,,harper',s ,,indoor ,,book ,,for ,,boys ,illustration3 ,,wood-,,working ,,harper',s ,,indoor ,,book ,,for ,,boys ,,by ,,joseph ,h4 ,,adams ,,author ,,of 8,,harper',s ,,electricity ,,book ,,for ,,boys0 ,,and ,,joint ,,author ,,of 8,,harper',s ,,outdoor ,,book ,,for ,,boys0 ,,with ,,many ,,illustrations ,illustration ,,harper ,,brothers ,,publishers ,,new ,,york ,,and ,,london ,,mcmviii ,copyright1 #aijh1 by ,,harper ,,brothers4 ,all rights reserved4 ,published ,april1 #aijh4 ,,contents ,,page ,,introduction xi ,part ,i ,,wood-,,working ,,chapter ,i--,,carpentry #c ,,tools3 ,,how ,,to ,,use ,,them--,,the ,,work-,,bench--,a ,,tool-,,rack--,a ,,tool-,,chest--,,joints--,a ,,low ,,bench--,a ,,high ,,bench--,a ,,step-,,bench--,a ,,shoe-,,box--,a ,,shoe-,,blacking-,,box--,a ,,shoe-,,blacking-,,ledge--,,an ,,easel--,a ,,clothes-,,tree--,,hanging ,,book-,,shelves--,a ,,corner ,,cabinet--,a ,,chair--,a ,,table--,a ,,settle--,a ,,suspended ,,settle--,a ,,coal ,,and ,,wood ,,box--,a ,,flat-,,iron ,,holder--,,an ,,umbrella-,,stand--,a ,,plant-,,box--,a ,,final ,,word ,,chapter ,,ii--,,wood-,,carving #ch ,,method ,,and ,,material--,,tools--,a ,,carver',s ,,bench--,,chip-,,carving--,a ,,frame ,,for ,a ,,small ,,clock--,,other ,,designs--,,relief-,,carving--,,mouldin gs ,,chapter ,,iii4--,,fretwork ,,and ,,wood-,,turning #ef ,,the ,,tools--,,the ,,practice ,,of ,,the ,,art--,,the ,,preparation ,,of ,,the ,,work--,a ,,match-,,safe--,a ,,wall-,,bracket--,a ,,fretwork-,,box--,,other ,,designs--,,wood-,,turning ,,chapter ,,iv--,,picture ,,mounting ,,and ,,framing #ga ,a ,,dutch ,,head ,,mounting--,a ,,dark ,,card ,,mounting--,a ,,triple ,,mounting--,,plain ,,framing--,a ,,sporting ,,mount--,a ,,round-,,robin ,,mounting ,part ,,ii ,,metal-,,working ,,chapter ,v4--,,venetian ,,and ,,florentine ,,metal-,,work #ha ,,tools ,,and ,,material--,a ,,lamp-,,screen--,,pattern-,,making--,a ,,standard ,,screen--,a ,,candlestick--,a ,,candelabra--,a ,,fairy ,,lamp--,a ,,burned-,,match ,,holder--,a ,,photograph-,,frame--,a ,,handkerchief-,,box--,a ,,sign-,,board--,,double ,,doorway ,,grille--,a ,,moorish ,,lantern ,,chapter ,,vi4--,,metal-,,bound ,,work #ajc ,a ,,metal-,,bound ,,box--,a ,,wood-,,holder--,a ,,plant-,,box--,a ,,coal-,,box--,a ,,table-,,lamp--,a ,,hanging-,,lamp--,a ,,hanging-,,plant ,,box ,,chapter ,,vii4--,,decorative ,,hardware #aae ,,materials ,,and ,,tools--,,escutcheons--,,short ,,hinge-,,straps--,,long ,,hinge-,,straps--,,drawer-,,pulls ,,and ,,handle-,,plates--,,door-,,plates--,,la rge ,,lock-,,plates--,,door-,,knockers ,,and ,,miscellaneous ,,ornaments ,,chapter ,,viii4--,,wire-,,work #abe ,a ,,bird-,,cage ,,bracket--,a ,,photograph ,,easel--,a ,,match-,,box--,a ,,fairy ,,lamp--,a ,,picture-,,frame--,a ,,glove-,,box--,a ,,window-,,grille ,,chapter ,,ix4--,,gas ,,and ,,electric ,,shades #acc ,a ,,simple ,,gas-,,shade--,,another ,,gas-,,shade--,a ,,metal ,,shade--,,an ,,electric-,,light ,,screen--,a ,,bell-,,shaped ,,shade--,a ,,pear-,,shaped ,,shade--,a ,,dome-,,shaped ,,shade--,,another ,,dining-,,room ,,shade--,a ,,canopy--,a ,,panel ,,shade ,,chapter ,x4--,,relief ,,etching #aci ,,equipment--,,the ,,technique ,,of ,,the ,,process--,,the ,,acid ,,solution--,,some ,,typical ,,designs ,part ,,iii ,,household ,,arts ,,chapter ,,xi4--,,clay-,,modelling ,,and ,,plaster-,,casting #aea ,,tools ,,and ,,methods--,,the ,,technique ,,of ,,the ,,art--,,glue ,,and ,,gelatine ,,moulds--,,hollow ,,casting--,,modelling ,a ,,foot--,,bas-,,relief ,,modelling--,a ,,medallion ,,head--,,coin ,,and ,,metal ,,casts--,,plaster-,,casting ,,in ,,general--,,how ,,to ,,find ,,and ,,mount ,,signets ,,chapter ,,xii4--,,pyrography #agj ,,fire-,,etching ,,on ,,wood ,,and ,,leather--,,explanation ,,of ,,methods--,a ,,platinum-,,point ,,outfit--,a ,,variety ,,of ,,work ,,on ,,wood--,,suggestive ,,designs--,,leather-,,work ,,chapter ,,xiii4--,,bookbinding ,,and ,,extra-,,illustration #ahf ,,sheets ,,and ,,signatures--,,the ,,tools--,,the ,,practice ,,of ,,the ,,art--,,rebinding ,,books--,,how ,,to ,,extra-,,illustrate ,a ,,book--,a ,,circulating ,,library ,,chapter ,,xiv4--,,magic ,,lanterns ,,and ,,stereopticons #bjc ,a ,,home-,,made ,,magic ,,lantern--,a ,,stereopticon--,,lantern ,,slides ,,by ,,contact-,,printing--,,lantern ,,slides ,,by ,,reduction ,,chapter ,,xv4--,,printing1 ,,stamping1 ,,and ,,embossing #bbb ,a ,,simple ,,flat-,,bed ,,press--,,an ,,upright ,,press--,a ,,lever-,,press--,,stamping--,,embossing ,part ,,iv ,,round ,,about ,,the ,,house ,,chapter ,,xvi4--,a ,,house ,,gymnasium #bcg ,,indoor ,,physical ,,development--,,dumb-,,bells--,,indian ,,clubs--,,calisthenic ,,wands ,,and ,,ball-,,bars--,,swinging-,,rings--,,tra peze ,,bars--,,parallel ,,bars--,a ,,floor ,,horizontal ,,bar--,,striking-,,bags--,a ,,medicine-,,ball--,,pulley-,,weights ,,and ,,exercisers--,,an ,,attic ,,gymnasium ,,chapter ,,xvii4--,a ,,miniature ,,theatre #bei ,,arrangement ,,and ,,lighting--,,scenery ,,and ,,equipment--,,the ,,puppets ,,chapter ,,xviii4--,,fitting ,,up ,a ,,boy',s ,,room #bfg ,,simple ,,methods ,,and ,,materials--,a ,,plain ,,chair--,,an ,,odd ,,chair--,a ,,morris ,,chair--,a ,,settle--,a ,,box-,,desk--,a ,,writing-,,table--,a ,,whatnot--,a ,,treasure-,,chest--,,studying-,,table ,,and ,,stool ,,chapter ,,xix4--,,painting1 ,,decorating1 ,,and ,,stencilling #bhc ,,how ,,to ,,mix ,,and ,,use ,,paints--,,schemes ,,of ,,decoration--,,decorating ,a ,,bedroom--,a ,,boy',s ,,room--,,another ,,plan ,,for ,a ,,room--,a ,,nursery--,,stencilling ,,chapter ,,xx4--,,nooks ,,for ,,books #cjb ,a ,,variety ,,of ,,practical ,,designs--,a ,,wall-,,rack--,a ,,book-,,nest--,,another ,,book-,,rack--,a ,,corner-,,nook--,a ,,book-,,tower--,,hanging-,,shelves--,a ,,book-,,castle--,a ,,book-,,chair--,a ,,book-,,table--,a ,,magazine-,,rack--,a ,,box ,,book-,,case--,a ,,nursery ,,book-,,rack--,,another ,,book-,,rack--,a ,,handy ,,piece ,,of ,,furniture--,a ,,book-,,ledge ,,and ,,stool ,,chapter ,,xxi4--,,clocks ,,and ,,timepieces #cba ,,designs ,,and ,,materials--,a ,,bracket-,,clock--,a ,,mantel-,,clock--,a ,,wall-,,clock--,a ,,high ,,wall-,,clock--,,an ,,odd ,,mantel-,,clock--,a ,,shelf-,,clock--,,an ,,old-,,style ,,timepiece ,,chapter ,,xxii4--,,screens1 ,,shoe-,,boxes1 ,,and ,,window ,,seats #cca ,a ,,light-,,screen--,a ,,fire-,,screen--,a ,,shoe-,,screen--,a ,,bedroom-,,door ,,screen--,a ,,heavy ,,fire-,,screen--,a ,,window-,,seat ,,with ,,under ,,ledge--,a ,,shoe-,,box ,,seat--,a ,,dressing-,,room ,,settle--,a ,,short ,,settle--,a ,,foot-,,rest--,a ,,combination ,,shoe-,,box ,,and ,,seat--,a ,,double ,,shoe-,,box ,,and ,,seat--,a ,,curved-,,back ,,window-,,seat--,a ,,window-,,seat ,,and ,,shoe-,,box ,,chapter ,,xxiii4--,,household ,,conveniences #cdg ,a ,,plate-,,rail--,a ,,cup ,,and ,,plate ,,rack--,a ,,cup ,,and ,,plate ,,pyramid--,a ,,butler',s ,,tray--,,cup-,,pins ,,and ,,brush-,,rack--,,lock-,,shelves--,a ,,vegetable-,,bin--,a ,,spoon-,,bar ,,and ,,saucepan-,,rack--,a ,,medicine-,,chest--,a ,,convenient ,,plant-,,tray--,,an ,,indispensable ,,clothes-,,press--,a ,,divan--,a ,,corner ,,dressing-,,table ,,introduction ,the success of ,harper's ,outdoor ,book for ,boys seems to insure a welcome for an indoor handy book1 equally practical and comprehensive1 which shall show how leisure time indoors can be spent most pleasantly and profitably4 ,when stress of weather1 or the coming of long winter evenings1 or any other reason gives the indoor part of life a larger importance1 this indoor handy book will be found an invaluable companion4 ,good books and good games have their value always1 but there is also a large place for the joy of actual accomplishment4 ,it is good to do things4 ,it is worth while to learn to use hands and eyes in the production of working results4 ,and when1 as in the case of the explanation of this book1 achievement goes hand in hand with amusement1 it is clear that ,mr4 ,adams and his associates are the best of companions for an indoor day or evening4 ,expensive tools and apparatus are not called for4 ,a boy should have good but not necessarily costly tools1 and he should take proper care of them4 ,furthermore1 whether his working-place is in his room or elsewhere1 he should feel that he is put upon his honor to remove any rubbish and to avoid injury to floor or walls4 ,let us understand at the outset that the explanation in these pages can be followed at very little expense1 but in this work1 as in everything else1 common-sense is necessary4 ,to use one tool for work to which another is adapted1 or to neglect one's implements1 or allow them to get wet and to rust or to become hopelessly dulled or nicked1 is a sign of shiftlessness4 ,a good workman always takes care of his tools1 and he also keeps his work-bench in order4 ,the very mention of work in a boy's room1 or even indoors1 may excite fears of disorder on the part of the mother2 but experience has shown that with care on the part of the boy1 and some concessions from the mother1 these fears are groundless4 ,it is desirable that a boy should have a place1 whether it be in the cellar or attic1 or a corner of his room1 definitely devoted to his own work4 ,it is also a useful training for him to feel that he is put upon honor both to confine his work to his own bounds1 and also to 8tidy up0 whenever he leaves his task4 ,with a little patience and oversight all this can be adjusted to the mutual satisfaction of the household and the boy4 ,in addition to the training in various directions which we have indicated1 the suggestions in these pages will help the boy to make things which are useful--to become a contributor to his home4 ,a glance at the ,table of ,contents shows1 under 8,wood-working10 an introduction to the use of carpenters' tools1 and instructions in making picture-frames and ornamented wood-carving4 ,of late years ornamental work for lamps1 sconces1 hinges1 and a variety of purposes has steadily grown in favor1 and the second division of the book tells how a great variety of decorative and useful objects in metal may be made4 ,when so much experience has been gained1 the boy can readily take up more advanced work1 such as modelling in clay1 and plaster casting2 bookbinding1 and the kindred craft of extra-illustration2 pyrography1 or decorative work in burnt wood2 printing1 stamping1 and embossing2 and the construction and use of the stereopticon4 ,in ,part ,,iv4 the young craftsman is shown how he may employ the technical knowledge he has acquired in the fitting up and decoration of his room2 in the building and operating of a miniature theatre2 in the installation of a home gymnasium2 and in the making of various objects of ornament and utility for the household4 ,amateur photography has been purposely omitted1 since there are many excellent and practical manuals on the subject that have been published by the various camera manufacturers for gratuitous distribution4 ,it is easy to see the possibilities for usefulness1 for beauty1 and for amusement in the home1 which are brought within reach in these pages2 and these instructions also represent possibilities for earning money4 ,in1 schools where manual training receives attention1 and1 indeed1 in any school library1 this book will prove peculiarly useful4 ,here1 as in the ,outdoor ,handy ,book1 it has been kept in mind that there will be neither fun nor profit in doing these things unless the way is made clear1 and it is certain that the desired results will follow if the directions are carried out4 ,everything1 therefore1 has been tested1 and all the instructions are put in simple1 practical form4 ,it is a friendly1 well-tried1 and reliable household companion that comes to young ,americans in ,harper's ,indoor ,book for ,boys4 ,part ,i ,,wood-,,working ,chapter ,i ,,carpentry ,carpentry1 or the science of making things out of wood1 is the oldest and comes the closest to us of any of the applied arts and crafts4 ,the earliest men made clubs at least4 ,later they began to build1 to construct1 and it is interesting to remember that this ability to construct is a faculty shared with man by the animals4 ,there are many species of birds that build well-designed nests2 the spider is a weaver2 the bee is a geometrician2 the ant is a tunnel builder2 the beaver1 in the construction of his dams and breakwaters1 displays engineering ability of a high order4 ,the vital difference between the animal and the human intelligence lies in the fact that the latter is progressive4 ,the spider weaves just the same pattern to-day that he did when the ,pyramids were young2 the mathematical section of the bee cell is invariable2 the mud-swallows build the same kind of houses as their remotest ancestors4 ,the common explanation is that instinct and not reason guides the animal in his work1 and instinct is a reproductive faculty1 not an inventive one4 ,it is for man alone to progress from the crude beginnings of an art to its highest and most perfect development4 ,perhaps the first and most urgent need of all living creatures is for shelter4 ,the oriole weaves his hanging nest2 the beaver constructs his wonderfully domed house2 primitive man builds his hut of interlaced boughs4 ,but it is man alone who is not content with the first crude efforts2 he is constantly aiming after something more substantial and better adapted to his increasing needs4 ,so man becomes the true builder1 and as wood is the simple and almost universally obtainable material1 carpentry1 or the art of working in wood1 stands at the head of the applied sciences upon which the civilization of the race depends4 ,the average boy takes to carpentry as naturally as ducks take to water1 and beginning with the tacks a baby boy will hammer in a board1 the young builder goes on from the simple to the more complex forms until he attains the full mastery of his material and his tools4 ,he has now obtained the dignity of manhood2 he is a maker of things4 ,once proficient in the art of cutting1 joining1 and fastening wood-work1 and in the use and care of tools1 a boy may begin to call himself a carpenter4 ,but he must learn to work systematically and accurately if he is ever to become a genuine craftsman4 ,in the first place1 he should understand the possibilities and limitations of his tools4 ,he should never use a chisel for a screw-driver1 nor drive nails with the butt end of a plane4 ,good tools should have good care4 ,inanimate things that they are1 they yet resent ill-usage1 and retaliate1 in their own way1 by becoming dull and otherwise unfit for their work4 ,indeed1 a good carpenter may be known by the condition of his tool-chest and work-bench4 ,carpentry1 when properly carried on1 is a most fascinating occupation for out-of-school hours1 especially in the winter season1 when bad weather keeps one indoors4 ,needless to say1 it may be made a profitable way of passing time as well as an amusing one4 ,tools ,the tools that a boy will need in order to do good joiner-work should be the same as carpenters use1 but they may be smaller and not so cumbersome to handle4 ,the set of tools in a chest1 put up for the use of children and sold at toyshops1 are not the sort that can be relied upon for good carpentry work1 since they are usually dull and made of soft steel that will not hold an edge4 ,possibly the manufacturer thinks that he is justified in turning out this kind of rubbish1 bearing in mind the old saying1 8,children should not play with edged tools40 ,but the boy who is old enough to take up carpentry in earnest is entitled to the use of good and serviceable implements1 and without them it is hardly worth while starting at the business4 ,competition has brought down the cost of good tools to a point where they are not beyond the means of the average boy who is prepared to save his pocket-money4 ,it is better to purchase only a small kit at first1 and then to add to it from time to time1 until the complete outfit is obtained4 ,good tools may be purchased at nearly every hardware shop or general store throughout the country4 ,for ordinary work you will require a good rip and cross-cut saw1 with twenty and twenty-four inch blades1 respectively2 a claw-hammer1 and a smaller one2 a wooden mallet for chisels1 and to knock together the lap joints of wood2 a jack and a smoothing plane2 a compass-saw2 a brace and several sizes of bitts1 ranging from a quarter to one inch in diameter2 a draw-knife2 a square2 awls2 pliers2 a rule2 several firmer-chisels1 and a screw-driver4 ,there are many other useful tools1 but they may be added as they are required4 ,it is a difficult matter to instruct a boy1 by written description1 how to handle tools2 and rather than attempt it1 ,i should advise the young workman to watch a carpenter at his work4 ,most carpenters are quite willing to have you follow their movements1 and many of them will even offer advice1 if they see that you are really interested4 ,but remember that a good workman never likes to have a boy meddle with his tools1 and you should not ask foolish or unnecessary questions4 ,perhaps there is a carpenter's shop near your home in which the owner may let you work occasionally 7if you keep out of his way71 and where1 in the atmosphere of the craft1 you will make faster progress than you can possibly do at home with no one to tell or show you how things should be done4 ,the ,work-bench ,one of the indispensable pieces of equipment for the boy carpenter is a good work-bench4 ,the bench must be substantially made1 and provided with a planing-stop1 a vise1 and a drawer in which to keep small tools1 nails1 screws1 and the various odds and ends that are employed in carpentry4 ,to begin with1 obtain four spruce or white-wood sticks1 three inches square and thirty-six inches long1 planed on all sides4 ,these are for the legs4 ,you will also need two pieces of clear pine1 or white-wood1 three feet long and six inches wide1 and two more the same length and three inches wide4 ,these pieces should be one and an eighth inches thick1 and planed on all sides and edges4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,lay two of the legs on the floor1 three feet apart1 and join the ends with one of the six-inch strips4 ,six inches up from the free ends fasten a narrow strip1 as shown in ,fig4 #b ,a4 ,this finishes one of the end supports4 ,flat-headed iron screws1 two and a half inches long1 should be used for the unions1 and a tighter joint may be secured by also using glue4 ,prepare1 in similar fashion1 the other pair of legs1 and1 with two pieces of clear pine1 or white-wood1 five feet long1 eight inches wide1 and seven-eighths of an inch thick1 bind the four legs together1 as shown in ,fig4 #c4 ,you should allow the boards to project six inches beyond the legs at both ends4 ,these pieces are the side-rails1 or aprons1 and they should be securely fastened with glue and screws to the upper end of each leg4 ,at the back of the bench arrange two braces of wood1 three inches wide and seven-eighths of an inch thick1 as shown in ,fig4 #c4 ,bevelled laps are to be cut in the side of two legs1 as shown in ,fig4 #b ,b1 into which the ends of the strips will fit flush4 ,the upper ends of the strips are to be mitred 7cut at an angle71 and attached to the inside of the apron1 as shown in ,fig4 #c4 ,for the top of the bench use clear pine planking not less than one inch in thickness4 ,this should be fitted closely together1 and fastened to the cross-pieces with stout screws4 ,from hard-wood a piece should be shaped for a vise-jaw thirty-two inches long1 three inches wide at the bottom1 and seven inches wide at the top4 ,near the bottom of the jaw an oblong hole should be cut to receive the end of a sliding piece1 which in turn is provided with several holes for a peg to fit into4 ,a corresponding oblong hole is cut near the foot of one leg1 through which the piece containing the holes will pass4 ,this last regulates the spread of the jaw4 ,this construction may be seen in ,fig4 #d1 and its final position is shown in the illustration of the finished bench 7,fig4 #a74 ,near the top of the jaw a hole is cut to receive the screw that is turned with the lever-stick to tighten the jaw4 ,a bench-screw may be purchased at any hardware store1 and fitted to the work-bench4 ,if it should prove too much of an undertaking for the youthful workman1 a carpenter will put it in place at a trifling cost4 ,the wood screws are the cheapest1 but the steel ones are the most satisfactory1 and will cost about one dollar for a small one4 ,from the apron 7at the front of the bench7 a piece should be cut fifteen inches long and six inches wide4 ,this opening will admit a drawer of the same width and height1 and as deep as may be desired4 ,twenty-four inches will be quite deep enough4 ,rabbets are cut in the ends of a front piece1 and the sides are let into them1 as shown in ,fig4 #e4 ,the bottom and back are fastened in with screws1 and the drawer is arranged to slide on runners that are fastened across the bench inside the aprons1 as shown in the upper corner of ,fig4 #c4 ,at the front of the drawer a cove may be cut out1 and a thin plate of iron screwed fast across the top of it1 so that the fingers may be passed in behind the plate to pull out the drawer 7,fig4 #e74 ,it will not do to use a projecting drawer-pull1 as that would interfere with pieces of work when clamped in the vise4 ,in planing strips1 or boards1 that are too long for the vise to hold securely1 a wooden peg1 inserted in a hole at the opposite end of the apron from the vise1 will be found convenient4 ,two or three holes may be made for boards of different widths1 and the peg adjusted to the proper one as occasion requires4 ,a planing-stop1 with teeth1 may be purchased at a hardware store and set in place near the vise-jaw4 ,the complete bench will then be ready for use4 ,a ,tool-rack ,for the accommodation of chisels1 gouges1 screw-drivers1 awls1 compass-saws1 pliers1 and other small tools a tool-rack will be found convenient4 ,it should be fastened against the wall immediately over the work-bench4 ,the one shown in ,fig4 #f is thirty-six inches long and twelve inches high1 with a ledge projecting two inches from the back-board4 ,a leather strap is caught along the upper part of the board with nails to form loops1 into which the tools are slipped4 ,the ledge is made from two strips of wood4 ,one of them1 one and a half inches in width1 is cut with a saw1 as shown in ,fig4 #g1 and the superfluous wood1 between the saw-cuts1 is removed with a chisel4 ,when all the notches are cut1 a narrow strip1 half an inch in width1 is screwed fast to the notched strip4 ,the ledge is then attached to the lower edge of the back-board with long screws1 as indicated in the illustration4 ,a ,tool-cabinet ,the hanging tool-cabinet shown in ,fig4 #h should be constructed with two doors of nearly equal size1 so that four instead of two surfaces may be available1 against which to hang tools4 ,the body part of the chest is thirty inches high1 twenty inches wide1 and nine inches deep1 outside measure4 ,it is made of wood three-quarters of an inch in thickness1 fastened together with screws and glue1 and varnished to improve its appearance4 ,the right side of the cabinet is but three and a half inches wide1 and to this the inner door is made fast with hinges1 so that it will swing in against a stop-moulding on the opposite side1 as shown at ,a in ,fig4 #i4 ,a small bolt will fasten the door in place when shut in1 and on both sides of this door hooks and pegs may be arranged for the reception of tools4 ,the back-board of the cabinet may be used for hanging saws1 squares1 and other flat tools1 as indicated in ,fig4 #h4 ,the outer door is provided with a side-strip 7,fig4 #i ,b7 of such size that when the doors are closed in and locked the appearance of the chest will be uniform1 with a cross-section appearing1 as shown in ,fig4 #i ,c4 ,with a little careful planning and figuring it will not be a difficult matter to construct this cabinet4 ,take particular care to have the doors fit snugly and close easily4 ,the doors will keep their shape better if they are made from narrow matched boards1 held together at the ends with battens1 or strips1 nailed across the ends of the boards1 as shown in ,fig4 #i ,d4 ,two-inch wrought butts will be heavy enough for the doors1 and a cabinet-lock at the edge of the outer door will make all secure4 ,illustration3 ,,fig4 #f4 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,on the inside of the outer door some tool-pegs may be arranged4 ,near the bottom a bitt-rack should be fitted1 with a leather strap formed into loops1 as described for the tool-rack4 ,under each loop a hole should be bored in a strip of wood1 into which the square end of the bitts will fit1 and thus insure their orderly position4 ,for chisels a similar set of pockets may be designed as shown in ,fig4 #h4 ,a ,tool-chest ,the tool-chest shown in ,fig4 #aj is twenty-eight inches long1 fifteen wide1 and twelve inches high4 ,this is a good size for the accommodation of a moderate-sized kit of tools4 ,the interior fittings should include two or three trays arranged to rest on runners and to slide back and forth1 so that tools may be reached at the bottom of the chest without removing the trays4 ,obtain a pine or white-wood board fifteen inches wide1 and free from knots or sappy places4 ,cut two pieces twenty-eight inches long1 and two shorter ones twelve inches long4 ,these will form the top1 bottom1 and ends4 ,cut out the front and back pieces twenty-eight inches long and twelve inches wide2 then with glue and screws form a box1 and let it stand a day until the glue is hard4 ,make the joints as perfect and tight as possible1 so as to present a good appearance2 then mark a line around the box two and a half inches from the top4 ,with a rip-saw cut the cover free from the body1 and plane the rough edges of the cut1 so that the cover will fit the body snugly4 ,bind the lid and the top and bottom edges of the chest with a strip of wood three-eighths of an inch in width1 as shown in the illustration2 to look well1 the corners should be mitred4 ,the lid is attached to the chest with stout hinges1 and a lock is arranged at the front4 ,stout handles at the sides will be found a convenience4 ,two or three coats of olive-green paint1 with a slightly darker shade for the bands1 will improve the appearance of the chest4 ,to keep the hardware from rusting1 the lock1 hinges1 and handles should receive a coat or two of black paint4 ,joints ,one of the first lessons for the young carpenter to learn will be that of making wood joints4 ,without good joiner-work there is no such thing as carpentry1 and it is the sign-manual of the competent artificer4 ,there are a great variety of joints employed in carpentry1 but many of them are too complicated for the boy carpenter to make1 and the simple forms will answer every reasonable requirement4 ,the easiest joint to make is the straight1 or box1 joint4 ,it is constructed by butting the end of one board against the edge of another and nailing1 or screwing1 them fast4 ,fig4 #aa shows a lap-joint made by cutting away a portion of the wood on opposite sides of the ends which are to be joined4 ,when fastened the wood will appear as a continuous piece4 ,for corners and angles1 where a mitre-box is not available1 the lap-joint is a very good substitute1 and for many uses it is stronger than the mitred-joint1 and1 therefore1 to be preferred4 ,fig4 #ab is another form of lap-joint1 where the end of a strip is embedded in the surface of a stout piece of wood4 ,this joint will be found useful in furniture work1 and also for frame construction in general4 ,fig4 #ac is a bevelled lap-joint1 and is used for timbers and posts1 particularly under conditions where the joint can be reinforced by another piece of wood at one or two sides4 ,fig4 #ad shows a mortise and tenon4 ,the hole in the upright piece is the mortise and the shaped end on the stick is the tenon4 ,the shaped end should fit the hole accurately1 and the joint is usually held with a pin1 or nails1 driven through the side of the upright piece and into the body of the stick embedded in the mortise4 ,the mortise and tenon is used extensively in framing1 and for doors1 window-sashes1 and blinds4 ,in cabinet work it is indispensable4 ,fig4 #ae is the mitred-joint4 ,in narrow wood it is usually cut in a mitre-box with a stiff back-saw to insure accuracy in the angles4 ,the mitred-joint is employed for picture-frames1 screens1 mouldings1 and all sorts of angle-joints4 ,fig4 #af is the tongue-and-groove joint1 and is cut on the edges of boards that are to be laid side by side1 such as flooring1 weather-boards1 and partitions4 ,before wood-working machinery came into general use the tongues and grooves were all hand-cut with planes1 but a tongue-and-groove plane is now almost obsolete1 all this class of building material being mill finished4 ,fig4 #ag ,a is a rabbet4 ,it is cut on the edges of wood1 and another similarly shaped piece fits into it4 ,it is also useful where wood laps over some other material1 such as glass or metal4 ,the inner moulding of picture-frames are always provided with a rabbet1 behind which the edge of the glass1 picture1 and backing-boards will fit4 ,illustration3 ,,joints1 ,,rabbets1 ,,and ,,benches ,,fig4 #aa4 ,,fig4 #ab4 ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,,fig4 #af4 ,,fig4 #ag4 ,,fig4 #ah4 ,,fig4 #ai4 ,,fig4 #bj4 ,,fig4 #ba4 ,,fig4 #bb4 ,,fig4 #bc4 ,fig4 #ag ,b is a rabbet-joint made with a rabbet and groove4 ,it is a good one to employ for box corners1 and where the edges of two pieces of wood come together4 ,fig4 #ah is the dovetail-joint used for boxes1 drawer corners1 chests1 and sometimes in cabinet work1 where the corners are to be covered with mouldings or edging-strips4 ,fig4 #ai is the straight dovetail employed in the cheap construction of small boxes for hardware1 groceries1 and other wares4 ,since the edges are straight1 this is the easier one to make1 but care must be taken to have the fitting accurate4 ,a ,low ,bench ,small benches are useful to work upon when sawing1 nailing1 and matching boards2 and they are handy for many purposes about the house4 ,the low bench shown in ,fig4 #bj is fifteen inches high and twelve inches wide1 and the top is twenty-two inches long4 ,the foot-pieces are cut as shown in ,fig4 #ba1 and at the upper end at each side a piece is cut out to let in the side-aprons4 ,the aprons are three inches wide and seven-eighths of an inch thick2 they are held to the foot-pieces with glue and screws4 ,in the top a finger-hole is cut so that the bench may be quickly picked up and the more easily handled4 ,a ,high ,bench ,the high bench shown in ,fig4 #bb is twelve inches square and twenty-four inches high1 with a top fourteen inches square4 ,the wood is seven-eighths of an inch thick1 and all the joints are made with screws4 ,a hand-hole is cut in the top with a compass or key-hole saw1 and all the edges are sand-papered to round them off4 ,a ,step-bench ,a step-bench will be found useful for various purposes4 ,it does not take up so much room as a step-ladder and affords a more solid footing4 ,the bench shown in ,fig4 #bc is thirty inches high1 fifteen inches wide1 and eighteen inches deep4 ,the uprights that support the sides are five inches wide2 the treads of the first and second steps are six inches wide1 and that of the top step eight inches wide4 ,the wood is seven-eighths of an inch thick1 planed on both sides1 and all the unions are made with screws4 ,the cross-brace at the back and near the bottom is set into laps cut in the edges of the upright supports1 and to prevent the support and side-pieces from spreading1 stanchion-bars may be screwed fast to the sides1 under the first tread1 and to the foot of the uprights4 ,two or three coats of paint will finish these benches and make them fit for use about the house4 ,a ,shoe-box ,a shoe-box and seat 7,fig4 #bd7 is a useful piece of furniture in any bedroom4 ,two boxes1 purchased at a grocery store1 may be made to serve the purpose1 but for a really neat and workmanlike job the frame should be constructed of boards three-quarters or seven-eighths of an inch in thickness4 ,a good size for the shoe receptacle is twenty-four inches high1 fifteen inches deep1 and sixteen inches wide4 ,the seat-box should be thirty inches long1 and fifteen inches high and deep4 ,illustration3 ,,fig4 #bd4 ,,fig4 #bd ,a4 ,these boxes are to be attached to each other with stout screws1 and a back the length of the two boxes1 and having a rounded corner is to be securely fastened to the rear of each box1 as shown in ,fig4 #bd ,a4 ,in the shoe-box two shelves are screwed fast1 and to the lower box a corner should be arranged on hinges so that it may be raised from the front4 ,the back and seat and also the top of the shoe-box should be covered with denim1 under which a padding of hair or cotton may be placed4 ,the denim should be caught down with carriage-buttons and string1 the latter being passed through holes made in the wood and tied at the underside4 ,around the front and sides a flounce of cretonne or denim may be gathered1 and hung from the top edge of the box and seat4 ,if finished with gimp and brass-headed tacks it will present a good appearance4 ,where the drop-curtain at the edge of the shoe-box meets the seat the fabric is to be divided1 in order that it may be drawn to one side when taking out or replacing shoes4 ,illustration3 ,,fig4 #be4 ,,fig4 #bf4 ,,fig4 #bg4 ,a coat of shellac1 or paint1 will cover such parts of the wood-work as are not hidden by the upholstery4 ,fig4 #bd shows the finished article of furniture4 ,a ,shoe-blacking-box ,every boy should own a shoe-blacking-box1 such as is shown in ,fig4 #be4 ,otherwise1 the brushes and blacking-box are apt to get widely separated1 and are never at hand when they are wanted4 ,moreover1 it is a slovenly practice to use a chair or stool as a foot-rest when engaged in polishing one's shoes1 since the blacking is sure to discolor and dirty whatever it touches4 ,this shoe-blacking-box is twenty-four inches high and eighteen inches square1 the compartment being four inches deep4 ,four sticks1 two inches square and twenty-four inches long1 will form the legs4 ,each stick should be cut away at one end three-quarters of an inch deep for a distance of five inches1 as shown in ,fig4 #bf1 so that when the side boards are fastened to them the joints will be flush4 ,two sides of each stick should thus be cut away1 and the small end of the stick may be tapered slightly4 ,the side boards1 of three-quarter-inch wood and five inches wide1 are screwed fast to the top of the legs4 ,a bottom sixteen and a half inches square is cut from boards and fastened inside the frame1 where it is held in place with steel-wire nails driven through the lower edge of the side boards and into the edge of the bottom1 all around4 ,four brackets are cut and fastened with screws at each side of the box1 under the side boards4 ,a cover is made and hinged to the box1 where it is prevented from falling too far back by a chain attached to the underside of the lid and to the inside of the box4 ,over the front edge of the box bend a strip of zinc and tack it fast to both the in and outside of the front board4 ,this will prevent shoes from chafing the wood away1 and is easily cleaned when muddied up4 ,with a thin piece of wood make a division in the box at one side1 where blacking and daubers may be kept4 ,also a drawer may be fitted to slide in and out under the box4 ,it should be constructed1 as described for the work-bench1 and arranged to work on runners fastened to the inside of the legs4 ,screw-eyes or staples should be driven into the ends of the brushes and daubers1 so that they may be hung up in an orderly manner on hooks set in the wall immediately over the ledge4 ,a few thin coats of olive-green or light-brown paint will add to the appearance of this shoe-blacking-box1 and the owner should take pride in keeping it clean1 and the brushes in good order4 ,a ,shoe-blacking-ledge ,in a cellar where one of the chimneys is built with a recess1 a shoe-blacking-ledge may be made from four boards five inches wide4 ,the bottom is slatted1 so that dirt will fall through4 ,fig4 #bg shows quite clearly how this can be done4 ,one end is partitioned off to hold the box of blacking4 ,the ledge is twenty-four inches high1 and the front board is bound with a strip of zinc along the upper edge4 ,the blacking-brushes may be kept in the tray1 but it is a better plan to hang them up against the brick-work on steel nails4 ,if the brushes are to be kept inside the tray1 a lid should be made and hinged to the back strip of the tray4 ,when the lid is raised it may be held against the brick wall with a wooden button4 ,an ,easel ,boys who have a talent for drawing and painting would undoubtedly like to have an easel on which to work1 and a good strong one may be made1 at moderate cost1 in the following manner 7,fig4 #bh74 ,obtain four pieces of clear white pine six feet long1 two and a half inches wide1 and seven-eighths of an inch in thickness4 ,these should be planed on all sides4 ,two of the sticks should be tapered off at one end1 and slightly bevelled at the other4 ,nine inches from the top and twelve inches up from the bottom laps are to be cut in the sticks at the back1 as shown in ,fig4 #bi4 ,into these the ends of cross-pieces will fit4 ,if the concealed lap is too bothersome to make1 it can be cut clear across the sticks1 as shown in ,fig4 #cj4 ,glue and screws will make a strong joint4 ,illustration3 ,,fig4 #bh4 ,,fig4 #bi4 ,,fig4 #cj4 ,,fig4 #ca4 ,,fig4 #cb4 ,,fig4 #cc4 ,,fig4 #cd4 ,the remaining long stick is the back support1 or leg1 and is to be hinged to the upper cross-piece4 ,with this leg the easel may be pitched at any angle1 and to prevent it from going back too far a guide-chain should be attached to the leg1 and the ends secured to the back of each upright with staples4 ,holes are bored along the uprights at even distances apart1 and two wooden pegs are cut to fit snugly in the holes1 and so hold a drawing-board or canvas-stretcher4 ,a ,clothes-tree ,a clothes-tree is a most serviceable article of furniture1 and helps a boy to form habits of neatness and orderliness in the care of his wearing apparel4 ,to make the one shown in ,fig4 #ca obtain a clear pine or ash stick one and a half inches square and five feet long for the upright1 or staff4 ,also two pieces eighteen inches long1 two inches wide1 and three-quarters of an inch thick for the feet2 and four braces twelve inches long1 one and a half inches wide1 and three-quarters of an inch in thickness4 ,cut a lap in the middle of each foot-piece1 as shown in ,fig4 #cb1 and with glue and screws fasten them securely together1 as shown in ,fig4 #cc4 ,screw this foot fast to the bottom of the upright stick1 and strengthen the four projecting feet with braces bevelled at the ends1 so that they will rest against the upright and on the foot1 where they can be fastened with screws1 as shown in ,fig4 #cd4 ,under the end of each foot1 the half of a small wooden ball1 or a castor1 may be arranged to raise the tree from the floor4 ,with a chisel and plane taper the top of the upright stick1 as shown in ,fig4 #ca4 ,at a hardware store purchase eight hooks and arrange them in alternating pairs1 as shown in the drawing4 ,the wood-work should be shellacked or painted to give it a finished appearance4 ,when hanging clothes upon this tree place the coat1 vest1 and trousers on the lower hooks1 the shirt and underclothing on the hooks next above1 and on the top hooks the necktie and collar and cuffs4 ,when dressing1 the clothing needed first will then be the nearest to hand4 ,hanging ,book-shelves ,in a room where space cannot be given up to a standing bookcase1 it may be possible to arrange a set of shelves to form a book-rack that will hang against the wall4 ,the construction of the hanging shelves shown in ,fig4 #ce is very simple1 and will require but a few boards1 two wall-strips1 and a few yards of strong rope4 ,for the shelves1 obtain five pine boards eight inches wide1 seven-eighths of an inch thick1 and from three to four feet long2 also two pine strips three inches wide1 an inch thick1 and four feet long4 ,in the rear edge of each board1 at the ends1 cut notches three inches long and an inch wide1 as shown in ,fig4 #ce ,a1 into which the wall-strips will fit4 ,round off the top of each wall-strip and screw them fast to the notched edges of the shelves1 first boring gimlet holes in both strips and shelves to prevent splitting of the wood4 ,half-inch holes at the top of each wall-strip will admit the suspension rope1 which is of manila1 and half an inch in diameter4 ,knot one end of the rope and pass it up through holes made at the outer corners of each shelf1 and finally through the hole at the top of the wall-strips1 and cut it off three inches back of the hole4 ,with a gouge-chisel a groove should be made at the back of the wall-strip for an inch or two below the hole1 so that the rope end may be carried down and ravelled out4 ,it can then be glued and held fast to the wood with staples4 ,where the rope passes through the hole in each shelf1 drive several long steel-wire nails into the edge and end of the board1 allowing the nails to pass through the rope and into the wood4 ,paint or varnish the wood-work1 and securely anchor the wall-plates with stout screws driven into the frame timbers1 through the lath and plaster of the wall4 ,a ,corner ,cabinet ,a corner cabinet of odd design and simple construction is shown in ,fig4 #cf4 ,the total height of the wall-plates should be thirty-four inches1 and at the top the shelf measures eighteen inches across4 ,each shelf is rounded out at the front so as to afford more surface on which to place books and bric--brac4 ,the ends of each shelf are securely attached to the side or wall-plates with screws1 thus insuring a perfect anchorage and a strong construction4 ,fig4 #cg is a plan showing the shape of the sides or wall-plates4 ,at the widest part they should measure twelve inches across4 ,fig4 #ch is a plan of the top shelf1 which is followed in shape by the others4 ,they decrease1 however1 in size as they near the bottom4 ,the notch at the middle of each shelf breaks the long curved line in a pleasing manner4 ,two light metal rods from which curtains hang may be arranged under the top shelf and the one next the bottom4 ,shellac or paint of some appropriate shade will add to the appearance of this useful piece of furniture4 ,illustration3 ,,hanging ,,book-,,shelves ,,and ,,chair ,,cabinet ,,fig4 #ce4 ,,fig4 #ce ,a4 ,,fig4 #cf4 ,,fig4 #cg4 ,,fig4 #ch4 ,,fig4 #ci4 ,,fig4 #dj4 ,when fastening this cabinet to the wall1 care should be taken to pass the screws securely into the studding or uprights4 ,otherwise the screws might pull out under the accumulated weight1 and a fall would be disastrous to both the cabinet and its contents4 ,a ,chair ,the construction of a chair is perhaps as interesting as anything in carpentry4 ,the one shown in ,fig4 #ci may be made from either soft or hard-wood1 the joints being all open and simple to cut4 ,the legs are two inches square1 the seat is sixteen inches square and eighteen inches high1 and the back posts are thirty-six inches long4 ,the front and back posts are cut out1 as shown in ,fig4 #dj ,a and ,b4 ,these receive the cross-pieces that bind the legs and back together4 ,the posts are two inches wide and three-quarters of an inch thick4 ,the side braces are set two inches up from the floor and the back one four inches4 ,the front brace is let into the rear of the front legs1 and is eight inches from the floor to the lower edge4 ,the seat is made from matched boards1 and the back1 ten inches wide1 is made from a single board1 all the joints being glued and screwed together4 ,chairs that are made in shops usually have the joints dowelled or mortised1 but the lap-joint is the easiest and strongest one to make4 ,take care1 however1 that the cuts are accurately sawed1 and that the cross-pieces fit the laps so snugly that a mallet is necessary to help drive the strips home4 ,the seat and back of this chair may be covered with denim1 leather1 or other upholstery material1 drawn over curled hair1 or cotton may be used for padding1 and fastened down around the edges with large flat-headed tacks or upholstery nails4 ,shellac1 varnish1 or paint may be used to give the wood-work a good appearance4 ,a ,table ,it is not so difficult as it may seem to make a good strong table1 but care and perseverance must be exercised to obtain a satisfactory result4 ,when constructing a table bear in mind that every joint should be made to fit accurately2 otherwise it will quickly rack and become useless4 ,the proportions and shape for a serviceable table are shown in ,fig4 #da4 ,only well-seasoned wood should be employed1 and it should be free from knots or sappy places4 ,for the legs1 obtain four sticks thirty-three inches long and two and a half inches square4 ,from two sides1 near the end of each stick1 cut the wood away for five inches to a depth of seven-eighths of an inch1 as shown 7at the top7 in ,fig4 #dj ,b4 ,now cut two boards five inches wide and forty-two inches long1 and four more thirty inches long for the frame4 ,six inches from the uncut ends of the legs saw and chisel out laps1 so that two of the thirty-inch lengths will fit into them1 and with two long and two short boards unite the legs1 thereby forming a frame thirty inches wide1 forty-two inches long1 and thirty-three inches high4 ,an under-shelf may be made twelve inches wide and long enough to extend two or three inches over the cross-strips4 ,the table top extends over the framework for three inches all around1 and it is made of narrow tongue-and-grooved boards driven together and screwed down to the band around the top1 formed by the thirty and forty-two-inch boards4 ,to finish this top nicely it may be covered with felt1 or with imitation leather1 in old-red1 green1 or brown shades1 caught under the edge and made fast with stout tacks4 ,a ,settle ,a comfortable settle 7,fig4 #db71 for the piazza or yard1 may be made from pine1 white-wood1 cypress1 or almost any other wood that may be at hand4 ,it is fifty-four inches long1 eighteen inches wide1 and the seat is eighteen inches above the ground4 ,the sides are made from strips three inches wide and seven-eighths of an inch thick1 as shown in ,fig4 #dc ,a4 ,the arms are twenty inches long1 six inches broad at the front1 and cut the shape shown in ,fig4 #dc ,b4 ,the notches or laps cut in the rear posts are to let in the strips forming the back and lower brace4 ,the joints should be made with screws rather than nails1 as they hold better and do not work loose4 ,small brackets support the arms at the front corner posts1 and a batten at the middle strengthens the back of the settle4 ,a close inspection of the drawings will show the joints clearly and indicate how the frame is put together4 ,a few coats of paint will finish the wood nicely1 or it may be stained and varnished if the wood has a pretty grain4 ,cushions and a sofa-pillow or two will add to the comfort of this commodious seat4 ,illustration3 ,,fig4 #da4 ,,fig4 #db4 ,,fig4 #dc4 ,,fig4 #dd4 ,,fig4 #de4 ,a ,suspended ,settle ,a suspended settle 7,fig4 #dd7 is a convenient piece of piazza furniture1 and not a difficult thing for the young carpenter to make4 ,the corner posts are two and a half inches square1 and the boards used in its construction are seven-eighths of an inch thick and four inches wide4 ,the seat is forty-two inches long and eighteen inches wide1 and the back is fifteen inches high from the seat4 ,the arms are cut as shown in ,fig4 #dc ,b1 and securely screwed to the corner posts4 ,the frame-pieces supporting the seat-boards are let into the back and front posts1 in which laps have been cut1 as shown at ,fig4 #de ,a and ,b4 ,they should be securely fastened with flat-headed screws4 ,both the rail to which the backing-boards are attached and the rear ends of the arms are let into the corner post and fastened with screws4 ,the seat is suspended from the ceiling of the piazza on four chains that may be purchased at a hardware store or from a ship-chandler1 or they may be made by a blacksmith from iron three-eighths of an inch in diameter4 ,if it is not possible to obtain the chains1 rope may be substituted1 but it will not look or last so well4 ,two yokes bolted to the top of the back posts and eye-straps for the front posts will anchor the chains securely to the settle4 ,the yoke is shown at ,fig4 #de ,c1 and the eye-strap at ,fig4 #de ,d4 ,a bolt passed through the top of the rear posts and through the holes in the yoke will secure the latter firmly1 and a nut will prevent it from slipping loose4 ,holes are made in the arms1 and the eye-straps are passed down through them and attached to the front corner posts with screws1 as shown in ,fig4 #dd4 ,the back of the settle is composed of boards four inches wide and placed an inch apart4 ,a ,coal and ,wood ,box ,a combination box for coal and wood may be made from an ordinary shoe-box1 the sides and one end being cut down as shown in ,fig4 #df2 but a more serviceable one is constructed of boards seven-eighths of an inch thick1 planed on both sides1 and with the joints securely glued and screwed4 ,the sides are twenty-six inches long and twelve inches high at the back4 ,at the front they are but four inches high4 ,a back-piece ten inches wide and twelve inches high is cut and fastened in place1 and a front strip four inches high is also made fast with glue and long1 slim screws4 ,a division-board is placed in the middle of the box1 as indicated by the line of screw-heads1 and a bottom1 ten by twenty-four inches1 is held in place with screws passed through the lower edge of the front1 back1 and sides1 and into the edges of the bottom4 ,a lid the width of the box is hinged to a cross-strip over the partition4 ,a handle at the lower end will make it easy to lift the lid4 ,blocks with the corners rounded off will serve as feet1 one at each corner4 ,thin stain and two coats of varnish will finish the wood-work on the outside4 ,a coat or two of asphaltum varnish will be better for the inside4 ,sticks of wood for the open fire or kindling for the grate fire may be kept in the square receptacle1 while under the lid at least two bucketfuls of coal may be stowed away4 ,if the fuel-holder is used only at the open fire1 logs may be stood on end in the square box1 and kindling may be kept in the covered half4 ,a ,flat-iron ,holder ,a rack of shelves to hold flat-irons may be made of white-wood or pine seven-eighths of an inch thick1 the several pieces being securely fastened together with screws4 ,two side-plates are cut four inches wide and thirty inches long4 ,the tops are bevelled and the bottom of each piece is curved1 as shown in ,fig4 #dg4 ,illustration3 ,,fig4 #df4 ,,fig4 #dg4 ,,fig4 #dh4 ,,fig4 #di4 ,the shelves are two inches wide and eighteen inches long4 ,they are spaced eight inches apart1 having the front edge flush with the edge of the side-plates1 and leaving a space two inches wide from the rear edge to the wall4 ,wall-plates two inches wide are let into the rear edge of the side-plates two inches above the shelves4 ,against these the bottom of the irons will rest4 ,a top and a bottom board1 cut as shown in the illustration1 are to be attached to the wall-plates1 and the complete rack of shelves should be fastened to the kitchen or laundry wall with stout screws set firmly into the studding4 ,two coats of olive-green or brown paint will finish this holder nicely1 or it may be painted any color to match the wood-work in the kitchen or laundry4 ,an ,umbrella-stand ,an umbrella-stand does not occupy much space1 and it is a convenient receptacle for umbrellas1 canes1 ball-bats1 and golf-clubs 7,fig4 #dh74 ,to make one it will require four pieces of clear pine or white-wood thirty inches long1 ten inches wide1 and half an inch in thickness4 ,there is also a bottom board nine and a half inches square and seven-eighths of an inch thick1 to which the lower ends of the boards are to be screwed fast4 ,a high1 narrow box is to be formed of the boards1 one side of each board being attached to the edge of the next one1 as the illustration shows4 ,shellac or varnish will give the wood-work a pleasing finish1 especially if it is white-wood1 cypress1 or spruce4 ,a design may be worked out on one side with large oval-headed hobnails painted black4 ,these may be purchased at a shoemakers for a few cents a paper4 ,the design should first be drawn on thin brown paper and held on the wood with pins4 ,the nails are driven along the lines of the ornament1 but before they are hammered home1 the paper should be torn away so that none of it is caught under the nail-heads4 ,a zinc tray six inches high1 and made to fit in the bottom of the box1 will hold the drippings from wet umbrellas4 ,rings soldered at the top edge of the tray will permit it to be removed for cleaning4 ,a ,plant-box ,for growing plants and flowers that always look well around a piazza rail1 the plant-box shown in ,fig4 #di will be found useful4 ,one or more boxes may be made from pine boards an inch thick and eight inches wide4 ,the boxes should be six inches deep1 outside measure1 and they may be as long as desired to fill the spaces between the piazza posts4 ,straight or box joints are made at the corners and fastened with screws4 ,the inside of the boxes should be treated to several successive coats of asphaltum varnish to render them water-proof4 ,several small holes must be bored in the bottom of each box to drain off surplus moisture1 and the boxes and supports may be painted a color to match the trimmings of the house4 ,to anchor the boxes1 screw a batten to the balustrade1 on which the inner edge of the box may rest4 ,the outer edge is supported by means of braces attached firmly to the underside of the box and to the piazza floor1 as shown in the illustration4 ,two small brackets attached to the underside of the box and to the batten will hold the box in place and prevent it from slipping off the top of the batten4 ,a ,final ,word ,the few objects shown and described in this chapter are1 of course1 but a small part of the things a wide-awake boy will think of and wish to make4 ,the principles involved in these examples1 however1 will apply to scores of other things that may be constructed4 ,once these simpler forms of workmanship are mastered the young craftsman will go forward naturally to the higher exercise of his art4 ,carpentry is a fascinating occupation1 and it is well worth while1 since its results are of practical use and value4 ,chapter ,,ii ,,wood-,,carving ,a knowledge of drawing and modelling will be most helpful to the young carver1 as then the outline of ornament can be readily drawn1 while to carve objects from wood the art of modelling form is most desirable4 ,if the beginner possesses a knowledge of form acquired by drawing and modelling1 the art of wood-carving may be readily and quickly mastered2 but even if these advantages should be lacking1 it is possible that considerable progress can be made by those who will follow the instructions given on these pages4 ,the most important feature of carving is the ability to sharpen and maintain the little tools1 and when this is mastered1 more than half the difficulty has been overcome4 ,the dexterity to handle1 with a firm and sure hand1 the various chisels and gouges comes1 of course1 with practice only4 ,it is better to begin with a soft wood4 ,pine1 poplar1 button-wood1 cypress1 or red woods are all of close grain and are easy to work4 ,the harder woods1 and those with a very open grain--such as chestnut1 ash1 and oak--should not be carved until the first principles are learned in the softer woods4 ,carving takes time1 and it is not an art that can be quickly mastered1 unless it be the chip-and-line variety4 ,but this last can hardly be compared to the more beautiful relief-carving1 with its well-modelled form and undercutting4 ,a boy may learn the first principles of carving1 using only his small1 flat carpenter's chisels and gouges2 but for more advanced work he will need the regular carving-chisels4 ,these latter are sharpened on both sides1 while the carpenter's chisels are ground on one side only4 ,nevertheless1 some very good work has been done by boys who had nothing better than a small gouge1 a flat chisel1 and a penknife4 ,the true artist can work in any material and with the most indifferent of implements4 ,tools ,at the start a numerous assortment of tools will not be necessary1 as the flat work and chip-carving will naturally be the first department of the art to be taken up by the young carver4 ,six or eight chisels constitute a good set1 and those shown from ,fig4 #a to #f will answer very well4 ,fig4 #a is a plain1 flat chisel with a straight edge1 as shown at ,a2 it is commonly called a firmer4 ,fig4 #b is also a flat tool1 but possessing an angle or oblique edge2 it is commonly called a skew-firmer4 ,figs4 #c and #d are gouges4 ,fig4 #e is a ,v gouge1 and ,fig4 #f is a grounder4 ,g1 ,h1 ,i1 ,j1 and ,k are gouges of various circles4 ,l is an angle1 or ,v1 gouge4 ,m1 ,n1 and ,o are gouges of various curves1 and ,p1 ,q1 and ,r are ,v gouges of various widths and angles4 ,these last are used for furrows1 chip-carving1 and lining4 ,illustration3 ,a ,,fig4 #a4 ,b ,,fig4 #b4 ,c ,,fig4 #c4 ,d ,,fig4 #d4 ,e ,,fig4 #e4 ,f ,,fig4 #f4 ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,a flat felt or denim case should be made for the tools1 so that they may be kept in good order4 ,it is made of two strips of the goods1 one wider than the other4 ,two edges are brought together and sewed1 and lines of stitching form pockets for the chisels4 ,the flap left by the wider strip of goods is folded over the chisel ends1 and the pockets containing the tools may be rolled up and tied with tape-strings4 ,when opened it will appear as shown in ,fig4 #g4 ,the edges of chisels kept in this manner are insured against injury and rust1 since the case protects them from atmospheric moisture4 ,the stones needed for sharpening the tools will be an ordinary flat oil-stone 7preferably a fine-grained ,india stone71 and two or three ,turkey or ,arkansas slips1 four or five inches long1 having the shapes shown in ,fig4 #h4 ,a1 with the rounded edges1 is for the gouge tools2 ,b1 with the sharp edges1 is for ,v-shaped tools2 and any of the flat chisels may be sharpened on the regular oil-stone1 ,c4 ,in ,fig4 #i end views of some slips are shown4 ,a and ,b are round-edged slips for gouge-chisels2 ,c and ,d are angle stones for ,v chisels2 while small1 flat tools may be finished on the sides4 ,these stones are held in the hand1 and lightly but firmly rubbed against both surfaces of a tool to give it the fine cutting edge4 ,in ,fig4 #aj an oil-stone in a case is shown4 ,a boxed cover fits over it and protects it from grit and dust4 ,this is important1 for often a little gritty dust will do more harm to the edge of a fine tool than the stone can do it good4 ,the other tools necessary to complete the kit will be several clamps1 similar to those shown in ,figs4 #aa and #ab1 and a fret-saw 7,fig4 #ac74 ,if you happen to possess a bracket-machine or jig-saw the fret-saw will not be necessary4 ,a glue-pot will also be found useful4 ,illustration3 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,,fig4 #ac4 ,the first essential to good1 clean cutting is that the tools shall be absolutely sharp and in a workmanlike condition4 ,it is often the case that an amateur's tools are in such a state that no professional carver could produce satisfactory results with them4 ,and yet the variety of carving tools is so limited that if the difficulties of sharpening a firmer and gouge are mastered the task is practically ended4 ,if the tools should be unusually dull they must first be ground on a grindstone1 and as carvers' tools are sharpened on both sides1 they must be ground on both sides4 ,the firmers may be sharpened on the oil-stone laid flat on the bench1 but the gouges must be held in the hand1 in order to sharpen the inside curve with a slip4 ,the outer curve can be sharpened on the flat oil-stone1 or held in the hand and dressed with the flat side of a slip4 ,great care must be taken to give the tools a finished and smooth edge4 ,when they have reached the proper degree of sharpness it will be an easy matter to cut across the grain of white pine1 leaving a furrow that is entirely smooth and almost polished4 ,in the use of the oil-stone and slips1 neat's-foot oil1 or a good1 thin machine oil1 should be employed4 ,astral oil is too thin1 but the oil sold in small bottles for sewing-machines or bicycles will answer every purpose4 ,water should not be used1 as it would spoil the stones1 and not produce the sharp edge on the tools4 ,the finest stones are the best for use1 and although they take longer to give the keen edge required1 they will be found the most satisfactory in the end4 ,avoid grit and dust on the stones1 and before using them they should be wiped off with an oiled rag4 ,the beginner must not consider any pains too great to make himself thorough master of the tools1 and to keep a perfect edge on all of them4 ,the tools being in proper condition1 the next step is to acquire a knowledge of the best methods of handling them4 ,it will require some time and practice to become thoroughly familiar with the manner in which tools are used1 and1 if it is possible1 it would be well to watch some carver at work4 ,the chisels should always be held with one hand on the handle1 with two fingers of the other hand near the edge of the tool4 ,this is to give sufficient pressure at the end to keep it down to the wood1 while the hand on the handle gives the necessary push to make the tool cut4 ,a ,carver's ,bench ,a carver's bench is a necessity for the young craftsman1 but if it is not possible to get one1 a heavy1 wooden-top kitchen table will answer almost as well4 ,the proper kind of a bench gives greater facility for working1 since it is more solid and the height is better than that of an ordinary table4 ,any boy who is handy with tools can make a bench in a short time of pine or white wood1 the top being of hard-wood4 ,if the joiner-work is not too difficult to carry out1 it would be better to make the legs and braces of hard-wood also1 to lend weight and solidity to the table4 ,illustration3 ,,fig4 #ad4 ,the wood should be free from knots and sappy places1 and as heavy as it is possible to get it1 so as to make a really substantial bench4 ,the top should measure four feet long and thirty inches wide1 and not less than one inch and a half in thickness4 ,the framework must be well made1 and the corner-posts and braces securely fastened with lap-joints1 glue1 and screws4 ,the top of the bench should be thirty-nine inches high1 and to one side of the bench a carpenter's vise may be attached1 as shown in ,fig4 #ad4 ,the jaw of the vise is seven inches wide1 one and an eighth inches thick1 and thirty-four inches long4 ,it is hung as described for the carpenter's bench 7see ,carpentry1 ,chapter ,i474 ,a wood or steel screw may be purchased at a hardware store1 and set near the top and into the solid apron side-rail4 ,the posts are four inches thick1 and the cross-pieces and rails should be of seven-eighth-inch hard-wood four inches wide4 ,the top overhangs the framework two inches all around1 thus forming a ledge1 to which the plates of wood or panels may be bound with the clamps and bench-screws4 ,where a clamp cannot be used1 a cleat1 as shown in ,fig4 #aa1 is screwed fast to the top of the table1 and the projecting ear catches the edge of the wood and holds it securely4 ,a coat of varnish or paint on the legs and braces will finish this bench nicely1 and it will then be ready for the young workman's use4 ,chip-carving ,to begin with1 it is best to work on a simple pattern that can be followed easily4 ,illustration3 ,fig4 #ae ,a4 ,get a piece of yellow pine1 white-wood1 or cypress seven-eighths of an inch thick1 six inches wide1 and twelve inches long4 ,on a piece of smooth paper draw one-half of a pattern similar to the one shown in ,fig4 #ae ,a2 or you may use any other simple design that is free in line and open in the ornament4 ,upon the wood lay a sheet of transfer-paper1 with the black surface down1 and on top of the transfer-sheet the paper bearing the design4 ,go over all the lines with a hard lead-pencil1 bearing down firmly on the point1 so that the lines will be transferred to the wood4 ,turn the design around and repeat the drawing1 so that the wood will bear the complete pattern4 ,clamp the wood to one side or corner of the bench with three or four clamps4 ,do not screw the clamps directly on the wood1 but place between the jaw and the wood a piece of heavy card-board1 or another piece of thin wood1 to prevent the clamps from bruising the surface of the panel4 ,first1 with a small ,v1 or gouge-chisel1 cut the lines2 after that the leaves1 using a flat1 or spade1 chisel4 ,two curved incisions will shape out the leaf1 and the angle through the centre describes the main vein4 ,the chipping may be shallow or deep1 as a matter of choice1 but more effect may be had by cutting fairly deep4 ,illustration3 ,fig4 #ae ,b4 ,the finished result will appear as shown in the illustration of the chip-carved panel 7,fig4 #ae ,b74 ,for light ornamenting or drawer-panels1 fancy boxes1 and picture-frames1 this form of carving may be made both pleasing and effective4 ,moreover1 its mastery leads naturally to the more artistic relief-carving4 ,a ,frame for a ,small ,clock ,illustration3 ,fig4 #af4 ,illustration3 ,fig4 #ag4 ,get one of the little nickel-plated clocks 7sold at sixty cents and upwards74 ,lay it down on a smooth piece of soft wood--pine or cedar--about seven by eight inches4 ,mark around it closely with a lead-pencil1 and cut out the circular opening with your knife4 ,if you happen to have a fret-saw or suitable tools1 you can make it of hard-wood4 ,smooth nicely with sand-paper4 ,the clock must fit closely into the opening4 ,you will find ,fig4 #af very easy to do4 ,cut out the lines1 being careful not to let the tool slip when cutting with the grain4 ,dilute the walnut stain with turpentine1 and paint the design inside the lines2 the grooves prevent the color spreading4 ,let it dry4 ,the next day1 with a wad of cotton or piece of canton flannel1 rub on some varnish4 ,soft wood absorbs it very rapidly at first until the pores are filled4 ,when quite dry1 sand-paper nicely4 ,then rub again with varnish1 a little at a time4 ,keep raw linseed-oil near you in a cup2 dip one finger of your left hand in this when the work becomes sticky1 and apply to the pad2 it helps to spread the varnish4 ,rub briskly with a circular motion4 ,the varnish will dry quickly1 when it must have a final polish2 this brings out the beauty of the grain4 ,if carefully done1 your work will resemble inlaying4 ,some ,other ,designs ,the daisy design 7,fig4 #ag7 is charming when finished1 and has the additional merit of being easy4 ,cut the daisy form from a visiting-card1 and mark around it4 ,stain the centre much darker than the petals4 ,table-tops1 jewel-boxes1 calendar frames1 chairs1 etc41 may be purchased already polished1 and outlined in some dainty pattern4 ,a finer tool 7,no4 #aa1 #a_/fd7 comes for this kind of work4 ,of course it cannot be stained1 but if desired the background may be stamped with a star-pointed 8marker0 to give the design prominence4 ,these patterns may be adapted for the decoration of glove-boxes1 bread-plates1 knife-boxes1 stools1 blotting-books1 card-cases1 match-boxes1 music-portfolios1 and many other things1 which will sell well at fancy fairs1 or be highly appreciated as presents4 ,relief-carving ,relief-carving differs from the chip work in that the ornament is raised instead of being cut in4 ,solid relief-carving1 such as appears on panels1 box-covers1 and furniture1 is produced either by cutting the background away or by carving the ornament separately and then gluing it onto the surface of the article to be decorated4 ,of course1 this latter process is only a makeshift1 and the first method is the really artistic one4 ,it is best to begin with something simple and then go on to the more complicated forms of ornamental work4 ,a neat pattern for a long panel is shown in ,fig4 #ah ,a4 ,this panel is twelve inches long and four and a half inches wide4 ,illustration3 ,fig4 #ah ,a4 ,on a smooth piece of paper draw one-half of the design and transfer it to the wood1 as described for the chip-carved panel4 ,clamp the wood to a corner of the bench and1 with a small wooden mallet and both firmer and gouge-chisels1 cut down on the lines and into the face of the wood4 ,then1 with the gouges and grounding-tool1 cut away the background to a depth of one-eighth of an inch or more1 until a result is obtained similar to that shown in ,fig4 #ah ,b4 ,the entire design and edge of the panel will then be in relief1 but its surface will be flat and consequently devoid of artistic feeling4 ,with the flat and extra flat gouge-chisels begin to carve some life into the ornament4 ,a little practice will soon enable the young craftsman to observe which parts should be high and which should be low4 ,the intermediate surfaces should be left neutral1 or between high and low relief4 ,this finishing process depends for its effect upon the good taste and feeling of the craftsman2 it is the quality that gives artistic beauty and meaning to the work4 ,the panel1 when completed1 should have the appearance shown in ,fig4 #ah ,c4 ,illustration3 ,fig4 #ah ,b4 ,as already stated1 the general effect of relief-carving may be also obtained through the 8applied0 method1 a simpler and less tedious process1 but neither so artistic nor so substantial4 ,illustration3 ,fig4 #ah ,c4 ,illustration3 ,fig4 #ai ,a4 ,the design is transferred to a thin piece of wood and cut out with a fret or jig saw4 ,fig4 #ai ,a shows a suitable pattern for this class of work4 ,the pieces are then glued in position on a thick piece of wood1 and the 8feeling0 carved in after the fashion already indicated4 ,this 8applied0 carving may be used on the panels of small drawers1 cabinets1 and boxes of various sizes and shapes4 ,the inventive boy will be able to design patterns for himself1 or they may be cheaply bought4 ,fig4 #ai ,b shows the effect of the finished work4 ,illustration3 ,fig4 #ai ,b4 ,mouldings ,in ,fig4 #bj some designs are given for carved mouldings1 and at the side1 end views are shown4 ,plain mouldings of various shapes may also be bought at a mill1 or from a carpenter1 and may be given 8life0 with a little care and work4 ,both hard and soft wood mouldings are available1 but at first the softer woods will be found the easier to work4 ,a plain corner on a wooden picture-frame may be built up with blocks of wood glued on as shown in ,fig4 #ba ,a4 ,when carved this piece will have the appearance of the finished corner shown in ,fig4 #ba ,b4 ,the arms of chairs1 corners of furniture1 and the like may be treated in this same manner4 ,when flat and relief carving have been mastered1 it would be well to attempt something in figure and free-hand work1 such as animals1 fruit1 or heads4 ,but it will take a good deal of practice on the simple and conventional forms before the amateur will feel himself competent for the more advanced art4 ,as improvement in the flat work is noticed1 the ornament may be 8undercut0 to give it richness and boldness4 ,illustration3 ,fig4 #bj4 ,to finish wood in any desired color1 stains may be purchased at a paint or hardware shop4 ,over the stained surface1 when dry1 several thin coats of hard-oil finish or furniture varnish should be applied4 ,the back and edges of a carved panel must always be painted to protect them from moisture and dampness2 warping and splitting are thereby avoided4 ,some pieces of carving need only a coating of raw linseed-oil1 while others may be treated to a wax finish composed of beeswax cut in turpentine1 rubbed in with a cloth1 and polished off4 ,another method of darkening oak 7before it is varnished7 is to expose it to the fumes of ammonia1 or to paint on liquid ammonia1 with a brush1 until the desired antique shade is obtained4 ,the staining process1 however1 is preferable4 ,illustration3 ,,fig4 #ba ,a4 ,,fig4 #ba ,b4 ,chapter ,,iii ,,fretwork ,,and ,,wood-,,turning ,nearly every boy has had1 at one time or another1 a desire to make scroll-brackets1 fretwork-boxes1 and filigree wood-work of various sorts4 ,the art is naturally affiliated with other decorative processes in wood-working1 such as wood-turning1 carving1 and marquetry1 or the art of inlaying woods4 ,both fretwork and wood-turning are very old crafts1 and were practised by the ancient ,egyptians1 specimens of their work being still extant4 ,a great deal of amusement and pleasure may be had in the possession of a scroll-saw1 or 8bracket machine10 as it was commonly known among boys some years ago4 ,and first1 as to the implements required4 ,the ,tools ,to those who can go to the dealer and pay for just what their fancy dictates1 there is no trouble to procure all the tools that may be needed for the finest work2 but others who cannot afford this luxury may get along nicely with a very small outlay4 ,in fact1 in nearly every instance known to the writer where the amateur has really rigged up his own machine1 he has become master of the art sooner4 ,a number of years ago the writer1 then a school-boy1 transformed an old sewing-machine table into a scroll-saw and lathe1 and to-day this homely old stand and crudely put together machine does as good work1 with as little effort1 as the finest and most expensive outfit4 ,this machine1 all complete1 with the drilling attachment1 cost3 old machine1 one dollar2 dozen saws1 assorted1 twenty-five cents2 new material1 rivets1 etc41 sixty-five cents2 drills 7still in use71 fifteen cents2 total1 two dollars and five cents4 ,this money was saved from building fires and taking up ashes1 and the first time the saw was run--one cold1 stormy day in late ,november--there was cut up material which1 when put together and sold 7playmates and school-fellows being the customers71 amounted to over three dollars in cash1 besides a few pocket-knives1 bits of rare wood1 and the like that were taken in exchange4 ,making a fine scroll-saw from a sewing-machine is of itself an easy matter4 ,the balance-wheels should be retained1 in order that all back lash can be easily overcome4 ,the two arms holding the saw are to be geared from some wheel in the rear or connected with a belt4 ,if the wrist-pin 7the crank1 or pitman wrist7 gives too long a motion1 it can be easily taken up by either drilling another hole nearer the centre or using a bent crank-pin4 ,in any event the cut should not be over one inch4 ,another method of shortening the stroke 7and a very good one if the means of making the other changes are not at hand7 is by changing the bearing of the arm4 ,the nearer the saw the shorter the stroke4 ,the clamp-screws holding the saws should be adjustable1 so that either a long or a short saw-blade may be used4 ,those who break their blades 7and there are none who do not7 will find great economy in using adjustable clamps1 as the short pieces can be used for sawing thin stuff1 veneers1 and the like4 ,the best kind of clamp is provided with a slit to receive the blade and a set-screw for tightening4 ,the tools necessary for hand-sawing are very simple and inexpensive1 consisting of a wooden saw-frame1 one dollar2 dozen saw-blades1 twenty cents2 one clamp-screw1 twenty-five cents2 drill and stock1 fifty cents2 total1 one dollar and ninety-five cents4 ,in selecting saw-blades be careful to buy only those with sharp and regular-cut teeth4 ,saws are graded by number for hand-sawing4 ,numbers #j and #a are the best sizes1 unless for very delicate work1 when finer ones should be used4 ,the larger blades have coarse teeth1 which are liable to catch in the work and tear it4 ,since1 at the best1 the motion of the hand-saw is jerky1 not nearly so nice work can be done as with the treadle-saw1 which has an even1 steady gait4 ,for all open-work it is necessary to have something to punch holes1 so that a start may be made on the inside4 ,many use an ordinary brad-awl1 but this is liable to split the wood4 ,besides1 it is not possible to punch a hole so smooth and nice as it can be drilled or bored2 hence1 a drill is included in the list1 and it will be found a very handy tool for either hand or treadle saws4 ,the most serviceable article of this kind is the small ,german drill-stock1 that can be bought with six drill-points1 assorted sizes1 for fifty cents1 or the small hand-drills1 with side wheel and handle1 and provided with a small chuck to clutch the drill4 ,from what ,i have said1 it should not be inferred that any objections are made to any of the beautiful little machines now to be bought at moderate cost4 ,by all means1 when the expense can be afforded1 these should be used4 ,the good ones will do the most delicate work1 can be run with great ease1 and will cut from eight to twenty pieces at a time1 according to the thickness of the wood1 leaving the edges of the work perfectly smooth4 ,in using treadle-machines1 insert the saw-blades with the teeth pointing downward and towards the front of the machine1 and guide the wood easily with the fingers1 with the wrists resting firmly on the table1 being careful not to feed too fast or crowd against the saw sideways4 ,otherwise the blades will be heated and broken1 and they will wear away the little wooden button set at the centre of the plate to prevent the saw from touching the metal work-table4 ,the ,practice of the ,art ,most boys know how to run a scroll-saw1 or think they do1 yet a few practical hints should not come amiss4 ,to begin with1 the machine should be well oiled1 all nuts1 screws1 and bolts turned up tight1 and the belts adjusted at sufficient tension to run at a high rate of speed without slipping4 ,many machines1 even in large mills1 are groaning and filing out their journals and bearings simply because the belts are too tight4 ,one of the first principles to be mastered in applied mechanics is that of power transmission1 and right here the young workman has the best of opportunities to solve1 in a measure1 a great mechanical problem--namely1 a belt tight enough to drive the machine and do the work1 and loose enough to run easy and cause no unnecessary friction or wear on the journals and boxings4 ,for your first practice take some cigar-box wood 7of which a good stock should be kept71 and trace upon the dark sides a series of angles and curved lines4 ,never1 under any circumstances1 begin sawing without a tracing1 or a pattern of some kind1 to saw to1 for now is the time to cultivate habits of accuracy4 ,with no design or objective-point1 nothing but a bit of useless board will result2 besides1 you will form a habit of working without a guide1 a habit that has made more poor artisans than the love of idleness and bad company4 ,lay the wood on the rest1 or plate1 and see that it lies solidly4 ,if it shakes1 the wood is uneven and should be straightened1 for no one can saw a warped board and make accurate work2 besides1 it is impossible to work in such wood without breaking the saws4 ,the wood being level1 hold it down with the left hand1 fasten securely a ,no4 #a blade in the frame1 and begin sawing1 being careful to keep the motion very high and feeding slowly1 sawing out the tracing lines1 or keeping close to one side of them4 ,if an ordinary hand-frame is used1 work it firmly in one direction1 keeping the blade perpendicular1 and turning the wood so that the saw may follow the pattern4 ,after you have thoroughly learned the motion of the machine1 the cutting of the saw1 feeding1 etc41 try sawing a straight line1 being careful not to push or crowd the blade sideways1 as this will not only make the lines crooked1 but will heat and ruin the blades1 if it does not break them4 ,when you have become an adept in following a straight line1 and cutting the lines of a curve accurately1 mark out several ,vs and squares4 ,to saw a ,v begin at the upper end and saw down to the point2 now back the saw out1 and saw from the other end down to the same point4 ,if the line is carefully followed1 this will insure a sharp1 clean-cut angle4 ,to cut out a square hole1 saw down to the angle1 then work the blade up and down in one place rapidly until it becomes loose2 then turn the wood at right angles and saw carefully along the line to the other corner1 when the operation may be repeated4 ,just as soon as you can saw straight and curved lines true to tracings1 it is safe to begin good work with little if any fear of spoiling lumber or breaking an undue number of saws4 ,the ,preparation of the ,work ,one of the simplest objects for a beginner to try his skill upon is a wall-bracket such as shown in ,fig4 #a4 ,a piece of cedar--the bottom and lid of a cigar-box will answer the purpose excellently--from seven to eight inches in length by six and a half in width is a convenient size4 ,the shelf is a semicircular piece either plain or scalloped in front1 and its support must be of light1 open1 but strong design to match one-half of the lower design to the wall-plate4 ,hinges are sometimes placed to all parts in order to make it easy to pack the bracket4 ,but such additions can only be made by the expert craftsman4 ,the first thing to be done is to trace the design on a thin piece of paper after it has been drawn roughly on a smooth sheet of brown paper4 ,when the tracing is complete1 lay it face downward1 and cover it with powdered red chalk4 ,the tracing is then imposed on the wood1 with the red side downward4 ,with a blunt bodkin or lead-pencil we now draw firmly along the lines1 thus reproducing the tracing on the surface of the wood4 ,having accomplished this1 we remove the paper1 and with pen and ink make a complete drawing of the outlined design on the wood4 ,in designing fretwork great care must be taken to get the two sides of the pattern alike and in correct drawing4 ,this can best be done by drawing the design on tracing-paper1 and doubling it over when1 with a little extra pressure of the pencil1 a good design can be obtained on both sides of the paper4 ,when this has been accomplished pierce the wood at various points with a drill4 ,the holes thus made are to allow the saw to enter4 ,the wood may now be put in the clamp4 ,then with a moderately strong saw the young beginner can make his first attempt4 ,the frame must be held perfectly straight and the arm worked steadily up and down4 ,turning the saw is always a difficult point with amateurs1 but in reality there is but little in the operation that cannot be mastered with a few moments' practice4 ,the secret of turning neatly and without damaging either saw or wood is to work very steadily up and down1 but not forward1 when the turning-point has been reached4 ,then by a sharp and active movement of the wrist and wood the saw should be turned1 but not jerked1 and the new line commenced4 ,sometimes1 however1 the delicacy of the pattern makes this impossible4 ,the saw should then be pulled backward and forward gently until a sufficiently large hole has been made4 ,it is impossible1 within the limits of this chapter1 to give designs for any considerable number of the articles that can be made in fretwork2 but with the descriptions just given1 and the few accompanying patterns1 a boy who has any idea of drawing and designing can put parts of an ornament together and so work out new and attractive variations4 ,a ,match-safe ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,the design for a match-safe is shown in ,fig4 #b1 the wall-plate measuring two inches and a half in width and seven inches high4 ,one side of the pattern should first be drawn in free-hand1 then traced and transferred to the thin wood and the lines gone over with a sharp-pointed1 hard pencil1 so that it will be an easy matter to see them when sawing4 ,the front plate of the match-safe is shown at ,b and one end at ,c4 ,the front is two and a half inches long and one inch wide1 and the ends are made in proportion1 or about seven-eighths of an inch wide4 ,these parts are put together with slim steel nails and glue1 having first drilled the holes where the nails are to be driven to prevent them from splitting the wood4 ,most of the modern scroll-sawing machines have movable beds1 so that bevel cuts can be made4 ,this is done by tilting the bed or table slightly1 as shown in ,fig4 #c4 ,as a result the work will have a narrower face than the back1 as shown at the right side of the bracket in ,fig4 #a4 ,however1 in making the front1 or bracket part1 there should not be any bevel-cutting1 since it would look one-sided4 ,keep the bed flat in that case1 and make the regular cuts for straight work4 ,a ,wall-bracket ,the simple bracket shown in ,fig4 #a is an easy one to draw1 and it may be cut from holly1 birch1 oak1 or any good wood about one-eighth of an inch in thickness4 ,the bracket or front-piece is half the back-plate1 omitting the top ornament4 ,the shelf 7,a7 may be rounded1 scalloped1 or cut serpentine1 as indicated by the dotted lines1 and the three parts are put together with fine nails1 or screws1 and glue4 ,a ,fretwork-box ,for a glove or necktie box an attractive design is shown in ,fig4 #d1 ,a being the top and ,b the front or back4 ,the ends should be made a proportionate size1 and a part of the traced ornament can be transferred to them1 so as to match the other parts4 ,illustration3 ,a ,,glove-,,box ,,and ,a ,t ,,bracket ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,a good size to make this box will be ten inches long1 five inches wide1 and three inches deep4 ,this should be the size of the main rib or rectangle in the top1 and out from it the scallops project three-quarters of an inch all around4 ,lay out one-quarter of the cover design on a piece of smooth paper2 then make a tracing of it4 ,with a piece of transfer-paper this quarter should be gone over with a blunt lead-pencil1 so that the lines will be transferred to the wood4 ,take care when making a transfer to see that the quarter has been accurately placed on the wood so that a perfect rectangle will be had4 ,put this box together with glue and small1 slim nails1 and arrange a bottom of thin wood to fit where the lower cross-rib of the sides is shown4 ,if the saw leaves ragged edges at the reverse side of the wood1 they may be cleaned off with fine sand-paper or a small file4 ,some ,other ,designs ,another design for a bracket is illustrated in ,fig4 #e2 and in ,fig4 #f a ,t is shown that may be used for a bracket or a wall-hanger1 along the top edge of which small hooks may be arranged to hold a shoe-horn1 button-hooks1 scissors1 and other small bedroom accessories4 ,wood-turning ,the common examples of wood-turning with which a boy is most familiar are tops1 balls1 bats1 dumb-bells1 ,indian clubs1 broom-handles1 and spools4 ,all of these objects are made in a lathe1 and this is the self-same machine that has been in use for centuries1 with but few modifications4 ,like the potter's wheel1 it is simplicity itself and needs no improvement4 ,the object of a lathe is to cause a piece of wood or other material to revolve from end to end1 so that when a chisel or other sharp-edged tool is held against the moving surface it will cut away that part of the material at which the tool is directed4 ,the boy who lives near a wood-working establishment1 or mill1 can gain more knowledge in watching a wood-turner at work for half an hour than he can learn from reading a book on the subject for many days4 ,it is a simple craft1 but a firm hand and a true cut are the important factors in making a boy a master of the lathe4 ,once the knowledge is gained1 however1 it is an easy matter to turn all sorts of objects4 ,a simple lathe may be made from a small table1 a grindstone1 a trunk-strap1 and several small parts that are easily gotten together4 ,read how in his boyhood days the author constructed a small lathe4 ,between the legs of a table two bars were nailed across for supports to the shaft1 which was made of oak and measured three feet long and one inch square4 ,this just fitted the hole in a grindstone that was used for the balance-wheel4 ,six inches from the ends of the shaft the corners were cut away to form bearings on the cross-bars1 which were hollowed out to receive it4 ,a leather strap was nailed over to keep it in position4 ,the grindstone was next placed on the shaft1 near one end1 between the bearings1 and wedged4 ,over it two brackets1 four inches high1 were screwed in position on the table top1 six inches apart1 forming a support for a shaft of a small wheel or pulley made of wood4 ,in the end of an ash shaft1 one inch square and eight inches long1 were three sharp points made by driving in nails without heads1 the projecting ends being filed to points2 these1 forced against the block1 held one end firmly enough to turn4 ,the places where the bearings came were cut in the form of a cylinder three-quarters of an inch in diameter1 and corresponding places were hollowed in the supports 7as shown at ,fig4 #h7 to receive it1 a small piece of wood being screwed on over each1 after the shaft and wheel were put in position4 ,a belt was made of an old trunk-strap1 passed round the grindstone and through two holes in the table over the little wheel1 causing the latter to revolve very rapidly when the former was turned4 ,this was done by a treadle put in the following manner3 ,two cranks were made 7,a in ,fig4 #g7 by a blacksmith and attached to the ends of the long shaft4 ,they were three inches long and had a knob on the end of the handle to prevent the connecting-rods from slipping off4 ,the latter were of hard-wood1 with a half-inch hole bored through near one end4 ,they were then split six inches1 allowing them to be placed on the handles4 ,a screw was then put in to secure them1 the lower ends being connected with a treadle made as in ,fig4 #g4 ,illustration3 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,the second spindle at first was made immovable by inserting a piece of quarter-inch wire in a wooden bracket1 which was screwed to the table2 but finding it not always convenient to use blocks of the same length1 one was arranged to slide2 it could be secured in any position with thumb-screws4 ,a long cut a quarter of an inch wide was first sawed in the table in the line of the short shaft2 then a bracket three inches high was screwed to a short strip two inches wide1 one inch thick1 and a foot long4 ,a similar strip was placed beneath1 through which two thumb-screws passed4 ,a piece of wire1 filed to a point and driven in the bracket1 served for a centre4 ,a movable block of wood three and a half inches high was used for a tool rest1 which by means of two small bolts and thumb-screws was held fast to the table top4 ,slots cut in the table top made it possible to move this rest forward or backward1 and the thumb-screws1 or winged-nuts1 as they are properly called1 were tightened at the under side of the table1 as shown at ,fig4 #i4 ,a great deal of pleasure may be had at little or no cost with a lathe of this description4 ,all sorts of small things may be turned1 and when a boy has mastered the craft it would be well to add an iron lathe to his stock of tools1 if the cost is at all within his means4 ,chapter ,,iv ,,picture ,,mounting ,,and ,,framing ,the modern idea in framing pictures is to have the frame harmonize with the subject1 rather than to employ a stock moulding with set pattern made by the mile1 and cut up into frames of all sizes and for all sorts of pictures4 ,all the frames shown in the illustrations accompanying this chapter were made at home1 and from such simple materials as thin boards1 burlap1 tea-chest matting1 denim1 wire1 sheet-lead1 harness-rings1 and brass-headed upholsterers' tacks4 ,a ,dutch ,head ,mounting ,for the study of a ,dutch head a unique frame1 or mounting1 is shown in ,fig4 #a4 ,this is a board of thin wood of a size in proportion to the photograph1 the latter being nailed to the board with large1 oval-headed tacks painted black4 ,the board is covered with green denim1 the edges of which are drawn over the back of the board and glued1 or fastened with small tacks4 ,the photograph1 a platinum print1 is trimmed to an oval1 and then mounted on a white card4 ,when the paste is dry the mount is also cut ovalwise1 following the line of the photograph1 and leaving a white margin half an inch in width4 ,the picture is placed on the board so that the side and top margins will be equal2 it is then fastened in place with upholsterers' tacks driven three-quarters of an inch apart4 ,illustration3 ,fig4 #a4 ,fig4 #c4 ,these nails1 as well as the other metal-work1 are to be coated with a mixture of dry lamp-black and shellac before they are driven on the board4 ,the nails should be painted some time before they are to be used1 so that the black coating will be thoroughly dry4 ,after the nails are driven in place it may be necessary to go over them with a small brush and some of the black paint1 to touch up places where the coating has chipped off4 ,the ornament below the picture and the hanger-straps are cut from sheet-lead about one-sixteenth of an inch in thickness4 ,the stems are of ordinary iron wire1 such as may be purchased at a hardware store for a few cents4 ,each piece of the design is separate1 and may be easily cut from soft lead with an old pair of shears1 and afterwards trimmed with a pocket-knife or a small file4 ,drawings of the metal parts to this frame are shown in ,fig4 #b4 ,a is the strap at the top1 where the hanger is attached2 ,b1 the scrolls forming the hanger2 ,c1 one of the buds at the top of the stem of wire2 ,d1 the flower at the middle of the frame under the picture2 ,e1 one of the long leaves2 and ,f1 a shorter curved one4 ,these are all painted black before they are applied to the board2 then they are caught with large and small nails1 the large ones for effect1 the small and invisible ones to securely attach the metal ornaments to the wood4 ,small staples made from pins with the heads cut off are used to hold the wire stems in place1 but at the outer ends the wire is caught under the buds or flowers1 where it is held in place with an upholsterer's tack4 ,the ornamental hangers are made from thin strips of stove-pipe iron one-quarter of an inch wide1 and may be shaped with a small pair of pliers or bent with the fingers4 7,see ,chapter ,v41 ,venetian and ,florentine ,metal-work47 ,the long upper part of the strap-pieces are bent over and caught at the back of the frame1 and form a staple1 into which the lower loop of each hanger is made fast4 ,if the large1 oval-headed nails which hold the picture to the board cannot be had at your hardware store1 imitation heads may be cut from lead1 blackened1 and fastened on with two or three fine steel-nails4 ,a ,dark ,card ,mounting ,the mounting shown in ,fig4 #c is constructed along the same lines as that of ,fig4 #a1 but the hangers are different1 and the picture1 having a white edge1 is mounted on a dark card4 ,the nails are then driven on the white band1 in order to make them more conspicuous than they would be if fastened on the outer margin4 ,a line may be drawn on a piece of smooth brown paper indicating the size of the frame1 and another one to denote the location of the picture4 ,the design should then be drawn on the paper with lead-pencil1 and the little flowers1 buds1 and leaves fitted to this plan4 ,the wire may also be bent to conform to the lines of the drawing1 so that it will be an easy matter to apply the accurately fitted parts to the frame1 where they are fastened with small1 oval-headed tacks4 ,a strip of sheet-lead five inches long and one-half an inch wide is cut ,v-shaped at the bottom1 and the top is bent over a two-inch harness-ring1 then drawn down and fastened with a nail1 to prevent it from releasing the ring4 ,these hangers are fixed at the top1 midway between the picture and the outer edge of the frame4 ,large-headed wrought-iron bellows-nails are used on which to hang the picture2 they are driven into the wall1 and1 when necessary1 the picture may be removed from them by simply lifting the rings over the nail-heads4 ,a ,triple ,mounting ,illustration3 ,fig4 #d4 ,the long panel effect shown in ,fig4 #d is a simple and pleasing mounting for small photographs1 or colored prints4 ,a board is covered with ordinary burlap1 which is drawn over the surface and tacked at the back2 apparently it is held in place by the large1 oval-headed tacks driven all around the outer edge4 ,a card-mount the size of the photograph is cut away at the middle1 leaving the outer edge about half or five-eighths of an inch in width4 ,this is laid over the photograph1 and through it the nails are driven which hold the photograph and the frame to the board4 ,the scroll-hangers at the top and the nail-head decorations add to the artistic appearance of this frame4 ,plain ,framing ,for etchings1 water-colors1 or colored photographs and aquarelles1 where a wide mat is desirable1 plain narrow frames should be used4 ,these may be made from moulding with the rabbet cut in by machine1 but the boy craftsman may use flat rails and make his own rabbet4 ,first cut the joints with a mitre-box and saw2 then with glue and slim nails a good union is made1 as shown at ,fig4 #e1 the dotted lines representing the long1 slim nails4 ,if a lap-point is preferred to a mitre1 both ends of the flat rails should be cut away1 as shown at ,fig4 #f1 the union being made with glue and short screws driven in from the back of the frame1 taking care1 however1 not to puncture or deface the face of the frame4 ,where a rabbet is to be made at the back of a frame1 the front inner edge should be bevelled1 as shown at ,a in ,fig4 #g1 so that there will not be too great a thickness of wood close to the glass4 ,a quarter of an inch out from the inner edge of the frame fasten four square sticks with glue and small nails4 ,these sticks should be three-eighths of an inch square1 and mitred at the corners1 as shown at ,b in ,fig4 #g4 ,the glass can then lie on the back of the frame within the space described by the small sticks1 and over it the picture and back-board are placed1 the nails being driven in to hold them in place4 ,illustration3 ,,fig4 #b4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,a ,sporting ,mount ,for a picture in which horses are prominent1 such as a race1 a group of horses' heads1 or a driving scene1 an appropriate frame is suggested in ,fig4 #h4 ,the frame proper is made from narrow strips of wood1 the face of which is studded with oval-headed nails4 ,this frame is then arranged on a large board1 and at the corners blocks1 or separators1 are fastened1 which will cause the frame to stand away from the large board for half an inch or so1 in order that the stirrup-strap and the whip-handle may pass under it1 as shown at ,a in ,fig4 #h4 ,the frame is hung by means of large harness-rings caught at the top of the frame with leather straps4 ,these are carried about the back-board and buckled at the front4 ,the stirrup is suspended from the lower middle part of the frame on a strap1 which is caught about the back-board and runs under the small front frame4 ,dark ,flemish oak for the back-board1 russet straps1 and brass buckles will make a pleasing combination2 and if the picture is a colored one1 it will add greatly to the effect of the complete mounting4 ,a ,round-robin ,mounting ,for one large head-picture and a number of small ones a novel scheme for mounting is shown at ,fig4 #i4 ,this is a one-piece barrel-head covered with burlap or denim4 ,the photographs are cut circular and mounted on heavy white or cream-colored card-mounts1 then trimmed so that a margin half an inch wide will be left all around4 ,these are to be applied to the barrel-head with oval-headed upholsterers' nails1 as suggested for ,fig4 #a4 ,the hangers are made from thin strips of iron1 and should be as long as half the diameter of the board4 ,part ,,ii ,,metal-,,working ,chapter ,v ,,venetian ,,and ,,florentine ,,metal-,,work ,in ,italy1 many years ago1 there originated the pretty household art of making small objects from metal strips bent into graceful curves and scrolls1 and then banded together4 ,during the past few years ,american and ,english boys have taken up this ,venetian and ,florentine metal-work1 and to-day the materials may be purchased at hardware stores in all the large cities4 ,the tools required are a pair of flat and a pair of round-nosed pliers1 or pincers1 a pair of heavy shears1 and a pair of wire-cutters2 a small bench-vise will also be useful4 ,the materials include a few sheets of thin stove-pipe iron of good quality 7it may be purchased from a tinsmith71 several yards of fine1 soft iron wire1 and some heavier wire for framework4 ,from the sheets of iron narrow strips are to be cut with the shears1 and for ordinary work they should be not more than three-sixteenths of an inch in width2 for heavier or lighter work the width may be varied4 ,if it is possible to obtain the prepared strips at a hardware store1 it will be better than making them at home1 since it is a tiresome task to cut many of the strips from sheet-iron4 ,soft1 thin iron that will bend easily is the only kind that is of use1 as the hard or brittle iron breaks off and it is impossible to bend it into uniform or even scrolls4 ,a little patience and perseverance will be necessary at first until the knack of forming scrolls has been mastered1 but once learned it will then be an easy matter to make many pretty and useful objects4 ,a ,lamp-screen ,an attractive design for a lamp-screen is shown in ,fig4 #a ,a4 ,when completed and backed with some pretty material it will be found a useful little affair to hang against the shade of a lamp to shield one's eyes from the direct rays of a bright light4 ,to begin with1 form a square of six inches1 and at the top where the ends meet make a lap-joint by allowing one end to project over the other2 then bind them together with some very fine wire--about the size that florists use4 ,inside of this square make a circle six inches in diameter1 and wire it fast to the square where the sides1 bottom1 and top touch it4 ,bend four small circles1 and fasten one in each of the four angular corners between the circle and square2 then form the centre scrolls and the hoop in the middle of the screen4 ,to form a scroll like that shown in ,fig4 #a bend a strip of metal in the form of a ,u1 as shown in ,fig4 #b1 and with the round-nosed pair of pliers begin to curl one end in1 as shown in ,fig4 #c4 ,when it has been rolled far enough in to form one side of the scroll1 it will appear as shown in ,fig4 #d4 ,by treating the other end in a similar manner the finished result will be a perfect scroll like ,fig4 #a4 ,four of these scrolls are to be made and banded to the circle and to each other1 and in the centre the hoop must be made fast with little metal bands4 ,illustration3 ,,fig4 #a4 ,,fig4 #a ,a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,when uniting or binding two strips of metal together they may be fastened with wire or bands1 as a matter of choice4 ,if the latter mode is employed1 short pieces of the metal strips are to be cut and partially bent in the form of a clamp1 as shown in ,fig4 #e4 ,bring the two sides together and bend one ear of the clamp over them 7,fig4 #f71 and if the other ear is the proper length1 bend that down in place1 and squeeze all together with the flat-nosed pair of pincers4 ,the perfect joint will then appear as shown in ,fig4 #g4 ,when using metal clamps the ears should be of such a length that1 when pressed down over the united strips of metal1 the ends will just come together and not overlap4 ,having made the body part of the screen1 form the scrolls of the top1 and bind them in place with wire or the little metal clamps4 ,this top should measure some three inches high from the top rib of the screen1 and the end scrolls should project about three-quarters of an inch beyond the body of the screen at either side4 ,for the sides and bottom form a frill of metal and fasten it to the screen with wire2 it should not be more than three-eighths or half an inch in width1 and can be bent with the round-nosed pincers and the fingers4 ,better wear gloves for this part of the work4 ,when the metal-work is finished it will be necessary to coat it with black paint to improve its appearance and prevent its rusting4 ,there are several good paints that may be used for this purpose1 but if they are not easy to obtain an excellent coating may be made by dissolving a little shellac in alcohol and adding dry lamp-black so it will be about the consistency of cream4 ,it should be applied to the metal with a soft brush1 and if it should become too thick it may be thinned by adding alcohol4 ,two thin coats will be all that are required for ordinary purposes1 but if the metal-work is exposed to the weather1 or any dampness that might cause it to rust1 a coat of red lead should be applied next the iron4 ,red lead can be mixed with boiled linseed-oil to make a good metal paint4 ,a backing of some pretty1 light-colored silk is required to complete the screen1 using one1 two1 or three thicknesses to properly shield the light4 ,the backing should be attached to the grille1 or framework1 with black silk1 and it may be cut to fit either the round or square portion of the framework4 ,the stitches should be close together1 to prevent the goods drawing away from the metal ribs4 ,pattern-making ,when constructing any piece of grille-work it is always best to have a full-sized drawing to work over4 ,for example1 it is a simple matter to lay out the plan for ,fig4 #a ,a1 and you may proceed as follows3 ,pin to a lap-board a smooth piece of heavy brown paper1 and with a soft pencil draw a six-inch square4 ,inside this describe1 with a compass1 a six-inch circle2 then draw the four corner circles1 and divide the larger ,circle into quarters4 ,in each of these quarters draw1 in free-hand1 the scroll shown in ,fig4 #a ,a4 ,the top is to be drawn in free-hand1 but if it is difficult to get both sides alike you may first draw one side2 then double the paper1 and transfer the design by rubbing the back of the paper4 ,it will then be found an easy matter to bend and fit the scrolls1 since each member may be accurately shaped to conform to the lines1 and afterwards banded together4 ,a ,standard ,screen ,for a standard screen in the shape of a banner the design shown in ,fig4 #a ,a may be used1 leaving off the top ornament1 and suspending it from the upper end of a supported stick with cord or wires1 as shown in ,fig4 #h4 ,the stick should be about eighteen inches high1 and the scroll feet should stand seven inches and a half up from the bottom4 ,at the widest part they should measure six inches across1 and there should be four of these feet to constitute a stable base4 ,at the top of the stick 7which should be about one-quarter of an inch square7 a scroll and a hook will serve to support the screen4 ,in a library or sitting-room1 where one large lamp is used to read by1 one or two banner-screens will keep the strong light from the eyes and the heat from the head without cutting off the needed illumination from the book or work in hand4 ,a ,candlestick ,the illustration shown in ,fig4 #i gives a pleasing pattern for a small-based candlestick4 ,illustration3 ,a ,,standard ,,screen ,,and ,a ,,candlestick ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,to begin with1 secure an old tin or brass candlestick and rip off the bottom1 leaving only the sheath and collar at the top4 ,have a tinsmith cut the lower end away1 leaving about two inches of the top1 and solder a bottom in it4 ,cut a pine stick about four inches long and not more than three-sixteenths of an inch square1 or the same thickness as the width of the metal strips from which the scrolls are to be formed4 ,punch a small hole in the bottom of the socket1 and drive a slim steel-wire nail down through it and into the middle of one end of the stick1 so that the attached pieces will appear as shown in ,fig4 #aj4 ,the socket will hold a candle1 and the stick will act as a centre staff against which the four scroll sides are to be fastened4 ,a paper pattern should be used over which to bend the scrolls1 and across the bottom they should measure four and a half inches1 and five or six inches high4 ,to the upper part of one side-scroll a handle should be shaped and fastened1 as shown in ,fig4 #i4 ,a ,candelabra ,the design for a four-armed candelabra to hold five candles is shown in ,fig4 #aa4 ,cut two sticks a quarter of an inch square and ten inches long1 another one thirteen inches long1 and a short piece two inches long4 ,at the middle of the ten-inch lengths cut laps1 as shown in ,fig4 #ab1 and bore a hole through the centre and into an end of the long stick4 ,drive a slim nail down into the hole at the end of the stick1 as shown in ,fig4 #ac1 and over it place the cross-arms1 as shown in ,fig4 #ad4 ,in one end of the short stick bore a hole1 snug it over the top of the nail1 and drive it down so that it will fit securely on top of the cross-sticks4 ,the completed union will have the appearance of ,fig4 #ae1 and to this wood frame the scroll and ornamental work is to be attached4 ,illustration3 ,a ,,candelabra ,,fig4 #aa4 ,,fig4 #ab4 ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,,fig4 #af4 ,lay out the plan of one side on paper1 making the distance from the stick to outer edge of the foot about four and a half inches4 ,at the narrowest place1 near the top1 the side should measure one and three-quarter inches in width4 ,the scrolls should be securely bound to the wood frame with wire1 and for candle sockets five six-pointed stars should be cut from the pattern given in ,fig4 #af4 ,they should be two and a half inches in diameter1 and bent to receive a standard-sized candle4 ,a small screw passed through a hole in the centre will fasten them to the wood arms1 and when placing them the wood should extend entirely under each socket1 as may be seen in ,fig4 #aa4 ,canopy shades and holders should be made or purchased1 and when complete with candles and shades this candelabra should present a very pleasing appearance4 ,a ,fairy ,lamp ,it will be found quite a simple matter to make a fairy lamp similar to the one shown in ,fig4 #ag4 ,the bracket should be twelve inches high and five inches wide from the back stick to the end of the projecting arm1 on the end of which the suspending hook is located4 ,the arm should be placed about three inches from the top1 and both the arm and the upright are to be of wood one-quarter of an inch square4 ,it would be well to make a pattern of the scroll-work over which to bend the metal in true shape4 ,the scrolls should be securely bound to the wood ribs with wire instead of metal clamps1 since the weight of the candle-sconce would have a tendency to open the clamps and weaken the support4 ,for the lamp part1 it will be necessary to have the socket of a candlestick arranged as described for the candlestick in ,fig4 #i4 ,the stick at the bottom should be one and a half inches in length4 ,against this the scroll-work is attached4 ,each side should measure two and a half inches long and three inches high from the place where the suspension-wire is attached to the bottom1 where the pendants are fastened4 ,the four scrolls must be securely bound to the socket and stick with wire1 and from a screw-eye driven in the lower end of the centre stick three drops1 or pendants1 may be hung4 ,these pendants are in the shape of bell-flowers1 and may be of any size1 cut from the diagram shown in ,fig4 #ah4 ,they should be strung on a wire having a knot made in it wherever it is desired to place a flower4 ,from the scroll ends of each side-grille a wire is fastened and carried up to a ring that hangs on the arm-hook4 ,these wires form a light and graceful mode of suspension1 and near the upper end a canopy shade can be made fast4 ,pink red1 orange1 light-green1 or electric-blue candles and shades always look well with the black iron-work of the bracket and sconce4 ,a ,burned-match ,holder ,fig4 #ai gives a design for a small receptacle to be used for burned matches or other small waste scraps4 ,notice that the drawing shows but one side of a three or four sided affair4 ,the outside frame should measure about three inches across at the top1 two inches at the bottom1 and two and a half inches high4 ,small hooks should be fastened to each upper corner4 ,from them small chains extend up to a single ring that may be of wire2 or a small iron harness-ring may be employed for the purpose4 ,the three or four sides forming the receptacle are to be securely bound together with wire1 and for a bottom a thin piece of wood or a sheet of light metal can be sewed in with wire4 ,whether the bottom is of metal or wood1 it will be necessary to make small holes around the edge through which the fine wire can be passed4 ,the wire should be caught around the bottom ribs of the sides1 and manipulated in much the same manner that cloth is attached with needle and thread4 ,each side should be backed with silk or other pretty material1 and to prevent burning or blackening from match ends the entire receptacle may be relined with card-board1 tin-foil1 or asbestos paper4 ,the links forming the chain are made of very narrow strips of the metal4 ,fig4 #ai ,a shows the construction of the centre1 and ,b that of one side4 ,two of the latter are to be made for each link and banded to the centre1 so that a finished link will appear like ,c in ,fig4 #ai4 ,the links should be connected with little wire rings1 or small brass rings may be purchased at a hardware store4 ,the latter1 when painted black1 will appear as if made of iron4 ,illustration3 ,,fig4 #ag4 ,,fig4 #ah4 ,,fig4 #ai4 ,this same design can be carried out on a larger scale1 and adapted as a hanging jardinire in which a potted vine may be placed4 ,if employed for that purpose1 an outlet for the water must be provided in the bottom4 ,instead of using a clay flower-pot1 it would be well to have a tinsmith make a zinc inner box1 with a small pipe through the bottom to convey the waste water into a small cup that may be suspended underneath4 ,as the proportions of the box are enlarged1 the links of the chain must be made larger and stronger1 so that the chain will be heavy enough to support the weight2 and instead of using wire or brass rings1 it would be advisable to employ small iron harness-rings4 ,a ,photograph-frame ,among the many pretty little objects that can be made from thin metal strips1 frames for small pictures are always serviceable and attractive 7,fig4 #bj74 ,black is not always a desirable color for a frame1 and there are several good enamel paints on sale4 ,they may be procured in almost any light shade1 such as pink1 blue1 green1 brown1 and the pale yellows or cream colors4 ,several successive thin coats of these enamel paints will give the iron scrolls a pretty finish4 ,it is hardly necessary to lay down a size for this frame1 as it can readily be adapted to any photograph or small picture4 ,the proportions1 however1 should be followed as closely as possible1 so that the design will work out about as shown in the drawing4 ,this frame may be hung against the wall1 or arranged as an easel for a table1 mantel-shelf1 or wall-bracket4 ,if the latter scheme is preferred1 a support may be made from narrow metal strips and attached to the back of the frame with wire4 ,this support should be of the design shown in ,fig4 #bj ,a2 it is attached by the top cross-bar to the back of the frame4 ,this cross-bar is of round iron1 and the projecting ends are to be caught with wire loops1 which will allow the back leg to act as if arranged on a hinge4 ,to prevent it from going too far back1 a wire or string at the bottom will hold it the proper distance from the frame4 ,illustration3 ,,fig4 #bj4 ,,fig4 #bj ,a4 ,,fig4 #ba4 ,,fig4 #bb4 ,,fig4 #bc4 ,the frame proper is made from a strip of metal half an inch wide1 and bent in angular form1 showing less than quarter of an inch on each side of an ,l4 ,in the strip cut angle-notches with a pair of shears1 as shown in ,fig4 #ba1 thus forming the corners4 ,the notches should be made half-way across the width of the metal1 so that the point of each angle will just reach the middle of a strip4 ,with a flat-nosed pair of pliers bend the strip in the form of the oblong1 so that each corner will appear like ,fig4 #bb4 ,join the frame at the bottom1 allowing the metal to lap over an inch at the ends1 and make the union by punching little holes and passing through small copper tacks that can be clinched or riveted4 ,with a small bench-vise and a hammer1 or with two pairs of pliers1 grasp the strip forming the frame and bend it in the shape of an ,l all around1 as shown in ,fig4 #bc1 taking care to match the edges of each notch so that they will form a mitre1 as shown also in ,fig4 #bc4 ,where the scrolls are attached to the side of this frame1 they may be held in place by small copper tacks passed through holes made in both scrolls and frame and riveted4 ,a ,handkerchief-box ,one of the most interesting branches of the light strap metal-work is in making boxes of all shapes and sizes4 ,the variety of designs that can be employed is practically inexhaustible1 but certain general principles should be observed4 ,for instance1 a box to hold matches should be of small and neat design1 while in a larger box the ornament may be more open and bolder1 and the strips from which it is made should be heavier and stronger4 ,a handkerchief-box fashioned after the design shown in ,fig4 #bd is a pretty as well as a useful article for a bureau or dressing-table4 ,a is the pattern for the top1 and ,b represents one of the sides4 ,it should measure eight or ten inches square and three inches deep1 or larger if desired1 and the frame should be of wire or wood4 ,if wood is employed1 sticks three-sixteenths of an inch square must be lap-jointed at the angles1 as shown in ,fig4 #be1 and the union made with glue and screws or fine steel-wire nails4 ,illustration3 ,,fig4 #bd ,a4 ,,fig4 #bd ,b4 ,,fig4 #be4 ,,fig4 #bf4 ,,fig4 #bg4 ,if the box should be made of brass scrolls1 it would be well to obtain some brass rods about one-eighth or three-sixteenths of an inch square1 and bend them to form the framework4 ,where the ends meet1 lap-joints should be cut and wired4 ,if the brass should be too hard to bend in a vise without breaking1 the part it is desired to work should be heated over a spirit-lamp or in a gas flame for a moment or two2 when cool1 it will be soft and pliable4 ,if brass should be employed for the frame1 the joints must be soldered instead of wired4 ,to solder them it will be necessary to have some soldering solution1 a spirit-lamp1 and some wire solder4 ,to unite the metal ends apply some of the soldering solution to the parts with a piece of wood or an old camel's-hair brush1 and then hold them over1 or in the lamp flame1 until they are quite hot4 ,when sufficiently heated touch them with the end of a piece of solder1 and the heat of the metal will instantly melt the solder1 so that it will adhere to the brass4 ,to hold the parts together while they are being soldered1 give them a turn or two of fine iron wire4 ,after they have been united and the brass is cold1 the wire may be removed and the rough parts of the solder filed away4 ,small brass hinges may be screwed fast to the wood ribs to attach the lid to the box1 and if brass is employed for the frame and grille work the hinges must be soldered to the frame4 ,a ,sign-board ,for a sign-board an idea is suggested in ,fig4 #bf4 ,at one's place of business1 in front of a cottage1 or on a mile-post1 it may be displayed to good advantage4 ,it is only a board on which sheet-iron or lead letters have been fastened1 and the edges bound with metal and large-headed nails4 ,a rod set at right angles to a post supports the sign-board1 and to ornament it some scroll-work is attached at the top4 ,scroll ornaments decorate the sides and bottom of the board4 ,these are fastened on with steel-wire nails driven through holes made in the metal and into the edges of the board4 ,the ornamental scroll-work should be made of somewhat thicker and wider iron strips than the more delicate articles for indoor use1 and all the iron should be given one or two coats of red-lead paint before the black finish is applied4 ,to prevent rust-marks from running down on the wood board1 it is necessary to coat the back part of the letters and all iron straps which may lie against the wood4 ,it is much better to use sheet-lead for the letters1 since it cuts easier1 and will not stain the wood with rust or corrosion marks4 ,double ,doorway ,grille ,for a double doorway a pretty effect is shown in ,fig4 #bg1 where a long grille is arranged at the top of a doorway1 and under it the curtain-pole is attached4 ,the outer frame for a grille of this size should be made by a blacksmith from an iron rod about three-eighths of an inch square4 ,the inner frame may be made of strip-iron three-eighths of an inch wide1 and three inches smaller all around than the larger one4 ,the metal strips employed to form the grille design should be three-eighths of an inch wide1 and cut from box strap-iron4 ,the full-size drawing should be laid out on paper1 over which it will be an easy matter to shape the scrolls4 ,if the grille should be too open when the pattern is completed1 some more scrolls may be added to fill the spaces1 taking care not to injure the general design of the pattern4 ,the grille may be anchored to the wood-work of the casing with steel-wire nails or staples1 and several coats of black should be given the iron to finish it nicely4 ,a ,moorish ,lantern ,having gained by experience the knowledge and art of working in strip-metal1 and after successfully making a number of the smaller objects already described1 it is perhaps time to undertake the construction of something larger and more elaborate4 ,as an example of such work1 a very beautiful design for a ,moorish lantern is shown in ,fig4 #bh4 ,it is not a difficult piece of work1 nor is it beyond the ability of any smart boy1 but it must not be attempted before a thorough knowledge of forming frames and scrolls and of pattern drawing has been gained through experience in making more simple objects4 ,in size this lantern is not limited1 and it may be made from twelve to thirty-six inches high1 not including the suspension chain and rings and the drop of flower-pendants at the bottom4 ,for a lamp twenty inches high having six sides1 each panel should be made on a wire frame4 ,the middle panels measure six inches high1 four inches wide at the top1 and three inches at the bottom4 ,the top panels are five inches across at the widest place1 and the lower ones four and a half inches4 ,one of the middle panels can be arranged to swing on hinges1 in order to place a lamp within the lantern1 and also to make it possible to line the inside of the lantern body with some plain silk or other material4 ,illustration3 ,,fig4 #bh4 ,at the top and bottom scrolls are to be formed of the stout wire employed for the ribs or framework4 ,under the crown top1 at the six corners1 brackets may extend out for a distance of five inches1 from which sconces for tapers or small candles may be hung4 ,or these brackets may be omitted1 and in place of the hooks a small scroll may be formed at the extending ends4 ,each little sconce is two inches deep and two and a half inches in diameter1 and in them candle-holders may be placed1 over which colored glass globes will appear to good advantage4 ,from the top of the lower lobe six arms support flower-drops four or five inches long1 and from the extreme bottom a pendant of flowers finishes off the whole4 ,no matter what size this lantern is made1 the proportions should be carefully preserved1 or the effect will be spoiled4 ,a long chain made up of links and rings may be used to suspend the lantern4 ,should a more secure anchorage be desired1 four chains may be attached at four places on the ceiling of a room1 from which anchorage they all meet at the top of the lantern4 ,the illustration shows the lantern in perspective1 but it must be borne in mind that it has six sides1 and the patterns of the six sides1 of the top1 middle section1 and bottom are like those in the three front sections that face the reader as he looks at the drawing4 ,chapter ,,vi ,,metal-,,bound ,,work ,thin sheets of various metals may be used to great advantage in the decoration of household furniture1 either serving as artistic edgings1 or representing strengthening straps1 hinges1 etc4 ,when finished off with heavy wrought-iron or bellows nails1 the effect is both striking and pleasing4 ,the art is not a difficult one to acquire1 and the hints and suggestions that follow should enable any smart boy to pick it up in a comparatively short time4 ,a ,metal-bound ,box ,as a receptacle for photographs1 picture-cards1 and the other small trifles that accumulate in a library or living-room1 a box such as shown in ,fig4 #a will be found most useful4 ,obtain some smooth pieces of wood1 not more than three-eighths or half an inch thick1 and construct a box eighteen inches long1 ten wide1 and eight inches deep1 including top1 bottom1 and sides4 ,these parts are to be glued and nailed together so as to form an enclosed box4 ,use a good liquid glue and slim steel-wire nails to make the joints4 ,when the glue is dry1 cut the box through all around the sides1 one and a half inches down from the top4 ,the lid1 or cover1 is thereby cut loose1 and it will match the body of the box much more accurately than if made separately and fitted4 ,plane and sand-paper the rough edges left by the saw1 and attach the lid to the back edge of the box with hinges4 ,the outside of the box may be stained or painted any desirable color1 and when dry it will be ready to receive the metal decorations4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,from a tinsmith obtain a few sheets of thin stove-pipe iron of good quality1 or a strip of thin sheet-lead2 then1 with a stout pair of shears1 cut some strips about one and a quarter inches wide to bind the edges of the box4 ,a strip is bent over so as to lap on both sides of a corner4 ,a metal band five-eighths of an inch wide will show on each side and also on top4 ,the metal is to be fastened on with brass oval-headed upholsterers' tacks1 and the heads may be from a quarter to half an inch in diameter4 ,it will not be possible1 perhaps1 to drive these tacks through the metal strips unless a hole is first punched4 ,these small holes may be made with a sharp-pointed awl at regular distances apart4 ,this should be done before the strip is laid on the wood1 so as not to subject the box joints to any more strain than necessary4 ,to bind an edge1 tack a strip of the metal along one side1 bend it around the first corner1 and so on along each side until the two sides are brought together1 where a nail-head will almost hide the joint4 ,at each corner cut a ,v out of the strip1 as shown in ,fig4 #b4 ,the metal1 when fastened to one edge1 will appear as shown at the right side of ,fig4 #c4 ,when the nails have been securely fastened in1 bend down the standing edge of metal so that it will lie flat on the other side of the corner4 ,this may be done by beating it down with a light wooden mallet4 ,drive nails along the strip corresponding in position to those first fixed1 and the edge will appear as shown at the left side of ,fig4 #c4 ,where the angle1 or ,v1 was cut out of the strip at the corners1 the metal will come together and form a good mitre4 ,in the middle of this joint drive a nail1 the head of which will partially hide the line of juncture4 ,from the sheet iron or lead cut a few irregular strips of suitable length1 and fasten them to the box to represent hinge or binding straps4 ,the hasp and eye-plate may be made in the same manner4 ,the box should be lined with ,canton flannel1 velour1 leather1 or any good lining material4 ,a band of webbing1 or a chain1 arranged on the inside will prevent the cover from falling back too far4 ,a ,wood-holder ,in a room where space cannot be spared for a large wood-box1 a wood-holder similar to the one shown in ,fig4 #d is a useful piece of furniture4 ,this holder is twelve to fifteen inches square1 fifteen inches high at the front1 and twenty inches high at the back1 with the sides cut down1 as shown in the drawing4 ,the wood is three-quarters or seven-eighths of an inch thick1 and planed on both sides and edges4 ,any of the hard woods may be employed to good advantage in making the box part1 but if it is to be painted rather than left in the natural finish1 the wood-work may be of pine or white-wood to save expense4 ,the metal binding is done in a similar fashion to that of the box in ,fig4 #a1 and if iron is used for the straps they should be coated with black paint4 ,the strips should be two inches in width1 and when bent around the edges and corners one inch of metal must show on each side4 ,a ,plant-box ,for large1 growing plants1 palms1 and imitation trees1 an attractive plant-box is shown in ,fig4 #e4 ,it can be made almost any size to meet the requirements of the plant that is to live in it2 but for general use it should measure twelve inches square at the bottom1 eighteen at the top1 and from twelve to fourteen inches high4 ,the metal binding should be three-quarters or an inch wide on each side2 it need not be carried over the top edge unless desired4 ,on two sides of the box ring-handles are to be fastened4 ,these will be made by a blacksmith at a small cost1 and should be from two and a half inches to four inches in diameter1 according to the size of the box4 ,illustration3 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,on the other sides a conventional design may be worked out with strips of metal cut according to the required pattern4 ,this box should be treated to several good coats of paint inside1 and finished as desired on the outside4 ,quartered oak with black metal trimmings make a good combination2 also mahogany1 cherry1 or redwood with brass bindings4 ,a zinc lining should be fitted to the box1 with a vent-hole at the bottom to drain off surplus moisture4 ,no other metal than zinc should be employed for the lining1 since iron or tin will corrode or rust4 ,copper tacks must be used to attach it to the wood4 ,a ,coal-box ,fig4 #f gives the design for an old ,english coal-box4 ,it is a very simple affair to construct1 since it can be made from an ordinary box cut down at one end so as to form a projection or nose4 ,the structural plan of the box is clearly shown in ,fig4 #g1 and in size it may be made to meet any requirement4 ,for regular use1 however1 it is fifteen inches wide1 twenty inches long from back to end of the nose1 and about twelve inches high1 not counting the ball feet1 which will raise it up two inches more4 ,the box should be securely screwed together at the joints1 and the lid1 or cover1 must be fastened on with sheet-brass hinges4 ,paint or varnish will give the wood-work a good finish1 and the lining should be made with several successive coats of asphaltum varnish or paint of a dark color4 ,brass1 lead1 or black iron binding will look well on this box1 and with large-headed nails the effect will be bold and pleasing4 ,four balls about two inches in diameter are to be turned and screwed fast under the corners to serve as feet4 ,to give a good purchase on the bottom of the box1 it would be well to flatten part of the surface on each ball4 ,one long screw will be sufficient to anchor each foot firmly if driven through from the inside of the box into the ball4 ,a little glue between the joint will add greatly in making the union strong4 ,a ,table-lamp ,the design for a table-lamp is shown in ,fig4 #h4 ,any boy who is handy with tools can put this lamp together from wood1 burlap1 sheet-lead1 wire1 some oval-headed upholsterers' tacks1 four claw-feet1 and a lamp-fount4 ,illustration3 ,,fig4 #h4 ,from boards about half an inch in thickness make a box seven inches square at the top1 ten at the bottom1 and twelve inches high4 ,in the top of the box a round hole is cut to receive the lamp-fount4 ,five inches in diameter will be about right for the hole1 since that is the measurement of the standard oil-pot4 ,a flange1 or rim1 all around the upper edge of the fount will prevent it from falling through the hole4 ,if the burner has a central draught it will be necessary to bore some large holes through the bottom of the box to admit air for the under draught4 ,with burlap1 bagging1 or canvas cover the entire outside of the box1 the material being fastened to the wood with glue and small1 flat-headed tacks at the edges4 ,the glue must be spread evenly over the wood by means of a rag pad1 or1 still better1 a small photographic squeegee roller may be employed4 ,the covering material can be painted any good shade1 and when the paint is dry the box will be ready for the decorations and trimmings4 ,from sheet-lead1 or iron1 cut some strips one inch and a quarter wide1 and bind the corners and edges of the box1 allowing about five-eighths of an inch to show on each side4 ,fasten these strips on the edges of the box with large1 oval-headed upholsterers' tacks1 driven along each side at even distances apart1 as shown in the illustration4 ,on a piece of smooth brown paper draw the outline of one side of the box1 and then sketch in the design for the metal torch and wreath4 ,over this pattern it will be a comparatively easy matter to cut and fit each of the separate parts of the design4 ,these parts are to be of thin iron or lead1 but for the stems to the laurel wreath use pieces of iron wire1 and fasten them on with small staples4 ,the staples may be made from pins with the heads cut off4 ,the pieces of metal forming these side designs are to be fastened to the wood with oval-headed carpet tacks1 and enough of them must be driven in each piece to hold it firmly in place4 ,when all the metal-work has been applied1 purchase at a hardware store four claw-feet1 and screw one fast under each corner of the box4 ,they will be of brass1 but when painted black they will appear as if made of iron4 ,all the metal parts of the lamp must be blacked to present a good appearance4 ,to make a good black finishing paint obtain at a paint store a can of ivory black ground in oil4 ,thin it to the consistency of rich milk with ,japan dryer and spirits of turpentine mixed together1 one part of the former to two parts of the latter4 ,place them together in a bottle and thoroughly mix them by shaking the bottle vigorously4 ,a small quantity only should be thinned at a time and as required1 since it works better when freshly mixed1 and does not have the gummy appearance that an old mixture presents4 ,two or three successive coats laid on with a soft camel's-hair brush will be sufficient to cover the iron well and give it a good surface4 ,when using the black take care not to smear it on the box1 as it would produce an untidy and messy appearance4 ,with the addition of a pretty canopy shade1 that can be arranged on a wire frame1 the effect will be most decorative and pleasing4 ,a ,hanging-lamp ,for the dining-room or library1 a hanging-lamp1 such as shown in ,fig4 #i1 is both ornamental and useful4 ,the box that holds the lamp is eight inches square at the top1 five and a half inches at the bottom1 and five inches deep4 ,it is covered with burlap or other suitable material1 or may be left plain or painted4 ,a hole is cut in the top of the box to receive the fount1 and if it is a central-draught burner a large opening must be made in the bottom of the box1 with a perforated metal cap arranged to fit over it4 ,from the top of the four corners1 iron scrolls1 that a blacksmith can make1 project four inches beyond the wood1 and to these the suspension-chains are fastened4 ,the chains are made of one-inch iron harness-rings and links three inches long1 formed of narrow strips of stove-pipe or box strap-iron less than a quarter of an inch in width1 and shaped as shown in ,fig4 #aj4 ,from the under side1 and fastened at each corner of the box1 hang four small chains4 ,they are united at the centre a few inches below the under side of the box1 and are finished off with a drop formed of metal lilies4 ,in order to form these flowers1 cut from sheet-iron the petals1 as patterned in ,fig4 #aa4 ,three different sizes should be drawn on a sheet of iron with a piece of chalk or white crayon1 after which they may be cut out with a pair of shears and bent into form with the fingers4 ,they are to be hung together one below the other by means of small wires1 fastened to the centre of each flower through holes punched with a sharp-pointed awl4 ,a large paper or silk shade may be arranged on a wire frame to slip over the chains1 and to hold it in place it should be fastened to some of the links with wire4 ,a ,hanging-plant ,box ,illustration3 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,for vines1 small plants1 or pretty blade grasses a design for a hanging-plant box is shown in ,fig4 #ab4 ,this is not a very large affair1 and it is made of thin wood not more than three-eighths or half an inch in thickness4 ,the box part measures eight inches square at the top1 six at the bottom1 and ten inches high4 ,the inside of the box is to be treated to several coats of paint or asphaltum varnish to protect the wood1 and the outside may be given two coats of paint4 ,the corners are then to be bound with metal strips1 and the design on each of the four sides worked out with hobnails painted black4 ,it is difficult to carry out such a design on four sides of a box unless a pattern is used4 ,to obtain the most accurate results it would be best to draw the design with pencil on a smooth piece of paper1 then make four tracings of it on tissue-paper4 ,the tracing should then be fastened to the wood with pins and the tacks driven in1 following the lines of the design4 ,when the tacks have been driven in part way1 tear off the paper1 and with a flat-iron held against the inside of the box to drive against1 hammer the nails in so that the heads will lie snugly against the surface of the wood4 ,each side is to be treated in the same manner1 so that the four sides will be alike4 ,if the hobnails cannot be had at a hardware store1 or from a shoemaker1 oval-headed upholsterers' tacks may be used4 ,paint them black before they are driven into the wood4 ,at the top of the box1 in the four corners1 eyes are to be made fast1 into which the ends of the suspending chains can be caught4 ,four chains1 made from thin strips of metal and small harness-rings1 are to be fastened in place1 as shown in the drawing4 ,chapter ,,vii ,,decorative ,,hardware ,properly to complete even the simplest of cabinets or chests some hardware will be needed1 whether it be only a pair of strap-hinges and a padlock or the most elaborate kind of ornamental fittings4 ,plain hinges and a lock will answer every ordinary purpose1 but a nice chest or case should be finished off with ornamental hinge-straps1 escutcheons1 lock-plates1 or handles4 ,these fixtures may be purchased at a hardware store and in some large cities a very beautiful assortment of fancy hardware is displayed4 ,but it will be both cheaper and more satisfactory for the young craftsman to make these fittings for himself1 and the art is not a difficult one to acquire4 ,some of the accompanying designs may appear at first sight rather beyond the ability of the average boy1 and so they would be if they were cast in brass or bronze or cut from thick sheet-metal4 ,but all of them can be shaped from ordinary sheet-lead with a pair of old shears1 a few small chisels1 and a light mallet4 ,scraps of sheet-lead1 varying in thickness from one to three-sixteenths of an inch1 may be purchased from a plumber for five or six cents a pound4 ,for the ordinary fixtures of medium size the metal should be a trifle less than one-eighth of an inch in thickness4 ,for the heavier hardware an old piece of lead pipe may be used by splitting or sawing it open1 and beating it out flat1 on the surface of an old flat-iron1 with a hard wooden mallet4 ,if sheet brass1 copper1 or zinc are employed1 they should be of the soft kind1 so as to cut easily4 ,if too hard1 the pieces may be softened or annealed by putting them in a fire until they are cherry-red4 ,they should then be drawn out and allowed to cool1 when they will be found quite soft and easy to work4 ,the boy who owns a scroll-saw will find it an easy matter to jig out these designs1 whether the material be lead or one of the harder metals4 ,special fret-saws may be purchased for this purpose1 having finer teeth and being more highly tempered than those used for wood-working4 ,in sawing metal you must be careful not to force the saw1 and after cutting an inch or two allow the blade to cool1 otherwise it will break4 ,if a hand jig-saw is the only tool available the metal should be held in a vise4 ,with very thin lead the dressing is best done by laying the metal on a hard-wood block and cutting out with small chisels and a light mallet4 ,three or four small wood-carving chisels1 straight-edges1 and gouges will be found admirable tools for this work1 and1 as the lead does not dull them1 they will keep an edge for a long time4 ,a wood-carving chisel is ground on both sides1 which makes it better for this work than a carpenter's chisel1 which is ground only on one side4 ,a light mallet1 a hard-wood block1 a coarse file or two1 and a knife with a small1 sharp blade will be the only other tools required4 ,escutcheons ,the term escutcheon1 as applied to hardware1 means the ornamental metal plate that is placed over a key-hole1 and through which the key has to pass in order to reach the lock4 ,the name is applied also to the plate behind a knocker1 or that to which a ring or handle is attached4 ,in ,fig4 #a a few designs for small escutcheons are shown4 ,their actual size should be in proportion to that of the drawer or door to which they are to be attached4 ,the design should be drawn to the proper size on a piece of brown paper1 then cut out with scissors and laid on a piece of metal1 the outline being scratched with a pin or drawn on with pen and ink4 ,if the metal is sawed the edges will be rough1 but they may be dressed down with the files4 ,if the lead is cut out the edges can be finished with a knife-blade1 as lead cuts easily and is pleasant to work in4 ,it sometimes happens that in cutting out the more delicate parts of the design that the chisels will distort the metal or force it out of shape4 ,in this case the trueness may be restored by tapping the edges with a small hammer4 ,a small hand-drill will be found useful for boring holes in the metal1 through which screws or nails pass to secure the escutcheons to the wood4 ,if a drill cannot be had1 a small awl will answer very well4 ,be careful that you do not make the key-hole too large4 ,illustration3 ,,escutcheons ,,and ,,hinge-,,straps ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,it should be only a trifle larger than the key1 in order to lead the latter easily4 ,short ,hinge-straps ,a single hinge is always made like a book1 with two leaves and a back1 through which a pin is run to hold the leaves together4 ,in door-hinges the leaves are usually arranged so that when the door is closed the leaves are out of sight4 ,these hinges are called butts1 while those applied to the outside surface are called ,t or strap-hinges1 and sometimes plate-hinges4 ,illustration3 ,,fig4 #c4 ,,fig4 #d4 ,the short hinge-straps shown in ,fig4 #b are not intended as a part of the hinge1 but only as sham straps4 ,where a butt is mounted in the wood these straps are arranged on either side of the back4 ,fig4 #c shows the manner in which a butt is mounted in a door and jamb1 and ,fig4 #d shows the reverse side with the back protruding1 at one side of which the lead strap is mounted4 ,the inside1 or parallel1 lines of the straps are the edges that butt against the hinge-back1 and they are to be cut to fit the width of the hinge4 ,the size should also correspond generally to that of the shape and dimensions of the door or box lid4 ,for artistic effect large sham nail-heads may be fastened over the nail or screw heads that really secure the hinge to the wood4 ,in some of the plain straps a very good imitation of hand-wrought iron straps may be made by beating the surface of the lead with a hammer having the face slightly crowned or rounded4 ,the hammer-marks will show up distinctly1 and when the straps are painted black no one will know but what they are really iron straps beaten out by hand4 ,another good effect may be secured by beating the edges down slightly with a small hammer instead of dressing them with a file2 this rounds or flattens them1 and eliminates the angular edge that is common in all cheap hardware4 ,long ,hinge-straps ,for cabinet and chest doors1 and doors that open into rooms1 some long hinge-straps are shown in ,fig4 #e1 the proportions being correctly indicated4 ,if the jamb is sufficiently wide1 straps may be placed on both sides of the hinge-back4 ,usually1 however1 the jamb is too narrow4 ,these straps1 if made of lead1 should be thicker than the short straps1 otherwise they will look weak4 ,for a strap twelve to fifteen inches long the metal should not be less than one-eighth of an inch thick1 and for some designs it would look better if quarter-inch material is used4 ,it is quite as easy to saw out thick metal as thin1 only it takes a little longer time4 ,the saw must be held straight and not allowed to bind4 ,never force a saw through lead1 as it will bind and check1 and also will pick up a thin lead coating1 materially adding to the friction4 ,if the saw does not run easily1 lubricate it with a little soapy water1 and afterwards wipe it off to prevent rust4 ,when working with a scroll-saw on which there is a table1 or bed1 the soapy water should be drawn along the lines on the metal with a soft hair-brush4 ,as the saw cuts it will take up the water4 ,drawer-pulls and ,handle-plates ,small drawer-pulls and handles may be purchased at any hardware store for a few cents each1 but they are usually very plain and unattractive4 ,rings in heads and handles on plain plates are the best to purchase1 as then the heads may be mounted on fancy escutcheons1 and the handles and keepers removed from the plain plates and reset in lead mountings of artistic design1 wrought or sawed from lead or other ductile material4 ,drawer-pulls are generally arranged with a shank at the back of the ring-head which passes into the wood1 and into which a screw is driven from the inside of the drawer4 ,handle-keepers are made in the same way4 ,in designing fancy escutcheons and plates1 care must be taken to arrange the holes the proper distance apart to receive the keeper-ends4 ,door-plates ,on swing and sliding doors--and sometimes on plain doors--plates are mounted above the lock on both sides4 ,their use is to protect the painted or polished wood-work from finger-marks and similar defacements4 ,quite elaborate plates are used on some doors1 while others are mounted with very plain ones4 ,in ,fig4 #g a variety of designs are shown4 ,the average plate varies in length from six to twelve inches4 ,in width they measure from two and a half inches to three inches1 and the metal should be about one-eighth of an inch in thickness4 ,door-pull plates are made to receive the ends of a handle4 ,the latter is bolted to the reverse side of the door with countersunk nuts or flush screws4 ,the upper line of drawings in ,fig4 #g are designed for this purpose1 and the two holes are spaced to line with the ends of the handle that is to be inserted4 ,in addition to the anchorage these plates will get by being held to the wood under the handles1 it would be well to make a few holes at the edges1 through which small nails may be driven4 ,large ,lock-plates ,in ,fig4 #h several designs for large lock-plates are shown4 ,in this instance the knob and key-hole are placed in the same plate4 ,this variety of door hardware offers a broad field for the young designer4 ,but be sure and space the two holes so that the knob and key are in the right place4 ,in the extreme right-hand plate 7,fig4 #h7 an effect of continued scroll is secured around the key-hole by cutting the ornament out of the body of the plate4 ,this is just the reverse of the scrolls forming the right side of the plate1 the ornament in this latter case being of the solid metal4 ,more 8feeling0 may be given to the solid scroll if an effect of relief is worked out with some blunt tool and the mallet4 ,this may be done with an ordinary nail-punch or a blunt awl4 ,for the veining use an awl or a dull chisel1 lightly tapping the tool with a wooden mallet4 ,illustration3 ,,fig4 #h4 ,,fig4 #i4 ,door-knockers and ,miscellaneous ,ornaments ,door-knockers and plates are made in a great variety of designs4 ,the most elaborate and richly ornamented knockers are cast in bronze and chased by hand1 but this work is not possible for the boy craftsman to accomplish with his small outfit and limited knowledge of the higher grade of art metal-work4 ,the knocker-plates shown in ,fig4 #i are cut from sheet-lead1 but the rings in the keepers 7with the knob of metal at the lower side7 must be made from iron or other hard metal4 ,a blacksmith will make these rings and set them in a head1 or keeper1 which in turn is bolted to the inside of a door4 ,where the knob of metal strikes the plate an iron nail with a large head must be driven through the escutcheon and into the door1 so that the knob will strike upon it4 ,lead will not do for the ring or knob1 nor as a striking-plate1 since it is too soft to sound sharply and distinctly4 ,sheet-lead ornaments in a great variety of designs may be made for panels1 the sides of cases1 or for the decoration and embellishment of wood-work in general4 ,wall-paper1 carpet1 upholstery1 and other figured fabrics will offer ideas from which to copy2 but after a little practise the young craftsman should originate his own designs1 and not depend on other people's brains to furnish him with working patterns4 ,chapter ,,viii ,,wire-,,work ,there are many pretty and useful articles that can be made for the home1 using simple tools and inexpensive materials4 ,who would imagine1 for instance1 that such attractive objects as the ones shown in these illustrations could be made from a few pieces of wire of different sizes8 ,yet1 with a little care and perseverance1 you may quickly become an expert in wire-working4 ,to begin with1 it is necessary to obtain several yards of soft iron wire varying in sizes from ,no4 #ab to ,no4 #ah1 also a small roll of soft wire about the size that florists employ to attach flowers to short sticks when making up bouquets4 ,the tools needed will be a flat and a round nosed pair of pincers1 or pliers 7see ,figs4 #a and #b71 a wire-cutter1 and a tack-hammer4 ,you will also need a sheet of smooth brown paper1 and a soft lead-pencil with which to draw the patterns4 ,a ,bird-cage ,bracket ,begin by making simple things2 then as you succeed in producing good work you will be able to take up the more difficult patterns4 ,a bird-cage bracket is an easy object to start with4 ,enlarge the design shown in ,fig4 #c so that it will be sixteen inches high1 with the hook-arm projecting seven inches from the main upright rod4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,the pattern is to be drawn out the full size on smooth brown paper2 then the wire should be bent and shaped over the lines to conform to the design4 ,use very heavy wire for the upright and projecting arm1 and a smaller size for all the scroll-work4 ,the finest copper wire should be used to bind the scrolls together1 and so make tight unions where two edges of wire come together and where the wires cross4 ,this bracket should be firmly secured to the window-casing with two staples4 ,the staples should not be driven quite home1 thus allowing the bracket to be swung from one side to the other of the casing1 as though on hinges4 ,this is especially desirable if the bracket is to be used for a hanging-basket or pot of flowers1 as it can then be moved against the window or turned back to the wall1 to permit of the window being opened or cleaned4 ,the iron wire should be given two coats of good black paint1 or1 if desired1 it may be gilded or silvered4 ,an excellent black preparation for iron may be made by thinning ivory-black ground in oil with equal parts of ,japan dryer and turpentine4 ,or you may try adding a little lamp-black to brass lacquer or shellac4 ,the paint should be applied to the iron with a soft hair brush1 and the first coat must be good and dry before the second one is applied4 ,if brass wire is used instead of iron the joints should be soldered1 to lend additional strength4 ,the soldering is an easy process and requires only a little care4 ,to do it nicely1 obtain from a plumber a little soldering solution in a bottle1 and1 with a piece of stick1 place a drop of solution on each union that has been bound with the fine brass wire4 ,hold the union over a spirit-lamp flame1 and when the wire has become thoroughly heated touch the joint with a piece of wire solder2 the latter will instantly melt and adhere to the joint4 ,if soldering solution is not used the joint cannot be soldered1 and if the wire is not hot enough the solder will not melt4 ,if the wire should be too hot the solder will melt and fall off from the joint like a drop of water4 ,a little experience will soon enable one to become an expert solderer1 and the process should be employed wherever possible1 as it strengthens the joints and unions1 and holds them rigidly in place4 ,galvanized or tinned iron wire can be soldered in the same manner4 ,the brass wire should be painted black the same as iron1 but before any paint is applied the superfluous solution should be washed off with water1 as paint will not hold if applied over the soldering solution4 ,a ,photograph ,easel ,fig4 #d shows a design for a photograph easel that will make an attractive table or mantel ornament if neatly constructed from wire of medium size4 ,it should not measure more than nine inches in height1 and where the lattice-work joins the lower cross-bar two hooks should be arranged on which the photograph can rest4 ,a back support1 or prop1 to the easel may be made of wire1 and soldered to the bar at the upper edge of the lattice-work4 ,the lattice need not be made of as heavy wire as the scroll-work1 and where the strands cross each other the junctions are to be securely bound with fine wire4 ,larger easels may be made for small-framed etchings1 for panel photographs1 or for other purposes1 but as the size of the easel is enlarged the thickness of the wire should be increased to give additional strength4 ,by reducing the size of the lower scrolls this design would be quite appropriate for a lamp-shade1 and instead of the lattice-work a piece of prettily colored silk or other translucent material may be inserted to serve as the backing4 ,a ,match-box ,an attractive design for a match-box is shown in ,fig4 #e4 ,the total height of the back piece should be nine inches1 and the width three inches4 ,the match-receptacle should be an inch deep and project one and a half inches from the wall4 ,illustration3 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,it should be lined with silk or other goods1 to prevent the matches falling through the open-work of the grille4 ,finished in black1 with a red or orange colored silk lining1 this match-receptacle will be found both useful and ornamental4 ,a ,fairy ,lamp ,a hanging fairy lamp1 like the one shown in ,fig4 #f1 makes a pretty ornament for the parlor or living-room4 ,the bracket part is made in a similar manner to the bird-cage bracket1 and should be of stout wire4 ,the candle-sconce1 or lamp part1 is built up of four sets of scrolls arranged about an old tin candlestick top1 and securely bound together with strands of fine wire closely wrapped4 ,by using brass wire soldered at the unions a stronger construction is possible4 ,the sconce should be suspended from the bracket-hook by means of four light wires4 ,these latter may also support a canopy shade made over a light framework of wire4 ,ordinary colored candles will look well in this fairy lamp4 ,to keep the colors in harmony it would be well to obtain candles of a tint that will match the color of the silk shade4 ,the lamp may be fastened to a door or window casing1 or perhaps to the sides of a mantel-piece4 ,a ,picture-frame ,fig4 #g shows the design for a picture-frame that is intended to hang against the wall4 ,the frame proper may be made of very narrow picture-frame moulding around which the grille-work is arranged4 ,where the latter touches the wood-work it is to be made fast with small staples driven in the outer edge1 and the ends clinched at the inside1 or rabbet1 of the frame4 ,or fine wire may be used in place of the staples4 ,illustration3 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,if an all-iron effect is desired1 the rabbet should be made of thin stove-pipe iron or sheet-brass1 bent into angular form and finally shaped to the required size4 ,around it the grille-work is to be made and bound1 in about the same proportion as shown in the drawing4 ,a ,glove-box ,a design for a glove-box is shown in ,fig4 #h4 ,it should be ten inches long1 five wide1 and three inches high4 ,the bottom should be made of a thin piece of wood1 and the entire inside1 including the top1 should be lined with some handsome and substantial material in bright colors4 ,the four sides and the top should be made in separate pieces1 and afterwards bound securely together with fine wire4 ,a ,window-grille ,fig4 #i is a grille for the upper part of a window4 ,it will be very effective if constructed of heavy wire1 the design being neatly carried out4 ,variations of this grille may be made for doorways1 transoms1 and skylights1 and with the hints and drawings already given a bright boy will soon be able to invent and work out his own designs4 ,there are dozens of other objects that may be made in iron-work1 and these will soon suggest themselves to the young craftsman4 ,chapter ,,ix ,,gas ,,and ,,electric ,,shades ,shades for gas and electric fixtures are a necessity in almost every house1 and by the exercise of a little inventiveness they may be a part of its ornament as well4 ,in the suggestions and hints that follow the aim has been to create from inexpensive material really artistic results4 ,it all depends upon the care and ability with which the young craftsman goes to work4 ,a ,simple ,gas-shade ,fig4 #a is a simple shade intended for a bracket gas-burner2 in shape and size it fits the rim that holds the ordinary glass globe4 ,from covered hat-wire four or five forms are constructed like the pattern1 ,fig4 #a ,a4 ,they should be of such width at the bottom that when attached together and bent in a circle they will fit in the rim that is on the fixture4 ,each form is then covered with ,china silk of some light1 pretty shade1 and bent over1 as shown in the drawing4 ,some spangles are sewed to the outer surface to form the design1 or pattern1 and the fine lines are worked out with silk or laid on with gold thread4 ,between each section some glass beads are strung1 and the other details may be gathered from the drawing4 ,another ,gas-shade ,in ,fig4 #b another idea is shown for a gas-shade4 ,six frames of wire are made1 as shown at ,fig4 #b ,a1 and the ornament is formed of wire1 and held in place by means of very fine wire wound round the unions4 ,when the six sides have been made they are bound together so as to form a hexagon 7,fig4 #b ,b71 and with stout wires this frame is made fast to a rim1 inside of which a glass shade may rest1 if desired4 ,the inside of this frame is lined with light silk1 and to the lower edge a glass-bead fringe three or four inches long is made fast1 as shown in the drawing4 ,a ,metal ,shade ,in ,fig4 #c an odd shade is shown4 ,it is cut from thin sheet-lead with a small chisel and penknife blade1 the metal being laid flat1 as shown at ,a1 and the design being first drawn out with pen and ink4 ,the ends of the strip of lead are caught together with small copper tacks1 which should be driven down at the ends the same as rivets4 ,in order to obtain the flare at the top1 the lead should be beaten out with a light tack-hammer or a round piece of hard-wood1 until the proper shape has been obtained4 ,the metal-work should be painted black1 and to lend a better finish the filigree shade may be lined with pink or orange-colored ,china silk4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,an ,electric-light ,screen ,in homes where electric lights are used it is often desirable to partly hide or subdue the harsh light from the bright filament within the bulb4 ,a ground-glass bulb answers the purely utilitarian purpose1 but there is no reason why the screen should not be decorative also4 ,in ,fig4 #d an attractive design is shown4 ,four or five triangular wire frames are made and filled with wire ornaments1 as shown at ,fig4 #d ,a1 and they are caught together at the sides so that they will form a cap1 or hood1 over the bulb4 ,a band of thin sheet-lead is run around the edge1 and to it the glass-bead fringe is sewed fast through small holes that may be punched in the metal with a fine awl4 ,the cap is lined with silk1 and the beads should correspond with it in color4 ,a ,bell-shaped ,shade ,in ,fig4 #e a bell-shaped shade is illustrated4 ,it is made up of five sections1 as described for the gas-shade in ,fig4 #a4 ,the ornament may be embroidered or painted with water-colors1 or the sides may be left plain4 ,a line of short glass-bead fringe around the bottom will add to the appearance of the shade4 ,a ,pear-shaped ,shade ,in ,fig4 #f the cap is cut from thin sheet-lead4 ,the four or five separate parts are caught together at the edges with fine wire drawn through small holes1 and all the metal-work is painted black4 ,long glass-bead fringe is attached to the lower edge of the cap1 and the ends are caught together at the bottom4 ,a ,dome-shaped ,shade ,for a dining-room1 where a cluster of lights is used1 a good idea for a dome-shaped shade is shown in ,fig4 #g4 ,this is made from a silk parasol lined with white4 ,in order that the ribs may hold it in shape1 saw off the stick just below the catch and pass the electric-light wire through the silk at the middle of the top4 ,a number of panels are made of the same width as the distance between the ribs2 they are caught to each other and to the end of each steel rib with fine wire4 ,the panels are made of wire and covered with thin ,china silk1 which is ornamented with garlands and ribbons1 either embroidered or painted on1 as shown in the drawing4 ,glass-bead fringe should depend from the lower edge of these panels1 and it should match in color the silk of the parasol and the panels4 ,another ,dining-room ,shade ,another idea for a dining-room fixture is shown in ,fig4 #h4 ,it consists of two wire hoops held about six inches apart1 the edge of a band of embroidered silk being caught over each hoop4 ,these hoops are suspended from a circular disk of wood1 which in turn is supported by means of the flexible wire that conducts current for the light4 ,the bulbs are enclosed in frosted glass globes1 three or four of which are suspended in a cluster at the centre of the hoop4 ,a long silk or a glass-bead fringe ornaments the lower edge of the band4 ,another way of arranging this fixture is to carry the globes to the inside of the band4 ,from four to seven of them may hang just inside the band1 which1 in that case1 may be made seven or eight inches wide instead of six inches4 ,the globes should be of a size to accommodate eight-candle-power lights4 ,in making any of these shades it would be well to cut the forms from card-board1 and paste them together to form a pattern from which to shape the metal parts4 ,a ,canopy ,in ,fig4 #i a canopy of thin metal strips and silk is shown4 ,the strips are cut from thin stove-pipe iron1 brass1 or copper4 ,the soft metal is preferable to the hard1 or spring1 brass1 as it can be more easily bent and it will keep the shape better4 ,a paper plan may be drawn of one section1 and the small scrolls fitted over it1 then banded together with fine wire4 ,the bottom of this canopy is round1 but the six sides are slightly flattened at the middle1 half-way between the top and bottom4 ,the inside of the canopy is lined with light silk1 and silk or glass-bead fringe is attached to the lower edge4 ,a ,panel ,shade ,fig4 #aj shows a simple shade made of four panels composed of covered wire and thin silk4 ,the ornamental design may be embroidered1 or painted or cut from colored silk and sewed on4 ,this shade may be suspended from the socket by means of silk cords or wires1 and the open spaces at the top will permit some light to glow above the shade4 ,chapter ,x ,,relief ,,etching ,in this era of practical craftsmanship there is a field for any unique art that savors of originality and which will help to beautify the home and its furnishings4 ,relief etching is one of these arts1 and is a very old one1 having been employed by the workers on ,king ,solomon's temple1 and perhaps in earlier historical buildings4 ,that was before the time of chemical treatment1 however1 and when the beautiful effects were obtained by laborious hand-work1 a modification of which is handed down in the ,turkish1 ,russian1 and ,oriental hand-etched brasses and silver goods4 ,modern science and chemistry have superseded the old method1 and many beautiful pieces of relief etching are produced by the acid process1 which is much more beautiful in some respects than the tool-work4 ,the process is very simple1 and any boy can become master of the art in a short time and at a very moderate cost4 ,the equipment necessary to the work will be a tray for the acid bath1 a small can of asphaltum varnish1 three or four camel's-hair brushes of assorted sizes1 a bottle of nitric acid1 and some pieces of sheet brass or copper less than one-eighth of an inch in thickness4 ,for the acid bath a photographer's porcelain or hard-rubber developing-tray will be just the thing1 but if not available a good pine or white-wood tray can be made with sides two inches high4 ,to protect the wood from the action of the acid1 the tray should be treated to several successive coats of asphaltum varnish--one each day until the wood is thoroughly coated and the joints well filled4 ,the wood should be half or three-quarters of an inch thick1 and screws should be used at the joints and laps4 ,a tray of this description can be made at home1 and when finished it should appear as shown in ,fig4 #a4 ,if the varnish is too thick when applying it1 a little turpentine will thin it properly4 ,small1 flat subjects are best to begin with1 such as hinge-plates1 panels1 escutcheons1 or tablets4 ,for a drawer panel1 ,fig4 #b shows an attractive and simple design that may be drawn on the metal with pen and ink4 ,if the ink creeps1 the surface of the metal may be roughened slightly with fine emery cloth4 ,with the asphaltum varnish the design is then filled in so it will appear as shown in ,fig4 #c and allowed to dry1 when1 as a precautionary measure1 another coat should be given over the blackened surface1 to avoid the possibility of the acid biting through the thin places1 or where the varnish has missed the metal4 ,the back and edge of the metal is coated also1 to prevent the acid from eating into it4 ,all the surfaces of the metal not covered with the varnish will be eaten or etched away and left with a granular surface resembling fine sand-paper1 while the painted or protected parts will be left intact and with a smooth surface like the original face of the plate1 as shown in ,fig4 #d4 ,the ,technique of the ,process ,with an old woollen cloth dipped in turpentine1 the surface of the plate may be rubbed1 after first washing off the acid4 ,the black removed from the ornament will tint the granulated surface of the background and lend relief to the bright surface of the ornament4 ,almost any objects in metal1 such as door-hinges1 knobs1 fireplace hoods1 name-plates1 vases1 candlesticks1 panels1 and tablets1 can be decorated by this process1 and if artistically done the results will be very effective4 ,sheet brass and copper may be purchased at large hardware stores or supply houses for thirty cents a pound1 and the sheets or panels can be cut there with the shears to the exact size required4 ,for the average work1 metal not more than one-sixteenth of an inch thick will be found easy to handle2 but for large panels or name-plate1 pieces about one-eighth of an inch thick are preferable4 ,if the design shown in ,figs4 #b1 #c1 and #d is too elaborate for the beginners1 some simple outline may be drawn1 perhaps a flower design1 copied from some piece of embroidery work1 or a figure design from a wall-paper1 carpet1 or dress-goods pattern4 ,the metal should be left to dry for at least an hour after being painted with the varnish before it is placed in the acid bath4 ,the etching is done by placing the plate1 face up1 on the bottom of the tray and covering it with acid4 ,the ground-work or unpainted portions of the metal may be bitten to any depth1 but it is not desirable to cut away too much1 as it weakens the plate and cuts under the ornament1 unless it is carefully stopped out all around the edges of the design2 and that is too much of an undertaking for the young craftsman1 since it requires a great deal of time and careful work4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,the ,,drawing ,,fig4 #c4 ,,the ,,painting ,,fig4 #d4 ,,the ,,etching ,,fig4 #e4 ,a little practice will determine just when the plate should be removed from the solution1 either for examination or final cleaning4 ,soft brass or copper corrodes much faster than hard metal1 which takes about three times longer1 and the process of corrosion will require from twenty minutes to an hour1 according to the temper of the metal and the strength of the acid solution4 ,the ,acid ,solution ,to prepare the acid solution obtain a large1 clear glass bottle and fill it quarter full of pure water2 into this slowly pour an equal quantity of nitric acid1 taking great care not to spill any of the acid1 as it acts instantly and will eat a hole in any cloth it falls upon or spatters over4 ,wear old clothes and a canvas apron when mixing or handling the acid1 and never be in a hurry to get results quickly by the reckless use of the biting fluid4 ,if perchance the acid should touch the clothing1 apply a few drops of ammonia to the spot immediately1 to neutralize the acid and stop its action4 ,the spot should then be sponged with clear water and no stain will be perceptible4 ,as the acid is added to the water 7never add the water to the acid71 shake it occasionally to thoroughly mix it1 and let the mixture stand for a while to cool2 then place a rubber cork in the bottle1 label it ,nitric ,acid ,solution--,,poison1 and place it beyond the reach of small children4 ,a solution that has been used should be poured from the tray into another bottle1 to be used again by adding a small quantity of fresh solution4 ,an old solution does not act as quickly as a new one1 but for soft metal plates it is preferable1 as it does not require such careful watching4 ,the fumes of the acid1 when at work1 are disagreeable1 so if possible it is well to carry out this part of the process in the open air4 ,after the plate is immersed in the acid1 do not handle it with the unprotected fingers4 ,rubber gloves may be used for this purpose1 but if a pair cannot be had the plate may be raised from the tray bottom by means of a small1 sharp-pointed stick1 and it should then be grasped with a pair of pliers and immersed in water to stop the action of the acid4 ,a plate may be repeatedly removed from the bath to watch the progress of the etching1 but in doing so it must be handled with care1 in the manner just described4 ,when the ground is etched deep enough1 remove the plate from the acid and give it a thorough washing in clean water2 then with a soft cloth dipped in turpentine rub off the entire surface of the plate4 ,the turpentine will dissolve the varnish and leave a film of it on the granular surface of the metal eaten by the acid4 ,as a result1 the ground will be darkened or oxidized1 while the parts originally protected by the varnish will be bright and smooth4 ,the high parts can be brightened still more with metal polish1 or they may be buffed and lacquered by a metal finisher4 ,some ,typical ,designs ,in ,fig4 #e the face of a door-knob is shown in its etched state1 the pattern being drawn in varnish1 as described4 ,in ,fig4 #f the side of the knob in ,fig4 #e is shown2 that is1 if it should have such a flat band all around4 ,plain brass knobs may be purchased at a hardware store1 and if they are lacquered the coating should be removed with alcohol before the etching is done1 as otherwise the acid would not eat through the lacquer for some time4 ,for an acid bath in which an object this shape is to be etched1 a yellow earthenware bowl may be used1 or a low jar with a wide neck will answer very well4 ,the knob should be suspended in the acid by means of a piece of waxed string tied about the shank4 ,hinges on cabinet doors may be greatly improved by making brass straps for them1 which should be applied to the wood so that they fit closely against the sides of the hinges4 ,illustration3 ,,fig4 #f4 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,designs for hinge-straps are shown in ,figs4 #g and #h1 and ,fig4 #i is a brass vase on the outside of which a floral design has been etched4 ,another design for the face of an oval brass door-knob is shown in ,fig4 #aj4 ,this is a simple pattern to draw on a knob with asphaltum varnish1 and its plain but bold ornament is quite as pleasing to the eye as a more intricate pattern would be4 ,a design for a short1 high hinge-plate is shown at ,fig4 #aa1 and at ,fig4 #ab a long1 narrow hinge-plate or hasp-strap is depicted4 ,many other shapes of hasps and the patterns to ornament them may be designed by the boy with some artistic ability1 and he may be able to improve upon these suggestions4 ,illustration3 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,,fig4 #ac4 ,when making hinge-straps1 escutcheons1 or any articles from brass plates or flat brass and copper1 the edges should be shaped with a cold-chisel and mallet on the upturned face of an old flat-iron4 ,the uneven or ragged edges may be trimmed off with a file and finished with emery cloth4 ,an idea for a name-plate is shown in ,fig4 #ac4 ,this is seven inches long and three inches wide4 ,it is appropriate for a front door or the door of a boy's room1 changing the name1 of course1 to that of the proper person4 ,at the left of the drawing the finished plate is shown1 while at the other side the blackened letters and marginal line is depicted1 illustrating how the plate will look before it is etched4 ,or this last may be the appearance of the plate after it is etched and before the varnish has been removed with turpentine and a cloth4 ,part ,,iii ,,household ,,arts ,chapter ,,xi ,,clay-,,modelling ,,and ,,plaster-,,casting ,the boy on whom nature has bestowed the natural talent and liking for art-work will find clay-modelling a fascinating and pleasing branch to follow4 ,to become a perfect modeller1 and finally a sculptor1 requires years of patience and perseverance1 but to copy simple objects in clay is not a difficult matter1 and with some clay1 a few tools1 and the skeletons1 or supports1 the amateur should not meet with any great obstacle if the following descriptions and instructions are accepted and practised4 ,very few tools are necessary at the beginning1 and ,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 and #aa1 shown in ,fig4 #e1 are a full complement for any beginner4 ,the first four are wire tools1 made of spring-steel or brass wire1 about which fine wire is wrapped4 ,the ends of the wires are securely bound to the end of a round wooden handle1 and sometimes1 for convenience1 two ends are made fast to a single handle4 ,these tools are called 8double-enders10 and are used in roughing out the clay in the first stages of the work4 ,no4 #e is a boxwood tool with one serrated edge1 and is used for finishing4 ,the tools shown in ,nos4 #f and #g are of steel1 and are of use on plaster1 where others would not be sufficiently durable4 ,nos4 #h1 #i1 #aj1 and #aa are boxwood tools1 a wire loop being fastened in the end of ,no4 #i4 ,any of these tools can be purchased at an art-material store for a few cents each1 except the steel tools1 which are more expensive4 ,illustration3 ,,the ,,tools ,fig4 #e4 ,a stand1 or pedestal1 will be necessary on which to place the clay model1 unless perhaps it should be a medallion1 which may be worked over on a table4 ,fig4 #f is a stand that can be made by any boy from a few pieces of pine two inches square and a top board one and a half inches in thickness4 ,it is arranged with a central shaft that may be raised or lowered1 and to the top of which a platform is securely attached4 ,the movable shaft should have some holes bored through it from side to side1 through which a small iron pin may be adjusted to hold the platform at a desired height4 ,clay can be purchased at the art stores by the pound1 or in the country a very good quality of light1 slate-colored clay may sometimes be found along the edges of brooks or in swampy places where running water has washed away the dirt and gravel1 leaving a clear deposit of clay of the consistency of putty4 ,supports which the clay models are built upon can be made of wood and wire1 as the requirements necessitate4 ,that for the head is shown in ,fig4 #a4 ,nearly every clay model of any size will need some support1 as clay is heavy and settles1 and if not properly supported will soon become distorted and the composition spoiled4 ,you will also need some old soft cloths that can be applied wet to the clay1 a pair of calipers1 and a small trowel or spatula4 ,the ,technique of the ,art ,illustration3 ,,fig4 #a4 ,,fig4 #f4 ,to model well the art of drawing is indispensable4 ,the art of wood-carving is also a valuable one to the clay-modeller1 but care must be taken when making any casts of wood-carving to use glue moulds2 otherwise the carving would become firmly embedded in a plaster mould1 due to the undercut in the carved ornament4 ,to begin with1 choose some simple object to copy1 such as a vase or some small ornament2 then1 when a satisfactory result has been obtained1 select something a trifle more difficult1 such as a hand or foot4 ,when copying a head1 obtain a bust support on which to work the clay4 ,a very simple and strong one can be made from a piece of board1 two sticks1 and a short piece of pipe wired to the top end of the upright stick 7,fig4 #a74 ,to carry out the proportions of a bust similar to ,fig4 #d1 the clay should be packed about the support much after the manner shown in ,fig4 #b4 ,this will support the clay4 ,with a lump of clay and the fingers form the general outline1 as shown in ,fig4 #b1 for the head2 then1 with the wire tools1 begin to work away the clay in places1 so as to follow the lines of the model4 ,with the calipers measurements may be taken from the plaster head and used advantageously in the building up of the clay model4 ,turn the plaster model and clay copy occasionally1 so that all sides may be presented and closely followed in line and detail4 ,fig4 #c shows the next stage1 and ,fig4 #d the completed head4 ,modelling differs from drawing and painting in that every side of the model is visible1 while only the face of the painting is presented to the eye1 the impression of form and outline being worked out on a flat surface4 ,having successfully mastered the head1 next attempt a foot from a plaster cast4 ,afterwards a more elaborate subject1 such as a whole figure1 can be tried4 ,with the wire modelling-tools and the fingers begin to work away the clay to obtain the general outline and form2 continue this in a rough manner1 until a perfect composition is obtained that compares favorably with the original model2 the finishing-touches may then be applied1 and the detail worked up more carefully4 ,illustration3 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #g4 ,,fig4 #h4 ,never complete one part and leave the remaining ones until later2 always work up the model uniformly1 adding a little here and there1 or taking away1 as may be necessary1 and so developing the whole composition gradually4 ,moisten the clay occasionally with water sprayed on with a small watering-pot or a greenhouse sprinkler1 to keep it soft and ductile4 ,when not being worked upon it should be covered with wet cloths1 to keep it moist4 ,as the work progresses the clay may be allowed to harden and consolidate1 but not to dry2 if allowed to dry entirely the model may be considered ruined1 as the shrinkage of the clay around the support results in fissures and fractures that cannot be repaired4 ,by the time the amateur has acquired the knowledge to attempt a full-size figure he will be able to invent the devices to support it4 ,the support1 or skeleton1 must of course be adapted to line with the pose of the figure1 and should be of pipe and heavy wire or rods securely anchored to the base-plate4 ,the composition of flowers1 fruit1 foliage1 animal life1 and landscape is an inexhaustible one1 and some beautiful effects can be had in flat-work4 ,good examples of this character of work may be found on all sides1 and to the genius the field of modelling is a broad one--without limit4 ,glue and ,gelatine ,moulds ,when casting from hands1 feet1 or ornaments where undercut predominates1 the most successful mode is in the use of gelatine or glue4 ,to cast a head similar to the one shown in ,fig4 #d it will be necessary to make a box frame large enough to hold the head4 ,the cast is to be well oiled1 and down the front and back1 running around under and back over the base block1 strong linen threads are to be stuck on with oil4 ,warm glue or gelatine is then poured in the box and left to chill and solidify4 ,when sufficiently cold the frame may be removed1 leaving the solid block of glue like hard jelly2 then the ends of the threads are to be grasped and torn through the gelatine1 thus separating it in two or three parts4 ,the plaster head may then be removed1 and the mould put together again and surrounded by the frame to hold it in place4 ,to make a plaster head this plaster of ,paris may be poured into the mould and left for a while1 when1 on removing the frame and taking the glue mould away1 a perfect reproduction of the original head will be found4 ,hollow ,casting ,when very large objects that would require a great deal of plaster are cast1 they are generally made hollow in the following manner3 ,obtain the glue mould by the process described1 and into it pour a quantity of thin plaster1 having first oiled the surfaces that come in contact with it4 ,turn the mould about and upside down1 so that the plaster will enter every part and adhere to the glue form4 ,allow it to 8set10 and again pour some plaster into the mould4 ,this will adhere to the first coating1 and after it has set repeat the operation several times1 until a deposit1 or coating1 an inch or more in thickness has been made4 ,the glue mould on being removed will reveal a perfect plaster-casting that1 instead of being solid1 is hollow1 and in consequence is much lighter4 ,modelling a ,foot ,to model a foot from a plaster cast1 as shown at ,fig4 #g1 it will be necessary to lay or putty up the form in the rough1 as suggested for the bust in ,fig4 #b4 ,now rough out the form with the modelling-tools1 so that it will appear as shown in ,fig4 #h4 ,a frame1 or support1 should be made from a block and a stout piece of wire1 as shown at ,fig4 #i1 so that the mass of clay1 particularly that at the back of the foot1 will not settle4 ,illustration3 ,,fig4 #i4 ,,fig4 #aj4 ,for full-length figures it is always necessary to construct a frame after a rough front and profile drawing has been made4 ,with this drawing in sight1 it will then be a comparatively simple matter to construct a wire or iron pipe frame such as that pictured in ,fig4 #aj4 ,bas-relief ,modelling ,bas-relief work is another interesting department of clay-modelling4 ,this is one-sided in its effect1 and the full1 rounded appearance of the statue or bust is reduced to a more flattened form with lower relief4 ,a familiar example of bas-relief is the head on a silver dollar1 or the raised ornament on silverware and pottery4 ,let us now begin with the group of pears and leaves illustrated in ,fig4 #aa4 ,a small block or piece of wood is treated to a coat of shellac or paint2 then the clay is puttied on to roughly form the parts in the group4 ,with the modelling-tools the outline and form is gradually worked out2 then the surfaces are smoothed down1 and the few little artistic touches given here and there to lend life and character4 ,bas-reliefs can1 of course1 be cast any size1 and from the original plaster mould many duplicates in composition or papier-mach may be made4 ,garlands1 festoons1 sunbursts1 panel ornaments1 and cartouches can be modelled in clay1 and afterwards cast for architectural features in interior decoration4 ,a good example of the garland is shown in ,fig4 #ab4 ,this is made up of flowers and ribbons1 and with careful and patient work the boy sculptor should be able to obtain results quite as pleasing in detail as that illustrated4 ,illustration3 ,,fig4 #aa4 ,,fig4 #ab4 ,a ,medallion ,head ,after some experience in casting ornaments in bas-relief has been obtained1 it would be well to try a head or bust4 ,a simple method of doing this is to take an ordinary school slate and make the outline of a head on it4 ,within this outline you build up roughly with your finger and thumb a cake of clay about half an inch in thickness2 then with your modelling instruments work it up as accurately as your artistic skill will permit 7see ,fig4 #ac74 ,when in the progress of your work you find it necessary to leave it for a short time1 be careful to cover it over with a wet cloth1 and if for a long time1 put two wet cloths over it1 and cover them in turn with a sheet of newspaper4 ,this is necessary to keep the clay from getting hard and unfit for working4 ,if at any time you find the clay getting too stiff1 sprinkle it with water shaken from a whisk-broom4 ,to make the moulds of your clay model you will require a little plaster of ,paris1 some lard oil1 and some soap1 and then your outfit is complete4 ,when your clay medallion is finished1 build a wall of clay around it of about an inch and a quarter in height1 as shown in ,fig4 #ac2 then get a teacupful of lard or olive oil1 and add to it a good teaspoonful of any kind of soap scraped fine4 ,put this on the stove and stir until it is thoroughly mixed2 then with a soft camel's-hair brush lay a slight coat over your entire work4 ,you must now mix your plaster4 ,if the surface of your medallion is1 say1 one foot by six inches1 you will require about two pounds of plaster to about a quart of water4 ,sprinkle the plaster into the water1 and then watch it until bubbles have ceased to come to the surface4 ,when no more bubbles appear1 stir it up well with a stick4 ,the mixture should be about the consistency of thick cream4 ,the exact proportions you must find out by experiment4 ,this plaster cream you pour quickly over your medallion1 blowing gently with your mouth on the fluid as it spreads itself over the face of your work2 this is to prevent the formation of bubbles4 ,in a short time the plaster will become hard2 you then remove your clay wall1 and lift the plaster mould1 or matrix1 from the clay4 ,this you do by passing a penknife all round between the plaster and the slate1 after which it lifts easily4 ,you have now a perfect plaster mould4 ,if you find any small particles of clay adhering to it1 wash them off with a soft camel's-hair brush and water4 ,you now want to get a plaster cast from your matrix4 ,to do this you lay a coat of the soap and oil mixture with a camel's-hair brush all over the face of the mould1 and then pour in the plaster just as you did before1 taking the same precautions to blow upon the plaster and to build a wall of clay around the mould4 ,you let this stand for half an hour until it is perfectly set1 when you can remove your casting by passing a thin-bladed knife all round between the matrix and the casting4 ,if it does not then lift easily1 plunge the whole thing in water for an instant1 after which you will have no difficulty in separating the two parts4 ,you now have a plaster cast of your original work1 which you can touch up and finish off with sand-paper1 or with the blade of a penknife if necessary4 ,you can1 of course1 make as many casts as you please from your mould1 and thus have very pretty little souvenirs to present to your friends4 ,illustration3 ,,medallion ,,and ,,plain ,,casting ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,,fig4 #af4 ,,fig4 #ag4 ,coin and ,metal ,casts ,this same procedure may be employed when making moulds and casts from coins1 medals1 and medallions4 ,a narrow frame is made of wood1 and at the middle of this a medal is placed on the flat oiled surface of a board1 a slate1 or a piece of marble1 as shown at ,fig4 #ad4 ,the face of the object is now prepared with the oil1 and the plaster is poured as previously described4 ,if any number of reproductions are to be cast from the mould1 it would be well to give it one or two coats of thin shellac2 then oil it before each impression is made4 ,plaster-casting in ,general ,it is not a difficult matter to reproduce in plaster almost any object that has no undercut or parts that will not easily detach from a mould4 ,when making them1 the first thing to do is to get a piece of board about a foot square2 that is to work on1 so as not to soil the table4 ,then you want a lump of clay about as big as a football1 five or six pounds of plaster of ,paris--it only costs three cents a pound--and a half-dozen wooden pegs4 ,you also want a cup of warm melted lard1 or ,castile soap dissolved in hot water1 to rub over what you are going to copy1 so as to prevent the plaster sticking to it4 ,now1 suppose it is an egg you want to copy4 ,you rub it all over with your melted lard1 and lay it down on the piece of board4 ,pack clay around it as high up as the middle of the egg1 and as far out as half an inch from the widest part4 ,you must be particular about not putting clay higher than the middle1 because1 if you get the clay too high1 you can't get the egg out without breaking the mould4 ,when you have the clay around the lower half of the model1 smooth and level it1 and push two pegs in opposite corners1 as shown in ,fig4 #ae4 ,now around the whole thing make a box or case of clay1 with sides rising half an inch higher than the model 7,fig4 #af74 ,mix plaster of ,paris and water together till you have it like molasses on a warm day2 pour that into the clay box1 so that the model is covered1 and the mixture even with the top of the box4 ,the plaster will set1 or become hard1 in a little while1 and you then tear the box away1 and take out the model and plaster together1 leaving the first clay mould4 ,next put the plaster mould and model in a clay box just as you did before1 and pour plaster over it1 first greasing the model and upper surface of the mould4 ,before pouring on the plaster1 roll a small piece of clay in your fingers1 and put it on the model 7,fig4 #ag71 so that when you pour plaster over it1 a hole will be left in it through which you may pour plaster for the final cast4 ,for the second time tear away the clay box1 and gently separate the two parts of plaster of ,paris2 take the model out1 and you will have two blocks of plaster1 which1 when brought together1 will contain an exact mould of the model 7,fig4 #ah71 and one block will have an opening in it through which you can pour plaster4 ,before pouring in the plaster1 however1 be sure to grease the insides of the mould4 ,then put the parts together1 using the pegs and holes as guides to a proper fitting1 and tie firmly with a piece of twine4 ,now pour the plaster in1 and then shake the mould gently in order to make the mixture settle in all the smaller crevices4 ,illustration3 ,,plaster-,,casting ,,in ,,general ,,fig4 #ah4 ,,fig4 #ai4 ,,fig4 #bj4 ,of course when you separate the parts of the mould now you will have a perfect cast of your model4 ,it will have a thin ridge running around it where the mould was joined1 but that is easily rubbed off with sand-paper4 ,in a mould made from a hand you proceed in about the same way4 ,the great thing is to find the dividing line in the model2 that is1 the place where the parts of the mould ought to join4 ,in the egg it is easy enough1 for you can divide it into two equal parts2 but you take a hand1 and you have to make the line around each finger just where it is broadest 7,fig4 #ai71 and build the clay up to that line4 ,the wrist-hole in a hand-mould makes a good hole to pour the plaster in 7,fig4 #bj71 and1 after all1 a hand is easy to make4 ,these simple directions should make it easy for the amateur modeller to acquire the first principles of the art4 ,there are several good compositions in which the young craftsman can work besides plaster of ,paris1 such as 8,kiln ,cement10 8,carton-pierre10 8,papier-mach10 8,plaster ,compounds10 8,artificial ,marble10 and 8,concrete40 ,how to ,find and ,mount ,signets ,there is nothing prettier or more attractive1 hanging on the walls of one's parlor or chamber1 than a group of signet impressions in sealing-wax of various colors1 artistically arranged and handsomely mounted2 while the pleasure to be derived in seeking them is quite as keen as that which the coin or stamp hunter enjoys1 without the expense attached to them1 for our seals cost comparatively nothing4 ,the outfit is simple1 consisting of a dozen sticks of sealing-wax in different colors--black1 brown1 red1 gold1 white1 and green1 making a charming combination with any other shades that take the fancy of the collector4 ,a light wooden or strong pasteboard box to carry the articles1 a box of matches1 a white taper 7cut in half for convenience' sake71 and1 later on1 a piece of stiff white card-board 7#af #bb1 #bb #bh being good sizes7 to mount them on4 ,keep in the bottom of the box containing the wax a dozen or more pieces of thick1 white1 unruled writing-paper cut into ovals1 circular1 oblong1 and square shapes1 varying in size from one-half inch in width to two inches in length4 ,this is all that is required4 ,now for our hunt4 ,as you meet friends and acquaintances1 notice their rings and watch-charms4 ,when any are discovered with a figure1 crest1 handsome monogram1 or initial on it1 borrow it1 and make your impression4 ,this is accomplished by laying a piece of your writing-paper1 at least half an inch larger than the seal to be used1 on some smooth surface like a table4 ,then take a stick of wax between the thumb and forefinger of the right hand2 with the left hand a match or taper1 and bring them together just on the paper where the wax melts sufficiently to drop freely4 ,rub the end of the sealing-wax quickly over the middle of the paper4 ,then moistening the seal with the tongue to prevent the stone adhering to the burning wax1 press it firmly into the hot bed prepared for it1 a second or so1 being careful to lift it straight up when taken off1 thus securing a clean edge4 ,if this is properly done a fine impression of your subject is secured4 ,repeat this operation several times1 taking different-colored wax for duplicates1 which will enable you to make exchange with other collectors1 who are unable to get these same figures1 but have others not in your collection4 ,chapter ,,xii ,,pyrography ,pyrography1 or fire-etching1 is by no means a modern art1 but one that was practised many centuries ago both in civilized and barbarous countries4 ,in ,europe1 during the early ages1 this work was executed with a poker inserted in the fire and heated red hot2 but as the iron must have cooled quickly1 the task of embellishing a panel was a tedious and laborious one4 ,a knowledge of drawing will be very helpful to the young pyrographer1 as the object can be sketched in lead-pencil and followed with the heated iron or platinum-point4 ,of the various materials that may be used on which to etch the ornament1 wood and leather have been found the most satisfactory1 since they retain the deep1 rich brown-and-black tones given by the heated iron1 and yield more readily under the tool than other materials4 ,if wood is employed1 such as oak1 birch1 maple1 holly1 and cherry1 it should be selected with a pretty grain and as free from knots as possible2 but if leather is used1 a good quality of oak-tanned sole-leather will give the best results2 although for light work a pleasing effect can be had by employing a stout ,sude and etching on the rough side4 ,the etching-tools are few and simple1 and are shown in the illustrations4 ,fig4 #a depicts a set of irons that can be made by a boy from pieces of round iron a quarter of an inch in diameter and having the points fashioned with a file4 ,the ends of the irons can be inserted in file-handles that may be purchased at a hardware store for a few cents each4 ,illustration3 ,fig4 #a4 ,fig4 #b4 ,a is a sharp-pointed iron for outlining2 ,b is a round-pointed one for broader work2 ,c is a stub for bold work1 and measures three-eighths of an inch in diameter2 ,d is a curved background tool1 and is used for burning in the grounds1 or shading1 in order to make the design stand out boldly4 ,with these tools and a spirit-lamp and rest1 such as is shown in ,fig4 #b1 some very good work can be done2 and to complete the set a sharp-edged eraser may be added to scrape away the wood1 if perchance it should have been touched by mistake with a hot iron4 ,to begin with1 it is best to carry out a simple design--to decorate a panel1 a drawer front1 or the sides to a small wooden box4 ,the pattern must first be drawn out in full size on a piece of smooth brown paper1 and then transferred to the face of the wood by the use of colored or black transfer-paper1 sheets of which can be had at an art or stationery store for a few cents each4 ,to reproduce the design1 lay the transfer-paper face down on the wood1 and over it the drawing face up2 pin it fast1 and go over all the lines with a lead-pencil1 bearing down to impress them on the face of the wood4 ,having gone over all the lines1 unpin one corner and raise both sheets of paper to see that the impression is good4 ,if not1 replace the paper and redraw the faint or unmarked lines4 ,fig4 #c is a simple and attractive design for the embellishment of a panel1 of a small drawer1 or as one of the sides to a box4 ,if the tools shown in ,fig4 #a are used1 fill the spirit-lamp half full of alcohol and light it1 then place the pointed iron ,a on the rest in such a position that the point will be enveloped by the blue flame1 where1 after remaining a minute1 it will become red hot4 ,remove it and trace the lines in the wood with the hot point until all of them have been gone over1 and as a result the wood will have the appearance of ,fig4 #d4 ,the iron will necessarily require reheating continually1 and to save time it would be well to have two or three irons of each shape1 as they cost but a few cents1 and are easy to make4 ,illustration3 ,fig4 #c4 ,fig4 #d4 ,after the outlining has been done1 the background should be burned in with the curved iron ,d4 ,fig4 #e illustrates the manner in which this may be accomplished2 the left side is partly finished1 and shows the simple and effective mode of lining or 8dragging0 the ground4 ,the right side is a finished ground1 where the cross-strokes may be seen with an occasional oblique stroke to lend added density4 ,it is not always possible to complete a ground until the ornament is shaded1 and what may seem to be a finished background before the shading will sometimes afterwards prove too weak or flat1 and will necessarily require going over in places to strengthen and darken it4 ,illustration3 ,fig4 #e4 ,illustration3 ,fig4 #f4 ,fig4 #f is a piece of finished work where the ornament is shaded to give it character1 and where also the background has been retouched in some places to give it a stronger feeling4 ,this illustration is a good example of pyrography1 and gives the relative tones of high light and shadow4 ,before beginning on an ornamental piece of work1 it would be well to practise on clear pine or white-wood1 and to become dexterous in the use and manipulation of the tools1 and to find the ones best adapted to certain kinds of work4 ,the round-pointed tools ,b and ,c1 shown in ,fig4 #a1 are good grounders1 and where large work and bold patterns are carried out they will be found of use4 ,as some very fine work is possible in fire-etching1 the art can be applied in many ways to decorate pieces of useful and ornamental furniture about the house4 ,charming pictures can be produced on holly and white mahogany2 designs of fruit and flowers and conventional patterns may be applied to panels1 tables1 screens1 frames1 glove and handkerchief boxes2 and on maple bedroom furniture designs in pyrography lend a pleasing and artistic appearance4 ,when working on leather do not cut out the form until after the work is finished1 but pin the material flat on a board to hold it firmly while operating with the hot irons4 ,the entire design should be drawn on the face of the leather with a soft lead-pencil1 and afterwards gone over with the burning-points4 ,when the work is completed the piece of leather should be removed from the board1 and the outline cut with a sharp penknife or a pair of scissors4 ,it may be desirable to varnish and polish some specimens1 and it is possible to do so by coating the surface with a thin spirit varnish or thin furniture polish4 ,this will bring out the density of the burned lines1 and enrich a design that on certain woods might seem flat4 ,too much varnish must be avoided1 and only a very thin coat will be necessary to obtain the desired result4 ,a ,platinum-point ,outfit ,in preference to the hand-made irons1 which must be heated each time before using1 the modern devotees of the fire-etching art use the gasolene lamp and platinum-point apparatus4 ,these outfits may be purchased at the art shops for a comparatively small sum1 but the young craftsman may want to make his own apparatus4 ,with the exception of the platinum-point and its metal holder1 this is quite possible4 ,the parts of a gasolene outfit are the bulb1 rubber tubing1 platinum-point and handle1 reservoir-bottle1 metal union-cork1 and a spirit-lamp4 ,the latter may be purchased at a drug or hardware store for a few cents2 but a good-working one can be made from a square or round bottle1 a cork with a hole through it to receive a piece of brass tubing1 and a piece of round lamp-wicking4 7,see ,fig4 #g74 ,heat a piece of wire red hot1 and burn a hole through the cork large enough to slip in a piece of brass tubing a quarter of an inch in diameter4 ,pass the lamp-wick through the tubing1 and allow an inch or two of wicking to rest at the bottom of the bottle4 ,this lamp should be filled half full of alcohol1 and it is used to heat the platinum-point at first2 after that the rush of gasolene vapor will keep the tool red hot4 ,the gasolene reservoir is a square bottle with a fairly large neck into which is fitted the metal union-cork4 ,if it is not possible to purchase this cork1 then one can be made as shown at ,b in ,fig4 #h4 ,illustration3 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,,fig4 #af4 ,from a solid piece of lead one and a half inches long1 three-quarters of an inch wide1 and one and a quarter inches deep1 cut a lug1 with a knife and file1 having two projecting ears as shown at ,c in ,fig4 #h4 ,the lower part is half an inch in diameter and three-quarters of an inch long4 ,with a hot iron burn a hole in a cork so that the lower end of the lug will fit within it1 as shown at ,d in ,fig4 #h4 ,with a small drill bore a hole in the end of each ear4 ,these holes should run through towards the middle of the lug1 taking care1 however1 not to bore too far1 since the holes must not meet4 ,bore two holes up through the lower part of the lug so that each will meet one of the holes bored through the ears1 as shown by the dotted lines at ,a in ,fig4 #h4 ,by this construction the air forced through a tube connected with one ear travels through that ear and down into the bottle2 then up through the other hole and out at the opposite ear1 where another tube is attached that leads to the platinum-point4 ,the end of an old syringe can be used for the supply bulb1 and for the pressure bulb there is nothing better than the inner bladder of a football1 if it can be provided with an extra tube so that air may be forced in at one end while it is escaping at the other4 ,this rubber balloon can be inflated to twice its normal size if care is taken not to blow it up too large4 ,as a precaution against its destruction1 it would be well to make a protective net from cotton string with a small mesh4 ,this is easily done by making a wire hoop the diameter of the bladder when blown to its safe size2 then loop cotton string over it1 as shown in ,fig4 #i1 and tie the knots forming the meshes as shown at the left side of the same drawing4 ,continue the work until a cylindrical net is formed about three or four inches longer than the size of the inflated bladder4 ,with a draw-string the open ends of the net can be drawn together after the bladder is placed within it4 ,the outlet of the bladder is connected by a rubber tube to one ear of the cork1 and another tube leads from the opposite ear to the platinum-point and holder4 ,the holder is simply a piece of brass tubing at one end of which a coupling is made fast4 ,this tube is pushed through a cork handle1 or the covering can be made by burning holes through corks and slipping them over the tube1 at the same time using thick shellac to act as a glue and hold the corks to each other and to the brass tube4 ,the cork covering should be heavier near the point end1 because the tube becomes hot from the superheated platinum-point4 ,this handle should be three-quarters of an inch in diameter1 and gradually tapered to half an inch at the back1 as shown at ,fig4 #aj4 ,the brass tube should be five inches long and the cork handle about four inches in length4 ,half an inch of the tube projects beyond the back1 or top1 of the handle1 and over this end a piece of rubber tubing is slipped4 ,a complete outfit should contain three points--one sharp1 one round1 and one curved4 ,these can be purchased at almost any art store1 and should appear as shown in ,fig4 #aa1 ,a being the sharp point1 ,b the round one1 or grounder1 and ,c the curved1 sharp-ended point that is used for fine work and light lines in shading or background4 ,a good platinum-point can be bought for one dollar and a half2 but better ones will cost all the way from two dollars to five4 ,if a boy has points ,b and ,c in his outfit1 he can do some very good work2 but should it be possible to have one only1 then the curved point ,c should be the choice1 since with that tool almost everything can be done4 ,the principle of the gasolene pyrographic outfit is very simple4 ,the reservoir-bottle is filled half full of gasolene1 or benzine 7#fb71 which can be had at a paint store for twenty-five cents a gallon4 ,the union-cork stopper is then pushed down1 and the platinum-point screwed in place at the end of the handle4 ,light the spirit-lamp and hold the platinum-point in the flame until it is cherry-red2 then squeeze on the supply-bulb and fill the pressure-bag4 ,the air forced through the first section of rubber tubing goes down through one hole in the cork1 picks up some gasolene vapor from the reservoir-bottle1 and passes along the second section of tubing to the point1 where it escapes through a very small hole at the side4 ,directly the vapor reaches the flame it ignites1 and the hot point is kept in its heated state so long as the pressure of the bulb forces the gasolene vapor out through the hole4 ,do not bear hard on the wood when working4 ,the heated metal will char the wood easily if gentle pressure and several strokes are used4 ,points ,a and ,b 7,fig4 #aa7 can be used on all sides and on end1 but point ,c should be used only on its curved edge1 as shown at ,a in ,fig4 #ab2 never as shown at ,b4 ,when both hands are needed for the work of holding the material and tool1 a convenient foot device can be made1 as shown in ,fig4 #ac4 ,this is a pressure-jack made from two boards1 the upper one being cut and hinged1 as shown in the drawing4 ,the boards are twelve inches long and three inches wide1 the short end of the top one being attached to the bottom plate with glue and screws4 ,the wood should be three-quarters or seven-eighths of an inch thick1 and it may be given a coat of shellac or varnish to improve its appearance4 ,if a constant supply of air-pressure can be had without the bothersome hand or foot bulbs1 it makes it so much easier to master the art of pyrography4 ,any ingenious boy who has a foot pump1 such as are used for bicycle or automobile tires1 can get an old boiler from a plumber and rig up a pressure-tank such as is shown at ,fig4 #ad4 ,a small pressure-gauge should be screwed fast on top of the boiler1 and two outlets with brass cocks should be constructed out of one-eighth-inch gas-pipe1 the fittings being purchased at a gas-fitter's or a supply house4 ,by means of the pump compressed air can be stored in the tank1 and the pressure will be registered on the gauge4 ,twenty to twenty-five pounds will be quite enough pressure for an old boiler1 although sixty pounds is the standard to which most of them are tested when new4 ,the advantage of the two outlet-pipes will be appreciated when working1 because each can lead to a different sort of point1 and this will save the time and bother of changing points frequently for different parts of the work4 ,the ,practice of ,pyrography ,basswood1 deal1 and white-wood are the material most commonly employed for this work1 since the grain is close and the color even4 ,almost any soft wood1 however1 can be used1 and the boy who has mastered the craft of carpentry can make his own boxes1 frames1 stools1 chairs1 and miscellaneous wooden objects1 and then embellish them with designs drawn in lead-pencil1 the lines of which it will be an easy task to follow with the hot platinum-point4 ,small picture-frames can be made from one piece of wood1 but they are better1 and will last longer1 if made from two pieces4 ,for a small round frame a pretty pattern is shown in ,fig4 #ae4 ,this can be made from six to twelve inches in diameter1 and the frame proper should be from two to four inches wide1 having an opening for the picture from two to four inches in diameter4 ,the easiest way to make a frame is in two pieces1 as shown in ,fig4 #af1 the left side representing a narrow frame and the right a wider one4 ,from holly or basswood one-eighth or one-quarter of an inch thick cut a disk six inches in diameter1 and at the middle cut an opening three inches in diameter4 ,strike the circle with a compass2 then use a fret-saw to do the cutting4 ,from pine or white-wood half an inch in thickness cut a disk five and a half inches in diameter and at the middle a hole four inches in diameter4 ,lay the thin disk down on a table1 and after applying glue to one surface of the smaller but thicker disk place it1 glue-side down1 on the larger disk1 taking care to have the grain of the two pieces run in opposite directions4 ,see that the disks are adjusted so that one is centred directly over the other2 then impose a piece of board on top of the frame1 and put fifteen or twenty pounds of flat-irons or other heavy weights on the board to press the two wood pieces together4 ,leave them for several hours2 then remove the weights and clean off the hard glue that may have oozed out from between the disks4 ,give the back of the frame two coats of shellac to prevent the wood from absorbing moisture1 and it will then be ready for the design and the pyrographic ornamentation4 ,by using the two pieces of wood1 a rabbet is thereby formed for the glass and picture4 ,if the frame had been made from one piece it would have necessitated the cutting of a rabbet4 ,the design of holly leaves and berries is a pretty one1 and quite simple to draw and burn4 ,a ,few ,suggestive ,designs ,a long picture-frame with three oval openings is shown in ,fig4 #ag4 ,this is made from two pieces of wood1 as described for ,fig4 #ae1 and then embellished with the design and pyrographically treated4 ,illustration3 ,,fig4 #ag4 ,,fig4 #ah4 ,,fig4 #ai4 ,,fig4 #bj4 ,,fig4 #ba4 ,in ,fig4 #ah an idea for a stool is shown4 ,this little piece of furniture can be made of white-wood by the boy who has learned to handle tools4 ,the legs are two inches square and fifteen inches high4 ,the side-boards are each twelve inches long1 four inches wide at the ends1 and three inches at the middle2 they are arched or crowned1 as shown in the drawing4 ,blocks of wood are glued and screwed to the inner edge of each end1 and these in turn are made fast to the upper parts of the legs4 ,the top is sixteen inches square1 with the corners cut out1 so that it will fit down on the top of the side-rails and between the tops of the legs4 ,strips of wood three-quarters of an inch square should be glued and screwed to the under side of the seat at the four sides1 and these in turn must be made fast to the top inner edges of the side-rails4 ,leather-work ,when embellishing leather1 select the quality that is best adapted to pyrography4 ,it must not be too thin1 as the hot point would quickly perforate and cut it4 ,cowhide1 ,sude1 calf1 sheepskin1 heavy kids1 and binding leathers are best adapted to this work4 ,purses1 bags1 mats1 boxes1 travelling-rolls1 and valises are made in leathers that are admirably adapted to pyrography1 and these should be purchased rather than made1 for leather-working is a craft that would not interest the average boy4 ,an heraldic pattern for a small pigskin or cowhide purse is shown in ,fig4 #ai1 and ,figs4 #ai1 #bj1 and #ba are designs adapted to different kinds of purses1 wallets1 and bill-books4 ,it is1 of course1 impossible to lay down any specific sizes for these patterns1 as the sizes of leather goods vary4 ,to improve the appearance of floral patterns1 it is desirable to tint or stain flowers1 leaves1 berries1 and stems in their natural colors4 ,this can be done on the unfinished wood1 either before or after the outlines and background are burned4 ,oil or aniline stains may be used for this purpose4 ,if a dead finish is desired1 the wood can be left without further treatment1 except for a thin coat of beeswax and turpentine4 ,if a glossy finish is preferred1 the wood must be treated to several thin coats of white shellac2 then a finishing coat of white dammar-varnish is applied and left to dry for several days4 ,the inside of boxes should be 8grounded0 and shellacked1 and at the top and bottom pads made of card-board1 cotton-filling1 and silk should be glued fast4 ,chapter ,,xiii ,,bookbinding ,,and ,,extra-,,illustration ,there must be many boys who would like to know the simple methods of binding books1 so that they can do it without the aid of machinery or costly tools4 ,they are probably aware that when the material of a book comes from the hand of the printer1 it consists of a number of large sheets that are commonly twenty inches long and fifteen broad4 ,eight pages of the book are printed on each side of a sheet in such a peculiar order that when the sheet is properly folded the pages will be correctly arranged by the numbering4 ,to see how this is1 take a sheet of paper that measures fifteen inches by twenty4 ,with a ruler and pencil draw lines across the sheet so as to divide it into eight equal parts4 ,each of these parts is a page4 ,number them as shown in ,fig4 #a4 ,turn them over and number the pages on the other side as shown in ,fig4 #b4 ,now to fold the sheet1 lay it on the table with the side up that has on it #b1 #ae1 etc42 bring page #c over upon page #b1 creasing the sheet in the middle4 ,then the four pages lying upward will be numbered #d1 #ac1 #ab1 #e4 ,bring page #e over on page #d1 and crease in the middle again4 ,pages #h and #i will now lie upward4 ,fold #i over on #h1 and the sheet will be folded as it should be1 and is now called a signature4 ,in a book there may be twenty or thirty1 or more such signatures1 which are numbered so that the binder will know in what order to place them4 ,these numbers are placed at the bottom of the first page in each signature4 ,the ,tools ,before beginning the work of binding1 a few preparations must be made1 and first of all a press is indispensable4 ,this is very easily made4 ,take two pieces of board1 of some close-grained hard-wood1 about one and a quarter inches thick and a little larger than any book you are likely to undertake to bind4 ,eighteen by twenty inches will be found the most useful size4 ,lay your boards together1 and with an inch auger bore through both three holes at each end of the boards about an inch back from the edge4 ,now make six pegs of hard-wood--white oak is excellent--about six inches long1 and fit them tightly into one of your two boards1 on one side of it2 that is1 the pegs should all stand out at one side4 7,fig4 #d47 ,when this is done1 carefully work down the size of the pegs until they will pass freely through the holes in the other board1 so that the two boards may be separated or brought close together as required4 ,the loose or movable board 7,fig4 #e7 should be fitted with a backstay or two1 so that it will stand edgewise on a table1 and the two boards together will thus form a sort of upright press or vise4 ,illustration3 ,,the ,,practice ,,of ,,bookbinding ,fig4 #a4 ,fig4 #b4 ,fig4 #c4 ,fig4 #d4 ,fig4 #e4 ,in order to furnish your press with power1 you must now pass four large iron 8wood-screws0 loosely through the blank outer edge of the movable board into holes in the corresponding edge of the other board1 where they should 8bite40 ,when a book is put into the press it is a very easy matter to tighten the screws so as to hold it firmly4 ,this simple1 inexpensive1 and easily made press may be improved in various ways2 screws with winged nuts may be used1 etc41 but in its simplest form it will be found sufficient for all the demands the amateur binder is likely to make on it4 ,next in importance to the press is the hammer1 and this is the only tool you will be likely to have to buy4 ,it should be heavy1 weighing at least twelve or fourteen pounds1 and should be rounded at the ends4 ,this is used for beating and compressing the books1 shaping their backs1 etc4 ,if you live near a foundry it is quite easy to make a model of wood or clay and have a hammer cast4 ,in any case1 it is not an expensive tool--any blacksmith can hammer one out in a short time4 ,the glue-pot may be almost any little crockery dish1 but it should never be put on the stove4 ,if you have no regular glue-pot1 you can melt your glue in an old cup placed in a saucepan of boiling water4 ,besides the press1 hammer1 and glue-pot1 you must have a pair of scissors and a few simple but sharp-cutting tools4 ,when these things are all prepared you are ready to bind your book4 ,the ,practice of the ,art ,after removing everything that is not to be included in your volume1 place the 8signatures0 or parts together in regular order1 striking the backs gently on the table or bench to get them even4 ,then place them on a block and beat with the hammer so as to flatten and compress them as much as possible4 ,then they should be put very carefully into the press and the screws tightened firmly1 so as to hold the volume steady4 ,the back should project about one inch above the edge of the press4 ,now1 with a common hand-saw1 cut four slits across the back at regular intervals1 not deeper than the teeth of the saw4 ,take the book from the press1 and into each of these slits or nicks lay a piece of stout cord or twine 7not too thick71 and to these cords all the signatures forming the book must be fastened with pack-thread4 ,a necessary aid to this sewing process is a small square frame of light wood4 ,the cords must be tied to this below and above1 as shown at ,fig4 #c1 and the lower part of the frame must be sufficiently broad and flat for the book to lie upon it4 ,after the cords are laid into or passed through their respective nicks1 you must open the leaves regularly and find the middle of each signature1 and then pass1 with a needle1 the pack-thread along the inside1 but twisting it around each cord in succession as you go along1 making it fast at the end with a hitch or knot4 ,this is much easier than it sounds1 and with a little practice may be done very quickly4 ,when you have finished the sewing cut away the cords1 leaving an inch and a half or so on each side1 which is left to make the attachment to the cover4 ,this completes the first stage of the binding4 ,the book must now be replaced in the press1 and its back covered with a good coat of glue melted in the manner already described4 ,leave it in the press until the glue is thoroughly dry4 ,in the mean time measure the breadth of the back and go ahead with the preparation of your cover1 which may be made as follows3 ,cut two pieces of thin pasteboard a little larger than your book4 ,also cut a piece of cloth--calico1 linen1 or muslin--so much larger than both pieces of pasteboard either way as to allow for the back and the turning in4 ,down the middle of this paste three or four strips of the same goods to strengthen the back4 ,carefully measure the length and breadth of the back1 and lay your pasteboard covers on the table1 leaving the space of the back between them4 ,now put on your cloth1 turning it around the edges of the covers1 carefully avoiding creasing or wrinkling1 and lightly glue it fast as shown at ,fig4 #aj4 ,your cover is now made and must be allowed to dry4 ,next take your book from the press1 unravel and soften the projecting ends of the cord1 and wet them with strong glue4 ,lay the book down carefully on its back into the cover and glue down the cords to the sides4 ,the book should be supported in this position1 which can be done in any number of ways1 and a slip of cloth glued down over the cords to hold them steady4 ,then paste over all this a sheet of white or fancy paper to line each cover1 and when the job is dry your work is done4 ,nothing has been said about cutting the edges of the book1 as that is usually done on a machine2 but if you are able to trim them clean with a sharp knife1 so much the better4 ,to do this1 place the book into the press before putting on the cover1 bringing up each edge of the three exposed ones successively1 and while held there firmly1 cut them carefully with a sharp knife or shoemaker's cutting-tool4 ,any little inequalities may afterwards be taken down with sand-paper4 ,the edges when cut may be spattered with any color desired by using a common tooth-brush and water-colors4 ,illustration3 ,,fig4 #f4 ,,fig4 #aj4 ,to put on the title in gilt letters1 the binder applies a little of the white of an egg over the space where the letters are to be4 ,when this is dry1 rub the leather with a rag slightly greased1 and then lay on the gold-leaf4 ,next take common type used by printers1 heat them a little1 and stamp on the letters4 ,the heat makes the gold-leaf stick where it is wanted1 and the rest is rubbed off with a rag4 ,all the gilt ornamentation on book covers may be put on in a similar manner4 ,to get a clear understanding of these directions the boy craftsman should examine different kinds of books very closely2 and if he has an old and valueless one he can take it to pieces and put it together again4 ,perhaps he can improve its condition4 ,at least he will learn some of the minor details4 ,he must remember that in bookbinding1 as in all other arts1 patience and repeated trials are requisite for acquiring the skill that produces neat and handsome work4 ,rebinding ,books ,it is not always possible for a boy to purchase cloth-bound volumes of his favorite authors1 as they cost quite a little money4 ,but he may often procure them in paper covers1 and if he is careful to select stitched books1 rather than those simply caught together with wire or 8wire sewed10 as they are termed1 it will be possible for him to rebind them in cloth at a slight expense4 ,to begin with1 strip off the paper cover1 taking care not to tear the printed title on the cover1 nor that at the back of the book1 if it is possible to save it4 ,both of these will be useful in the rebound volume4 ,with a penknife and sand-paper remove as much as possible of the paper cover that has been glued to the back of the book1 taking care not to cut away any of the stitching2 otherwise the book would fall apart4 ,the book in this condition1 ready for its 8case0 or cover1 is shown in ,fig4 #f4 ,if the signatures have been caught together with wire1 remove the latter with a pair of pliers2 then sew the pages as already described4 ,get two pieces of white paper the same thickness and quality of which the book is made1 and fold them over once1 as shown in ,fig4 #g4 ,with paste or liquid glue attach one at each side of the book by running the paste along one side of the folded edge of paper for a quarter of an inch1 as shown by the shaded line in ,fig4 #g4 ,this is called 8tipping10 and where a page or two have become detached or not properly bound in1 this method is employed to reset it4 ,when these pages are in place1 trim them so as to correspond to the size of the book2 then glue the back of the book well and attach a piece of crash to the back as shown in ,fig4 #h4 ,the crash should be a trifle shorter than the height of the book1 or about half an inch at each end1 and there should be at least an inch of the material on either side of the book1 as shown in the illustration4 ,this material is known as 8crash0 in the bookbinding trade1 but it is nothing more than a coarse-thread cloth with open mesh1 and it is sold in dry-goods stores under the name of crinoline4 ,from clay-board or stiff card-board1 binders' board1 or strawboard1 cut two pieces an eighth of an inch wider and a quarter of an inch longer than the actual size of the book4 ,these are for the front and back corners4 ,lay the binding material--buckram1 cloth1 or leather--on a table or smooth board face down4 ,now1 with a lead-pencil1 mark two parallel lines through the middle1 as far apart as the thickness of the book plus the thickness of the covers1 as shown at ,a ,a in ,fig4 #i4 ,then mark a line across one end at right angles to these1 as shown at ,b4 ,apply glue to the covering material and place the card-boards on the spaces ,c ,c1 so that the inner edge and top of each board will line with the pencil-marks ,a and ,b4 ,press the boards down with the fingers2 then turn the cloth and boards over and press with a dry cloth1 rubbing over the surface to drive down the cloth in any place where it does not seem to have adhered4 ,with scissors or a knife cut off the corners as shown at ,d1 taking care not to approach too close to the corner of the boards4 ,leave about one-eighth of an inch of cloth beyond the corners1 so that it will cover them when the edges of the cloth are turned over4 ,these edges should be about half an inch in width4 ,after applying glue to them1 lap them over on the card-boards1 as shown at ,fig4 #aj1 and rub them with the soft cloth to drive out all air from between these edges and the boards4 ,illustration3 ,,rebinding ,,an ,,old ,,book ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aa4 ,when the four sides are finished1 the cover or case is ready to receive the book4 ,lay the case open on a table1 just as you see it in ,fig4 #aj1 and apply glue to the space between the card-boards1 and also on the card-boards for an inch or so from the inner edges4 ,now take the book in hand1 and place it so that the back will rest on the space of cloth between the boards1 leaving an equal projection of the cover above and below the board1 or about one-eighth of an inch4 ,with the fingers press the projecting flaps of crash down on the glued surface of the cards at either side of the book2 then lift both covers up to the sides of the book 7still allowing it to rest on its back71 and with both hands press the covers together as hard as you can4 ,hold it in this position for a few seconds2 then carefully lay the book on its side and place a flat-iron upon it for five minutes4 ,at the end of this time carefully lift one cover and apply glue or paste to the first fly-leaf 7that is one of the pages you tipped in71 and press it against the inside of the cover1 taking care1 however1 not to allow the paper to wrinkle4 ,turn the book over and repeat this on the other side2 then replace the flat-iron and leave the book under pressure for a day or two2 or1 better yet1 arrange it in between the pressure-boards described for ,figs4 #d and #e1 and leave it there overnight4 ,if the first page has adhered to the glue about the edges of the crash1 it will be necessary to carefully pull it away1 taking care not to tear this first page or lining sheet1 nor to disturb the crash4 ,if liquid glue is used1 it will not set hard enough in the five minutes to render it impossible to remove the paper4 ,if hot glue is employed1 it will not be necessary to close the book and press it1 for the glue will set very quickly1 and the first and last pages may be pasted and laid over the inside of the covers at once1 so that when placed under pressure and left there the crash1 glue1 and paste can set and dry at the same time4 ,the object of pasting the blank pages to the inside of the covers is to make a good finish to the binding1 and also to lend additional strength to the attachment of book and case4 ,fancy end-papers and richly tinted or colored ones are often used as linings1 as you can see in many books4 ,these are always tipped in as described1 so that they will be the first and last pages in the book4 ,from the paper cover 7which you removed from the book before binding it7 cut the title1 and1 with glue1 apply it to the front cover near the top1 as shown in the illustration of the finished book 7,fig4 #aa74 ,if the back title has been preserved that can be pasted along the back4 ,how to ,extra-illustrate a ,book ,every one knows how much more interesting is an illustrated book than one without pictures4 ,what a satisfaction it would be to us if we could illustrate our favorite books ourselves6 ,what pleasure we would take in it6 ,this is entirely possible4 ,it is a comparatively easy matter to illustrate a book1 or1 in the case of a book that already contains pictures1 to extend and increase the illustration by means of old prints1 engravings1 and pictures gathered from various sources1 and bound in with the leaves of the book4 ,this is called 8extra-illustrating10 and has long been a favorite amusement of collectors4 ,a book that is carefully and judiciously extra-illustrated is not only much more attractive in appearance1 but its value is greatly increased1 and the amount of pleasure and instruction to be gained by the extra-illustration of one book is a rich reward for the trouble and time it costs4 ,the first thing to be done in the extra-illustration of a book which has been selected for the purpose is the collection of the pictures4 ,this will often take some time1 and should never be done in a hurry4 ,old magazines and illustrated papers will supply many of the necessary pictures1 while old books and the shops devoted to the sale of old prints and engravings will furnish others4 ,suppose ,the ,three ,musketeers to be the book chosen4 ,a portrait of the author should be selected for a frontispiece4 ,other portraits1 representing the author at different ages1 may be used in the book2 but that which serves as the frontispiece should be one made about the time he wrote the book4 ,the other illustrations should consist of pictures referring as nearly as possible to the scenes and incidents described in the story4 ,pictures of an author's home or portraits of members of his family are always useful2 but no picture1 however interesting in itself1 should be included if it does not bear directly upon the scenes in the book1 or is not in some way connected with the author4 ,when a sufficient number of illustrations have been selected1 they should be mounted ready for binding4 ,this is the difficult part1 and must be done with great care4 ,take a sheet of strong paper1 as nearly as possible the same color and weight as the paper upon which the book is printed1 and cut it the exact size of the page of the book4 ,then trim your print close to the work1 being careful to see that the edges are perfectly straight4 ,cut out from your sheet of paper a hole exactly the shape of the print1 but an eighth of an inch smaller on all sides4 ,this opening should not be exactly in the middle of the page1 but a little above the middle and a little to the left1 so as to give wider margins at the bottom and on the right4 ,now gum or paste the edges of the print on the under side with great care1 and place it over the opening so that it is even on all sides4 ,as there is a difference of only a sixteenth of an inch on the four sides1 it is a delicate matter to place the print on the mount accurately1 but after a little practice it can be done quite easily and quickly4 ,after the prints are mounted1 they should be pressed until dry4 ,then the cover of the book should be carefully removed with the aid of a sharp knife4 ,never mind about ruining the blank pages or fly-leaves1 for they will be replaced by the binder when he puts the cover on again2 but care should be taken to avoid cutting or tearing any of the printed pages4 ,when the cover is removed1 it will be found that the book is put together in sections laid one on top of another4 ,these sections consist of sixteen or some other number of pages each1 and a section is known in a printing-office as a 8signature40 ,the threads that sew the book should be cut1 and the signatures should be carefully separated from each other4 ,then the mounted prints should be laid in as nearly as possible opposite the incidents they illustrate4 ,the prints should always be inserted face up1 and the sidewise full pages with the bottom of the picture towards either the outside or inside margin of the book4 ,now your book is ready for the binder4 ,perhaps your extra-illustration has been so extensive as to increase the bulk of the book so much that the original cover will not go on again1 and perhaps enough has been added to make the one volume into two1 in which case your binder can supply you with simple covers at a very slight expense4 ,books of travel1 or stories of hunting1 fishing1 etc41 may be beautifully illustrated by photographs4 ,unmounted prints are to be desired1 although it is possible to take prints off mounts by a liberal soaking in warm water4 ,the soft-finished photographs1 such as bromide and platinum prints1 are vastly better than the shiny albumen prints4 ,photographs should be mounted in the same way as other prints1 except that no openings are to be made in the mounts4 ,the prints should be pasted on flat and pressed until dry4 ,albumen prints have a tendency to curl up1 and it will require a pretty stiff paper to keep them flat4 ,this is one of the reasons why platinum or bromide prints are so much better4 ,when albumen prints are used they must be mounted wet1 and should afterwards be burnished1 which can be done by any professional photographer4 ,an amateur photographer can have the fun in many cases of making the pictures himself for the book he wants to extra-illustrate1 and the finished work will have an added interest and value to him4 ,the use of photographs1 especially if many are included1 will greatly increase the thickness of a book1 and it will generally be found advisable to have the binder make it into two volumes of equal size4 ,a ,circulating ,library ,in a small town1 or in a residential section of a city where most of the young people are acquainted with one another1 a circulating library may be formed at a nominal cost4 ,this can be done in two ways3 the first plan is for the members to contribute the books--from one to ten volumes--as may be agreed upon4 ,many people hesitate to lend books1 because they 8fly off and never come home to roost10 but by the circulating-library system law and order can be maintained4 ,one of the most successful libraries of this kind was carried on for a number of years in a ,new ,york town4 ,the young people1 in due time1 became married men and women1 but through the association of the library they continued to hold together like a great big family4 ,a regular set of by-laws were established and lived up to4 ,books could be drawn each week1 on a day set for this purpose4 ,a librarian was selected1 and in his house the bookcase was located4 ,there were three locks on the case4 ,the key of one was held by the librarian1 another by the president1 and the third by the secretary and treasurer4 ,regular dues were assessed on each member--twelve cents a year at first2 then fifty-two cents1 and finally one dollar4 ,books kept over two weeks were charged for at the rate of one cent a week1 doubling each week for four weeks4 ,this fine made it imperative for the subscribers to return books at the end of three weeks or suffer a heavy penalty4 ,another popular scheme was carried out by the children in the ,glenwood section of ,greater ,new ,york4 ,they held a fair some years ago1 and made quite a little money4 ,they then purchased paper-covered books by good authors and rebound them in cloth4 ,a bookcase was constructed that held over one hundred volumes1 and the same co-operative plan was inaugurated that has just been described4 ,chapter ,,xiv ,,magic ,,lanterns ,,and ,,stereopticons ,boys who have cameras1 and who have made good collections of views1 portraits1 and other interesting pictures1 may find a great deal of pleasure in entertaining friends with stereopticon exhibitions of their work4 ,the necessary plates and materials may be purchased at any camera or photographic supply store1 and with a little patient practice excellent lantern slides may be made4 ,a good magic lantern or stereopticon is a luxury1 but for the ambitious boy there is a way to make one at home with but little outlay of money beyond the cost of the lenses and lamp4 ,a ,home-made ,magic ,lantern ,a box1 some thin boards1 an ordinary central-draught or duplex-burner lamp1 a reflector1 some nails and screws1 a pair of condensing-lenses1 and a projector are the materials necessary4 ,make a box of half-inch wood1 twelve inches long1 eleven inches high1 and seven inches wide1 outside measure4 ,cut a round hole four and three-fourths inches in diameter at the front of the box1 the middle of the hole being eight inches above the inside bottom4 ,make a door at the back of the box1 and fasten a reflector just opposite this hole4 ,cut a hole in the top of the box for a lamp-chimney to come through4 ,nail a piece of half-inch wood eight inches long to the front of the box three inches from the bottom 7see ,fig4 #a74 ,we will call this the deck4 ,fasten a piece of wood fourteen inches long and four inches wide on either side of the box and deck-piece 7see ,fig4 #b74 ,perforate the bottom of the box with holes half an inch in diameter1 to afford the necessary draught to the lamp4 ,elevate the box on two cross-sticks an inch wide 7see ,fig4 #b ,b ,b74 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,from an optician or camera supply house obtain a pair of four-inch condensers mounted in a brass barrel1 and a quarter-size projector with a rack and pinion4 ,mount the condensers in the hole in front of the box1 supported by means of a block 7,fig4 #c71 fastened on the inside front of the box 7see ,fig4 #d74 ,in order to adapt the focus of the lenses according to the distance the lantern is from the screen1 a sliding front is necessary 7see ,fig4 #e74 ,cut a base-block scant seven inches wide and six inches long1 fastening to it1 three and one-half inches from the front1 an upright piece of wood high enough to be even with the top of the lantern-box4 ,when the base is resting on the deck in front of the box two small angle-brackets will steady the upright and make it rigid 7see ,fig4 #e74 ,cut a hole in this upright board so that the centre of the projector mounted in it lines exactly with the centre of the condensing-lenses4 ,this is an important point2 if the lenses are not carefully mounted opposite one another the picture will not be clear4 ,now fit a piece of wood one-fourth of an inch in front of the main box1 fastening it at the top with a strip of tin4 ,there must be a hole three inches square cut in this board1 the middle of which must line with the centre of condensing-lens4 ,in the opening between this board and the box slip a thin piece of board for the slides to rest on4 ,set a double-wick lamp or central-draught burner within the box at the proper height1 so that the brightest part of the flame will be in direct line with the centre of the reflector and the condensing-lenses4 ,the principle of the magic lantern is the reflection of the light through the condensing-lenses1 which pick up all the light possible and throw it through the slide1 which is located directly in front of it4 ,the light is then taken up by the projector1 and the pencils of light are thrown onto the screen1 at the same time magnifying the picture4 ,this principle is shown by the dotted lines in ,fig4 #f1 which show also the relative position of the lamp1 lenses1 and reflector4 ,to keep in the light that would escape through the top opening in the box1 put a piece of common stove-pipe 7small7 over the lamp-chimney4 ,cut a cap from a piece of tin 7,fig4 #g ,a71 the ears extending down inside the chimney to hold the cap in place1 when the cap-piece is bent in a half circle as shown at ,fig4 #g ,b4 ,to cover the space between the lantern-top and the moving front board a piece of black cloth can be used4 ,or if you have an old camera-bellows it may be made fast to the back of the projector-lens board and to the front of the slide-board located close to the box4 ,it is not necessary to have an absolutely light-tight bellows2 indeed1 a very good one can be made from some wire hoops with black cloth sewed to them4 ,in ,fig4 #h the wire hoops are shown1 and in ,fig4 #i the finished bellows1 with the cloth stitched in place1 is ready to be attached to the boards with small tacks or staples4 ,when all the parts are assembled1 and the lantern is complete 7except the bellows1 which has been omitted so that the working parts may be more clearly shown71 the lantern will appear as in ,fig4 #aj4 ,a ,stereopticon ,the cost of a good stereopticon will range from twenty-five to seventy-five dollars1 and that sum places it beyond reach of the average boy4 ,the following instructions and illustrations will enable any smart boy1 who is handy with tools and light materials1 to make a high-grade stereopticon with lamp and mechanism that is capable of doing really good work4 ,illustration3 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,the materials needed for its construction will be some sheet ,russia iron1 thin mahogany or cherry boards three-eighths of an inch in thickness and six inches wide1 some round-headed brass screws1 small hinges1 a camera-bellows1 and the necessary lenses and lamp4 ,the tools include a light pair of metal shears1 a fine-tooth saw and a compass-saw1 a small hammer1 plane1 and screw-driver1 and a light cold-chisel4 ,to begin with1 obtain a board twenty inches long1 six inches wide1 and three-eighths of an inch in thickness to serve as the base-board4 ,treat this board to several successive thin coats of shellac1 and rub down the last coat with fine sand-paper to give it a smooth surface4 ,cut another piece six inches wide1 eight and one-eighth inches long1 and in it make a round hole about four and a half inches in diameter1 through which the case that contains the condenser-lenses may pass and fit snugly4 ,this board is to be placed nine inches from one end of the base-board1 and fastened to it in a standing position with long1 slim screws driven into the lower end through the underside of the base-board4 ,fig4 #aa shows the arrangement of these boards1 also the runners and sheet-iron hood4 ,from a sheet of ,russia iron cut a piece nine and a half inches wide and twenty-three inches long1 and have a tinsmith roll one edge over a piece of wire so as to stiffen it4 ,with a rule and piece of chalk divide and mark off the sheet into three divisions1 the end ones measuring eight and a half by nine inches and the middle one six by nine inches4 ,illustration3 ,,construction ,,of ,,the ,,stereopticon ,,fig4 #aa4 ,,fig4 #ab4 ,,fig4 #ac4 ,,fig4 #ad ,a4 ,,fig4 #ad ,b4 ,lay the sheet on a board at the edge of a table so that a chalked line is directly over the sharp edge1 and1 holding it down firmly with one hand1 bend the iron down with the other1 forming a right angle4 ,bend the iron on the remaining line in a similar manner1 and the hood is formed4 ,in the top of this hood1 at the middle1 mark off an oblong two inches wide and six inches long2 then cut out the piece of iron with a cold-chisel and a hammer1 laying the sheet-iron on the upturned surface of an old flat-iron4 ,file or emery-paper the edges of the opening to render them smooth1 then cut an opening in one side1 three and a half inches high by four inches long1 for a door4 ,through the top hole a lamp-chimney may project that the surplus heat may be carried upward4 ,for the side opening a sheet-iron door should be made and hung in place with small brass hinges1 and a brass lever catch to keep it closed4 ,this catch is a simple little affair1 and consists of a thin piece of spring brass1 in one end of which a hole has been made1 while at the other a little knob handle is riveted4 ,one end is attached to the door1 and to the hood beside the door a catch of thin brass is riveted fast1 into which the lever catch can drop4 ,to stiffen the door1 the edges should be bound with narrow brass strips1 securely fastened with small rivets1 or escutcheon pins1 that can be adapted as rivets by cutting them to the required length4 ,two runners half an inch wide and three-eighths of an inch in thickness are to be screwed fast to the uncovered top of the base-board1 four and a half inches apart1 as shown in ,fig4 #aa4 ,from sheet-iron cut two strips half an inch in width and ten inches long1 and fasten a piece to the top of each runner1 using the same screens to hold them in place that secure the runners to the base-board4 ,one-eighth of an inch of each strip will project over the inner edges of the runners1 as shown in ,fig4 #ab1 and this edge will serve to hold the wooden slide-holder and objective-lens board in the proper position on the base-board4 ,make a sheet-iron door six inches wide and seven inches high1 with the edges rolled over a wire to stiffen them1 and in the bottom of the door1 at the centre1 cut an opening half an inch wide and two inches high4 ,this will allow the door to be closed over a gas-pipe that may project for a short distance from the rear of the enclosure4 ,attach this door to the back of the hood with two small hinges riveted at the top1 as shown in ,fig4 #ac1 and across the under side of the base-board1 and two inches from either end1 screw battens of wood in which pins have been set4 ,these battens will raise the lantern up from a table or box on which it may rest1 and allow a draught to pass up through holes made in the base-board inside the enclosure formed by the iron hood4 ,these draught-holes will be necessary for either oil or gas light1 and they can be bored about as shown in ,fig4 #ac4 ,two small wooden runners must be fastened to the base inside the enclosure1 a distance of four and a half inches apart1 and between them a lamp or gas-jet tray will slide4 ,from the thin mahogany cut three pieces four and a half inches wide and seven inches long4 ,in the middle of these1 and four inches from one end1 make a centre dot1 and with a compass-saw cut a hole in one of them three and a half inches in diameter1 and in another cut a hole three and a half inches square4 ,in the third board make a hole the diameter of the objective lens2 then with screws and glue fasten the first two boards together1 as shown in ,fig4 #ad ,a1 so that a space of three-quarters of an inch will remain between them4 ,the height of this opening should be four and a quarter inches1 and the holes in the middle of the boards should be centred4 ,these two boards and separation blocks are to be fastened in an upright position to a narrow piece of three-eighth-inch board the same length as the width of the upright boards1 as shown in ,fig4 #ad ,a2 and at the outer edges a saw-cut at the joint will allow this frame to slide back and forth between the runners1 so that the iron edge may fit in the saw-cut4 ,to the inside of the front board two springs should be attached with screws at one end of each2 these springs may be shaped from corset steels1 and they should be bent in a curved position1 as shown at the lower end of the opening in ,fig4 #ad ,a4 ,their use is to hold the slide-carrier back against the rear board and firmly in place4 ,slide-carriers may be purchased at an optical supply house1 and they are made in several shapes2 the most convenient ones1 however1 are the sliding wooden holders that accommodate two slides4 ,the remaining board is to be mounted on a block and held in place by two angle strips1 as shown in ,fig4 #ad ,b2 and to enable it to slide between the runners it should receive saw-cuts also4 ,procure a camera-bellows four inches square1 or in its absence employ a piece of black silk or gossamer cloth1 and attach it to the frames1 as shown in ,fig4 #af1 with small curtain tacks and glue4 ,having mounted these boards on the base-board between the runners1 the box is then ready to receive the lenses and lamp4 ,from a manufacturer of optical goods purchase a pair of four-and-a-half-inch diameter condensing-lenses mounted in a tube1 and a quarter-size four-inch back-focus double-objective lens mounted in a tube with rack and pinion adjustment4 ,illustration3 ,,fig4 #ae4 ,,fig4 #af4 ,the condenser-lenses should occupy the hole in the front of the box1 where the tube can be firmly held in place by the inside edge of the hole4 ,the objective lenses are to be attached to the face of the front board in the position shown in ,fig4 #af2 and by means of the sliding-board and bellows the lenses can be adjusted to meet any short-focus range--that is1 a distance of fifteen or twenty feet from the sheet on which the picture is thrown4 ,for use in small rooms a duplex-burner1 or central-draught lamp1 can be used1 and a plan showing the position of lamp1 reflector1 and lenses is shown in ,fig4 #ae4 ,a represents the reflector placed behind a lamp having duplex wicks4 ,the centre of the reflector should be directly in line with the centre of the lenses1 and the lamp must be placed so that a portion of the flame1 three-quarters of an inch above the top of the wicks1 will line with centre of reflector and lenses4 ,the light is brightest in oil-lamps1 from three-quarters to an inch above the wicks1 and1 as only a small portion of the light is of use1 the most brilliant part of the flame should be employed for projection through the slide and lenses4 ,b ,b are the wicks of the lamp1 and the fount should be placed so that an imaginary line drawn through the centre of reflector and lenses would pass through the forward edge of one wick and the rear edge of the other4 ,by arranging the wicks at the angle shown on the plan1 the greatest advantage can be had from the light4 ,the positions of the condensing-lenses are shown at ,c ,c1 and ,d represents a slide in position at the front of them4 ,e ,e gives the position of the objective lenses1 and the dotted lines ,f1 ,g1 and ,h1 drawn from the reflector edges crossing at the light1 passing through the condensers and slides1 and out through the objective lenses1 show the manner in which the rays of light are collected and thrown through the transparent picture and lenses1 and so on through space1 until it rests against the large sheet4 ,to complete the stereopticon an oval chimney is to be made1 and fitted with a flange so that it may be held to the top of the iron hood with four little iron buttons or lap-hooks riveted to the top of the hood4 ,this chimney should be four inches long by two inches wide at the bottom1 and one and a half inches square at the top1 and eight or ten inches high4 ,at the top arrange a light-cap about as shown in ,fig4 #af1 so that the light from the lamp or gas-jet will not throw rays up against the wall and weaken the picture on the sheet4 ,precaution must be taken to stop out all surplus light other than that projected through the lenses1 since the useless rays tend to weaken the round disk of light on the screen1 and render the picture weak and neutral in tone1 instead of sharp and vigorous4 ,the wood-work should be given two or three coats of shellac1 and the iron parts should be blackened4 ,dissolving views cannot be shown in a single lantern1 but if two lanterns are fitted with the same kind of lenses1 and placed side by side1 so that the disks on the sheet are uniform in diameter1 it will then be possible to obtain some very beautiful dissolving effects4 ,lantern ,slides by ,contact-printing ,many amateurs have an idea that it requires a great deal of skill to make lantern slides1 but any one who can produce a good negative can soon learn how to make a good lantern slide4 ,the simplest way is by contact-printing4 ,select a negative free from spots1 scratches1 or pinholes4 ,it must have fine detail in the shadows1 and no harsh contrasts of light and shade4 ,the regulation size of a lantern slide is #c #d inches1 so choose a negative which will still make a good picture if all but the portion included in these dimensions is blocked out4 ,cover the part of the negative which is to be blocked out with black needle-paper1 or paint it with non-actinic paint1 applying it to the glass side of the negative4 ,the negative is placed in a printing-frame1 and then by means of a red light the slide-plate is placed over the part to be printed from1 the film side towards the negative4 ,if one has a lantern1 the light of which is suitable for printing slides1 cover the negative1 open the door of the lantern1 and then1 holding the printing-frame about fifteen inches from the light1 expose from five to twenty seconds1 according to the density of the plate4 ,a plate that prints quickly will need but five or eight seconds1 but a denser plate will require a much longer exposure1 often as long as thirty seconds4 ,cover the plate as soon as it is printed1 close the lantern1 remove the slide from the frame1 and place it face up in the developing-tray4 ,turn the developer over it quickly1 taking care that the whole surface of the plate is covered immediately4 ,any developer that makes good negatives will make good lantern slides4 ,a weak developer is to be preferred to one which brings out the image quickly4 ,develop till the detail is well out2 wash and fix same as a negative4 ,as every imperfection in a plate is magnified many times when thrown upon the screen1 great care must be taken in the developing1 fixing1 washing1 and drying4 ,when the slides are washed1 take a piece of clean surgeon's cotton and wipe the film very gently1 then place to dry where no dust will settle on the surface4 ,if there are any spots on the plate after washing and before drying1 they may be removed with ferricyanide of potassium in solution4 ,tie a small piece of surgeon's cotton to the end of a glass rod1 dip it into the solution1 and touch the spot very lightly4 ,rinse the plate at once1 and if the spot has not entirely disappeared repeat the operation4 ,the ferricyanide works very quickly1 and must be rinsed off as soon as applied4 ,lantern ,slides by ,reduction ,if your negatives are larger than #c #c1 and it is desired to get the entire picture on the slide1 then the reduction process will have to be resorted to4 ,for this work you can use your camera if it has a long bellows1 and the work should be done in a room where a window is towards the north4 ,obtain a piece of board five feet long and ten or twelve inches wide1 and at one end of it erect the negative-board1 as shown at ,fig4 #ag4 ,the negative-board or holder should be twelve or fifteen inches square1 with an #h #aj rabbeted hole at the middle of it1 and supported with two brackets1 as shown at ,fig4 #ag ,b4 ,kits can be made or purchased to fit in the opening reducing to #f #h1 #e #h1 #e #g1 #d #f1 #d #e1 and #c #d4 ,with this range of sizes any negative from #c #d to #h #aj can be held in the board4 ,now arrange two strips of wood at each edge of the long base-board1 so that the camera can slide forward and backward on a platform built to support it1 as shown at ,fig4 #ag ,d4 ,the camera should be made fast to this moving platform with wood cleats and screws1 and it should be mounted high enough so that the centre of the lens will be exactly on a line with the centre of the opening in the upright board1 as shown by the dotted line in ,fig4 #ag4 ,at the upper corners of the plate-board arrange slim1 steel-wire nails with the heads cut off1 and bore holes near the ends of sticks three-quarters of an inch square so that they will fit down over the nails1 as shown at ,fig4 #ag ,e4 ,the other ends of the sticks should rest on the top of the camera4 ,over these sticks a dark cloth should be thrown when making photographs of negatives1 to keep out light and prevent the high light from the window affecting the action of the lens4 ,to make a reduction of a large negative1 fill the plate-holders with #c #d lantern-slide plates1 having obtained kits to fit your holders2 then clamp a negative upside down on the board1 as shown at ,a4 ,mark the lantern-slide size with a lead-pencil on the ground glass of your camera1 taking care to centre it2 then move your camera forward or backward and operate the bellows until the correct size has been obtained4 ,focus as sharp as you can2 then stop down your lens with the smallest diaphragm4 ,experience will dictate the proper length of time for exposures4 ,no definite rule can be laid down1 for the varying conditions of light1 rapidity of plate1 and state of the weather--all will have to be taken into consideration4 ,illustration3 ,,fig4 #ag4 ,,fig4 #ah4 ,,fig4 #ai4 ,,fig4 #bj4 ,,fig4 #ba4 ,,fig4 #bb4 ,,fig4 #bc4 ,lantern slides made by reduction are always sharper and better than contact slides1 and whenever possible they should be made after this fashion1 even from films which may be held flat between two plates of clear glass4 ,a piece of white tissue-paper should be pinned against the window towards which the camera points1 so that a blank white light will be beyond the negative1 thereby avoiding the possibility of picking up any false lights or shadows4 ,lantern slides should always be masked1 so that the actual sight-opening through which the lantern-light is projected will be two and three-quarters inches wide and two and a half inches high4 ,a mask form can be purchased or made from sheet-brass4 ,the opening and the other dimensions should be of the same size as the lantern-slide plate1 or #c #d inches4 ,the masks should be cut from black needle-paper with a rotary cutter1 having first prepared a number of the blanks of the proper size2 then the openings can be cut as shown in ,fig4 #ah4 ,a smaller mask for the central part of slides can be made two inches wide and two and a half inches high1 as shown in ,fig4 #ai1 and for portraits an oval mask is the best 7see ,fig4 #bj74 ,covering-glasses or crystals are necessary in making slides4 ,old lantern slides can be cleaned and used for this purpose1 or some very thin1 white glass may be cut into #c #d-;inch plates4 ,to mount slides lay a mask against the film-side of the plate1 or positive1 and over this place a clean1 clear covering-glass1 as shown at ,fig4 #ba4 ,with binding-tape 7which comes in white and black7 first bind one edge1 as shown at ,fig4 #bb1 arranging the paper tape so that an equal margin will be visible on both sides4 ,bind the opposite edge1 and then cut away the projecting ends of the binding4 ,proceed to close the short ends in a similar manner1 and as a result you will have a finished slide1 as shown in ,fig4 #bc4 ,some slide-makers begin at one corner and run a strip of binding all around the edge without cutting it4 ,this is a little difficult to do at first1 but if you have a clamp that has a compression-screw and will turn on its axle1 it simplifies matters greatly4 ,some amateurs prefer black binding-tape1 others white4 ,the white tape with black masks makes a neat-looking slide1 and if the margin is wide enough the title of the picture may be written on it4 ,chapter ,,xv ,,printing1 ,,stamping1 ,,and ,,embossing ,every boy1 at one time or another1 gets an attack of printers' fever1 and then he will not be satisfied until he makes or purchases a printing-press4 ,there are1 of course1 many different kinds of printing-presses4 ,one of the simplest forms is shown in the drawing of the flat-bed press 7,fig4 #a71 which is very easy to make and to manipulate4 ,a flat board one and one-half inches thick1 twelve inches wide1 and eighteen inches long will form a substantial bed on which to fasten the frame and pressure-plate4 ,the frame is made of hard-wood strips seven-eighths of an inch wide and three-fourths of an inch high4 ,these are glued and screwed fast to the bare board1 forming an enclosure five and one-half by six and one-half inches1 and large enough to accommodate a chase four by five inches4 ,a chase is always measured from the inside4 ,from one-half to five-eighths of an inch all around should be allowed for the thickness of the metal of which the chase is made4 ,the pressure-plate is cut from wood one and one-fourth inches thick1 and the same size as the outside measure of the frame attached to the bed-board4 ,a stout lever fourteen inches long is screwed and glued fast to the top of this board1 which is then attached to the rear strip of the frame by means of three stout iron hinges1 so that when closed down the pressure-plate will fit closely to the top of the frame4 ,the type as it is set up in the chase will stand face up in the frame1 and the card to be printed is caught with gauge-pins to the inside of the pressure-plate1 as shown in the drawing4 ,the type1 having been inked with the roller1 gives the impression to the card when the pressure-plate is brought down and held against the type by means of the lever4 ,the gauge-pins that hold the card in place are made of metal or of ordinary pins4 ,several forms of pins are shown at ,fig4 #b4 ,a is made from an ordinary pin1 while ,b and ,c are other forms cut from thin sheet-brass and then bent into shape with small pliers4 ,fig4 #c shows a chase five by seven inches1 of cast-iron1 which can be purchased at a printers' stock house for a nominal price4 ,when the types are set up they are blocked into position in the chase1 and two wedges1 made with bevelled edges to bear against each other1 are tapped with a light hammer on the thick ends1 so as to wedge the type in place4 ,these are called quoins 7,fig4 #d74 ,fig4 #e shows a small proof-roller made of glue and molasses4 ,it may be purchased at a printers' shop for a few cents4 ,a piece of glass or marble will answer very well for an ink-plate or slab1 and after using them both the slab and roller should be thoroughly cleaned with benzine4 ,the cleaning must be done directly after printing1 else the ink dries on the roller and thus spoils it4 ,illustration3 ,a ,,simple ,,hand-,,press ,,and ,,accessories ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,a composing-stick 7,fig4 #f7 may be made from thin wood three inches wide and nine inches long1 with a sliding jaw 7as shown at ,a7 made of thin wood and caught to the edge with a metal strip loose enough to permit the jaw to be easily moved back and forth4 ,the types1 being first set up in the composing-stick1 are then transferred to the chase1 and clamped in with blocks of wood and quoins4 ,an ,upright ,press ,the upright press 7,fig4 #g7 is on the same principle as the flat-bed1 but the chase is held in a vertical position1 and the back against which it rests is braced to the base-board4 ,this press can be made a little larger than the flat-bed1 and will accommodate a chase measuring five by seven inches4 ,at the rear of the sides of the base-board angular cuts must be made with a saw1 and corresponding cuts should be made near the top of the upright board which supports the chase4 ,with a sharp chisel cut the wood away between these cuts 7,fig4 #g74 ,cut the brace-pins also at each end 7,fig4 #h ,a74 ,a lap-joint is the result1 and when fastened with glue and screws a firm anchorage and support is obtained for the upright board4 ,the pressure-plate is of wood one and one-fourth inches thick1 and attached to the strip at the bottom of the upright or chase-board by means of stout iron hinges4 ,care must be taken when placing these hinges to arrange them so accurately that not a fraction of an inch difference is perceptible at either side or at the top or bottom4 ,otherwise1 uneven pressure will give unsatisfactory results4 ,a lever is made and attached to the pressure-plate as described for the flat-bed press1 and a block may be fastened to the base-board for the lever to rest on1 as shown in the drawing4 ,a ,lever-press ,a perfect wooden lever-press is shown in the large illustration 7,fig4 #i71 which is drawn so clearly that only the measurements will be required to understand its construction4 ,illustration3 ,,fig4 #i4 ,the base-board of this press is twenty inches long1 ten inches wide1 and one and one-fourth inches thick4 ,the upright board against which the chase rests is ten inches wide1 eight inches high1 and one and one-fourth inches thick4 ,the pressure-plate is the same width and thickness1 but is seven inches high1 and bevelled at the bottom1 as shown in the side elevation 7,fig4 #ab74 ,the upright board is placed six inches from one end of the base-board1 and is fastened in place with screws that are driven up from the underside of the base-board1 with side-braces let in to the edges of the boards1 as shown in ,fig4 #h4 ,the pressure-plate is hinged at the bottom to a piece of wood1 which acts as a platform for the lower edge of the chase to rest on4 ,it is seven-eighths of an inch thick and two and one-half inches wide4 ,strips are glued and screwed at either edge of the upright board to hold the sides of the chase1 and at the top the chase is held with a brass spring-clip that can be made and screwed to the wood4 ,four inches from the pressure-plate base three blocks are arranged to support the lever1 which is connected to the back of the pressure-plate with a tongue of iron one-fourth of an inch thick1 three inches long1 and one inch wide 7,fig4 #aj74 ,quarter-inch holes are bored at each end just two inches apart from centre to centre4 ,two blocks of wood are screwed to the back of the pressure-plate one fourth of an inch apart1 and a quarter-inch hole made in each1 to receive a bolt1 which also passes through one hole in the iron tongue4 ,the wooden lever is fourteen inches long1 one and one-half inches square at one end1 and at the other it is rounded1 so as to make it easier on the hands4 ,the square end is rounded off and cut in with a saw1 as shown in ,fig4 #aa1 and one inch in from the end a quarter-inch hole is made4 ,the blocks that hold the lever are set one and one-half inches apart1 and a bolt passes through the upper end of them and through the lever near the end of the iron tongue4 ,the hole in the lever through which the bolt passes is two inches from the end hole1 and when spaced properly the inside of the pressure-plate should be seven-eighths of an inch from the face of the chase-board when the handle and tongue are in a straight line1 as shown in the side elevation of the press 7,fig4 #ab74 ,illustration3 ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,,side ,,elevation ,,of ,,wooden ,,lever-,,press ,metal type1 electrotypes1 engravings1 and printers' plates are always made seven-eighths of an inch high4 ,when making a press always bear this in mind1 and if necessary the pressure-plate can always be built up with hard paper to meet the face of the type if sufficient pressure is not had at first4 ,type1 spaces1 quads1 rule1 blocks1 ink1 and a small roller can be purchased from any printer if there is not a printers' stock house in the town where you live4 ,if the printer is accommodating1 he will answer all your questions about your printing-press1 and help you with any details about which you are uncertain4 ,stamping ,stamping1 or the process of imprinting without the aid of a hand or power-press1 is as old as the hills4 ,away back in the early ages the art of stamping was carried on by means of wooden or stone blocks1 on the face of which characters1 letters1 and various other signs were engraved4 ,patterns or figures in colors were imprinted on fabrics1 parchment1 and leathers2 and in some of the walls of the ruined houses in ,pompeii and ,herculaneum there are found well-preserved examples of the stamper's art1 where figures of a running pattern are repeated at regular intervals4 ,both oil and water-color pigments may be used for stamping2 but if the imprint is to be made on paper or leather1 then printers' ink1 diluted with a small portion of benzine1 should be used4 ,every boy may have an imprint of his initials cut on wood1 and use it in stamping his papers1 school-books1 and other property4 ,in the ,far ,east every prominent merchant has his private signet1 and always1 when signing his name to documents1 he certifies it with his stamp1 which is placed beside or across the name1 as shown in ,fig4 #ac4 ,in ,china and ,japan these stamps are called 8chops10 and are used with a red1 brown1 or blue ink-paste1 which dries hard and indelible on paper1 leather1 or soft wood4 ,the author's imprint so interested a wealthy ,japanese merchant a few years ago1 that when he returned to ,yokohama he had a handsome ivory1 bone1 and silver 8chop0 cut by a good maker in that city1 and sent it over the sea as a souvenir of his visit to this country4 ,fig4 #ad gives the imprint1 and ,fig4 #ae is a drawing showing the shape of the 8chop40 ,the body part is of ivory and the inlay of silver1 while the cap1 which fits over the engraved die1 is of black bone4 ,any boy can make a signet of boxwood or maple for stamping paper and wood4 ,for use on leather he can cut his dies in soft copper1 which1 when heated1 will burn the imprint in the leather4 ,in ,fig4 #af four ideas for imprints are shown4 ,in ,b and ,c the initials are combined1 while ,a and ,d are arrangements of scrolls and lines which will be understood as belonging to a certain person1 just as trade-marks are the known marks of certain manufacturers4 ,in order to cut a wood-stamp1 it will be necessary to have some fine carving-chisels1 a vise1 and sand-paper4 ,maple1 boxwood1 or other close-grained wood can be used1 and it is best to cut the die on the end rather than on the side of the wood4 ,cut your block the size required2 then draw the reverse of the design1 as shown at ,fig4 #ae4 ,cut this as deep as you need it1 so that ink or marking-paste will not clog the low parts2 then1 when the face is properly finished1 the die will stamp an impression as shown at ,fig4 #ad4 ,for large dies it will be necessary to use the wood on the side1 as otherwise the blocks would be heavy and hard to handle4 ,souvenir books or engrossed memorials may be embellished with corner ornaments1 as well as with capital letters and borders in red1 blue1 or gold4 ,any boy who is interested in this branch of craftsmanship can get ideas and designs from gift books1 calendars1 show-cards1 circulars1 and the host of illuminated and embellished printed matter that is in circulation4 ,when making these selections1 however1 avoid the commonplace printing-house patterns1 and favor those to be found in the best magazines1 art books1 and hand-books of ornament such as are shown in ,fig4 #ag1 the several parts of which are a miscellaneous lot of ornaments and letters that can be easily copied by the young die-cutter4 ,illustration3 ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,,fig4 #af4 ,,fig4 #ag4 ,,fig4 #ah4 ,diluted printers' ink is excellent for stamping1 and when used it should be spread on a cloth stretched over several thicknesses of flannel and cotton cloth and made in the form of a pad1 as shown at ,fig4 #ah4 ,this is a block of wood over which the thicknesses of fabric are laid1 the top layer being drawn over the edge and tacked underneath4 ,this block is then placed in a flat box of wood with a hinged cover1 so that the pad may be kept enclosed when not in use1 and so prevent the ink from drying out4 ,after using the pad a cloth wet with benzine should be laid over the pad2 then the lid should be closed and hooked down4 ,embossing ,in embossing the ornament is raised in low relief1 and so lends a rich effect to paper1 card1 leather1 or other ductile material4 ,embossing is generally done under heavy pressure1 and with moisture or heat to facilitate the work4 ,papers1 thin leathers1 and some fabrics can be treated in this manner by the boy craftsman after he has mastered the art of making dies4 ,the mode of making bas-reliefs was fully explained in ,chapter ,,xi1 and for embossing a very low relief is necessary1 since otherwise the paper would split or break away on the raised parts4 ,after a well-modelled ornament is obtained1 it will be necessary to make a hard casting from it in plaster1 and then a casting from this1 so that for the work you will have a sharp1 clear bas-relief and an intaglio--one the expressed design and the other impressed4 ,make these of hard plaster1 and give their surfaces a coat or two of shellac4 ,to press a piece of paper or leather1 dampen it on both sides with a sponge or wet cloth1 and heat the dies in an oven4 ,place the paper over the bas-relief1 cover with the intaglio1 and apply pressure4 ,or place some weight on top of the dies and leave them there for half an hour4 ,on removing the paper you will find a perfect bas-relief which1 when thoroughly dry1 will hold its shape4 ,book1 card1 and mounted leather-work is treated in a hot press1 but only for a second or two--just enough to drive the dies together1 heat the material1 and cause it to hold its shape4 ,part ,,iv ,,round ,,about ,,the ,,house ,chapter ,,xvi ,a ,,house ,,gymnasium ,all healthy-minded boys are interested in physical development2 it is the instinct which leads them to climb high trees and scale precipitous cliffs1 generally at the expense of some anxiety to the minds of their parents and guardians4 ,but these amusements are more in the nature of 8stunts10 pure and simple2 the logical and rational field of athletic culture is the gymnasium4 ,in the large cities1 and at schools and colleges and ,y4,m4,c4,a4 societies1 there are opportunities in abundance for gymnastic exercises4 ,the purpose of this chapter is to show the boy who has to stay at home1 or who lives in a small country village1 what can be done in the way of rigging up a barn floor or a spare room like the one shown in ,fig4 #a4 ,he can also make most of the apparatus2 for1 with a few exceptions1 all the principal pieces are simple in construction and not beyond the ability of the average boy4 ,for indoor exercise the outfit must necessarily consist of those pieces of the gymnasium equipment that can be used when in a standing or sitting attitude1 for the confined space of the average room will not admit of running1 jumping1 or leaping with the pole or from a spring-board4 ,in preparing a list of the pieces of equipment suitable for a boy's 8gym10 some of the familiar ones have been omitted1 as they are either beyond the ability of the average boy to make or they are too cumbersome for the home4 ,the apparatus that is described and illustrated is simple and practicable and can be made at a much lower cost than the prices charged at the shops4 ,illustration3 ,fig4 #a4 ,dumb-bells ,wooden dumb-bells weighing a pound each may be purchased for about fifty cents a pair1 but the boy who is interested in making his entire equipment can use croquet-balls with broom-handles1 or one-inch curtain-pole sticks1 for handles 7,fig4 #b74 ,illustration3 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,to make these dumb-bells1 obtain some old croquet-balls and clamp them1 one by one1 in the vise of a carpenter's bench4 ,then1 with a one-inch bit1 bore a hole through each ball1 as shown in ,fig4 #c4 ,cut a broom-handle or a one-inch curtain-pole in lengths twelve or thirteen inches long1 and in the end of each make a saw-cut1 as shown in ,fig4 #c ,b4 ,smear the end of the stick with glue and drive it through the hole in the ball1 keying it firmly in place by driving a wedge into the end of the stick1 just as hammer-heads are fastened to prevent their coming off4 ,repeat for the second ball4 ,some glue should be placed in the saw-cut1 so as to hold the wedge when it is driven home4 ,to make the handle easier to grip1 it should be bound with linen or cotton fish-line2 then the balls may be painted or varnished1 and the line given a coat of black varnish1 which will set the cord binding and harden it4 ,several sets of these balls may be made for the 8gym0 and hung upon the wooden rail that extends around the room4 ,in the absence of iron bells1 a heavy pair of dumb-bells may be made of gas-pipe handles and flanges with screw-holes fastened into wood blocks four inches in diameter 7,fig4 #d74 ,the gas-pipes1 an inch in diameter1 may be had at a plumber's shop or gas-fitters'1 and they should be five inches long1 threaded at both ends1 and screwed into flanges which have been fitted with threads to receive them4 ,these flanges are bored with holes1 so that ordinary screws may be passed through them and into the wooden ends4 ,the gas-pipe should be bound with line and painted or varnished1 or the entire bell may be painted black to simulate iron4 ,indian ,clubs ,a good pair of ,indian clubs1 weighing from two to three pounds each1 would cost at the shops about one dollar a pair2 but the boy who can handle tools may cut out a very serviceable pair of clubs from wood four inches square or round1 with the club1 or butt1 ends fifteen inches high4 ,two pieces of spruce1 chestnut1 or apple wood are to be cut1 as shown in ,fig4 #e4 ,the upper end should be tapered so that it is one and a half inches in diameter1 and leaving the base about two and a half inches in diameter4 ,the tapering is done by holding the wood in a vise and gradually shaving away the wood with a sharp-bladed draw-knife or spokeshave1 turning the wood frequently so as to cut the butt evenly and as true as possible4 ,with a brace-and-bit a one-inch hole is bored in the top of each club three inches deep1 and into it a broomstick-handle is driven and held in place with glue and a few steel-wire nails4 ,wooden balls are bored and glued to the top of the handles1 and given an additional purchase with small nails4 ,the handles may be bound with fine line and the exposed wood-work painted any desirable color4 ,half a dozen sets of these clubs will add materially to the equipment of the household 8gym02 and it would be advisable to make them in several sizes--say from one to three pounds each4 ,calisthenic ,wands and ,ball-bars ,these wands1 three to five feet long1 may be cut from any hard-wood1 or the same lengths of a one-inch curtain-pole will answer quite as well4 ,plain square sticks may be planed octagonal in shape1 or rounded1 as a matter of choice 7,fig4 #f ,a74 ,the ball-bar 7,fig4 #f ,b7 may be made as described for the dumb-bells1 by boring croquet-balls and attaching them to the ends of a bar with wedges4 ,in many schools calisthenic exercises with wands1 dumb-bells1 and ball-bars are regularly taught2 and the boy who has provided his own gymnasium with the simple apparatus required will find pleasure in rehearsing the school instructions at his home4 ,swinging-rings ,exercising and swinging rings are usually from six to ten inches in diameter1 outside measure1 and they may be purchased at the shops for one or two dollars a pair1 according to the size and finish4 ,a blacksmith will make you a pair of rings1 eight inches in diameter1 out of five-eighth-inch round iron1 for about fifty cents2 and with a fine file and emery cloth they may be smoothed down so that they will not chafe the hands4 ,some rings are nickel-plated1 but they are used only by professionals in their exhibition work4 ,illustration3 ,,fig4 #e4 ,,fig4 #f4 ,,wand ,a ,,ball-,,bar ,b ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,the rings should give a good grip1 and there is nothing better for this than to bind them with tire-tape1 or sew leather around them1 making the seam at the outside1 as shown in ,fig4 #g4 ,the sewing should be done with doubled and waxed linen thread2 if this should prove too difficult1 a shoe or harness maker will help you out for a small sum4 ,in ,fig4 #h a triangle is shown having the lower side bound with tape or leather4 ,this triangle is six inches across the bottom1 eight inches high1 and is made from half-inch round iron4 ,as the lower side is a straight bar1 it is somewhat easier to grip than the segment of a circle4 ,the rings1 or triangles1 should be suspended by means of ropes1 at the lower ends of which straps are provided so that they will hold rings1 rods1 or trapeze bars4 ,a harness-maker will make these straps for fifteen or twenty cents each1 of substantially heavy leather4 ,they should be provided with a stout buckle and a loop under which to slip the strap end1 as shown in ,fig4 #i4 ,the rope ends1 through which the straps are caught1 may be spliced or formed into a loop-end and bound tightly with twine to make a strong union1 as also shown in ,fig4 #i4 ,trapeze ,bars ,for the house gymnasium a trapeze bar should measure four feet long and one and three-quarter inches in diameter2 it should be cut with a path at each end1 as shown in ,fig4 #aj1 so that the strap may be wrapped around it and drawn tight4 ,the bar should be made of seasoned hickory4 ,the wood may be bought from a wheelwright or wagon-maker1 and then dressed down with a plane and spokeshave4 ,the arrangement for the suspension is shown in ,fig4 #aj ,b4 ,the adjustable flying trapeze1 as shown in ,fig4 #aa1 is made from trunk-straps1 provided with two extra loops1 and a four-foot bar cut from two-inch hickory and shaped with a spokeshave4 ,at the ends1 paths are cut to receive the straps1 and1 if possible1 have the bar turned in a lathe to insure a more accurate job4 ,small rings at the upper ends of the ropes or straps1 and hooks driven securely into the ceiling-beams1 will afford the needed suspension4 ,illustration3 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,parallel ,bars ,the regulation parallel bars are usually supported on iron pipe-standards bolted to a heavy base1 and steel heads are provided to grip the bars4 ,but this fitting is beyond the ability of a boy to construct without the aid of a plumber1 and the wooden frame base and bars shown in ,fig4 #ab will answer quite as well4 ,the bars are of hickory1 five and a half feet long and two inches in diameter4 ,the uprights that support them are of oak1 ash1 or other hard-wood1 two and a half inches square and forty-two inches long4 ,the lower ends of the uprights are set into bases of heavy hard-wood two inches thick1 ten inches wide1 and three and a half feet long4 ,square holes are cut in the middle of these bases1 two feet apart1 so that eight inches of wood will extend beyond the holes at each end1 and so provide a surface on which to screw the bracket-ends that act as braces to the uprights4 ,the holes should be cut with a brace-and-bit all the way through the bases1 and then trimmed with a mortise-chisel and mallet1 taking care to make them very accurate1 and so prevent any play to the uprights when once set up4 ,the stepping-plank is also of hard-wood1 twelve inches wide1 one and a half inches in thickness1 and long enough to span the cross-planks4 ,the distance between uprights should be about four feet4 ,the stepping-plank should have a two-inch block under the middle to prevent it from springing2 it is to be attached securely to the cross-plates with large1 flat screws driven into holes that have first been bored out with a bit4 ,hollows are cut out in the top of each upright with a compass-saw1 and the sides slightly tapered to the edges of the ,u cuts1 so as not to interfere with the hands when using the bars4 ,fasten the bars to the uprights with two slim screws at each side1 driven through the uprights and into the under sides of the bars4 ,do not put a screw or nail down through the bars and into the top of the uprights1 for this will weaken the bars1 and if the weight is suddenly transferred to the extreme ends they might snap off4 ,at a hardware store purchase four iron brackets with eight-inch tops and ten or twelve inch sides4 ,invert them and screw the tops to the base-boards and the sides to the outer edges of the uprights1 to insure added rigidity4 ,a coat or two of paint will improve the appearance of the uprights and base2 but do not coat the bars with anything4 ,they should be polished with an oiled rag until smooth enough for use4 ,a ,floor ,horizontal ,bar ,the complete apparatus is shown in ,fig4 #ac4 ,the hickory bar1 one and three-quarter inches in diameter and four feet long1 is supported on hard-wood uprights two inches thick1 three inches wide1 and as high as the bar is desired--say from five to six feet1 according to the stature of the boys who are to use it4 ,at the lower end the uprights are held in position by two half-inch iron pins driven into the bottom4 ,these fit into holes made in the floor in a corresponding position1 as shown at ,a in ,fig4 #ad4 ,the upper ends of the uprights are cut with a compass-saw to receive the bar1 and the edges are tapered to meet the edges of the ,u cut1 as shown at ,b in ,fig4 #ad4 ,when the bar is in place it is held with straps made of one-eighth by one inch iron4 ,they should be provided with screw-holes1 as shown at ,c in ,fig4 #ad4 ,the ear-plate attached to each upright under the bar 7and to which the stanchion wires are fastened7 is made of one-inch tire-iron a quarter of an inch thick2 it is bolted to the wood as shown at ,d in ,fig4 #ad4 ,a blacksmith will make the strap and ear-plates for a small sum2 and at a hardware store staple or eye plates may be purchased and screwed to the floor1 into which the turn-buckles can be caught4 ,four turn-buckles and some stout wire form the stanchions2 and the floor-plates should be located so that they not only brace the structure forward and backward1 but also from side to side1 as may be seen at the right side of ,fig4 #ac4 ,if the plates are five feet apart1 they should be eighteen inches out from each upright4 ,illustration3 ,,fig4 #ac4 ,,fig4 #ad4 ,the particular advantage of this bar over a swinging one lies in its absolute rigidity4 ,also1 when not in use1 it may be cleared away by loosening the turn-buckles and unhooking them1 lifting the pins out of the floor and carrying off the frame bodily4 ,striking-bags ,there are various kinds and shapes of striking-bags to be had at the shops1 but a converted ,rugby football will answer very well for home use4 ,remove the bladder and sew two large bone buttons to the leather cover at each end1 as shown in ,fig4 #ae4 ,the bladder should then be replaced1 inflated1 and the cover laced up tightly4 ,leather straps1 in the ends of which button-holes have been made1 are caught over the buttons to form loops to which the ends of the suspension and draw ropes are attached4 ,these straps are reinforced with a patch of leather sewed at the middle1 as shown in ,fig4 #af4 ,the patches will strengthen the straps and prevent them from stretching too much when the ropes are drawn taut4 ,between the ball and the floor a spring1 or some stout rubber bands1 should be placed so as to make the ball rebound quickly when struck4 ,the portable striking-bag 7,fig4 #ag7 is attached to the top of a staff1 and is made of leather or canvas and stuffed with paper wads4 ,or a bladder1 inflated the same as a football1 may be used4 ,the bag or cover for a bladder should be made of strips of leather or canvas sewed together4 ,the inflated bag is then covered by a stout leather cap4 ,straps of canvas or leather are sewed to this cap and brought down below the bag1 where they are attached to the staff with a thong or cord1 as shown in ,fig4 #ag4 ,illustration3 ,,striking-,,bags ,,fig4 #ae4 ,,fig4 #af4 ,,fig4 #ag4 ,the regulation portable bags are mounted on an iron base1 but in our home-made apparatus a plate of hard-wood will have to answer4 ,from oak1 ash1 or other hard-wood1 two inches thick1 cut a base fifteen inches square1 and round off the edges on the upper side4 ,make a hole in each corner through which to pass a screw1 and a large hole at the middle to receive a spiral spring4 ,the staff 7about the size of a broomstick7 is screwed down into the top of the spring for five or six inches1 or enough to hold it securely2 and at the bottom the spring is held in the block with screws or nails driven through the wires of the spring and into the wooden base4 ,when using the bag it should be fastened to the floor with two or three screws1 so that it will not topple over4 ,as it is struck it bends over from the bottom1 and the spring1 if stiff enough1 will cause it to immediately rebound or come to an erect position4 ,a striking-bag and disk1 like the one shown in ,fig4 #ah1 may be made from wood and leather1 a few thumb-nuts1 and a pair of braces4 ,to make the adjustable disk1 obtain two pieces of white-wood or pine three inches wide1 two feet long1 and one and a quarter inches in thickness4 ,also two other pieces1 each an inch thick1 three inches wide1 and thirty inches long4 ,the first pieces are the wall-plates1 and laps are to be cut one and a half inches in from each end1 as shown in ,fig4 #ai1 to receive the upright pieces4 ,in the middle of each lap a bolt two and a half inches long is to be set4 ,this projects through a slot cut in the upright pieces1 and at the outer end of the bolt a thumb-nut and washer will make it possible to clamp the uprights fast to the wall-plates1 so that the disk may be raised or lowered to any required position4 ,two slots1 as wide as the thickness of the bolts1 are cut in each upright with a bit and compass-saw2 and on the uncut space1 at the middle of the frame1 a disk twenty-one inches wide and twenty-six inches long is made fast with screws and short angle-brackets attached to the under side of the rear corners4 ,this disk should be made of hard-wood one and a half inches in thickness1 and it is braced from above with two irons that extend from the top of the disk to the upper ends of the uprights4 ,a blacksmith will make these for a few cents each1 and they1 as well as the other hardware1 should be painted black to give them a good appearance4 ,illustration3 ,,fig4 #ah4 ,,fig4 #ai4 ,,fig4 #bj4 ,,fig4 #ba4 ,the bag is shaped like an inverted balloon1 and is made of six pieces of leather1 or canvas1 five and a half inches wide and fifteen inches long1 sewed together at the edges4 ,each piece should be shaped as in ,fig4 #ag1 and when they are sewed together a round cap should be made fast to the large extremity to secure the ends of the side-pieces4 ,a patch is sewed along the edges of two sides to strengthen them and to pass the lacings through1 as shown at the lower left-hand side of ,fig4 #bj4 ,this method of construction gives an opening through which to pass a filling of rubber scraps and bits of leather4 ,if a rubber bladder is to be inserted and inflated1 this opening will not be required1 for the bladder1 when collapsed1 may be pushed into the opening at the neck4 ,one inch below the top of the neck some slits are to be made in the leather1 through which the throat-laces are interwoven1 as shown in ,fig4 #ba4 ,after the knot at the end of the suspension-rope has been inserted in the throat of the bag1 the laces are drawn tight and tied4 ,this is the best means of attaching the bag to the rope from which it is suspended2 and by means of a hollow stick1 which projects down five inches below the under side of the disk1 the bag may be centred and held rigidly4 ,as a result it flies up at varying angles from this centre-drop when struck from different sides4 ,the suspension-stick may be made from a piece of inch-and-a-half curtain-pole1 the hole being bored out with a bit4 ,the stick should be inserted through a hole made in the disk eleven inches in from the outer or projecting edge4 ,it should be of such a size that it will be necessary to drive the stick in with a mallet to make it fit snugly4 ,a coat or two of white paint will finish the wood-work nicely1 or it may be given a coat of varnish4 ,a ,medicine-ball ,a medicine-ball should be ten inches in diameter1 and should weigh from three or four to six or eight pounds1 according to the size of the boys and girls who use it4 ,the case of a round football may be used1 or a leather case may be made of six pieces and two ends1 so that it will lace up1 as shown in ,fig4 #bb4 ,the case is stuffed with small balls made of pebbles or small stones wrapped in newspaper4 ,the newspaper makes a soft cushion1 and does not allow the hard edges of the stones to come in contact with the leather4 ,larger or smaller stones may be used according to the weight desired1 or sand wrapped in paper may be used in place of the stones4 ,illustration3 ,,fig4 #bb4 ,,fig4 #bc4 ,,fig4 #be4 ,,fig4 #bf4 ,if the case is to be made1 obtain some russet leather from a shoemaker and cut six pieces1 fourteen inches long and six inches wide1 as shown in ,fig4 #bc4 ,with doubled linen thread sew the edges together so that the seam is at the inside1 as shown at the lower end of ,fig4 #bc4 ,reinforce two sides of adjoining strips with a patch of leather sewed securely all around the edges and through the middle4 ,punch holes along the patch half an inch from the edge1 through which to lace the draw-strings1 as shown at the left-hand side of ,fig4 #bc4 ,at the open ends of the leather case sew on circular patches1 four inches in diameter1 to securely hold the ends of the six leather sides4 ,the case will then be ready for the filling4 ,by substituting a bladder for the filling1 this medicine-ball may be used as a volley-ball4 ,the volley-ball is played over a net1 either in the 8gym0 or out-of-doors1 in a fashion similar to ,badminton4 ,it may be played by any number of persons at the same time1 the object being to keep the ball in motion over the high net4 ,pulley-weights and ,exercisers ,no apparatus for home exercise covers the field so generally and thoroughly as the chest-weights1 or pulley-weights4 ,no instructions are necessary1 for the boy who uses the apparatus can follow his own idea for strokes1 and every muscle in the body may be easily and pleasantly exercised1 there being sufficient variation in the movements to relieve them of monotony4 ,an exerciser similar to the one in ,fig4 #bd may be constructed out of a piece of plank1 two pulleys1 a pair of sash-weights1 and some cotton rope or clothes-line4 ,illustration3 ,,fig4 #bd4--;,,an ,,exercising ,,weight ,obtain a piece of pine or spruce plank twelve or fourteen inches wide1 five feet long1 and one and a quarter inches thick2 also another piece to form the foot1 so that it will project six inches from the base of the plank4 ,two blocks of wood1 four inches long1 two inches wide1 and an inch thick1 will be necessary for the pulleys to swing on4 ,attach these to the upper end of the plank by means of hinges1 as shown in ,fig4 #be4 ,they should stand out from the board1 and in from the edges1 the distance of the width of the hinge-leaf1 as also shown in ,fig4 #be4 ,plate-pulleys are screwed fast to the front edges of these blocks1 through which the ropes pass that raise the weights4 ,the foot-board should be padded with hair or excelsior and covered with leather or burlap1 so that the weights may drop on it without making any noise4 ,from two old tin pails remove the handles and bend the wires around so that a rope may be passed through the eyes at the ends1 as shown in ,fig4 #bf4 ,at a hardware store purchase a pair of five-pound sash-weights1 and pass the rope ends through the eyes4 ,they should then be spliced or bound with fine line4 ,when the ropes are reeved through the pulleys1 a knot should be made in each one1 so that it will chock in the top of the pulley and allow the weights to just reach and lightly rest upon the foot-pad4 ,therefore1 when the handles are released the weights will not fall about on the floor as they would otherwise do4 ,the ropes should be about five feet long from the eyes of the weights to the handles4 ,that is quite sufficient to give a good long stroke while bending the body forward or from side to side4 ,this exerciser may be screwed fast to the rail that should extend all around the 8gym10 and also into the floor at the foot to steady it4 ,lighter or heavier weights may be employed1 as the strength of the boy will warrant1 but light weights are preferable to heavy ones for continued use4 ,an ,attic ,gymnasium ,in ,fig4 #bg a good idea is given for the arrangement of an attic gymnasium2 it shows the locations of the paraphernalia in a room about fourteen by sixteen feet4 ,a smaller room may be arranged in a somewhat similar manner1 but each piece of apparatus must be cleared away directly it is out of use4 ,illustration3 ,fig4 #bg4 ,across the top of the room1 from a window-casing to a batten screwed fast to the opposite wall1 a ladder may be suspended4 ,over the window-casing it would be well to attach a batten1 so that the ladder will not spring out of place4 ,a rope hanging from one end will make it possible to reach the rings4 ,a strip or band of wood four or five inches wide should be nailed all around the room four feet above the floor1 against which to place parts of the gymnasium equipment1 and on which to hang dumb-bells1 ,indian clubs1 wands1 and ball-bars1 as shown in the illustration4 ,under the trapeze or rings it is well to place an old mattress1 a useful thing in the event of a fall4 ,if the room is wide enough1 double sets of hooks may be driven in the ceiling-beams from which both a flying trapeze and rings may be suspended4 ,when one or the other is in use1 the extra apparatus may be drawn up or to one side of the room4 ,a light room is always more cheerful than a dark one1 and plenty of ventilation is necessary in the home gymnasium4 ,chapter ,,xvii ,a ,,miniature ,,theatre ,a miniature theatre1 equipped with curtain1 flies1 drops1 wings1 and several good sets of scenery1 is an unfailing source of interest and amusement4 ,it has long been popular in ,paris even as a professional form of entertainment4 ,fig4 #a gives the front elevation of a miniature theatre2 and ,fig4 #b1 a side view1 illustrates the location of the working parts1 and the manner of arranging the wings1 drops1 and flies4 ,illustration3 ,,fig4 #a4 ,this theatre must be made of such a size that when it is placed at one end of a room the audience will have a good view of the fore1 middle1 and back ground4 ,a good size for the stage is four feet wide and five feet long over all1 the front being slightly curved1 as shown at ,b in ,fig4 #c4 ,the proscenium should be four feet wide1 three feet high1 and with a sight-opening three feet wide and thirty inches high4 ,the proscenium is made from three boards seven inches wide and seven-eighths of an inch thick4 ,the upper corners are bevelled and mitred1 so that the inner edges will be recessed1 as shown in the plan drawing ,fig4 #c ,a ,a4 ,the top-rails are caught at the front to the top of the proscenium with screws1 and are supported at the rear and middle by uprights1 the lower ends of which are let into the sides or edge of the stage1 and then made fast with glue and screws1 as shown at ,c ,c ,c ,c in ,fig4 #c4 ,cross-braces at the back and middle of the top are screwed to the top-rails for strength4 ,bracket or brace pieces are caught at the rear of the last rail and to the rear of the last uprights midway between stage and top1 and are made fast with glue and screws1 as shown in ,fig4 #d4 ,these will hold the framework securely in position4 ,gas1 electric light1 or candles may be used for the footlights4 ,if gas is employed a small pipe should run along under the front of the stage4 ,over this pipe a tin cornice is arranged with holes made through it every three inches4 ,these holes should be just large enough to admit gas-jets which project through it1 as shown in ,fig4 #e4 ,the supply of gas can be controlled at one side by means of a key1 so that the lights may be lowered or turned up full4 ,if candles are used they should be arranged on a board1 so that as they burn lower and lower the board can be raised4 ,if electric lights are available1 they are the best of all1 since the danger of fire is reduced to a minimum4 ,the small sockets1 wire1 and lamps used for ,christmas-trees can be employed1 and will give very good results4 ,scenery and ,equipment ,after the constructional work of the stage and frame is complete1 it will be necessary to make the scenery and equipment4 ,it will be best to have two curtains1 the first a fancy one which can be painted on muslin or a window-shade4 ,window-shades come printed with pictures on them1 and these can be strengthened with oil paints diluted or thinned with benzine4 ,a very pretty outer curtain can be made from a printed ,japanese silk panel1 such as are for sale in the art and dry goods-stores4 ,this can be sewed on a plain piece of goods1 and the upper end made fast to a shade-roller1 as shown in ,fig4 #i4 ,the main curtain may be of denim1 stout muslin1 or any suitable cloth or fabric4 ,it is nailed to a round stick 7a curtain-pole is preferable71 which is cut at the ends as shown in ,fig4 #f4 ,the draw-string is wound in this groove1 and so the curtain is raised and lowered4 ,the shade-roller curtain is the outer one1 and is attached to the frame at the top1 and just back of the proscenium1 as shown at ,b in ,fig4 #b4 ,the main curtain is just inside the outer one1 and is made fast to a stick near the outer curtain-roller4 ,when down1 the roller rests on the stage just back of the proscenium1 as shown at ,c in ,fig4 #b4 ,when the curtain is rolled up to the top of the proscenium-opening1 a few turns of cord are taken about each end of the roller in the groove4 ,the cords then pass through screw-eyes to the back of the stage-frame1 where they can be held on a small cleat4 ,both cords pass through the same eyes1 so that the pair of strings may be operated by one hand4 ,the drop-curtains at the back of the stage are painted on window-shades1 the rollers of which are hung on blocks at the under side of the top-rails and close to the rear uprights1 as shown at ,a ,a ,a in ,fig4 #b4 ,illustration3 ,,details ,,of ,,stage ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,the flies are strips of muslin painted to represent sky in out-door scenes and ceilings in interior sets4 ,the flies are tacked on a stick1 the ends of which project beyond the body part of the fly so that they may rest on the top-rails of the stage-frame1 as shown in ,fig4 #g4 ,the fly part drops down two or three inches below the upper framework1 so as to be visible to the spectators4 ,the wings are of card-board or stiffened muslin tacked on frames1 the bottoms of which rest on the stage4 ,the upper part is held between the runners1 or cross-rails1 fastened to the under side of the top-rails1 as shown in ,figs4 #a and #b4 ,the front and back of a wing is shown at ,fig4 #h4 ,the front1 ,a1 is the smooth side on which the tree or other feature can be painted4 ,the back1 ,b1 shows how the frame is made to support this piece of scenery4 ,the frame should be constructed of pine sticks three-quarters of an inch wide and half an inch thick4 ,where they cross each other laps should be cut out of each piece1 so that one will lie flat in the lap of the other4 ,the surfaces of all the sticks being on one plane1 the frame offers a flat surface for the material to back against4 ,an independent piece of scenery1 such as the house1 tree1 fence1 and bushes shown in ,fig4 #aj1 will have to be built upon a frame1 and a foot must be provided so that it will stand on the stage independent of any top1 bottom1 or side braces4 ,the manner of doing this is shown in ,fig4 #aa1 the two feet being 8loaded0 with pieces of lead at the ends of the feet so that the house cannot topple forward4 ,very pretty scenes can be made from card-board and of stiffened goods1 such as crinoline1 over which the painting can be done4 ,books1 magazines1 and photographs can be drawn on to offer suggestions for scenery and interiors1 and the smart boy1 who has some idea of perspective1 can design and make some most attractive stage-settings for this miniature theatre4 ,the ,puppets ,the actors and actresses should be celluloid or papier-mach dolls1 their feet being attached to thin strips of wood1 which can lie flat on the stage and be operated from the sides4 ,when the stage is on a line with the eyes of the audience1 these thin strips will hardly be noticed4 ,jointed dolls may be used for the actors who have occasion to sit during the performance1 but it is difficult to bring about the change of posture without destroying the illusion4 ,trap doors and other pieces of stage machinery may be added as found necessary1 and there is no limit to the ingenuity that may be exercised in equipping our miniature stage4 ,illustration3 ,,scenery ,,sets ,,fig4 #g4 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,of course the speaking parts are taken by boy and girl performers1 who stand on either side of the stage1 and are concealed from the view of the spectators by screens or curtains4 ,the stage-manager and his assistant stand still closer in1 so as to manipulate the puppets4 ,a curtain-bell arranged under the stage1 and rung by a knocker or electric apparatus1 adds to the realism4 ,this theatre is to be mounted on two horses1 and it must so be screened off that nothing is visible but the proscenium1 fore-stage1 and footlights4 ,this curtaining may be done with heavy muslin1 or ,canton flannel of dark color1 or any material through which light will not show4 ,chapter ,,xviii ,,fitting ,,up ,a ,,boy',s ,,room ,when once a boy realizes what may be done in the way of fitting up his den or room1 he is sure to take an interest in the subject4 ,a certain amount of manual skill and artistic feeling are1 of course1 desirable1 but these qualities may be cultivated1 and to a much greater extent than one would at first be willing to believe4 ,the color schemes1 designs1 and general suggestions in artistic handicraft that may be carried out in fitting up a boy's room are almost without limit2 but the following ideas are all practical1 and the illustrations and explanations should enable the young craftsman to get satisfactory results at the minimum of labor and expense4 ,in the selection of woods from which to build furniture1 the natural product of the locality in which the boy lives must be taken into consideration4 ,some ,states grow pine1 white-wood 7cottonwood71 poplar1 or cypress1 while in others spruce1 hemlock1 maple1 and fir will be found easier to obtain4 ,in the ,far ,west1 gumwood1 redwood1 cedar1 and cypress form the staple supply4 ,the cost of the wood is a matter to be considered1 and often the more artistic result may be secured by using an inexpensive wood1 since the beautiful grain of the finer varieties can only be brought out by the skilled and experienced workman4 ,many woods have an open and broad grain that1 if carefully filled and varnished over1 will give a very pleasing effect4 ,chestnut1 butternut1 quartered oak1 and ash have this quality1 and all of them are adapted to furniture construction and room trimmings4 ,for chairs and other furniture1 spruce1 apple-wood1 and cypress will give good results2 and all of them have a pretty grain when stained and varnished4 ,ash is harder1 and makes good1 solid furniture4 ,if not found too difficult to work1 it will prove a very satisfactory and serviceable wood for chairs1 tables1 benches1 and other pieces of furniture that are subjected to hard usage4 ,in the construction of the various pieces of furniture illustrated1 the simple rules of carpentry are to be followed1 and only the lap1 mortise-and-tenon1 and tongue-and-groove joints are employed4 ,these joints must be well made1 however1 so that perfect unions will result1 for every piece of furniture will rack in time if not properly braced4 ,for this reason only the plain joints are advocated for the young workman2 and nothing has been said about the dowel1 key1 and other joints that are frequently employed by cabinet-makers in the general construction of furniture4 ,these latter require much more care and accurate fitting1 and for the open and exposed joint the simple forms are far better4 ,a ,plain ,chair ,of all the pieces of furniture in the house1 chairs are the ones most used1 and1 as they are subjected to hard usage1 they should be well constructed and the joints carefully made4 ,in the plain chair shown in ,fig4 #a the front legs are sixteen inches high1 the back supports are thirty-four inches high1 and all of them are one and three-quarter inches square4 ,all the side-rails and the four that support the seat are two inches wide and three-quarters of an inch in thickness1 so that the laps cut in the corner-posts 7,fig4 #b1 ,a and ,b7 will correspond in width and depth4 ,the cross-cuts are made with a fine saw1 and the wood removed with a broad firmer-chisel1 taking care1 however1 not to cut deeper than three-quarters of an inch when removing the wood4 ,use a mallet to help the chisel1 but do not seek to take out too much at one time2 better try three or four times1 and take a moderate bite each time1 than run the risk of having a large chunk come out and bring with it some of the wood that should be left for the rail-end to lap against4 ,the rail at the front is eight inches above the floor1 and those at the sides are four inches4 ,at the back the distance is ten inches from the floor to the under side of the cross-rail4 ,take care to make the saw-cuts inside the two-inch mark1 so that the rails will fit snugly into the corner-posts without any play4 ,there is nothing so annoying in a chair as to have it loose-jointed and rickety4 ,a wooden seat sixteen inches square1 with the rear corners cut out to fit around the back posts1 is nailed or screwed fast to the top edges of the upper rails all around2 and for the back a twelve-by-sixteen-inch piece is cut and screwed fast in the laps cut at the upper ends of the back posts1 as shown in ,fig4 #b ,b4 ,to make a comfortable back and seat1 cover the wood with curled hair from an old mattress1 or some cotton and dried moss2 then tack unbleached muslin over it to hold it in place4 ,for the final covering use burlap1 denim1 cretonne1 or other stout fabric1 that can be had at a dry-goods store for fifteen or twenty-five cents a yard4 ,draw it down and turn it under all around the edges of the back and seat1 fastening with small tacks driven at regular distances apart4 ,large1 oval-headed upholsterers' tacks painted black will appear to good advantage if driven about two inches apart along the edge of the goods4 ,if they cannot be had1 or are too expensive1 a very good substitute may be made from sheet-lead or an old piece of lead pipe split open and beaten out flat4 ,from the sheet of lead cut disks three-quarters of an inch round with a cold-chisel1 on the upturned face of an old flat-iron4 ,with a small hammer beat the edges to resemble a hand-wrought nail-head1 similar to those you may have seen in an old hand-bellows in a blacksmith-shop4 ,these are to be painted black1 and applied to the wood with slim1 steel-wire nails1 the heads of which will be invisible if they are driven well into the lead4 ,the heads of the screws that fasten the lap-joints can be hidden with these mock nail-heads1 as shown in the drawing4 ,a good black paint for the metal parts of furniture is made by adding dry lamp-black to some brass lacquer or shellac1 so it will have the consistency of cream4 ,it is then applied with a soft-hair brush to the surface of the metal1 on which it will dry quickly4 ,it often requires two or three days for oil paint to dry on metals1 and it lasts no longer than the lacquer or shellac coating4 ,several small nails driven around the edge of the mock nail-heads will hold them in place1 and to all appearances they will look like the large-headed1 wrought bellows-nails4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,an ,odd ,chair ,for studying or reading1 the chair shown in ,fig4 #c will be found a useful piece of furniture4 ,the wood is three-quarters or seven-eighths of an inch in thickness1 planed on both sides1 and may be finally stained and varnished or painted4 ,the front posts are fourteen inches high and four inches wide1 while the back ones are thirty-four inches high1 three inches wide at the top1 and eight inches wide at the bottom4 ,the side-rails are twenty-eight inches long1 three inches wide at the front1 and six inches across the widest place near the rear4 ,the side-rails are fastened outside the rear uprights and inside the front posts1 as shown at ,fig4 #c4 ,at the back1 near the foot1 the chair is held together with a plate of wood six inches wide and eighteen inches long1 screwed fast to the lower edge of the high posts1 as shown in ,fig4 #d4 ,the top of the rear uprights are bound together with a piece of two-inch curtain-pole1 with a saw-cut in the end to the shoulder1 as shown in ,fig4 #e4 ,after it is in place1 glue-covered wedges are driven into the saw-cuts to make a key1 and so hold the joint securely4 ,between the front ends of the side-rails a similar piece is placed2 or a two-inch square piece of wood1 with the front top edge rounded off1 may be substituted4 ,the seat and back is composed of one piece of leather1 fabric1 or even carpet1 caught to the front and top cross-pieces1 and adjusted so as to form a comfortable support to the body4 ,this chair can be made with a shifting back by rounding off the lower ends of the back uprights and attaching them to the side-rails with bolts and washers1 one bolt to a side4 ,with two or three corresponding holes in the side-rail and upright1 pegs can be fitted into them1 or a rod passed through from side to side of the chair1 in fashion similar to the well-known ,morris chair4 ,the pegs must be stout1 or the rod substantially heavy1 since the leverage is great and would snap off light pegs or bend a thin rod4 ,a ,morris ,chair ,one of the most comfortable pieces of furniture in a boy's room is a ,morris chair1 and if properly constructed it should last almost for a lifetime4 ,fig4 #f gives a good idea for a solid affair that can be made twenty inches wide and twenty inches deep from outside to outside of corner-posts4 ,the posts are two inches square and twenty-three inches high1 and in the front and back ones laps are cut to receive three-inch rails1 with the upper edges sixteen inches above the floor4 ,at the lower part of the sides1 five inches above the floor1 two-inch rails are let into the posts4 ,from these side-rails to the under side of the arms four flat balustrades are mounted and held in position to the lower rails with screws and glue4 ,at the upper end they are mortised into the under side of the arms for half an inch4 ,two more rails are let into the posts at the inside and on a line with the rails1 at front and back1 that support the seat and to which the leather is to be attached4 ,a frame twenty-two inches high is made for the back and covered with leather stretched tight and nailed all around the edges with large1 oval-headed upholsterers' tacks4 ,the back is hinged to the rear rail of the chair1 and held in position with a cross-rod1 which in turn is supported by wooden pins driven into the end of the arms1 as shown in the illustration4 ,the arms are wedge-shaped1 five inches broad at the front and two inches at the rear1 where the ends are rounded4 ,they are held to the tops of the corner-posts with long1 slim screws1 the heads of which are covered with the imitation nail-heads described in the making of the plain chair 7,fig4 #a74 ,illustration3 ,,fig4 #f4 ,,fig4 #g4 ,,fig4 #h4 ,a ,settle ,for the side of a room1 where there is space to accommodate it1 a settle is a comfortable piece of furniture1 and ,fig4 #g gives some good lines that can easily be followed4 ,the back of this settle is forty-two inches long and thirty-two inches high4 ,the seat is sixteen inches above the floor and eighteen inches deep4 ,the front plates are each six inches wide1 twenty-five inches high1 and seven-eighths of an inch thick4 ,they are attached to the front and side rails of the settle with stout screws and glue1 and a line of screws is driven through the front plate and into the edge of the one it laps against1 as shown at ,fig4 #h1 which is one end of the settle frame4 ,the leather forming the seat is drawn over the front and back rails 7which are each six inches wide71 and is nailed to the wood1 as shown in the illustration4 ,the leather is applied to the back in the same manner1 and1 to hold the edges down1 glue may be used4 ,a chair may be constructed in similar fashion with the same height and depth dimensions1 but twenty-four inches wide over all1 the side-plates under the arms being four inches wide4 ,a ,box-desk ,in the illustration of a box-desk 7,fig4 #i7 an idea is shown that the young craftsman can easily work out4 ,obtain a box twenty-four inches long1 eighteen inches wide1 and twelve inches deep4 ,it should be made of planed boards4 ,at the joints drive in a few screws to make them more secure4 ,cut two pieces of wood thirty-six inches long1 four inches wide1 and seven-eighths of an inch thick1 and attach them to the rear edges of the box when it is stood on end1 allowing the lower ends to extend down four inches below the bottom of the box4 ,these will form the back feet4 ,for the front ones1 cut two pieces of wood fourteen inches long and six inches wide1 rounding off one end1 and cutting the bottom out three inches1 thus allowing the remaining wood to be three inches wide1 as shown at ,fig4 #aj4 ,these are fastened to the lower edges of the box at the sides with screws and glue4 ,illustration3 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,two shelves1 ten inches wide1 and as long as the inside width of the box1 are to be cut and fastened six inches apart1 leaving a ten or twelve inch space at the bottom for high books1 or a place to put the feet when sitting at the desk4 ,a top twenty-two inches wide and eighteen inches deep is made fast to the top of the box1 and if a slant is desired the back of the top board may be propped up for an inch or two with a strip of wood4 ,on the ends of the side-rails that project above the desk-top a ledge six inches wide may be made fast for ink-bottles1 pencils1 and other accessories4 ,attached to the upper edges of the box brackets of wood may be arranged to support the projecting edge of the desk-top4 ,stain and varnish1 or paint1 will add the finishing touch to this box-desk4 ,a ,writing-table ,two boxes1 a drawer1 and a broad top can be easily transformed into the writing-table shown in ,fig4 #aa4 ,if well put together and decorated with artistic hinge-straps and escutcheons1 the boxes are entirely hidden from sight4 ,two boxes1 each twenty-two inches long1 fifteen inches deep1 and ten inches wide 7outside measure71 are placed on end and made fast under a broad top forty-five inches long and eighteen inches wide4 ,three inches of the top will project beyond the boxes at the ends and front4 ,this will leave a space nineteen inches wide between the boxes4 ,at the bottom a ledge eight or ten inches wide must be made fast to the bottom of the boxes1 on which to rest the feet when writing at the table4 ,this ledge will also serve as a brace1 and help to hold together the bottoms of the boxes4 ,legs six inches high are cut from wood seven-eighths of an inch thick1 and fastened under the four corners at the front of the boxes4 ,at the back1 the foot-piece is a board ten inches wide1 screwed fast to the lower rear ends of the boxes1 so that six inches of it will project down to the floor to correspond with the legs in height4 ,a shallow drawer is made to fit between the boxes1 and a slide on runners is attached with screws near the top4 ,doors ten inches wide and twenty-two inches high are hinged to the outer sides of the boxes1 and from sheet-lead the hinge-plates or straps and the escutcheons are cut with a light cold-chisel and mallet1 as shown at ,fig4 #ab1 ,a and ,b4 7,for other designs1 see ,chapter ,,vii41 on ,decorative ,hardware47 ,the front hinge-plates are eight inches long and four inches wide across the scrolls1 and the shorter ends are four inches in length4 ,the flat edges that butt against the hinges must be made to correspond with the hinges in width1 but they are no part of the hinges proper1 being purely for effect4 ,this hardware is coated with the black metal finish4 ,it is then fixed in place with large-headed nails or with steel-wire nails4 ,a top board1 with half-circular supports1 can be made and attached to the rear of the desk-top if thought desirable4 ,a ,whatnot ,for trinkets1 books1 and the general assortment of odds and ends that a boy is sure to possess1 the whatnot shown in ,fig4 #ac will be found useful4 ,it is fifty-four inches high1 twenty wide1 and twelve inches deep4 ,the cap projects two inches beyond the sides and front4 ,the side-boards are cut up at the bottom1 the angle of the coves being ten inches above the floor4 ,near the top a corresponding effect is obtained by cutting out pieces of wood in the form of shields4 ,the side-ledges are thirty-six inches above the floor1 twelve inches long1 and seven wide4 ,they are supported by two brackets at each side1 five inches wide at the top and six inches deep1 cut as shown in the illustration1 and made fast with glue and screws4 ,illustration3 ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,the ledge over the drawers is forty inches above the floor1 and each drawer is five inches deep4 ,the lower ledge or shelf is twelve inches above the floor1 and the front edge is cut in with a compass-saw4 ,all the wood-work is of stock seven-eighths of an inch thick1 and the edges of the shelves are butted against the side-boards1 through which screws are passed1 the real heads being afterwards covered with the mock nail-heads4 ,the usual stain and varnish will treat the wood nicely and lend a good finish to this useful bit of furniture4 ,a ,treasure-chest ,for stamps1 coins1 minerals1 and other valuable possessions1 the treasure-chest shown in ,fig4 #ad is just the thing4 ,to give the chest an appearance of strength and security1 the doors should be made of wood one and a quarter inches thick1 while the legs and feet should be of one-and-a-half inch stock4 ,the box is thirty inches long1 eighteen inches high1 and twelve inches deep 7inside measure71 and the top projects an inch and a half over the ends and front when the doors are closed4 ,the legs are twenty-eight inches high and twelve inches wide4 ,at the lower ends feet are cut from wood the same thickness as the legs1 and made fast to them with screws4 ,a cross-rail six inches wide and cut in at the under edge is mortised and tenoned into the legs twelve inches above the floor2 while across the top of the legs a board twelve inches wide is securely fastened1 and braced at the back with a four-inch rail1 to prevent this base from racking with the weight of the chest4 ,shelves and divisions are arranged1 according to requirement1 within the chest4 ,to close it1 two doors are swung on stout hinges1 against which lead hasps are mounted to lend an appearance of strength4 ,these are cut from stout sheet-lead1 and applied with large-headed upholsterers' nails painted black4 ,the front hasp-ends should be ten inches long and the return ends five inches in length4 ,over the key-hole a long hasp may be placed1 with a corresponding one on the other door to complete the decorative effect4 ,studying-table and ,stool ,for service and comfort when studying or writing1 two useful pieces of furniture are shown in ,fig4 #ae4 ,the top of the table is twenty-four inches wide and forty-two inches long4 ,it can be made from three or four boards of pine or white-wood glued together at the edges and battened at the under side4 ,the front legs should be twenty-seven inches high and two and a half inches square4 ,the rear legs are thirty-nine inches high1 and where the table-top joins them laps are cut out on two sides for a depth of one inch1 and a corresponding notch is cut from the corner of the ledge so as to fit into the lap4 ,the lower rail at the back is six inches wide1 and the lower side-rails are four inches wide4 ,the shelf attached to the top of the rear posts is seven inches wide and forty-two inches long4 ,it need not be more than seven-eighths of an inch in thickness1 and the front ends of it may be supported with short bracket sticks which rest on the table-top close to the rear posts4 ,at both the front and back brace-strips are let into the legs and the edge of the table1 as shown in ,fig4 #ae2 these pieces are eighteen inches long and bevelled at both ends4 ,to accurately cut the laps in the legs and table-top1 lay a strip across in the proper place1 and mark the lines with a pencil2 then with a saw cut slowly and accurately on this line to the proper depth4 ,with a chisel cut the wood away and let in the brace-strips1 when they can be securely fastened with glue and screws4 ,at both ends shelves may be attached to the posts and the braces1 as shown in the illustration4 ,these will make good book-ledges or convenient places for pencil and pen boxes1 extra pads1 and school trappings4 ,books may rest on the table under the top shelf4 ,to prevent their falling off at the back1 a rail two inches wide is attached to the rear posts and supported at the middle by a short upright block which also acts1 as a brace to the middle of the top shelf4 ,the stool is eighteen inches high1 sixteen inches long1 and fourteen inches wide4 ,the corner-posts are two inches square1 and the rails are two inches wide and three-quarters of an inch thick4 ,at the sides the top-rails support the seat1 which is a piece of cowhide attached with nails and glue1 over which imitation nail-heads are made fast4 ,the lower rails1 at front and back1 are three inches above the floor1 and the lower side-rails are eight inches above the floor4 ,stain and thin shellac will finish this wood-work nicely4 ,chapter ,,xix ,,painting1 ,,decorating1 ,,and ,,stencilling ,there are very few crafts that a boy takes hold of with so much confidence as painting4 ,in the average boy's mind it merely means getting a pot full of paint1 a brush1 and daubing it on4 ,this is painting in one sense of the word1 but not painting as a real craftsman should do it4 ,good painting is a skilled trade1 just as are horseshoeing1 plumbing1 or bricklaying4 ,but this manual is not intended to be an artisan's guide2 all that can be done is to lay down certain principles1 and to give the practical hints that may make a boy's efforts in this line worth while4 ,it is not necessary that a boy should know how to make paints2 that is a branch of manufacture that requires years of experience1 improved machinery1 and chemical and mineral formul4 ,a boy should know1 however1 what paints are made of1 how prepared1 and how they are mixed1 so that he will be able to work with intelligence and success4 ,the basis of all good paint suitable for wood-work is lead or zinc4 ,some painters prefer all lead for outside work1 while others take two-thirds of lead and one-third of zinc1 and then add the coloring dust or ground colors to get the required shade4 ,both white-lead and zinc are ground in linseed-oil1 and can be purchased in cans1 or kegs1 ranging in weight from one-pound tins to five-hundred-pound kegs4 ,zinc is sold in the same kind of packages1 and the cost in small quantities is about ten cents a pound4 ,inside shades of any color are generally made of two-thirds zinc and one-third white-lead2 then the dust or ground colors are added to tone down the white to any desired shade4 ,pure boiled linseed-oil and good turpentine should be used to thin paints4 ,benzine1 naphtha1 kerosene1 or other oils should never be used in the preparation or thinning of paints unless for special purposes4 ,to make the best paint for outside use1 take two pounds of white-lead and one pound of white-zinc1 and mix them thoroughly1 adding whatever oil is necessary to render the mixture about the consistency of rich cream4 ,if coloring matter is to be added1 it is best to use the ground colors rather than the dry dusts1 because the colors ground in oil are much finer1 and will mix better with paint than the dusts4 ,colors ground in oil may be purchased at a paint store for ten or fifteen cents a pound4 ,a portion of the color should be thinned first with turpentine1 and then added to the pot of mixed white1 stirring the mixture while the coloring is added4 ,if the paint should not be thin enough to lay on the wood1 you may add small portions of turpentine until it is the right consistency4 ,a little experience is the best teacher in this matter1 and to make sure1 it is well to ask a painter4 ,painters1 and all masters of arts and crafts nowadays1 are much more easily approached than they were a few years ago1 and a boy who really wants to know1 and who goes about it in the right way1 can generally get the knowledge or advice he is seeking4 ,when making paint for inside use1 take the proportion of two parts of zinc to one part of lead1 then mix and thin with oil to the consistency of rich milk or thin cream4 ,before new wood-work is painted1 all knots or sappy places should be given a coat or two of shellac to 8set0 the sap4 ,the priming1 or first coat1 should be composed of equal parts of boiled linseed-oil and white-lead for outside1 or zinc with some turpentine for inside work4 ,when this is dry one or two coats are to be laid on1 taking care to apply the paint evenly and to work it into all cracks1 crevices1 and corners4 ,the secret of good work is not in daubing a whole lot of paint on the surface to be covered1 but in laying it on evenly and in a thin coating1 so that it will neither gum nor run4 ,two or three thin coats are always better than one thick one1 and the extra time spent in putting the thin coats on1 and in going over the work several times1 will be amply repaid1 because the work will last4 ,the thick coat will dry unevenly1 and in time will chip1 crack1 and peel off4 ,when painting over old wood-work1 it is always best to scrape or remove as much of the old paint as possible4 ,then sand--paper everything smooth1 and wash all surfaces of painted wood-work with a sponge and sapolio1 or other good scouring soap4 ,if there should be any glossy surfaces to the wood-work it is best to give them a washing with a very strong solution of washing soda4 ,a saturated solution of the soda is best4 ,this is made by adding washing soda to water 7about a pound to two quarts71 and mixing or stirring it until the water has taken up all the soda it will hold4 ,after the soda-water has been applied to the wood-work1 be careful to wash it all off with clear water1 changing the bucket of water frequently1 so that no traces of soda will be left on the wood-work4 ,follow these directions explicitly1 and do not try your own way nor trust to luck to have the new job look well and last4 ,there is an old saying that 8,a little putty and paint hide a multitude of sin10 but get rid of as much of the 8sin0 as you can before the new coat is put on4 ,the soda bath is particularly necessary on old furniture that has been varnished several times4 ,paint will not hold on varnished surfaces unless the varnish is first cut with soda-water or some of the prepared paint and varnish removers4 ,it is always best to mix your own paints rather than to purchase 8ready-mixed0 paints or 8prepared paints0 at a store4 ,there are1 of course1 a great many reputable makers of mixed paints1 and you may use their preparations if you so desire4 ,but my advice to the young craftsman is to purchase the raw materials of a good dealer and learn how to mix his own paints4 ,when you have finished using your brushes they should be washed out--first with turpentine1 then rubbed out in kerosene oil and laid away for future use4 ,if they are to be used again within a few days1 it will not be necessary to wash them out1 and they may be allowed to stand in water4 ,bore a hole through the handle1 and slip through a stout wire so that the ends of it will rest on the top edge of a can4 ,the brush should then be placed in the can so that it will hang on the wire but not touch the bottom1 as shown in ,fig4 #a4 ,then water is put in until it just covers the bristles1 as shown at ,a4 ,never drop a brush into a pail or can of water for even so short a time as overnight4 ,the brush sags and causes the bristles to curve1 as shown at ,b1 and it is then a hard matter to get them straight again4 ,the several kinds of brushes that a boy will need for his work are shown in ,fig4 #b4 ,a is a regular wire-bound bristle brush which can be had at a paint or hardware store in several sizes2 ,b is known as a 8sash tool02 ,c is a flat floor or varnish brush2 ,d is a sizing1 kalsomine1 or whitewash brush2 and at ,e a round-liner or stipple brush and a flat tool are shown4 ,for light work the tin-ferruled1 cedar-handle flat bristle brush can be had in sizes ranging from one to six inches in width4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,there is nothing that freshens up a room so much as repainted wood-work1 newly papered or tinted walls1 and kalsomined ceilings2 and while it may not be possible for a boy to become an expert paper-hanger1 it is quite within his ability to tint walls and ceilings1 paint wood-work1 and varnish the floors4 ,if he has any artistic faculty whatever he can do a great deal of effective decorating1 and this is a subject that we will now discuss at greater length4 ,decorating ,there is no secret in the art of decorating4 ,good judgment1 good craftsmanship1 and common-sense1 coupled with the use of the best materials1 will always bring about good results4 ,the schemes that are shown in the illustrations on the following pages are those that any boy can carry out2 and with a fair knowledge of carpentry1 painting1 and other crafts he will find it an enjoyable task to change his room into one containing characteristic features of his own invention or creation4 ,a very simple effect is shown in ,fig4 #c1 and for this room it will not be necessary to remodel or change any of the wood-work4 ,after removing all old paper from the walls with hot water and a sponge 7and cleaning off the ceiling also71 the walls and ceiling should be given a coat of size4 ,this is made by dissolving a handful of good ground or flake glue in a pailful of water1 and then painting it on the wall with a wide brush4 ,do not slop the size over the floor1 nor have your brush too wet with the glue-water when you are using it4 ,try to work it in well rather than attempt to lay it on thick4 ,when it is dry you can kalsomine1 paper1 or tint over the walls1 and the size will help to hold the covering material in place4 ,the wood-work in this room is painted white or a light shade of any color that is easily washed and kept clean4 ,if paper is to be used on the side walls1 some very good patterns can be selected at a stock house that will not cost more than twenty-five cents a roll4 ,illustration3 ,,fig4 #c--;,a ,,boy',s ,,room ,the pattern shown in this scheme is in stripes and running vines4 ,above the picture-moulding the wall is tinted or papered with a light-buff paper4 ,with some apple-green fresco-paint the laurel-bush tops are drawn in above every other stripe1 if they are wide enough apart4 ,this makes a good finish to broad stripes that would otherwise stop at the moulding4 ,a small desk can be built in one corner4 ,it has a hinged top1 and within it writing-materials may be kept4 ,above the desk a book-ledge may be attached to the wall with two brackets4 ,simple curtains at the windows and a painted or stained and varnished floor1 with a carpet rug at the centre1 will complete the decorating of this room4 ,the cost should not exceed ten dollars4 ,decorating a ,bedroom ,of the many attractive schemes for the decoration of the bedroom1 there are none so pleasing and lasting as the plain paper and an ornamental frieze4 ,a full-pattern paper soon becomes tiresome1 and while there are thousands of pretty figured papers adapted to bedrooms1 at least one-half of the bedrooms in our homes are overdone or poorly papered4 ,small figures and as nearly neutral shades as possible should be used1 as they are restful to the eyes1 particularly in time of sickness4 ,in ,fig4 #d a pleasing scheme is shown1 and while its beauty lies in its simplicity1 it is quite as inexpensive as it is attractive4 ,illustration3 ,,fig4 #d--;,a ,,bedroom ,pink is the general tone1 and the wood-work is painted cream color or light ivory4 ,four feet and six inches above the floor a rail is run around the room1 and between it and the surbase vertical strips are made fast to divide the wainscot into panels4 ,plain cartridge or ingrain paper is hung on the wall above the surbase1 and between the rail and picture-moulding a lighter-pink paper is applied4 ,this may be a finely figured paper1 or a narrow1 satin-striped paper that can be had at twenty-five to fifty cents a roll4 ,a border paper with garlands and ribbons1 to match the shade of the others1 may be had by the yard or roll in several widths4 ,light shades of soft green or robin's-egg blue1 with white wood-work1 always make an effective and cheerful combination4 ,an artistic effect for the door may be secured by making thin panels for the upper and lower sections1 and covering them with a fabric or burlap as near the shade of the paper as it can be matched4 ,these are attached to the door with a few large1 oval-headed nails painted black4 ,sheet-lead escutcheons and hinge-straps can be made and applied to the wood with oval-headed upholsterers' nails painted black4 ,any other metal-work in the room is to be coated black4 ,pink1 black1 and cream1 or pale-green1 black1 and ivory color make pleasing and cheerful combinations for bedroom decoration1 and they do not become tiresome4 ,a feature in this scheme is the mode of suspending small pictures from the rail by means of harness-rings and large-headed nails painted black4 ,the larger pictures hung above the rail are arranged so that the bottom of each is on a line with or touches the rail4 ,a ,boy's ,room ,the arrangement and scheme for one side of a model boy's room is shown in ,fig4 #e4 ,in this attractive room the wood-work is white1 or very light in color1 and the walls a soft1 light-tea or olive green4 ,the border above the picture-moulding is a light shade of old pink ingrain paper on which the wreath and garland border is painted in fresco colors or stencilled4 ,at one side of the room a generous chest of drawers can be built in a corner1 and three feet up from the floor a long drop-ledge may be made fast to the wall and arranged so that hinge-brackets will support it4 ,when not in use for drawing or studying1 the brackets can be folded in against the wall and the ledge dropped down4 ,above this ledge1 and extending from the chest of drawers to a window or door1 a compartment-nest of shelves may be made from three boards with shorter ones for partitions4 ,this is supported every two feet of its length with brackets screwed securely to the under side of the bottom shelf and to the wall4 ,at the top it is also secured with small strips of metal screwed fast to the back edge of the top shelf1 and through which screws pass into the wall4 ,short curtains of some light material may be hung from a wire stretched along the under side of the top shelf and caught up to it in one or two places with staples4 ,illustration3 ,,fig4 #e--;,a ,,boy',s ,,study ,,room ,the floor in a boy's room should be of stained and varnished narrow boards over which a rug can be thrown4 ,this makes it possible for the outer edges of the floor to be wiped up frequently1 and does not allow dust to settle at the corners or edges as it would in a carpet4 ,all the metal-work1 such as gas-brackets1 hinges1 hasps1 escutcheons1 handles1 and catches1 should be given a coat or two of black finish1 which will lend them the appearance of being wrought iron4 ,another ,boy's ,room ,the panelled wainscot in ,fig4 #f is formed of vertical strips of wood four inches wide and four feet high1 mounted above the surbase4 ,on top of these a six-inch band of wood is carried all around the room1 on which a five-inch ledge is mounted1 the latter being supported on brackets which line with the centre of the vertical strips4 ,the doors1 door and window casings1 surbase1 and wainscot-rails are painted white1 and all the hardware is black4 ,hinge-straps of lead are cut and fastened to the doors and casings with large1 oval-headed nails4 ,to cover the panels in the doors1 one large panel is made from thin wood4 ,it is covered with burlap and nailed fast to the side of the door facing the room1 with large-headed nails1 or mock nail-heads not less than one inch in diameter4 ,four-inch ledges are placed over the door and window casings4 ,these are supported by brackets at the ends that line with the middle of the casing uprights4 ,the walls above the wainscot-ledge are papered1 and the panels in the wainscot are covered with burlap glued to the wall4 ,the burlap on the panels and doors may be in a coffee or light-brown color1 and the paper should then be a light shade of old green4 ,the ceiling is tinted light buff4 ,illustration3 ,,fig4 #f--;,,another ,,boy',s ,,room ,a ,nursery ,if a boy has some younger brothers or sisters1 he can fix up their room or nursery in some such manner as shown in ,fig4 #g4 ,the walls are to be cleaned and sized2 then the wood-work is painted white1 and a toy ledge or rail is made fast with small brackets1 two feet and six inches up from the floor1 or about on a line with the window-sills4 ,the lower part of the wall is to be covered with dark-colored burlap1 and above the ledge a lighter-colored burlap or denim is applied with heavy paste1 to which a handful of glue has been added4 ,another but narrower rail is made fast to the wall about on a line with the middle rib of the windows4 ,above that the walls and ceiling are painted in imitation of the blue sky with fleecy white clouds floating about4 ,paint in some birds flying in the air1 and one or two perched on the tops of the window and door casings4 ,if this work is well done it will have a very realistic appearance4 ,pictures may be hung above the toy ledge and under the top strip by means of large rings painted black4 ,stencilling ,the art of stencilling1 although a very old one1 is constantly being revived through the efforts of amateur craftsmen4 ,many of the art textiles now to be had in the art and dry-goods stores have printed patterns in imitation of this style of decoration4 ,nothing in the way of machine-printing1 however1 can equal the hand-stencilled fabrics4 ,illustration3 ,,fig4 #g--;,a ,,nursery ,simple figures are easily stencilled on fabrics1 papers1 or walls1 and the beginner will be wise in using the small1 clearly defined figures2 then1 as proficiency is acquired1 the more intricate and ornate patterns and designs may be employed4 ,every young craftsman should cut his own stencil-plates from fibre or oil-board4 ,it should be about the thickness of two ordinary calling-cards1 and stiff enough to hold its shape4 ,the design is drawn directly on the material1 or on a piece of brown paper1 and then transferred to the board4 ,with a sharp knife-blade the outline is carefully cut1 taking care to leave the bridges which are necessary to hold the parts together4 ,this is clearly shown in ,fig4 #h1 which is a small stencil for a fleur-de-lis4 ,in ,fig4 #i ,a the effect is shown after the pigment has been applied to the fabric or wall4 ,if the ornament had been printed or stamped1 however1 it would have been made without any breaks1 or as shown in ,fig #i ,b4 ,fresco colors should be employed for stencilling on walls1 but on fabrics aniline colors or diluted oil-paints may be used to good advantage4 ,when preparing colors for fabrics1 the tube oil-paints1 or body colors ground in oil1 should be employed4 ,they should be thinned with benzine1 and placed in the bottom of a dish or saucer1 so that the stencil-brush will take up the colors at the tip ends of the bristles4 ,fresco colors for walls should be used thick1 or about the consistency of rich cream1 while those of oil or aniline need not be thicker than milk4 ,regular stencil-brushes must be used for this work4 ,such brushes may be had at any paint store1 and will appear as shown in ,fig4 #aj4 ,stencil-brushes are round1 something like a shaving-brush1 but the bristles are stiffer and are stubbed or cut square at the ends4 ,illustration3 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,,fig4 #ac4 ,when cutting your stencils1 keep turning the oil-board so that you always make the cut towards you4 ,lay the material on a smooth piece of close-grained wood1 or a sheet of zinc1 and hold your knife with the blade in a vertical position1 and not to one side or the other4 ,do not make bevelled cuts4 ,straight ones are necessary or there will be smeared edges4 ,for a stencil-plate to make the garland and ribbon border shown in the frieze of the room 7,fig4 #d71 a one-half section only is necessary 7see ,fig4 #aa74 ,the full length of a garland is marked on the wall by indicated dots1 with chalk or pencil2 then the half garlands are stencilled all around the room4 ,when completed1 the stencil-plate is carefully wiped off2 then it is reversed and the remaining halves are done4 ,the stencil-plate for the wreath ribbon and garland border shown in the room 7,fig4 #e7 is illustrated at ,fig4 #ab4 ,this is a half garland and wreath1 and is used as described for ,fig4 #aa4 ,the stencil-plate shown in ,fig4 #ac can be used as the frieze or border in ,fig4 #f4 ,this is an empire design1 and its dignity and beauty make it a fitting ornament for any room in a house4 ,chapter ,,xx ,,nooks ,,for ,,books ,there is always a demand in the house for convenient places in which books1 pamphlets1 magazines1 and papers may be kept1 thus avoiding the necessity of scattering them over tables and shelves that are properly reserved for other things4 ,regular bookcases are suitable for a library1 arranged especially for the purpose of harboring books1 but for the sitting-room1 bedroom1 or hall the odd rack1 shelf1 hanging cabinet1 or convenient nook is an acceptable addition to the ordinary furniture4 ,among the following illustrations may be found a variety of ideas in book receptacles4 ,any of them can be made at home by the boy craftsman1 of inexpensive materials that may be at hand1 or cheaply purchased from a carpenter4 ,all of these designs are entirely practical1 and may be constructed with the aid of ordinary tools1 the joints1 laps1 and matched edges being of the simplest forms4 ,the staining1 decorating1 and finishing of these pieces of odd furniture are easily within the average boy's ability1 and if the instructions are carefully followed the results should be most satisfactory4 ,a ,wall-rack ,of these designs the wall-rack 7,fig4 #a7 is perhaps the easiest to construct1 since it is formed of but three shelves and some narrow rails4 ,a convenient size will be from twenty-seven to thirty-six inches long1 twenty inches high 7from top to bottom shelf71 and eight inches deep4 ,the extreme height from top to bottom1 along the middle wall strip1 is about thirty-eight inches4 ,the wood should be three-quarters of an inch in thickness1 planed on both sides1 and free from knots or sappy places4 ,the strips1 excepting the centre-piece at the back1 measure two and a half inches in width1 and where one crosses another a lap is cut in each1 as shown in ,fig4 #b4 ,this may be done with a fine saw and chisel1 and the joint held firmly with glue4 ,where the shelves join the uprights at the ends a groove is cut in the end-rails to receive the ends of the shelves1 as shown in ,fig4 #c4 ,the curved sections of the rails1 the back-board1 and the tops of the upright strips at the back should be cut with a compass-saw and afterwards sand-papered or dressed down with a wood-file4 ,all the edges of the wood-work should be rounded by means of a small plane or sand-paper1 since sharp corners are not desirable on useful furniture4 ,long screws should be driven through the end-strips and into the ends of the shelves to hold them firmly in place4 ,to cover the screw-heads and lend them the appearance of being large1 wrought-headed nails1 false heads should be made from scraps of thick sheet-lead and attached to the wood with slim1 steel-wire nails4 ,to make these heads1 disks three-quarters of an inch in diameter are cut from sheet-lead with a cold-chisel and mallet1 the work being imposed on the upturned face of an old flat-iron4 ,with a light hammer the edges are beaten to give them the appearance of anvil-made nails1 such as were used years ago in decorations1 and on antique chests1 doors1 leather-covered furniture1 and walls laid in tooled leather4 ,these nails were hand-made1 and crude but artistic in appearance2 they are always effective when used in connection with leather and wood-work4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,the ornament under the lower shelf of the rack is drawn on the bare wood1 and tinted in colors to match the natural flowers and leaves4 ,use oil-paints thinned slightly with turpentine1 so as to give the appearance of a stain or dye rather than of an opaque color4 ,all the wood-work is then stained some desired shade1 and the outline of the ornament is either burned pyrographically or lined with dark-brown paint in imitation of a burned line4 ,a bluish-gray is a pretty color for this wall-rack1 and it can be made by thinning ,payne's gray and adding a small proportion of any good blue1 such as cobalt1 ultramarine1 or cerulean4 ,the stain should be applied thin1 with a flat brush1 and then partially wiped off with a soft rag4 ,when dry1 a coat or two of shellac will give a lustre to the stain1 hold the color1 and render an egg-shell gloss to the wood-work4 7,see ,chapter ,,xii4 for instruction in ,pyrography47 ,a ,book-nest ,a book-nest of quaint shape is shown in ,fig4 #d4 ,it is formed of a back-board1 two shelves1 three brackets1 and two slats that connect the shelves at the ends4 ,this is a small piece of furniture and is intended to fill a small space2 it should be from eighteen to twenty-four inches long4 ,the shelves should be ten inches apart1 and the under side of the lower one is supported by a long bracket1 at the middle of which small corner shelves are arranged1 as shown in the illustration4 ,holes may be made in these brackets1 through which the stems of pipes can be inserted4 ,the curved parts of the wall-plate are cut with a compass-saw and finished off with a wood-file4 ,it is not necessary that this home-made furniture should be absolutely smooth or the lines perfectly straight4 ,a slight variation from the manner in which shop-made furniture is constructed adds to the effectiveness of these book-racks and holders1 and gives them the rough-and-ready artistic appearance that is characteristic of the 8mission0 and other popular styles of modern craftsmanship4 ,another ,book-rack ,a simple arrangement of shelves in the form of a book-rack is shown in ,fig4 #e4 ,where there is room to accommodate a small standing receptacle of this nature1 this design will be found both useful and ornamental4 ,the top shelf is about forty-two inches high from the floor1 and in width the rack may be made to fill the available space1 say from two to four feet4 ,the corner-posts are of wood two inches square1 and where the shelves are attached portions of the wood are cut away1 as shown in ,fig4 #f4 ,the shelf corners are cut out in such a manner that half an inch of the shelf edge enters the post1 where it is held in place by means of glue and screws4 ,the screw-heads are covered with false nail-heads of lead4 ,these1 when finished1 should be painted a dead black in imitation of wrought iron4 ,an old green or a weathered oak color would be appropriate for this rack4 ,a ,corner-nook ,for the corner of a room where space is valuable an idea is suggested for a corner-nook 7see ,fig4 #g74 ,this is nothing more than a well-made box arranged with wall-plates that extend down below the bottom of the box1 and to which the ornamental wood-work over the box is attached4 ,illustration3 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,the wings1 or angle-shelves1 and the brackets at the sides should be made to conform with the general proportions of the design4 ,the working construction is so clearly shown that it is not necessary to minutely describe the smaller details4 ,the shelves should be nine inches apart1 and the width of the box must be governed by the space that can be allotted to it4 ,the ornament at the bottom of the wall-plate is painted on1 and then outlined with a dark-brown paint or burned4 ,the wood-work is tinted an olive-green1 or other desirable color1 then shellacked4 ,a ,book-tower ,an odd but useful piece of furniture is shown in the illustration of a book-tower 7,fig4 #h74 ,it is suitable for the corner of a room where the available space is limited4 ,this tower should be twelve or fourteen inches square and about seven feet high4 ,the corner-posts are two inches square and the shelves three-quarters or seven-eighths of an inch in thickness4 ,the shelves are let into the posts 7as shown in ,fig4 #f7 and securely fastened with long screws4 ,the side slats are of thin wood4 ,they are let into the edges of the shelves1 where they may be fastened with glue and long1 slim1 steel-wire nails4 ,each joint or attachment should be finished with a lead nail-head1 which should be painted black4 ,a very good dead-black paint for metals is made by thinning shellac to the consistency of milk1 then adding some dry lamp-black until it is about the thickness of cream4 ,this is applied in thin coats with a soft1 flat brush4 ,if one coat does not thoroughly cover the metal1 another may be applied after the first one is absolutely dry4 ,around the top of this book-tower a rail is arranged three or four inches above the top shelf1 to serve as a guard for articles of bric--brac placed thereon4 ,with the arrangement of slats shown in the drawing1 the books are distributed in such a manner that the titles may be read from both directions instead of from one side only4 ,hanging-shelves ,a unique design for hanging-shelves is shown in ,fig4 #i4 ,for general use the rack should be thirty inches long1 the ends thirty inches high1 and the shelves seven inches wide4 ,the space between the shelves should be ten or eleven inches1 while the total height of the middle back strip is thirty-six inches4 ,the other parts should be made in proportion to the drawing1 and where the shelves join the sides mortises should be cut1 through which to pass tongued ends1 the latter being fashioned on the shelf ends1 as shown in ,fig4 #aj4 ,with a brace and bit holes are made to receive wooden pins1 or keys1 that will lock the wood-work together4 ,illustration3 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,olive-green will be an appropriate color for the wood-work4 ,when attached to the wall1 care should be taken to anchor it firmly and with heavy screws to the studs behind the plaster4 ,a ,book-castle ,illustration3 ,,fig4 #aa4 ,in the design for a book-castle 7,fig4 #aa7 the shelves and rails are arranged in such a manner that books may be slipped in from the front and also from both sides4 ,the lower shelf is devoted to large volumes1 portfolios1 or serial publications in large sheets4 ,the top shelf and the one under it are for volumes of medium size1 while the small deck above the shelves makes a convenient receptacle for magazines4 ,the wood-work should be stained and varnished1 or painted to match the trim of the room4 ,a ,book-chair ,a novel idea is shown in the illustration of a book-chair 7,fig4 #ab74 ,a ,morris chair may be made over on this plan1 if the side spindles are removed and the receptacle is constructed beneath the seat4 ,a very low ,morris chair cannot be used1 however1 since the available space between the seat-rail and the floor is too cramped4 ,both sides of the chair are arranged to receive books1 and at the front a wooden panel is fitted below the seat-rail1 as shown in ,fig4 #ac4 ,cushions of burlap1 tapestry cloth1 or canterbury cloth may be made to fit the seat and back2 they are held on with straps4 ,the cushions may be filled with feathers1 curled hair1 cocoa fibre1 moss or even cotton batting4 ,javanese kapok is perhaps the best of the lower grade material4 ,it costs twenty-five cents a pound1 and takes about two and a half pounds for a chair4 ,the ornament at the front of the chair is painted on and outlined with the pyrographic point2 or a dark-brown line may be painted on with a fine brush4 ,a ,book-table ,for a library or sitting-room1 the book-table shown in ,fig4 #ad will be found a convenient and useful piece of furniture4 ,a good size for this table is3 length1 forty-two inches2 width1 twenty-four inches2 and height1 thirty inches4 ,the drop-shelves at the ends should be nine inches below the top of the table1 while the drawer need not be more than four inches deep4 ,the legs are two and a half inches or three inches square4 ,the slats at the sides of the bookshelves are let into the table-top and the shelf 7see ,fig4 #ae7 and apparently anchored by means of large nail-heads4 ,the top is attached to the frame by means of cleats screwed fast to the top inner edges of the rails4 ,through these cleats screws are passed up and into the under side of the table-top1 as shown in ,fig4 #af4 ,illustration3 ,,fig4 #ab4 ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,,fig4 #af4 ,white-wood is a good material of which to make the table1 since it takes a stain nicely4 ,finish with a coat or two of shellac4 ,a ,magazine-rack ,a convenient rack for magazines and periodicals is shown in ,fig4 #ag4 ,the rack has three shelves and an enclosure at the top to hold extra large pamphlets4 ,the two uprights and the cross-strip at the top are three-quarters of an inch thick and two and a half inches wide4 ,the uprights are twenty-four inches long1 and the cross-piece measures eighteen inches from tip to tip4 ,four inches from the top the uprights are cut1 as shown in ,fig4 #ah ,a1 so that a lap-joint can be formed4 ,the uprights are spaced ten inches apart from the inside edges1 making the total width fifteen inches4 ,illustration3 ,,fig4 #ag4 ,,fig4 #ah4 ,,fig4 #ai4 ,from half-inch wood cut three shelves fifteen inches long and six inches wide2 also two corner-posts from wood an inch square4 ,cut the end of each shelf as shown in ,fig4 #ah ,b1 so that one notch will fit against the upright and the other against the corner-post4 ,from the half-inch wood cut two brackets three inches long and two and a half inches wide at the top1 as shown at ,fig4 #ah ,c4 ,these hold up the bottom shelf1 and the other shelves are supported in turn by the corner-posts and the back1 to which the shelves are securely attached with screws and glue4 ,the corner-posts are fifteen inches high1 and near the top laps are cut half an inch deep and one inch wide into which a cross-rail will fit4 ,three thin slats one inch in width and six inches long are made fast across the front1 and above the top shelf1 to form the pamphlet or periodical rack4 ,the nail and screw heads may be covered with brass upholsterers' tacks painted black to suggest the idea of a large nail1 or imitation wrought-iron nail-heads may be made by cutting disks out of sheet-lead and slightly beating the edges so as to imitate the hammer-marks of wrought-iron work4 ,these disks are secured to the wood with slim steel nails1 the heads of which1 when driven in with a light hammer1 become imbedded in the soft lead4 ,a subsequent coating of black paint will conceal the nail-heads completely4 ,a ,box ,book-case ,fig4 #ai is an idea for a receptacle for a few books1 bric--brac1 and some magazines to hang against the wall4 ,boxes of various sizes may be used for this purpose1 according to the available wall space1 but for general use two shoe-cases should be cut down so as to make them thirty inches high and seven inches deep4 ,in each one two shelves can be arranged4 ,the boxes are held together at top and bottom with boards seven inches wide and thirty-six inches long4 ,between the boxes a shelf may be fastened about midway between the top and bottom boards4 ,a wooden back is not necessary to this case1 as the wall itself will answer the purpose2 but around the top edge a strip of cornice-moulding is to be mitred at the corners and attached with long1 slim nails or screws4 ,under the lower corners wooden brackets may be fastened to the wall1 or when the shoe-cases are being cut down one side may be trimmed1 with the compass-saw1 in the form of a bracket end4 ,a rod fastened at the top and under the moulding will support light curtains1 but this last feature may be omitted at pleasure4 ,a ,nursery ,book-rack ,a nursery is not quite complete without some receptacle for the accommodation of the children's scrap and picture books4 ,a simple and useful design is shown in ,fig4 #bj4 ,a well-made box of thin boards1 planed on both sides1 forms the basis for this bookcase4 ,it should be of medium size and not more than seven inches deep4 ,remove one side or the top1 so as to leave it open at the front1 and arrange a shelf in the open space4 ,the box should be at least sixteen inches high to accommodate two rows of books1 and it would be better to have it eighteen inches4 ,two brackets eight inches high and six inches wide at the top are placed under each end of the box4 ,across the top1 at the back1 a wall-plate is cut and attached with two slim screws that pass down through the narrow part near the ends and into the back of the box at the top4 ,around the top of the box a narrow strip of moulding should be mitred and fastened with steel-wire nails4 ,the wood-work may then be given a coat of stain and shellac4 ,across the front of the box and at the top a brass or iron rod may be attached at the ends1 from which curtains are suspended by means of rings4 ,illustration3 ,,fig4 #bj4 ,,fig4 #ba4 ,when fastening this case to the wall1 it would be well to drive two or three screws through the back of the box and into the wall-studding1 otherwise the weight of books might tear it away from its bracket anchorage4 ,another ,book-rack ,in ,fig4 #ba an odd shape for a book-rack is shown4 ,this is also made from a box by removing one side and resetting it closer to the other side4 ,a portion of the lower end is sawed off1 and a part of the bottom is cut away so as to form a small1 quarter-circular bracket4 ,the extending upper end of the box is supported with a short bracket1 as the illustration clearly shows1 and under the box two large brackets ten inches deep and the width of the back and side support the rack in position4 ,two wall-plates four inches high at the angle are attached at the top of the box with screws4 ,a curtain-rod is attached at the top of the case from which a curtain may be hung1 and the ledge formed by the top of the case and the quarter-circular bracket will accommodate a few pieces of bric--brac or a photograph frame or two4 ,if the box is high enough1 two shelves may be arranged so that three lines of books can be accommodated2 otherwise one shelf will have to suffice4 ,a ,handy ,piece of ,furniture ,a place to put books and a place to keep bats1 golf-clubs1 lacrosse-sticks1 and other things that are always around1 is a convenient possession4 ,here is a solution of the problem3 ,the case shown in ,fig4 #bb should be about five feet six inches high and three feet wide4 ,the shelf across the top would hold a number of books1 and underneath are two beautiful tuck-away places4 ,if1 my friend1 you are a college boy1 the curtain could be of your college colors2 the rest of the case stained a becoming color4 ,the door is fastened by a big wooden latch1 and a pair of iron hinges would add very much to the style of the bookcase4 ,if1 however1 you are of a studious frame of mind1 and have been fortunate enough to collect a number of books1 the second case would probably be more to your liking4 ,illustration3 ,,fig4 #bb4 ,,fig4 #bc4 ,we will suppose that you have already a desk4 ,make two upright rows of bookshelves far enough apart to allow the desk to be placed between them4 ,shut off the lower part of the shelves1 on each side1 with a door1 which may be decorated with iron hinges or blackened metal4 ,these false hinges are of course placed against the real ones on which the door swings1 and are purely ornamental4 ,these little closets make fine places in which to store unsightly books and magazines which look untidy but which one always wants to keep4 ,there is a shelf over the top of the desk on which could be placed a row of plates1 a tankard1 or photographs2 and a poster or nice little etching would give interest to the big panel4 ,this panel1 by-the-way1 need not be made of wood1 but could be closed in by a piece of colored burlap or buckram4 ,the case would then have to be braced by three slats of wood nailed across the back behind the buckram4 ,when completed it will appear as shown in ,fig4 #bc4 ,a ,book-ledge and ,stool ,two interesting and useful pieces of furniture are shown in the drawing of a book-ledge and stool 7,fig4 #bd71 and as the main shelf is but fourteen inches wide it will not occupy a great deal of space in a room4 ,the main shelf is forty-two inches long1 fourteen wide1 and one inch and a quarter thick4 ,the side pieces1 or legs1 supporting it are twelve inches wide and thirty-three inches high1 with ,v-shaped pieces cut from the foot of each one4 ,these pieces are thirty-six inches apart1 and arranged between them1 and twenty inches above the floor an under ledge eight inches wide is fastened with long screws and brackets4 ,nine inches above the main ledge a top shelf is supported on side legs1 which1 in turn1 are propped at the outside with wood braces1 or blocks1 six inches high and four inches wide at the bottom4 ,the side supports are placed the same distance apart as the underside pieces1 and are held in position on the top of the main ledge with short dowels1 or pegs1 driven in their under end1 and which fit into holes bored in a corresponding position in the ledge4 ,this upper section may be omitted1 however1 if the plain ledge is preferred4 ,the stool is twelve inches square and twenty-two inches high4 ,the top is covered with a stout square of leather caught all around the edges with nails and imitation nail-heads4 ,the lower rails that bind the posts together are one and three-quarter inches wide and seven-eighths of an inch thick4 ,the posts are one and three-quarter inches square1 and the rails are let into them three inches up from the floor4 ,the top rails are the same width1 and all let into the top of the posts with the lap-joint union1 where they are glued and screwed fast4 ,small brackets under these rails will add an element of support1 and they can be dressed out of seven-eighths-inch wood with a compass-saw1 and made fast with glue and screws4 ,these brackets are comparatively small1 being two and a half inches wide and four inches deep1 but they must be cut accurately to fit well4 ,illustration3 ,,fig4 #bd4 ,chapter ,,xxi ,,clocks ,,and ,,timepieces ,among the many useful and attractive pieces of furniture that a boy can make to help furnish a home1 clocks and timepieces offer a good field for endeavor4 ,now1 a clock is more often looked at than any other piece of furniture2 consequently1 it should be a thing of beauty rather than a distracting eyesore4 ,and1 since it is no more expensive to construct a clock on good lines than on poor ones1 there is no reasonable excuse for the inartistic1 commonplace designs that are displayed for sale by jewelers1 department stores1 and house-furnishing shops4 ,several good designs for simple and artistic cases are shown on the following pages1 and none of them are too intricate to be made at home by the boy who has gained some knowledge in the handling of tools4 ,there is nothing in their construction that requires the services of a cabinet-maker1 and the movements may be had from a clock-manufacturer1 or perhaps taken out of an old or unsightly case4 ,for instruction in the use of the pyrographic-point1 see ,chapter ,,xii4 ,thin white-wood or pine boards1 sheet-lead1 stain1 and shellac are some of the simple materials needed2 and the tools required will be those that may be found in every household1 such as a saw1 hammer1 plane1 awl1 square1 mallet1 compass-saw1 and brace and bit4 ,some steel-wire nails1 glue1 sand-paper1 and black paint will complete the list of necessaries1 and the various small accessories may be had at a hardware store at a nominal outlay4 ,a ,bracket-clock ,a design for a simple bracket-clock is shown in ,fig4 #a1 and the case is so plain in construction that any smart boy can easily make it from thin pieces of board half an inch in thickness1 half a yard of burlap1 and some sheet-lead4 ,the box part of the clock is eight inches square and three and a half inches deep4 ,the brackets are extensions of the sides1 cut as shown in ,fig4 #b ,a2 they drop eight inches below the bottom-board of the case4 ,the dial and glass frame measure six inches in diameter1 and to fit them to the box it will be necessary to cut a hole in the front of the case five and a half inches in diameter1 as shown in ,fig4 #b ,b4 ,the shelf-top to the box is bevelled at the under side1 and is attached by means of glue and nails2 it overhangs one and a half inches at the front and ends4 ,the sides and front of the box are then covered with tinted burlap in a soft1 old-green1 red1 or tan shade1 and the exposed wood-work is stained a color to match4 ,when dry it is given a coat or two of thin shellac to lend a lustre to the grain and stain4 ,to hide the joint between the cap and the body of the clock1 a round piece of wood1 such as a dowel1 should be inserted and nailed fast2 or a narrow strip of picture-moulding can be used4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,if it is impossible to find the large nails that bind the corners at a hardware store1 they may be made from sheet-lead4 ,disks half an inch in diameter are cut from the lead by means of a small cold-chisel and mallet4 ,the edges of the disks are beaten with a tack-hammer to give them the appearance of a rough1 hammer-headed nail4 ,these disks are painted with a dead-black paint1 made by adding a small portion of dry lamp-black to thin shellac1 and applying it to the metal-work with a soft brush4 ,these heads are attached to the clock1 as shown in the illustration1 at regular distances apart1 with thin1 small-headed1 steel-wire nails1 which when driven in and painted with the black preparation become invisible4 ,the movement1 which may be of either the spring or weight kind1 is attached to the back of the case before the dial is made fast1 and the pendulum-rod is dropped through a slot cut in the bottom-board4 ,if the mounting is bothersome1 however1 a clock-maker will arrange it and adjust the dial and space the hands properly4 ,a metal hanger at the top and two long1 slim screws driven through the bottom of each bracket will hold this clock in place against the wall4 ,a ,mantel-clock ,a simple but artistic mantel-clock is shown in ,fig4 #c4 ,it is seven inches wide1 thirteen inches high1 and three and a half inches deep4 ,it is made from thin white-wood1 pine1 cypress1 or almost any soft wood4 ,the top1 or cap1 is of half-inch wood1 and it projects one and a half inches beyond the front and sides4 ,a small moulding1 or a dowel1 is cut and mitred around the top under the cap4 ,at the bottom the feet are made by cutting out pieces of the wood with a compass-saw4 ,a small pendulum movement is mounted against the back before the dial and glass frame are set in place4 ,the ornament on the front and sides is outlined with pencil1 and after the wood-work is stained a soft-brown1 an old-green1 or any desired shade1 the lines of the ornament are pyrographically burned4 ,or they may be painted with a dark-brown paint in imitation of pyrography4 ,below the ornament a half-inch band of sheet-lead is laid around the body of the clock and held on with large1 oval-headed upholsterers' nails painted black4 ,a ,wall-clock ,an attractive wall-clock is shown in ,fig4 #d1 page #cbg4 ,with a movement having a fifteen-inch pendulum1 the case should be ten inches wide1 twenty-four inches high1 and four inches deep4 ,a circular opening is made at the upper end of the box1 and an oblong one at the lower end through which the pendulum may be seen4 ,the box is covered with burlap in some desirable shade2 it is applied with glue and large-headed nails1 or dummy heads4 ,the ornamental design is cut from sheet-lead and applied with slim1 steel-wire nails4 ,the frame around the lower opening is cut from lead and applied over a piece of glass which is cut and fitted to the opening4 ,the stems to the buds are made of thin telegraph wire1 bent to the proper shape1 and applied with small staples made from pins4 ,the top is cut from white-wood five-eighths of an inch thick2 it overhangs the sides and front two inches4 ,where the top is applied to the body of the clock1 the joint is hidden with a small strip of moulding1 or a dowel mitred at the corners1 and attached with slim1 steel-wire nails4 ,the large nail-heads all along the edges are made from sheet-lead beaten to represent wrought-iron bellows-nails1 and fastened on with thin1 steel nails1 and afterwards painted black4 ,the bottom of the box should be arranged on hinges1 and caught with a small bolt so that it may be dropped in order to start the pendulum1 and also to adjust the screw at the bottom of the rod4 ,a pleasing combination of colors for this case will be light1 olive-green burlap1 black metal-work1 and old-brown wood-work4 ,the pendulum-ball may be of bright brass or blackened4 ,equally effective are combinations of red burlap and brass trimmings1 or old-gold-colored burlap and ,pompeian-green metal-work1 made by tinting all the metal parts with a light and dark olive-green paint blended together on the parts4 ,a ,high ,wall-clock ,for the space over a mantel1 or wherever it may be convenient to hang it1 a substantial high wall-clock is shown in ,fig4 #e4 ,it is ten inches wide1 thirty inches high at the front1 and four inches deep1 with the bracket-ends and the fancy top-pieces extending five or six inches beyond the body of the clock at top and bottom4 ,in construction it is somewhat on the lines of the 8mission0 furniture1 the pieces being tongued and pinned1 with a heavy slatted front4 ,the wood-work is five-eighths of an inch in thickness4 ,the cross-rails are two inches in width1 and the upright ones and the lattice are one and a quarter inches in width4 ,the ends of the cross-pieces are shaped as shown in ,fig4 #f4 ,when passed through mortises cut in front of the side boards they are held in place with wooden pins4 ,at the back1 near the top and bottom1 two-inch cross-strips are let into the side boards4 ,the ends should project two inches beyond the boards at both sides1 and holes are made in them through which screws are passed to anchor the clock to the wall4 ,an eight-day movement1 with a twelve-inch pendulum1 is made fast to a back-board1 and on the front-board1 to cover a hole eight inches in diameter1 a large dial and glass are fastened4 ,illustration3 ,,hanging ,,and ,,mantel ,,clocks ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,the ornament at the sides and on the front-board around the dial is cut with a carving-chisel1 and tinted to darken the lines4 ,stain and varnish will be a desirable finish2 or the stain alone may be used should an old1 dull appearance be desired4 ,an ,odd ,mantel-clock ,the design for a mantel-clock that is odd in shape and striking in appearance is shown in ,fig4 #g4 ,it is seven inches wide at the top1 underneath the cap1 and ten inches across at the base4 ,in width it varies from three inches at the top to four and a half inches at the base4 ,the case is made from three-eighths-inch white-wood and joined with glue and nails4 ,the top is of core-moulding that may be had at a carpenter-shop or planing-mill4 ,it is mitred to fit at the front and ends4 ,the metal straps are of lead and the ornament is tinted and outlined4 ,a great deal of the beauty of this design is in its coloring1 and1 unfortunately1 this cannot be reproduced4 ,the wood-work is in light golden-brown1 the buds in orange1 toning down to a deep red at the base1 or similar to the colorings of the ,california poppy4 ,the stems and leaves are in several shades of green1 and the entire ornament is lined by the pyrographic-point1 or painted with a line in dark brown4 ,the straps1 nails1 and glass frame are in dead black1 and the cap-moulding is in a darker shade of brown than that employed for the body color of the case4 ,a pale1 old-pink dial1 on which black numerals are painted1 completes this harmonious color-scheme4 ,a ,shelf-clock ,a quaint clock is shown in ,fig4 #h1 and it is quite as simple to construct as it is in appearance4 ,it is fourteen inches wide1 twelve inches high1 and four and a half inches in depth4 ,a six-inch dial and glass are mounted on the front1 and in the bottom of the movement-box a narrow slot is cut to accommodate the swing of the pendulum-rod4 ,illustration3 ,,fig4 #h4 ,,fig4 #i4 ,,fig4 #aj4 ,white-wood boards three-eighths of an inch in thickness are fastened to corner-posts1 having the two upper sides cut away as shown in ,fig4 #i4 ,laps are cut at the lower end of each corner-post into which the rail fits1 as also shown in ,fig4 #i4 ,the same general description given for the other cases applies to this one1 and after the ornament is stained and lined the surface of the wood may be lightly lined from top to bottom with the pyrographic-point4 ,an ,old-style ,timepiece ,a case of old-fashioned design is shown in ,fig4 #aj4 ,the top measures eight inches square2 the waist is five inches wide and twelve inches long2 and the base is six inches high and twelve inches long4 ,two bars are fastened from the top to the base2 they pitch at a slight angle4 ,the average depth is four inches1 and the top1 or head1 extends out over the waist for a quarter of an inch1 or enough to make a break in the straight line of the front4 ,the ornamentation is carried out as described for the other designs1 and if properly constructed this clock should present a very unique appearance4 ,chapter ,,xxii ,,screens1 ,,shoe-,,boxes1 ,,and ,,window-,,seats ,among the many convenient pieces of furniture that a boy can make for the home1 there are1 perhaps1 none that are so handy and generally useful as screens1 shoe-boxes1 and settles of various kinds4 ,screens in particular are of so many and varied designs that it would be quite impossible in this short chapter to give more than a few of the simpler forms2 but they will serve as hints for others4 ,a ,light-screen ,one of the easiest screens to make1 and perhaps the most generally useful1 is that shown in ,fig4 #a4 ,this is a light-screen1 which may be easily taken from one room to another4 ,four rails of pine or white-wood are cut and tapered at one end for the tops1 and slightly cut away at the other for the bottom1 as shown in the illustration4 ,the rails are four feet six inches long1 two and a half inches in width1 and seven-eighths of an inch thick4 ,dowels five-eighths of an inch in diameter are used for the cross-sticks4 ,they can be purchased at a hardware store or from a cabinet-maker1 and should be cut twenty-four inches long4 ,holes are to be bored in one edge of each strip1 into which the dowels are driven1 and fastened with glue and small nails4 ,four or five dowels will be sufficient for each wing1 and they should be spaced evenly1 the first one four inches below the top of the rails and the bottom one ten inches above the floor4 ,the wings are fastened together with two or three hinges1 so that the screen may be folded and stood in a closet or behind a door when not in use4 ,some pretty figured material1 such as ,china silk1 silkoline1 cretonne1 or printed cotton goods may be used for the covering1 which is to show on both sides of each wing4 ,it should be from three to five feet wide1 so as to allow for some fulness4 ,one end of the goods is tacked to the top dowel2 then it is passed around the bottom dowel and brought up to the top1 where it is again tacked fast4 ,some narrow gimp and brass nails will hide the edges of the goods at the top1 and to hold the material in place a few tacks may be driven along the bottom dowel4 ,the wood-work should be painted1 or stained and varnished1 before the covering material is put on4 ,if a dull finish is desired1 some dark paint may be thinned with turpentine and rubbed on with a soft cloth1 then partially wiped off and allowed to dry4 ,it will not be necessary to varnish or shellac the surface1 but a little beeswax can be dissolved in turpentine and rubbed on4 ,a ,fire-screen ,when an open fire is burning on the hearth a screen that will protect the eyes from the glare1 and yet allow the heat to reach the lower part of the body and the feet1 is a useful piece of furniture4 ,a simple screen of this description is shown in ,fig4 #b1 and for a living-room or bedroom it should measure thirty-six inches long1 forty-two inches high1 the screen proper being eighteen or twenty inches wide4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,,fig4 #h4 ,the uprights are of wood two inches square1 and the cross-rails are seven-eighths of an inch thick and two inches wide4 ,the joints are mortised and tenoned1 and held with screws and glue1 while the apparent fastenings are large1 round1 mock nail-heads4 ,the feet are cut from hard-wood seven-eighths of an inch in thickness1 as shown in ,fig4 #c1 and attached to the bottom of the upright posts with glue and screws1 the vertical edges of the feet being let into a lap cut in the posts4 ,each foot will then measure eighteen inches across at the bottom1 and twelve inches high from the floor to the top of the lap cut in the posts4 ,leather1 burlap1 denim1 tapestry-cloth1 or any good covering fabric1 may be used for the screen4 ,this material should be tacked on the top and bottom rail with large upholsterers' tacks painted black4 ,a design may be lightly drawn on the fabric with a pencil1 and afterwards painted in oil or water colors1 or the ornament may be stencilled on with aniline colors1 as described in ,chapter ,,xix4 ,a ,shoe-screen ,for a bedroom a convenient screen is shown in ,fig4 #d4 ,this is properly called a shoe-screen1 since there is a ledge made fast to the lower part of it to serve as a rest for the foot when lacing or buttoning shoes4 ,there are also two rows of pockets on the inside of the screen1 into which shoes1 slippers1 and sandals can be slipped4 ,a convenient size to make this screen is three feet six inches high and two feet six inches wide4 ,the foot-ledge should not be more than fourteen inches above the floor and six inches wide4 ,the frame may be made from any easily worked wood1 since when it is painted1 or stained and varnished1 nothing but the grain will show4 ,the uprights should be three inches wide1 seven-eighths of an inch thick1 and three feet three inches long4 ,lap or dowelled joints should be made at the top corners1 and at the foot of both pieces notches are to be cut in with saw and chisel1 as shown at ,fig4 #e4 ,the foot-pieces may then be driven up in place and made fast with screws or slim nails driven through the projecting ends of the side uprights and into the feet4 ,the feet are of wood seven-eighths of an inch thick1 sixteen inches long1 and six inches high4 ,the pattern may be drawn with lead-pencil on the wood2 then1 with a compass-saw1 cut the wood on the lines1 having first clamped the piece in a vise to hold it securely4 ,the foot-shelf is made fast to the screen after the covering material is in place1 and at both ends it is supported with brackets1 the lower ends of which are made fast with screws4 ,a cross-rib should be made fast in the screen-frame midway between the top-rail and the one to which the ledge is attached1 and a line of tacks is driven through the covering material and into the frame on both sides4 ,this is to give a better finish1 and also to support the rows of pockets when full of shoes4 ,the strip of denim for the pockets is seven inches wide and hemmed on both edges4 ,it is then caught to the covering material so that generous pockets will be formed1 each one being large enough to accommodate a pair of shoes4 ,the front of the screen may be covered with a fancy-figured material fastened on with small tacks2 over this a gimp to match the material can be laid and held down with large-headed tacks1 such as may be purchased at upholstery supply stores4 ,the painting1 staining1 or varnishing should1 of course1 be done before the fabric1 or covering material1 is made fast to the frame4 ,a ,bedroom-door ,screen ,at night it is often agreeable to have a bedroom door left open4 ,yet one does not want to sleep in an actual draught1 and a screen such as is shown in ,fig4 #f will be found most useful4 ,this screen is in one piece1 six feet six inches high and eighteen inches wide4 ,the frame is made from pine1 white-wood1 or any other wood to match the trim of the room4 ,two cross-rails are fixed so as to remain equal distances apart1 thus forming three panels to the screen4 ,hinges are arranged at one edge1 which in turn are made fast to the door-casing1 so that when the screen is not in use it can be thrown back against the wall2 or1 if thought preferable1 eyes may be driven in the casing and hooks in the edge of the screen1 so that it may swing as if on hinges1 and yet be lifted off at will and set away in a closet4 ,an eye on the door and a hook on the screen will serve as a fairly secure fastening against intrusion4 ,any pretty material that matches the paper of the room may be used to cover this screen1 and the edges should be bound with gimp and large-headed tacks to give it a good appearance4 ,a ,heavy ,fire-screen ,for a dining-room1 living-room1 or library1 an attractive design for a heavy fire-screen is shown in ,fig4 #g4 ,this is constructed of oak1 ash1 or other hard-wood4 ,it is thirty-six inches wide1 forty-two inches high1 and the rails and feet are one and one-eighth inches thick4 ,the uprights and cross-rails are four inches wide1 and the top and bottom of each upright are cut as shown in ,fig4 #h4 ,the cross-rails should be mortised in the uprights1 or they may be made fast by butting one end against an edge and securing the joint with dowels4 ,the feet are fourteen inches across at the bottom and fifteen inches high4 ,they are glued and screwed in the laps cut at the lower ends of the uprights1 and the screw-heads are covered with imitation wrought-iron nail-heads beaten from sheet-lead and attached with steel-wire nails1 the heads of which are invisible when driven into the lead4 ,the side of the screen which faces the fire should be covered with burlap1 denim1 or other stout cotton fabric4 ,the outer side of the screen should be faced with leather1 on which the ornamental design is followed out with stains and pyrography 7see ,chapter ,,xii74 ,the leather should be caught to the frame with tacks placed two inches apart1 and also glue4 ,over the tacks imitation lead heads may be secured with slim1 steel nails4 ,a ,window-seat with ,under ,ledge ,in the drawing of the window-seat with under ledge 7,fig4 #i7 an odd but useful piece of furniture is shown4 ,it is made from two boards fourteen inches wide and forty inches long1 two end-pieces fifteen inches wide and twenty-two inches high1 and four brackets eight inches on the right-angle edges4 ,these latter are necessary to brace the top and ends1 as shown in ,fig4 #aj ,a ,a4 ,the top shelf1 or seat1 is eighteen inches high from the floor1 and the under ledge is made fast eight inches below it4 ,the fastening is made with screws and liquid glue1 and allowed to stand several hours before the drapery is attached4 ,for the upholstery material the dry-goods stores offer quite a variety of stuffs from which to choose4 ,the least expensive are burlap1 denim1 cretonne1 and some of the heavy1 cotton1 printed goods4 ,other fabrics1 richer in appearance and more lasting1 are velour1 tapestry-cloth1 rep1 and brocade4 ,goods of this class will cost from fifty cents to several dollars a yard4 ,illustration3 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,to upholster this seat1 obtain some curled hair from an old mattress1 and spread it over the top board1 having first tacked a piece of unbleached muslin along one edge of the seat4 ,when a sufficient quantity of the hair is on the board1 draw the muslin over it1 and tack it down along the other edge and at the ends4 ,over this the fabric can be drawn and tacked4 ,the end boards are covered with plain goods of the same color as the seat and flounce1 and the edges are bound with gimp an inch wide1 held down with large1 oval-headed upholsterers' tacks painted black4 ,across the back of the seat 7the part that goes against the wall or window-base7 plain goods can be drawn and tacked1 or it may be left open4 ,the front is provided with a flounce made by shirring the goods on a stout cotton cord and tacking it along the front of the top board1 then covering the tacks with gimp and nails1 as shown in the drawing4 ,a coat of paint or shellac at the inside will finish the wood-work1 and it will then be ready for use4 ,a ,shoe-box ,seat ,a shoe-box seat is easily made and upholstered1 and will be an acceptable addition in any bedroom 7see ,fig4 #aa74 ,the sides are eighteen inches wide1 thirty-six inches high at the back1 and twenty-two inches at the front4 ,the seat and ledge under it are each eighteen inches square1 and the boards forming the back extend down to the floor4 ,the parts are put together with screws and glue2 then the seat is upholstered with curled hair1 as described for the window-seat 7,fig4 #i74 ,the framework for this seat could be made from a box with the bottom and one side removed4 ,the arms should be cut from a separate piece of wood and screwed fast1 as shown in ,fig4 #ab by the line along the shaded side4 ,plain or figured goods may be used for the covering material4 ,it is drawn and caught with tacks at the edges2 then the joints may be hidden with gimp and large-headed tacks4 ,if it is possible to procure some ,english bellows-nails they will add an artistic effect to the trimming4 ,if they cannot be had1 very good imitation heads may be cut from sheet-lead with a pair of old scissors or shears4 ,after beating them about the edge to flatten them and lend a hand-forged effect1 these disks should be attached to the wood with long1 slim finishing-nails of steel wire1 which1 when driven into the heads1 become imbedded in the lead and are not seen4 ,they should be painted black with a solution of shellac in which some dry lamp-black has been mixed to the consistency of cream4 ,apply with a soft brush4 ,a ,dressing-room ,settle ,in the illustration for a dressing-room settle 7,fig4 #ac7 a comfortable piece of furniture is illustrated1 and in ,fig4 #ad its construction is clearly indicated4 ,the ends are three feet high and sixteen inches wide4 ,the back-boards extend from the top of the ends down to the floor1 and are attached with screws4 ,the seat and under ledge should be from thirty to forty-eight inches long1 according to the space it will occupy against the wall or under a window4 ,the upholstering is done as described for the other pieces of furniture1 save that a more elaborate ornamentation is suggested for the end-pieces4 ,the design is drawn in free-hand1 and then embroidered on with heavy linen thread4 ,mother or elder sister will have to help out with the needle-work4 ,a ,short ,settle ,illustration3 ,,fig4 #ac4 ,,fig4 #ad4 ,,fig4 #ae4 ,,fig4 #af4 ,a short settle with under ledge 7,fig4 #ae7 is another comfortable piece of bedroom or sitting-room furniture4 ,in ,fig4 #af the constructional diagram is shown for the arrangement of its sides1 back1 and under ledge4 ,the ends are sixteen inches wide and twenty-three inches high4 ,the back extends down to the floor1 and above the ends it curves or rounds over1 extending up about five inches higher than the tops of the ends4 ,under the seat a strip of wood two and a half inches in width is attached at both ends1 and the front edge of the seat is screwed fast to it4 ,this acts as a support1 and obviates the necessity of a brace block4 ,a ,foot-rest ,when putting on shoes it is convenient to have a short bench on which to rest the foot1 and while a hassock will answer well enough1 it is not so good as a bench or so easily handled4 ,fig4 #ag shows a neat foot-bench that is easy to construct from four pieces of wood4 ,in ,fig4 #ah page #cde the plain bench is shown1 while at ,b a view of the inverted bench is given so that the cross-bar may be seen4 ,the top board is eighteen inches long1 ten inches wide1 and an inch thick4 ,the ends1 or legs1 are seven inches high and eight inches wide1 with a ,v notch cut in from the bottom of each4 ,these feet are set fourteen inches apart1 so that there will be two inches of overhang at each end of the bench2 that is1 the top will extend two inches over the legs at each end4 ,the brace shown at ,fig4 #ah ,b is two inches wide1 twelve and a half inches long1 and an inch in thickness4 ,the four parts are put together with glue and screws2 then the top is padded with curled hair and upholstered as already described4 ,a ,combination ,shoe-box and ,seat ,from two canned-goods boxes the combination shoe-box and seat may be made1 as shown in ,fig4 #ai1 ,fig4 #bj being the structural plan4 ,the left-hand box in ,fig4 #bj has the lid removed1 and a shelf is inserted so as to divide it into two compartments4 ,the other box is provided with a hinged lid4 ,instead of making the hinges fast to the edge of the box1 a strip an inch or two wide should be attached to the rear of the box1 and to this the lid is hinged1 as shown in ,fig4 #bj4 ,the two boxes are screwed together1 and a back is provided for the one on the right4 ,the board forming this back should extend the entire length of the two boxes1 and should be secured to them with stout screws4 ,the tops of the boxes are padded with hair1 and the sides are covered with upholstery material of any desirable color and quality1 the edges being bound with gimp and nails4 ,the inside of the low box and the under side of the lid should be provided with denim pockets1 as shown at ,fig4 #ba4 ,these pockets are formed by tacking a strip of denim to the wood and allowing fulness enough to accommodate a pair of shoes or slippers4 ,it furnishes the inside of such boxes nicely to line them with unbleached muslin tacked at the corners and edges4 ,where wood is exposed in the ledge and shelf seats a coat of paint or shellac is desirable4 ,a ,double ,shoe-box and ,seat ,three well-made boxes1 two of a size and one longer1 will make the foundation for a double shoe-box and seat1 such as is shown in ,fig4 #bb4 ,illustration3 ,,fig4 #ag4 ,,fig4 #ai4 ,,fig4 #bb4 ,,fig4 #bd4 ,,fig4 #bf4 ,in ,fig4 #bc the structural arrangement is indicated4 ,the end boxes are provided with two shelves each1 and the middle one is fitted with a back-board1 which is rounded over at the top and projects about six inches above the top of the end boxes4 ,the middle box is provided with a lid and hinges which are made fast to a back strip1 so that when the lid is raised it will not fall again1 but will stand out an inch or two from the back-boards4 ,a ,curved-back ,window-seat ,fig4 #bd illustrates a useful piece of furniture4 ,the box part1 or frame1 is thirty-eight inches long1 sixteen inches wide1 and fifteen inches high1 and the top of the back is fourteen inches above the seat4 ,the structural plan is shown in ,fig4 #be4 ,four inches from the bottom a ledge is arranged1 and at the middle a division-brace is placed4 ,the unions may be made with nails1 but screws are preferable4 ,illustration3 ,,fig4 #ah4 ,,fig4 #bj4 ,,fig4 #ba4 ,,fig4 #bc4 ,,fig4 #be4 ,,fig4 #bg4 ,the back is made from two boards shaped into a curve with a draw-knife and plane and held together with battens1 as shown by the dotted lines in ,fig4 #be4 ,the battens extend down behind the back of the box1 and the ends are made fast with screws to support the back4 ,the back and seat are padded with curled hair and covered with unbleached muslin1 over which the upholstery material is drawn and tacked to the edges4 ,a valance of some pretty figured goods to match the seat and back is made1 and tacked around the upper edge of the box4 ,wide gimp and large-headed upholsterers' tacks will finish the edge of the seat and back1 and it would be well to give the wood-work a coat or two of paint or stain4 ,a ,window-seat and ,shoe-box ,in the illustration of the window-seat and shoe-box 7,fig4 #bf7 a substantial and useful piece of furniture is illustrated4 ,it is made of three boxes screwed together1 as shown in ,fig4 #bg4 ,the lid of the middle box is hinged1 and the end boxes are stood on end4 ,one end box is shorter than the other1 and in both of them shelves are arranged for shoes1 slippers1 or sandals4 ,a back is made of two boards and attached at the rear of the boxes4 ,the top of each box and the face of the back are padded with curled hair or moss filling that may be had from an upholsterer1 and covered with some upholstery material4 ,buttons and string are caught down into the top of the padded surface to give the tufted effect shown in the illustration1 and the sides and fronts of the boxes are hidden with valances4 ,gimp and large-headed nails finish the edges as shown1 and when the wood-work is given a coat of paint this window-seat and shoe-box is ready for use4 ,chapter ,,xxiii ,,household ,,conveniences ,in and around the house there is opportunity for the creation of a number of useful articles that can be made by any boy who is at all handy with tools4 ,for example1 the tops of doorways and windows in a dining-room may be improved by the addition of narrow shelves1 or ledges1 on which old plates1 slim jugs1 or some quaint old bottles may rest4 ,these ledges may be made from pine1 white-wood1 cypress1 or other wood to match the trim4 ,the wood should not be more than half or five-eighths of an inch in thickness1 as shown at ,fig4 #a4 ,the shelves should be three or four inches in width1 with a straight front1 or slightly curved1 as shown in ,fig4 #b4 ,this curve is called a serpentine line1 and may be shaped with a draw-knife2 or1 if the wood is soft1 it can easily be cut with a compass-saw and finished off with a draw-knife and sand-paper4 ,two brackets cut from wood the same thickness as the shelf will support it at either end4 ,these are cut three inches wide at the top and from six to eight inches long1 in the shapes shown in ,fig4 #c4 ,it gives a more attractive finish to extend the ends of the ledge two or three inches beyond the door or window trim1 as shown in the illustration of ,fig4 #a4 ,a ,plate-rail ,for cups and small pitchers a plate-rail may be arranged around the walls of a dining-room1 as shown at ,fig4 #d4 ,a wall-plate six or eight inches wide is made fast to the wall about five feet up from the floor1 and to it1 at intervals of twenty to thirty inches1 brackets are screwed fast4 ,these are cut in one of the forms shown in ,fig4 #c1 and are three inches wide4 ,the top shelf is four inches wide1 and is laid on the tops of the brackets and pushed back against the wall1 where the rear edge is screwed fast to the top edge of the wall-plate4 ,where the rail meets a doorway or window-casing the corner is rounded1 as shown in the illustration4 ,this may be done with a compass-saw and small plane4 ,a narrow strip of wood is nailed fast to the top of the rail about two inches out from the wall1 to prevent the plates from sliding off4 ,a narrow plate-rail may be attached to the wall higher up1 or about in the position occupied by a picture-moulding4 ,shorter brackets should support it1 and they may be attached directly to the wall without the aid of a wall-plate1 since the latter would give a heavy appearance to a rail at that height4 ,a ,cup and ,plate ,rack ,it is hardly advisable to give definite dimensions for the cup and plate rack 7,fig4 #e71 since it should be designed in accordance with the amount of wall room that may be available4 ,the rack shown in ,fig4 #e is intended for a wall space three feet wide and seventy-two inches high4 ,the two uprights are made of white-wood thirty-nine inches high1 three inches wide1 and half an inch thick4 ,the lower ends are tapered1 as shown in the drawing1 and the upper ends are fashioned with a compass-saw4 ,the brackets are six inches wide1 nine inches long1 and half an inch from the outer edge a depression is cut in the top to receive a half-inch dowel4 ,illustration3 ,,fig4 #a4 ,,fig4 #b4 ,,fig4 #c4 ,,fig4 #d4 ,,fig4 #e4 ,,fig4 #f4 ,,fig4 #g4 ,,fig4 #h4 ,the shelves on which the plates rest are three inches wide and twenty-one inches long4 ,the dowels extend from three to six inches over each end1 as shown in the drawing4 ,from their under-sides cups may be suspended on hooks screwed into the wood4 ,the front edges of the shelves are provided with a strip of wood fastened on with slim1 steel-wire nails1 to prevent the plates from1 sliding forward1 as shown in ,fig4 #f1 which is a plan of the arrangement of bracket1 shelf1 and dowel4 ,the dowels can be had at a hardware store for two or three cents each1 and from a quarter of an inch to the diameter of a small curtain-pole4 ,a ,cup and ,plate ,pyramid ,the cup and plate pyramid 7,fig4 #g7 is another attractive dining-room feature and is very simple to construct4 ,three of the shelves are cut with a serpentine front1 as shown in ,fig4 #h ,a1 and measure twenty-six1 twenty-two1 and eighteen inches respectively2 while the top one is twelve inches long and cut as shown in ,fig4 #h ,b4 ,the shelves are six inches wide at the middle1 and three of them are two and a half inches wide at the ends4 ,short brackets one and a half inches wide and two and a half inches long support the shelves at the ends4 ,under the middle of the bottom shelf a large bracket five and a half inches wide and eight inches long is cut and made fast with long1 slim screws driven down through the bottom shelf4 ,a notch is cut at the front of each shelf1 and a corresponding one in the staff that binds the shelves together1 so that they are spaced1 from the bottom up1 eleven1 ten1 and nine inches apart4 ,slim1 steel-wire nails two inches long will secure the brackets to the wall1 or long1 slim screws may be used4 ,a ,butler's ,tray ,for the house that is not built with a butler's pantry1 or for the mother who does her own housework1 the tray and drop-ledge shown in ,fig4 #i will be found a very convenient piece of dining-room furniture4 ,illustration3 ,,fig4 #i4 ,,fig4 #aj4 ,,fig4 #aa4 ,,fig4 #ab4 ,two brackets on hinges will support the shelf when it is up4 ,when it is dropped the brackets fold in against the wall1 as shown in ,fig4 #aj4 ,the ledge and brackets are of pine wood three-quarters of an inch thick and planed on all sides and edges4 ,the tray is of white-wood five-eighths of an inch thick1 and put together securely with glue and screws4 ,the ends and handle-grips are cut with a compass-saw and finished with sand-paper2 then the tray is stained and varnished to match the shelf and brackets4 ,back of the drop-shelf a strip of wood two inches wide is fastened to the wall by means of a wall-plate securely screwed to the studding1 and two vertical plates one inch thick make an anchorage for the brackets4 ,the latter are attached by means of flat hinges1 and the shelf proper is also hinged to the two-inch wall-plate4 ,all these parts must be screwed very solidly together if the safety of the household crockery is to be considered4 ,cup-pins and ,brush-rack ,in the butler's pantry or near the kitchen sink it is sometimes convenient to have a brush-rack and some cup-pins1 on which cups1 drinking-glasses1 and small hollow-ware may be kept4 ,these are easily made1 as the illustration 7,fig4 #aa7 will show4 ,the cup-pins are dowels sawed in five-inch lengths1 and then made fast to a square pine stick with slim screws passed through holes that have first been made with an awl4 ,the rack is then attached to the wall with screws passed into the studs or uprights behind the plaster4 ,the brush-rack is made from two pine sticks1 one of which is cut out in places1 as shown in ,fig4 #ab4 ,the two sticks are then screwed together and supported on brackets4 ,brushes kept in a drawer or on a shelf do not dry properly1 so that it is always best to place them where they have a free circulation of air4 ,lock-shelves ,in a cellar or store-room it is often convenient to have a portion of the shelves arranged so that their contents can be locked up4 ,for this purpose ,fig4 #ac shows a slat door arranged in front of several shelves and hung on hinges4 ,at the lower edge a hasp and eye may be made fast1 so as to make a padlock available4 ,illustration3 ,,fig4 #ac4 ,,fig4 #ad4 ,the slats are from one-half to seven-eighths of an inch thick and two inches wide2 they are fastened to battens with clinch-nails or screws driven from the inside4 ,a smart boy can make any number of these doors so as to lock up a whole lot of shelving1 but for convenience of handling they should not be more than four feet long4 ,a ,vegetable-bin ,for a corner of the cellar1 and where it is convenient to the staircase1 a very useful vegetable-bin may be made from a few boards and slats 7,fig4 #ad74 ,the bin may be of any width and length1 but for a house of the average size1 it need not be more than six feet long and eighteen inches wide each compartment being from sixteen to eighteen inches wide4 ,the front1 back1 and ends are ten inches high1 and two of the partitions are the same height4 ,the partitions for the potato and turnip compartments should extend eighteen inches above the top of the bin1 since these vegetables bulk largely4 ,the bin rests on two battens nailed to the brick or stone foundation-walls of the cellar1 two feet above the floor4 ,at the exposed corner a foot1 or leg1 twenty-four inches long1 supports it4 ,the bottom of the bin is made of long slats nailed an inch apart1 so that the dirt from the vegetables will fall through to the floor1 from which it can be easily swept up4 ,the ventilation from the slat bottom prevents the vegetables from decaying as quickly as they would in a box or barrel with a tight bottom4 ,across the tops of the high partitions1 and propped up at the exposed end of the bin1 a shelf or ledge ten inches wide will accommodate cabbages1 lettuce1 bunches of carrots and beets1 parsnips1 and various other vegetables4 ,in the illustration only five compartments are shown in the main part of the bin1 but a bin of almost any length can be constructed according to the space available and the requirements of the family4 ,a ,spoon-bar and ,saucepan-rack ,for the kitchen1 a rack on which to hang spoons1 ladles1 saucepans1 cups1 and other small accessories to the culinary department is shown in ,fig4 #ae4 ,it can be made to fit any wall space in a kitchen1 but the brackets should be twenty inches high and ten inches wide at the top4 ,they may be made from most any wood one and a half inches square1 and put together with lap-joints4 ,three rails1 seven-eighths by two inches1 are attached to the inside of the front bracket-rails or supports1 with long1 slim screws or steel-wire nails4 ,all the wood-work is painted two coats of white enamel1 or any color to match the wood-work of the kitchen4 ,brass screws or galvanized nails are driven in the bars at regular distances apart1 on which to hang the utensils1 and the rack is then to be securely attached to the wall4 ,a ,medicine-chest ,every house should contain a medicine-chest1 where the necessary boxes and bottles containing the family medicines may always be found in time of need4 ,chests may be made in any size and shape1 and adapted to the spaces they may occupy on a wall or in a bath-room closet4 ,a convenient chest is shown in ,fig4 #af1 and in ,fig4 #ag is given the plan of construction4 ,for the average household it should be made eighteen inches wide and twenty-four inches high1 with two shelves arranged so that the space between the lower one and the bottom of the box will be eight and a half inches4 ,the space between the upper one and the top should be six inches1 and between shelves seven and a half inches4 ,the top and bottom wall-plates should measure four inches wide1 and they are attached to the top and bottom of the box by means of screws driven into the edge of each through the top and bottom of the box4 ,illustration3 ,,fig4 #ae4 ,,fig4 #af4 ,,fig4 #ag4 ,,fig4 #ah4 ,,fig4 #ai4 ,a door is made from three pieces of board across the ends of which battens are made fast1 as shown in the plan drawing4 ,this is attached to the box by means of hinges1 and a catch at the other side will keep it closed4 ,the wall-plates and sides of the chest should be stained and varnished1 and the door covered with burlap glued fast or tacked at the inner side4 ,the letters1 ornament1 and imitation nail-heads are cut from sheet-lead1 scraps of which can be purchased at a plumber's shop1 shaped with a shears1 or an old knife1 and light mallet1 and afterwards trimmed with a penknife blade or a file4 ,they may be attached to the door with slim1 steel-wire nails1 and painted black with a coating made by adding dry lamp-black to thin shellac1 and applying it in one or two thin coats with a soft-hair brush4 ,be careful to anchor this chest securely to the wall1 as bottles are heavy and their weight must be taken into consideration4 ,a ,convenient ,plant-tray ,in the illustration of a convenient plant-tray 7,fig4 #ah7 an idea is suggested for a receptacle that will accommodate several small pots in the lower tray and a large pot1 or jardinire1 on the middle deck4 ,the tray is thirty-six inches long and twelve inches wide and at the ends is four inches deep4 ,but at the middle the sides are eight inches high1 and support the stage or deck1 which is thirteen inches square4 ,the tray is made of wood three-quarters of an inch thick and planed on both sides4 ,the legs are two inches square and twenty-four inches long1 and at the bottom they are slightly tapered with a draw-knife and plane4 ,they are fastened to the inner side of the tray at the corners with long1 slender screws driven down through the bottom of the tray and into the top of the legs4 ,bracket-braces are let into the legs in lap-cuts made with saw and chisel1 as shown at ,fig4 #ai1 and at the ends rails are let in between the legs to hold them rigidly4 ,the screws attaching these joints may be covered with mock nail-heads4 ,the ornament at the side of the tray is cut from sheet-lead with a stout pair of shears1 painted black1 and applied to the wood with flat-headed tacks or gimp-nails4 ,an ,indispensable ,clothes-press ,the available room in any clothes-closet can be more than doubled by adopting clothes-hangers and a rod4 ,fig4 #bj shows the plan of a closet seen from above4 ,the projections around the outer edge represent hooks1 while the bar through the middle and the cross-sticks represent the space gained4 ,fig4 #ba shows the usual rail and shelf1 but under them are the bar and hangers that represent the new feature4 ,this is a great improvement upon the ordinary closet1 even when drop-hooks are used under the shelves for the support of hangers carrying clothes4 ,the work necessary for this arrangement is very simple4 ,obtain two sockets and a small curtain-rod1 and fit the rod into the sockets screwed to the wall under the hook-rail1 taking care to drive long1 slender screws through the plaster4 ,from a hardware or house-furnishing store obtain a number of coat-hangers composed of a wood bar and iron hook4 ,these can be had at all prices from two for five cents to twenty-five cents each1 or if it is impossible to purchase them they can be sawed out of wood by any boy and provided with iron-wire hooks4 ,the bars are eighteen inches across and slightly curved at the top1 like one's shoulders4 ,underneath the bars1 near the ends1 small hooks may be screwed into place1 on which trousers may be hung by using clamps 7,fig4 #bb74 ,in this manner from four to six suits can be hung to every running foot of the pole4 ,this method will keep the coat or trousers in shape4 ,if loops are sewn fast to the skirt-band1 the skirt will hang on the two lower hooks much better than on a single hook1 when this system is applied to mother's or sister's closets4 ,illustration3 ,,fig4 #bj4 ,,plan ,,of ,,closet ,,fig4 #ba4 ,,fig4 #bb4 ,this device is so simple and useful that once tried it will always be used1 and where economy of space is a feature1 this idea is a valuable one for both the city and country house4 ,a ,divan ,a comfortable divan banked up with pillows is always an inviting addition to a room1 and helps to furnish it4 ,in ,fig4 #bc an idea is given for a piece of furniture that will serve a double purpose--that is1 a couch and a skirt or trousers press1 with a compartment for shirt-waists or fancy waistcoats4 ,in ,fig4 #bd the box1 or framework1 is shown4 ,it is five feet six inches long1 twenty-eight inches wide1 and fifteen inches high4 ,the tray is ten inches deep1 and divided into a long and short compartment4 ,this is supported by the ends1 which are fifteen inches high1 and made from several pieces of board with matched edges4 ,corner-brackets at front and back lend additional strength1 and prevent the frame from racking4 ,the top1 or lid1 is made from several matched boards held together with two or three battens2 it opens on three or four stout hinges securely screwed into the wood of the back4 ,a valance is made of some good upholstery material1 and tacked all around the upper edge of the box4 ,for the couch proper use a mattress which is to be placed on the lid1 and covered with the cloth used for the valance4 ,this should be tacked securely to the under side of the lid4 ,this will hold the mattress in place and make a good finish for the edges of the top4 ,illustration3 ,,lounge ,,and ,,corner ,,dressing-,,table ,,fig4 #bc4 ,,fig4 #bd4 ,,fig4 #bf4 ,make a few holes through the lid1 and with a long needle pass a string up through them1 through a stout button and down again1 where the string is to be tied around a tack1 and then the tack is driven in so as to hold the string securely4 ,this will give a tufted effect to the cushion top1 and will make the mattress more secure4 ,run a line of gimp or narrow belting around the top of the box over the tacks that fasten the valance1 and with large1 oval-headed upholsterers' tacks make a line of heads three inches apart all around the sides and front4 ,this will make an effective finish4 ,a ,corner ,dressing-table ,a very pretty dressing-table for the corner of a girl's room is shown in the illustration 7,fig4 #be74 ,this can be made by a boy for his sister1 or by a girl with a liking for such work4 ,as shown in ,fig4 #bf1 it is built up on a sugar barrel1 which is thirty inches high and twenty-four inches across at the widest place4 ,when it is inverted1 screws or nails can be driven through the bottom to hold the triangular ledge or table-top in place4 ,three boards should be cut to form a quarter of a circle thirty inches long on the two straight sides1 as shown in ,fig4 #bf ,a4 ,the sweep1 or curved edge1 is one-quarter of a five-foot circle4 ,fig4 #bf ,a also shows how this quarter-circle is placed on the top of the barrel4 ,to keep the boards together1 two battens thirty inches long are nailed or screwed underneath the straight edges4 ,screws rather than nails should be used in fastening the quarter-circle to the barrel4 ,they will not pull out or work loose so readily as nails4 ,the canopy top is supported on a framework consisting of three sticks1 each three feet long1 and a triangular top made of three short sticks1 as ,fig4 #bf shows4 ,at the top the sticks are joined as shown in ,b1 and the lower ends are attached to the table-top with long1 slim1 steel-wire nails4 ,illustration3 ,,fig4 #be4 ,if the color scheme of the room is pink1 pale-green1 or canary color1 this same color may be carried out in the drapery4 ,sateen or colored cotton goods may be overlaid with a dotted swiss or scrim1 and tacked to the framework4 ,at the bottom a valance is made and caught to the circular edge of the ledge1 which is covered with gimp held by brass-headed tacks4 ,the upper sticks of the frame are bound with strips of white muslin before the drapery is attached4 ,this is to prevent the wood from showing through the goods1 and also to make an anchorage in which some stitches can be taken1 if necessary1 to hold the canopy drapery in place4 ,for this top it will be necessary to have two swiss or thin scrim coverings1 between which one thickness of the colored material is laid4 ,both sides of the drapery will be seen1 and it is necessary to show the colored goods on both sides4 ,a shirred band of the goods may be arranged along the top stick of the canopy1 and bows at the corners of the top and the edge will add to its appearance4 ,an oval or square mirror in a white or light enamelled frame can be suspended by wires from the top4 99 99 99 99 99 ,the directions as to methods and the suggestions of designs given in this book open a broader and more inviting field1 it is believed1 than has been accessible in similar form before4 ,that there is need of a new handy-book comprehensive1 well tested1 and designed on practical modern lines seems to be indicated by the popularity of the preceding volumes in this series3 ,harper's ,outdoor ,book for ,boys and ,harper's ,electricity ,book for ,boys1 which1 together with ,harper's ,how to ,understand ,electrical ,work1 form the modern 8,boy's ,own ,library40 ,,the ,,end