker needs to decide at the outset on the character of weave to be used unless it be of unusual design4 ,in this instance the weaver runs over three and under three strands1 and the wrapping done in a series of three4 ,to begin the operation tack an end of flat reed under a short rail at a corner1 then bring the strand out and over the rail1 across the frame opening to the opposite rail1 under this rail1 across underneath the frame opening to the bottom of the first rail4 ,this completes the process once around4 ,repeat three times2 then wrap the strand around the two rails1 without running it across the top4 ,thus every fourth strand across the top is omitted4 ,it is not necessary to cut the strand2 the wrapping is continuous4 ,repeat these series of three strands until opposite short rails are entirely wrapped4 ,when a strand runs out tack the end with the beginning of a new one underneath a rail4 ,use a one ounce flat head wire tack for this purpose if available1 otherwise a one ounce cut tack will do4 ,the weaving proper now begins4 ,illustration3 ,,fig4 #ec4 ,,woven ,,top ,,stools4 ,tack a strand underneath a long rail at a corner1 then weave over three strands and under three4 ,repeat in the same manner three times1 then weave over the series which were woven under before and repeat alternately until the top is entirely woven4 ,in weaving the top of this stool one strand is woven in the last series of three1 and to balance it a single strand is run in on the opposite side4 ,the ends of this strand are not fastened in any particular way2 the weaving holds them in place4 ,the spaces next to each short rail may be filled in a like manner if desired4 ,strands crossing underneath the frame must be woven in some manner to produce a seat of maximum strength4 ,the character of the weave here is not pertinent2 in this instance it might take the same form as the top4 ,illustration3 ,,fig4 #ed4 ,,weaving ,,in ,,series ,,of ,,three4 ,fig4 #ee shows a stool top woven of inner hickory bark strips employing what is termed a diagonal weave4 ,begin the wrapping on either the short or long rails4 ,in this instance we will assume that the short rails have been wrapped2 then the weaving will begin over the long rails1 and as indicated1 at the upper left hand corner4 ,the strands have been numbered to make the description clearer4 ,the diagonal is determined at the edges of the upper rail4 ,the method of weaving may be expressed in the following manner3 ,strand #a--,over #a1 under #b1 over #b1 under #b1 and so on4 ,strand #b--,over #b1 under #b1 over #b1 under #b1 and so on4 ,strand #c--,under #a1 over #b1 under #b1 over #b1 and so on4 ,strand #d--,under #b1 over #b1 under #b1 over #b1 and so on4 ,illustration3 ,,fig4 #ee4 ,,stool ,,top ,,of ,,inner ,,hickory ,,strips4 ,this completes the series or unit1 and this unit repeats itself until the area is woven4 ,for instance1 the fifth weaver follows the same course as the first2 the sixth weaver follows the same course as the second2 the seventh the same as the third2 and so on4 ,the diagonal effect will remain the same were the weaver to run over three strands or more1 providing the right start is made at the edges of the frame4 ,in using inner hickory bark care must be exercised to keep the strands close together1 for they shrink appreciably in drying4 ,a brad hammer with square face is an excellent tool to use for keeping the strands snugly together4 ,illustration3 ,,fig4 #ef4 ,,stool ,,top ,,of ,,flat ,,and ,,half-,,round ,,reeds4 ,a combination of half-round and flat reed is illustrated in ,fig4 #ef4 ,the half-round reed is wrapped about the frame first1 and in this case every other strand is wrapped around the opposite rail1 crossing underneath the frame only4 ,the diagonal weave is employed1 and is identical to the one just described in general effect4 ,however1 the weaver runs over three and under three in the body4 ,note the difference in the weave at the edges of the rails4 ,when using half-round reed it is necessary that every other strand be wrapped completely around the rails1 for otherwise it would prove practically impossible to weave the area because of the thickness of the reed4 ,a winding reed as shown in ,fig4 #di or binder cane could be run continuously1 inasmuch as either is relatively thin4 ,weaving with two kinds of reed will produce an area of pleasing high relief4 ,illustration3 ,,fig4 #eg4 ,,diamond ,,design ,,in ,,flat ,,reed4 ,fig4 #eg illustrates a stool woven in flat reed4 ,the diagonal weave is used running toward a common center1 and it forms a diamond pattern or design4 ,begin wrapping on the long rails1 skipping every other strand on the top as indicated4 ,to weave this pattern it is necessary to locate the center of the short rails and the center strand of those running across the frame4 ,in this instance the strands are even in number1 so the pattern does not begin at the actual center1 but a little to the right or left as the case may be4 ,beginning at the center1 count by twos1 over1 under and over1 under and so on to determine the number of strands to go over or under at the edge of the frame4 ,the first strand runs over one at the center1 and over two and under two on either side4 ,the second strand runs under three at the center1 and over two1 under two on either side2 the worker must again count to the edge of the frame to determine the beginning weave1 until the unit of four strands has been woven4 ,then the unit repeats itself at the center and at the edges of the frame4 ,beginning at the right side of the illustration the weaving is as follows3 ,strand #a--,over #b1 under #b1 over #b1 under #b1 over #b1 under #b1 then over #a1 and repeat across the other half of the frame4 ,strand #b--,under #a1 over #b1 under #b1 over #b1 under #b1 over #b1 then under #c1 and repeat across the frame4 ,strand #c--,under #b1 over #b1 under #b1 over #b1 under #b1 over #b1 then under #a1 and repeat across the frame4 ,strand #d--,over #a1 under #b1 over #b1 under #b1 over #b1 under #b1 then over #c1 and repeat across the frame4 ,illustration3 ,,fig4 #eh4 ,,diamond ,,weave ,,in ,,flat ,,and ,,half-,,round ,,reeds4 ,illustration3 ,,fig4 #ei4 ,,woven ,,design ,,in ,,flat ,,reed4 ,these four strands comprise the unit1 and it is repeated until the frame is entirely woven4 ,complete half of the frame first1 then weave the other half1 which is just the reverse of the first half4 ,in starting the weave for the second half1 strand #a is omitted1 for it is the center of the frame4 ,after the worker has worked out the unit according to the method described1 he will find it good practice to write it out graphically as above to use in weaving the seat4 ,the unit above applies to the particular stool1 and will not hold good on seats utilizing more strands1 or fewer4 ,errors are easily made in weaving this pattern for the reason that strands need watching at two places4 ,the seat of the stool at the top of the group shown in ,fig4 #fa has a pattern identical with this one1 except that the strands both ways are close together4 ,the top illustrated in ,fig4 #eh is practically the same in design as the one just described4 ,the weavers run over the long rails in this instance1 instead of the short ones1 and half-round reed is used for the weavers1 with flat reed utilized for the wrapping4 ,the first weaver of half-round reed runs under the center strand1 and the two second weavers run over three strands on either side of the first1 at the center of the area4 ,the combination of the half-round and flat reeds produces a seat both pleasing and serviceable4 ,illustration3 ,,fig4 #fj4 ,,stool ,,top ,,woven ,,with ,,fiber4 ,fig4 #ei illustrates a stool top woven with flat reed entirely1 in a design the very opposite in effect of that shown in ,fig4 #eg2 instead of evolving a diamond effect the diagonals appear to radiate from a common center4 ,the method of weaving is identical to that of ,fig4 #eg in that the operation begins at the center of rails instead of next to the posts4 ,the first weaver is woven over the center strand at the center of the top1 and the second weaver1 on either side1 is woven over three strands1 at the center4 ,these three weavers practically determine the design and effect produced4 ,an error of no vital importance exists in this particular stool top4 ,it will merely emphasize the fact that particular care is necessary to avoid mistakes4 ,fiber is the material used for the top of the stool shown in ,fig4 #fj4 ,the diagonal weave is employed4 ,the process of weaving has been explained and needs no further discussion4 ,the fiber is the same as that discussed in ,chapter ,v4 ,it adapts itself admirably to this form of weaving1 and when properly finished with varnish makes a serviceable seat1 pleasing in every particular4 ,the strands which run across the frame in the wrapping must be some distance apart1 otherwise weaving would prove impossible4 ,the thickness of the strands preclude their being wrapped close together as in the case of thin materials4 ,in this case a space equal to the width of three strands is left4 ,the weaver runs over two and under two strands in the body4 ,while reeds and inner hickory bark shrink in drying1 they will shrink mostly in width and not much in length4 ,therefore it is necessary to pull all strands1 both in wrapping and in weaving1 rather tight at all times4 ,only by doing this will the worker be assured of an ultimately taut seat4 ,this applies also to the ,indian splints now to be discussed4 ,as fiber is woven practically dry it needs to be pulled particularly tight4 ,indian ,splints4--,fig4 #fa shows a group of stools and a waste basket constructed in eighth grade shops4 ,the tops of the stools and the panels of the basket are woven of hickory splints in4 in width4 ,a variety of patterns is shown1 and these will suggest other ones4 ,one of the stools has turned posts and the splints are carried over the sides of the rails4 ,with slight modification of the structure1 the sides might be woven in a similar manner to the top4 ,the panels of the basket were woven over a separate frame1 then they were cut to fit the frames of the basket1 and finally tacked on the frames4 ,the edges of the splints were covered with thin wood strips held in place with brads4 ,these panels should be inserted and secured while damp to assure proper tautness1 and to prevent as far as possible splitting the ends of the splints in tacking them to the frames4 ,illustration3 ,,fig4 #fa4 ,,group ,,of ,,stools4 ,,tops ,,woven ,,with ,,indian ,,splints4 ,it is not advisable to tack splints onto seat frames1 either as an insert or slip seat1 or on the rails of the structure itself4 ,the splints split easily when tacked1 the strands are bound to pull loose1 and the seats break down under continued use4 ,on such articles as waste baskets1 boxes1 screens and the like1 tacking the panels in place is necessary and proper1 for no appreciable wear or service comes to them4 ,the weaving on seats needs to be continuous over and under the frame4 ,illustration3 ,,fig4 #fb4 ,,method ,,of ,,fastening ,,one ,,strand ,,to ,,another4 ,when a strand of usual length has been wrapped about the rails of the seat a second strand needs to be added to continue the wrapping4 ,tacking the strands to the under side of the rails1 as in the case of reeds1 cannot be resorted to with splints for the reasons just explained4 ,therefore some method of fastening strands to each other is necessary4 ,fig4 #fb is a freehand sketch showing a good method4 ,as indicated1 a small rectangular piece is cut out of the used strand at ,b1 one inch from the end4 ,a chisel or chip carving knife is good for the purpose4 ,cut across the grain of the wood first to avoid splitting the splint4 ,the end of the new strand ,a is notched as shown an inch back from the end1 and is then inserted thru ,b and the two strands thus secured4 ,all subsequent strands are secured in the same manner4 ,illustration3 ,,fig4 #fc4 ,,method ,,of ,,overlapping ,,weavers4 ,another method which works well and involves less labor than the one just described is that of fastening the strands together with metal staples4 ,any type of small hand stapler will accomplish the result4 ,the splints must be very pliable when the staple is inserted and clinched1 for if they are not1 the splints are certain to split4 ,clips used in ,venetian ironwork are excellent for this purpose also4 ,it should be understood1 for reasons very obvious1 that these fastenings are made underneath the frame4 ,illustration3 ,,fig4 #fd4 ,,woven ,,design ,,in ,,hickory ,,splints4 ,after the wrapping of the opposite rails is completed1 the weaving is begun4 ,the use of tacks here is also unnecessary and is inadvisable4 ,fasten a new strand by overlapping the end of the old one for several inches either on top or underneath the frame4 ,the ends of each will be hidden under cross strands or spokes4 ,fig4 #fc is a sketch illustrating the method of overlapping4 ,,aa shows strands running over the weavers1 and ,,bb strands running under4 ,d is the end of the old or used strand1 and ,c one end of the new one4 ,c is pulled until the end is hidden under ,a4 ,it is advisable to overlap the distance of a number of strands and not merely two as the sketch indicates4 ,the sketch merely shows the method4 ,the end of the strand which completes the weaving of the seat is secured underneath the frame by weaving for a short distance in the usual manner4 ,fig4 #fd is merely ,fig4 #ei repeated as far as the weaving processes are concerned4 ,in this instance hickory splints are used1 and the rails are wrapped continuously across the top4 ,note the different effects produced1 by comparing the two figures4 ,illustration3 ,,fig4 #fe4 ,,woven ,,design4 ,,diamond ,,effect4 ,fig4 #fe shows a rather unusual weave4 ,the effect is that of a number of diamond areas over the entire surface1 one of which is marked to make the unit or design evident4 ,this design need not begin at the center1 but may begin at the edge of the frame as in regular diagonal weaving shown in ,fig4 #ee4 ,the strands comprising the unit are numbered for convenience4 ,the process of weaving is as follows3 ,strand #a--,under #a1 over #b1 under #a1 over #b1 and so on4 ,strand #b--,over #b1 under #c1 over #c1 under #c1 and so on4 ,strand #c--,over #a1 under #b1 over #a1 under #b1 and so on4 ,strand #d--,under #b1 over #c1 under #c1 over #c1 and so on4 ,strand #e--,under #a1 over #b1 under #a1 over #b1 and so on4 ,strand #f--,under #b1 over #c1 under #c1 over #c1 and so on4 ,strand #g--,over #a1 under #b1 over #a1 under #b1 and so on4 ,strand #h--,over #b1 under #c1 over #c1 under #c1 and so on4 ,strand #i--,under #a1 over #b1 under #a1 over #b1 and so on4 ,nine strands comprise the unit4 ,one half of the unit from strand #e is a repetition of the first half except that the order is reversed4 ,thus strands #d and #f1 #c and #g1 #b and #h1 and #a and #i are identical in weave4 ,repeat the unit until the seat is completed4 ,illustration3 ,,fig4 #ff4 ,,design ,,of ,,indian ,,splints4 ,the design produced in ,fig4 #ff is obtained by skipping certain strands for rather unusual distances4 ,this may be done in instances where the pattern is begun at the center of the area4 ,no strand should be omitted its entire length however4 ,any number of designs may be worked out1 limited only by the patience and ingenuity of the individual worker4 ,a design for a seat or panel not illustrated herein1 but which is particularly pleasing in its general effect1 is produced by a unit of six strands repeated indefinitely4 ,the weaving is started as in the diagonal weave and the process may be indicated as follows3 ,strand #a--,over #a1 under #c1 over #c1 under #c1 and so on4 ,strand #b--,over #b1 under #c1 over #c1 under #c1 and so on4 ,strand #c--,over #c1 under #c1 over #c1 under #c1 and so on4 ,strand #d--,under #a1 over #c1 under #c1 over #c1 and so on4 ,strand #e--,under #b1 over #c1 under #c1 over #c1 and so on4 ,strand #f--,under #c1 over #c1 under #c1 over #c1 and so on4 ,illustration3 ,,fig4 #fg4 ,,method ,,of ,,weaving ,,splints4 ,the isometric sketch of a stool1 ,fig4 #fg1 shows the structure partly woven4 ,it will be noticed that the splints or reeds run both ways underneath the frame as they do on top4 ,as indicated previously these strands underneath should be woven in some manner to assure a seat of maximum strength for the material used4 ,the diagonal weave was arbitrarily chosen to illustrate the method of weaving the seat frame4 ,the weaving underneath is not shown on the sketch4 ,if the rails on any seat are run flush with the inside corners of the posts the woven strands will fill the entire space4 ,on the other hand1 if they are permitted an offset1 a series of open spaces are left as shown on the first woven seat illustrated4 ,the sketch shows the rails flush with the inner corner of the posts4 ,a ,rustic ,chair4--,the type of chair which is particularly adapted to splint weaving is illustrated in ,fig4 #fh4 ,the construction is simple1 and the necessary bending of pieces is readily done if a suitable steaming chest is available in the shop4 ,such a chest may be made of a #f in4 gas pipe cut the required length and threaded at both ends4 ,cap one end permanently4 ,have the cap for the other end removable1 with a gasket in it to prevent the escape of steam1 and a suitable handle attached for ease in removing4 ,set the pipe upon a standard1 then make the necessary steam connections at the closed end and the drain at the other4 ,place the wood in the chest1 screw on the cap1 and turn on the steam4 ,the length of time the wood should remain in the steam depends upon the wood and the size of the piece4 ,illustration3 ,,fig4 #fh4 ,,porch ,,chair ,,with ,,back ,,and ,,seat ,,woven ,,with ,,splints4 ,suitable wood forms are easily made for bending stock4 ,their construction needs no elaboration4 ,when the pieces are removed from the chest1 clamp them over the forms immediately1 and allow them to remain clamped in this manner for several days in a dry1 warm room4 ,if steam coils or hot air registers are handy the forms may be placed over or near them to expedite the drying4 ,rock elm is a good material from which to construct such a chair4 ,the wood may be procured in the round1 of different diameters4 ,the tenons on the straight pieces may be made on the wood lathe2 on the curved ones with spokeshave or draw knife4 ,the short thin pieces on the sides should be fully housed4 ,on a chair of this description it is good policy to assemble the sides first4 ,finish both the frame and the splints with a good paint composed of white lead and oil4 ,another excellent material for chairs of similar design and purpose is hickory4 ,it is the best material for the construction of furniture for lawns and porches where weathering is constant1 and it is peculiarly adapted to splint and inner bark weaving4 ,if a person lives in the right locality he may gather young second growth hickory saplings in the fall4 ,an instructor could very readily take his classes out on such a wood-gathering expedition4 ,the educational gain in gathering raw materials to be fashioned into finished articles of use and beauty will justify all efforts4 ,in the fall the bark of the saplings will adhere firmly to the wood4 ,trim and assort the different pieces in accordance with plans1 cut them into approximate lengths1 and steam and bend those desired4 ,sand each piece smooth1 and proceed to construct the chair according to previous plans4 ,glue and nail all important joints to prevent any possibility of separation under any weather condition4 ,no finish of any description is necessary or desired on hickory furniture4 ,weathering will naturally darken both frame and splints1 but will not detract in any way from the rugged1 pleasing appearance of the article4 ,sassafras is a very desirable wood for rustic furniture1 and well adapted to splint weaving4 ,the methods of gathering and finishing are identical to hickory4 ,it is much lighter in weight than hickory1 but is quite as serviceable4 ,no finishing agent is necessary1 altho the worker may oil or varnish it at his discretion4 ,a ,woven ,table4--,the table illustrated in ,fig4 #fi is a commercial product1 evidenced by the machine turned posts and crosspieces4 ,in school shops the posts may be made of rock elm rounds previously mentioned1 or square tapered1 and the rails of rounds or squares4 ,the posts mortise in a frame underneath the top4 ,the framework of the top is made of in4 dowel rods housed in a #f in4 round piece of in4 wood1 and radiating from it equal distances apart4 ,the number of spokes needs to be odd1 and cut to even lengths4 ,the weaving is done with about a ,no4 #f reed1 running over one1 under two1 over one1 under two1 and so on4 ,the odd spoke permits the weaver to run continuously without skipping a spoke4 ,a new strand is begun underneath the spoke where the last strand ends4 ,when the top has been woven to the ends of the spokes a strip of braided ,no4 #b reed is nailed to each spoke with a round head1 galvanized nail4 ,the braid is made in the usual manner1 as in basketry1 with three series of strands of four each4 ,when the shelf has been constructed in the same manner as the top1 and both top and shelf have been fastened in their respective places1 the table may be stained with naptha by pouring the stain over it4 ,this method has been described in ,chapter ,,vi4 ,commercially1 such articles are sized before staining4 ,however1 staining direct is the proper procedure in school shops4 ,use no shellac if the table is to be used on the porch or in the open where exposed to the weather4 ,willows4--,willows are imported normally from ,germany1 ,holland1 ,belgium and ,france4 ,because of their scarcity and demand for them1 willow growing is fast becoming a thriving industry in the ,united ,states4 ,many experimental farms are under the direct supervision of the federal government4 ,these have demonstrated that willows can be grown to advantage in many localities in this country4 ,in many instances manufacturers have abandoned rattan in favor of willows for certain articles of furniture where rattan was formerly used exclusively4 ,willow possesses all the attributes necessary for such furniture1 being light in weight1 durable1 and strong2 and it takes a good finish4 ,illustration3 ,,fig4 #fi4 ,a ,,woven ,,center ,,table4 ,willow stems or rods are cut when several feet long4 ,they are then soaked in water and the outer bark peeled4 ,the rods are then sorted1 bundled and shipped to the dealer or user4 ,the peeling is generally accomplished by hand with a peculiarly forked stick or rod4 ,commercially there are what are termed dry peeled rods and steam peeled rods1 with the former in favor for furniture of the better class4 ,they sell for from #f cents to #ae cents per pound1 depending on quality1 length and method of peeling4 ,willow stems are used extensively in basketry1 and for porch and summer furniture4 ,they could be used effectively on such a table as shown in ,fig4 #fi1 but cannot generally be utilized advantageously in school shops for seating purposes only4 ,however1 they have very definite uses on some structures1 and an adequate supply should be kept on hand for use when opportunity offers4 99 99 99 99 99 ,within the confines of this book a variety of materials has been suggested1 and many demonstrated1 for seat weaving of various kinds and for weaving on structures other than seats4 ,these will ordinarily afford sufficient latitude for classes of different grade in the school shops1 but the instructor or worker should not infer that those indicated include all4 ,experience in weaving with these materials will suggest new mediums and combinations without number1 and experimentation with new materials by both instructor and pupil should be encouraged4 ,illustration3 ,,suggestive ,,projects4 ,,weaving ,,materials3 ,,where ,,to ,,obtain ,the following firms and individuals can furnish the various weaving materials indicated4 ,they may undoubtedly be procured locally in the larger cities4 ,,cane ,,lussky1 ,,white ,,and ,,coolidge ,chicago1 ,ill4 ,,american ,,reed ,,and ,,rattan ,,mfg4 ,,co4 ,brooklyn1 ,n4 ,y4 ,,hoover ,,bros4 ,kansas ,city1 ,mo4 ,l4 ,s4 ,,drake1 ,,inc4 ,west ,newton1 ,mass4 ,,cane ,,webbing ,,lussky1 ,,white ,,and ,,coolidge ,chicago1 ,ill4 ,,restmoer ,,mfg4 ,,co4 ,vancouver1 ,b4 ,c4 ,,fiber ,,the ,,fiber ,,grand ,,co4 ,grand ,rapids1 ,mich4 ,j4 ,l4 ,,hammet ,,co4 ,brooklyn1 ,n4 ,y4 ,,rush ,l4 ,s4 ,,drake1 ,,inc4 ,west ,newton1 ,mass4 ,,gustav ,,stickley ,eastwood1 ,n4 ,y4 ,,indian ,,splints ,c4 ,n4 ,,saba ,,and ,,co4 #hd ,wellington ,st4 ,west1 ,toronto1 ,ontario4 ,,david ,,hardin ,patesville1 ,ky4 ,,reeds ,,lussky1 ,,white ,,and ,,coolidge ,chicago1 ,ill4 ,,american ,,reed ,,and ,,rattan ,,mfg4 ,,co4 ,brooklyn1 ,n4 ,y4 ,j4 ,l4 ,,hammet ,,co4 ,brooklyn1 ,n4 ,y4 ,,inner ,,hickory ,,bark ,,the ,,old ,,hickory ,,chair ,,co4 ,martinsville1 ,ind4 ,,books ,,on ,,the ,,manual ,,arts ,,design ,,and ,,construction ,,in ,,wood4 ,by ,noyes4 ,a book full of charm and distinction4 ,it illustrates a series of well-designed and attractive projects1 and gives suggestions for other similar projects1 all suitable for home use1 together with information regarding tools and processes for making4 ,a pleasing volume abundantly and beautifully illustrated4 #a4ej4 ,,handwork ,,in ,,wood4 ,by ,noyes4 ,a comprehensive and scholarly treatise1 covering logging1 saw-milling1 seasoning1 and measuring1 hand tools1 wood fastenings1 equipment and care of the shop1 the common joints1 types of wood structures1 principles of joinery1 and wood finishing4 #cjd illustrations--excellent pen drawings and many photographs4 ,the best reference book for teachers of woodworking4 #b4jj4 ,,wood ,,and ,,forest4 ,by ,noyes4 ,a reference book for teachers of woodworking4 ,treats of woods1 distribution of ,american forests1 life of the forest1 enemies of the forest1 destruction1 conservation and uses of the forest1 with a key to the common woods by ,filibert ,roth4 ,describes #fg principal species of wood1 with maps of the habitat1 leaf drawings1 life-size photographs and microphotographs of sections4 ,profusely illustrated4 #c4jj4 ,,carpentry4 ,by ,griffith4 ,a well-illustrated textbook for use in vocational schools1 trade schools1 technical schools and by apprentices to the trade1 presenting the principles of house framing in a clear and fundamental way4 ,it treats of the every-day practical problem of the carpenter and house-builder from the laying of foundations to the completion of the interior finish4 #a4jj4 ,,woodwork ,,for ,,secondary ,,schools4 ,by ,griffith4 ,a textbook for high schools1 colleges and technical schools4 ,it contains chapters on woods1 tools and processes1 joinery1 turning1 carving1 inlaying1 wood finishing1 pattern making1 and the use of woodworking machines4 ,it is a well-balanced and authoritative text1 presupposing a knowledge of elementary tool processes4 ,specially adapted to secondary schools4 #a4ge4 ,,correlated ,,courses ,,in ,,woodworking ,,and ,,mechanical ,,drawing4 ,by ,griffith4 ,contains reliable information concerning organization of courses1 subject-matter1 and methods of teaching4 ,it covers classification and arrangement of tool operations1 stock bills1 cost of material1 records1 shop conduct1 the lesson1 maintenance1 equipment and lesson outlines for grammar and high schools4 ,the most complete and thoro treatment of the subject of teaching woodworking ever published4 #a4ej4 ,,essentials ,,of ,,woodworking4 ,by ,griffith4 ,a textbook written especially for grammar and high school students4 ,the standard textbook on elementary woodworking4 ,a clear and comprehensive treatment of woodworking tools1 materials and processes1 to supplement1 but not to take the place of the instruction given by the teacher4 ,the book may be used with any course of models4 #ge cents4 ,,woodwork ,,for ,,beginners4 ,by ,griffith4 ,a textbook for students in the seventh and eighth grades4 ,in a remarkably simple manner it presents only the fundamental facts regarding tools and tool processes which should be thoroly mastered by the grammar grade boy4 ,it is technically correct1 well illustrated and is adapted for use with any course of models4 #ej cents4 ,,projects ,,for ,,beginning ,,woodwork ,,and ,,mechanical ,,drawing4 ,by ,griffith4 ,a collection of #ej working drawings and working directions of projects which have proved of exceptional service where woodworking and mechanical drawing are taught in a thoro1 systematic manner in the seventh and eighth grades4 #ge cents4 ,,furniture ,,making--,,advanced ,,projects ,,in ,,woodwork4 ,by ,griffith4 ,a collection of problems in furniture making selected and designed with reference to high school use4 ,on the plate with each working drawing is a good perspective sketch of the completed object4 ,in draftsmanship and refinement of design1 these problems are of superior quality4 ,an excellent collection4 #ge cents4 ,,furniture ,,design ,,for ,,schools ,,and ,,shops4 ,by ,crawshaw4 ,a manual in furniture design containing a collection of plates showing perspective drawings of typical designs1 representing particular types of furniture4 ,each perspective is accompanied by suggestions for rearrangements and the modeling of parts4 ,the text discusses and illustrates principles of design as applied to furniture4 ,should be in the hands of every teacher of cabinet making and design4 #a4jj4 ,,problems ,,in ,,farm ,,woodwork4 ,by ,blackburn4 ,a book of working drawings of #ajj practical problems relating to agriculture and farm life4 ,each problem is accompanied by text treating of ,purpose1 ,material1 ,bill of ,stock1 ,tools1 ,directions1 and ,assembly4 ,of special value to the pupil and teacher of agriculture and manual arts in rural schools1 and to the boy on the farm4 #a4jj4 ,,problems ,,in ,,furniture ,,making4 ,by ,crawshaw4 ,contains #dc full-page working drawings of articles of furniture4 ,in addition to the working drawings1 there is a perspective sketch of each article completed4 ,there are #cf pages of text giving notes on the construction of each project1 chapters on the ,design and ,construction of furniture1 and one on ,finishes4 ,the last chapter describes #ae methods of wood finishing1 all adapted for use on furniture4 #a4jj4 ,,problems ,,in ,,woodworking4 ,by ,murray4 ,a collection of #dj plates of working drawings of problems in bench work that have been successfully worked out by boys in grades seven to nine1 inclusive4 #ge cents4 ,,problems ,,in ,,wood-,,turning4 ,by ,crawshaw4 ,contains #be full-page plates of working drawings covering spindle1 faceplate1 and chuck turning4 ,it gives the mathematical basis for the cuts used in turning4 ,a valuable textbook for students' use4 #hj cents4 ,,workshop ,,note-,,book--,,woodworking4 ,by ,greene4 ,a note-book which furnishes a few general and extremely important directions about tools and processes1 and provides space for additional notes and working drawings4 ,it is essentially a collection of helps1 ideas1 hints1 suggestions1 questions1 facts1 illustrations1 etc4 ,it is full of suggestions2 shows a keen insight into subject-matter and teaching methods1 and is an effective teaching tool4 #ae cents4 ,,shop ,,problems4 ,by ,siepert4 ,portfolios of plates--working drawings of projects printed on tracing paper and adapted to be blue-printed for students' use4 ,the plates are taken from the ,shop ,notes and ,problems department of the ,manual ,training ,magazine4 ,the problems include a wide variety of good design and adapted for shop use4 ,series ,i1 ,,ii1 ,,iii and ,,iv have been published4 ,price per series1 #ce cents4 ,,grammar ,,grade ,,problems ,,in ,,mechanical ,,drawing4 ,by ,bennett4 ,a remarkably simple and carefully graded textbook on the fundamentals of mechanical drawing for the use of students in the seventh and eighth grades4 ,it combines an abundance of text and simple problems1 accompanied by notes and directions4 ,its use insures the early formation of correct habits of technique and makes possible the development of a standard in grammar grade mechanical drawing parallel with woodworking4 ,abundantly and well illustrated4 #ch cents4 ,,problems ,,in ,,mechanical ,,drawing4 ,by ,bennett4 ,a students' textbook consisting of #hj plates of problems classified into groups according to principle1 and arranged according to difficulty of solution4 ,each problem is given unsolved and1 therefore1 in proper form to hand to the pupil for solution4 ,the best collection of problems for first-year high-school students available4 #ge cents4 ,,manual ,,training ,,toys ,,for ,,the ,,boys' ,,workshop4 ,by ,moore4 ,a popular boys' book4 ,it contains #ce pages of full-page plates of working drawings illustrating #db projects4 ,all the projects are overflowing with boy interest1 and are well adapted to the upper grades of the elementary school4 ,the text treats of tools and tool processes1 and gives instructions for making each project4 #a4jj4 ,,kitecraft ,,and ,,kite ,,tournaments4 ,by ,miller4 ,authoritative and comprehensive4 ,the book deals with the construction and flying of all kinds of kites1 and the making and using of kite accessories4 ,also aeroplanes1 gliders1 propellers1 motors1 etc4 ,abundantly illustrated and attractively bound4 #a4jj4 ,,bird ,,houses ,,boys ,,can ,,build4 ,by ,siepert4 ,a book of rare interest to boys4 ,it is written in the boy spirit and combines the charm of nature with the allurements of continuation work in wood4 ,it illustrates hundreds of bird houses and shows working drawings of various designs2 also feeders1 shelters1 sparrow traps1 and other bird accessories4 ,the common house nesting birds are pictured and described with information regarding houses1 foods1 etc41 suitable for each4 ,a pleasing and practical book for wide-awake boys4 ,price1 #ej cents4 ,,leather ,,work4 ,by ,mickel4 ,a manual on art leather work for students1 teachers and craft workers4 ,it gives detailed descriptions of the various processes of working1 treating of flat modeling1 embossing or repouss1 carved leather and cut work4 ,it is well illustrated with photographs of finished work and working drawings of twenty useful and beautiful articles suitable for school and home work4 #ge cents4 ,,books ,,on ,,the ,,manual ,,arts4 ,a bibliography listing and describing #djj books mailed free4 ,published by ,the ,manual ,arts ,press ,peoria1 ,ill4 ,transcriber's ,note ,variant spelling is preserved as printed4 ,minor punctuation errors have been repaired4 ,the following amendments have been made3 ,page #da--trainig amended to training--444 more than justifies its introduction in manual training shops4 ,page #hd--the transcriber has added the omitted chapter heading1 ',,weaving ,,materials3 ,,where ,,to ,,obtain4'