,transcriber's ,note ,italic text displayed as3 italic ,,the ,,turner',s ,,companion3 ,,containing ,,instructions ,,in ,,concentric1 ,,elliptic1 ,,and ,,eccentric ,,turning2 ,,also ,,various ,plates of ,chucks1 ,tools1 and ,instruments3 ,,and ,,directions ,,for ,,using ,,the ,,eccentric ,,cutter1 ,,drill1 ,,vertical ,,cutter1 ,,and ,,circular ,,rest2 ,,with ,,patterns1 ,,and ,,instructions ,,for ,,working ,,them4 ,,philadelphia3 ,,henry ,,carey ,,baird1 ,,industrial ,,publisher1 ,no4 #djf ,,walnut ,,street4 #ahfh4 ,,contents4 ,,page ,preface #aa ,history of the ,lathe #ah ,arc patterns described #aje ---- ----1 how worked #ajg ---- ----1 observations upon #ajh ,balls1 ,chinese #fh ,balls1 how turned #aaa ,balls and hollow spheres #fh ,black dye for ivory #fd ,bleaching ivory #fc ,boring collars #ec ,boring tools #ee ---- ----1 how to use properly #ef ,bottle #ia ,box1 how made #dd ----1 how polished #de ----1 lined with orange-peel #abd ---- ---- ---- tortoise-shell #abd ,brass wheel #gb ,catgut1 advantage of #cb ,cement for ivory #aaa ---- for turners #aca ,circular rest #hf ---- saw #ch ,circles1 how to begin #gc ---- with eccentric chuck #ig ,chain #aaa ,chisels #ce ,chucks #ci ----1 to make in wood #db ----1 choice of wood for #db ----1 centering wood for #dc ----1 for work #df ----1 traversing #eb ----1 how to use #ec ,copper tools #cf ,drill #hj ----1 shape and uses #hj ----1 description of tools belonging to #hc ,eccentric turning #ga ---- cutter described #gd ---- ----1 its uses #gf ---- ----1 its tools #gf ---- ---- patterns #gg ---- ---- chuck #id ---- ---- ----1 how to use #ig ---- ---- ---- patterns #ih ,eccentric cutter and chuck united #aae ---- ---- patterns worked with them #aae ---- ---- pillars #aji ,elliptic machine #fe ,flowers turned in ivory #fi ,glue1 to make #ci ----1 to use #ci ,goneometer #he ,gouge #cd ,hand saw #ch ,handles of tools #cg ,holly used for ivory #eh ,hook and eye1 how to use #cb ,impressions of turning patterns #aad ,ivory preferable to wood #fc ----1 how to polish #fc ----1 proper tools for turning #cg ----1 to cleanse from grease #fd ----1 to dye red #fd ----1 to dye black #fe ,lathes #bi ----1 metallic and wooden #bi ----1 construction of #cj ----1 proper situation for #cd ,lighter case #ij ,lining patterns #gc ,lines in ivory filled with ink #aad ,mandrel described #ca ,mastic1 for turning ivory thin #abh ----1 to cleanse the ivory from #abi ,milling tools #dg ,moulding tools #cg ,needle cases #ij1 #aab ,overhead frame #gd ,ornamented stoppers #ib ,parallel rest #ga ---- ----1 how to use #gb ---- ----1 to move for side work #gd ,pen-holder #ha ,point tools #cf ,polishing soft wood #de ---- hard wood #fb ---- tortoise-shell #abg ,printing in the lathe #fi ,puppet #cj ,rest #cc ,regulating the chuck wheel #ie ,right-side tools #ce ,rings1 to make #aaj ,snuff-box1 lined with tortoise-shell #abf ,saws #ch ,scraping tool #cf ,screws #dh ----1 tools for cutting #dh ,spiral turning #aab ,table of numbers #gi ,tap #dc ,tenon saw #ch ,tools #cd ----1 proper method to sharpen #fc ,tool rack #cg ,tortoise-shell #abd ,traversing mandrel #di ---- chuck #ea ,turned temple #aji ,turning patterns #gg1 #ih1 #aje1 #aae ,twisted pillar1 support for #acc ,vertical cutter #hh ,vandyke pattern #hd ,varnish used in the lathe #abi ,woods1 ,english #eg ----1 foreign #eh ----1 to imitate mahogany #eg ----1 to stain red #fj ---- ---- yellow #fa ---- ---- black #fa ---- ---- purple #fa ---- ---- mahogany #cb ,,preface4 ,the primary object of the author1 in offering ,,the ,,turner',s ,,companion to the notice of the public1 is the hope of explaining1 in a clear1 concise1 and intelligible manner1 the rudiments of this beautiful art2 an art immortalized by the pen of ,virgil1 practised by the ,greeks and ,romans1 and1 as we are told1 still existing in those exquisite chef-d'uvres of former years1 so much admired and sought after in our century4 ,a short treatise on this subject is much wanted1 and the author has endeavoured to give such correct and comprehensive information as will1 he hopes1 render the following pages useful as a book of practical instruction to the beginner1 and of reference to those already advanced in the study of this beautiful science4 ,the activity of mind requisite for the attainment of perfect success in all the various branches of ,turning1 by exercising the inventive and reflective powers1 cannot fail of producing a beneficial effect on the character of youth1 which must prove a lasting advantage2 and the minute accuracy necessary for handling the tools1 serves to confirm a steadiness of sight and hand that must1 in after years1 and in other branches of science1 be highly appreciated4 ,from a long experience in the endless sources of interest and occupation derivable from this pleasing and salutary employment1 the author feels assured that whoever has once patience and perseverance to overcome the first difficulties1 will speedily1 like himself1 become an enthusiast in the art4 ,and why should not our fair countrywomen participate in this amusement8 ,do they fear it is too masculine and laborious for a female hand8 ,if so1 that anxiety is easily removed2 the rough work can be executed by any carpenter1 and when once prepared1 what occupation can be more interesting and elegant than ornamenting wood or ivory in delicate and intricate patterns1 and imitating1 with the aid of the lathe1 the beautiful ,chinese carving1 so much and so justly admired8 ,besides1 the taper fingers of the fair sex are far better suited than a man's heavier hand1 to produce the requisite lightness and clearness of effect4 ,to our charitable countrywomen1 who employ so much of their time in raising funds for the diffusion of ,christianity in far distant lands1 and for augmenting the comforts of the poor in our own happy land1 the lathe will prove a most useful auxiliary1 as well as to those who are anxious to bestow beautiful and cherished remembrances on absent friends4 ,another very forcible argument in favour of the amusement of ,turning being cultivated by the ladies and gentlemen of our free and independent country1 and one which will1 ,i am sure1 plead most strongly with all parents and guardians1 is1 that all occupations within doors being usually of a sedentary nature1 the exercise attendant upon the use of the lathe must prove highly beneficial to health2 and one moment's reflection will point out the incalculable advantage to be derived from instilling the love of useful employment in every youthful mind2 or1 when freed from the irksomeness of graver study1 may they not seek companions and pursuits to whom they would ever have remained strangers1 had their idle hours not hung heavy on their hands8 ,should this little work prevail upon any of my readers to commence the study of this truly beautiful science1 and should the occupation1 as no doubt it must1 prove a source of pleasure by adding to their amusement1 it will amply repay the labour it has required1 and bestow sincere gratification on the ,author4 ,,the ,,lathe4 8,the pride of arts from fair ,ambition springs1 ,and blooms secure beneath her fostering wings10 ,among all the many descriptions of the varied1 beautiful1 and useful inventions that owe their discovery and perfection to the genius and hand of man1 inventions that in so wonderful a degree assist and facilitate the operations of the mechanic1 no one has ever written the history of the ,lathe4 ,it seems strange that in a land where mechanism is carried to its greatest extent1 where science of every kind is fostered and encouraged1 the beautiful machinery1 the easy management1 and wonderful precision obtained by the aid of the ,lathe1 have never yet1 in our language1 found a pen willing to describe them4 ,and yet1 to the architect1 the mathematician1 the astronomer1 and the natural philosopher1 ,turning is as useful1 nay indispensable1 as to the watchmaker1 the goldsmith1 the joiner1 and smith4 ,and it is not by these alone that its powers are appreciated2 many of those who by birth1 station1 and riches are not in a situation to require its aid in their scientific and mechanical operations1 still find this art1 from its great simplicity1 from the perfect ease and accuracy with which the most delicate and intricate workmanship is performed1 the agreeable occupation it gives to the mind1 and the beauty1 elegance1 and utility of its products1 one of the most interesting and healthful that can be followed4 ,the treasures of all lands are converted into various and beautiful articles by the aid of the lathe4 ,gold and silver1 brass1 iron1 and copper1--the magnificent trees that grow in the deep forests of the ,west1 and those that flourish on the burning plains of ,africa--the ivory obtained from the tusks of the elephant and hippopotamus1--the coal1 jet1 alabaster1 and marble1 dug from the bowels of the earth--are all of the greatest value to the turner4 ,a kind of cocoa nut has also lately been brought from the ,west ,indies1 which1 being hard1 white1 and tough1 renders it excellent for working in the lathe2 when polished1 it has the appearance of a substance between ivory and mother-of-pearl4 ,to the ,greeks and ,romans 7for the exact place of its origin is not known7 the invention of this ingenious machine is ascribed2 and though1 doubtless1 in our time it has been greatly improved and perfected1 still the ancients1 to whom we owe so much1 first discovered and used it2 and by them its powers were so well appreciated1 that we are told it became a proverb among them to say any thing was formed in the lathe to express its justness and accuracy4 ,the ,greek and ,latin authors frequently mention it in their writings1 but they have not clearly handed down to posterity the name of the first inventor2 indeed1 on this point there are many and varied opinions4 ,the ,sicilian historian1 ,diodorus ,siculus1 informs us that the first person who made use of the lathe was a nephew of ,ddalus1 by some authors named ,talus1 by others ,perdix4 ,this youth1 we are told1 invented the saw1 compasses1 and other mechanical instruments2 and to him we possibly are indebted for the lathe also1 for we are told1 in ancient mythological history1 so great were his ingenuity and talent for invention1 that his genius soon surpassed even that of his uncle1 who1 enraged at his celebrity1 and jealous of his rising fame1 scrupled not to sacrifice him to his feelings of rage and hatred3 some say he was poisoned2 others1 that he was precipitated from a high tower in the citadel of ,athens2 and the same authors assure us he was changed into a partridge4 ,pliny1 however1 7and his words are great authority71 ascribes the invention of the lathe to ,theodore1 of ,samos1 an artist who discovered the method of melting iron1 of which he made statues4 ,the same author also mentions a man of the name of ,thericles1 who was celebrated for his dexterity in ,turning2 and ,virgil says-- 8,lenta quibus torno facili superaddita vitis40 ,these testimonies1 of ancient poets and historians conjoined1 prove it to be an art of the greatest antiquity4 ,cicero also mentions it2 and it is affirmed that1 with this machine1 the ,greeks and ,romans turned all kinds of urns and vases1 and adorned them with ornaments in basso relievo4 ,if to ,turning we really owe those treasures of other days which are found buried among the ruins of ,herculaneum and ,pompeii--treasures so valued by the antiquary as a memorial of former ages2 by the lover of the fine arts as beautiful and graceful additions to his cabinet of curiosities2 and by the rich and opulent as ornaments superior to any that modern hands can produce2--surely we must confess the workmanship of the lathes of our times is not to be compared with that performed by the more simple machinery of centuries ago4 ,it seems1 indeed1 almost miraculous1 that the beautiful figures and elegant and graceful designs here spoken of should be produced by a potter's wheel1 so was the lathe anciently denominated2 but the testimonies of so many learned historians agree in declaring that to its aid we owe those exquisite productions1 that it is impossible for even the most skeptical to deny it4 ,before we quit1 what may not unaptly be denominated1 the romance of the history of the lathe1 we will add1 that the saw1 which we have already said was invented by ,talus1 is supposed to have been first made by him in imitation of either the jaw-bone of a snake1 or else the back-bone of a fish2 and in a painting still preserved among the antiquities of ,herculaneum1 is a saw exactly resembling our frame saw1 with which two genii are dividing a piece of wood4 ,it is1 however1 certain1 that could these ,roman and ,grecian artificers see a modern lathe1 examine its complex yet beautiful mechanism1 and the almost endless additions and improvements it has undergone since the days of ,virgil and ,pliny1 they would hardly recognise it in its more finished state1 and would be much puzzled to discover in what manner to manage its machinery4 ,among the numerous apparatus adjusted to it is a machine1 by the aid of which medallions have been executed2 and in the ,british ,museum is a profile in basso relievo of ,sir ,isaac ,newton1 wholly worked in the lathe2 but how different from the turning of the ancients6 ,the medallion machine requires much labour and very expensive apparatus1 while the potter's wheel cannot have possessed much mechanism or great quantities of tools3 most of those now in use being unknown in former days4 ,having now established the great antiquity of the lathe as a useful and classical employment1 we will briefly mention a few of the improvements it has undergone in latter years4 ,the potter's wheel is1 of all lathes1 the most simple2 it merely consists of an iron beam1 or axis1 a small wooden wheel placed on the beam1 and a larger one fastened to the end of the same beam1 which turns by a pivot on an iron stand4 ,with this simple contrivance the workman still forms the body of the vessel of clay1 but never attempts to turn the handles1 feet1 mouldings or ornaments4 ,in latter years1 various and important tools and improvements have been made2 chucks have been invented1 which enable the turner to accomplish with speed and facility an almost innumerable variety of circles1 lines1 ellipses1 and arcs1 all so delicate and true in their form and design1 that they cannot fail exciting the admiration and wonder of all who contemplate them4 ,the screw also1 once a formidable difficulty to the uninitiated1 is now rendered perfectly easy of execution by means of the traversing mandrel2 those1 too1 who are very learned in this art1 can out of a piece of ivory or mother-of-pearl1 produce in the lathe beautiful brooches1 ear-rings1 and studs1 worked in raised flowers2 chessmen in imitation of carving1 and ornamented vases full of detached flowers2 while fluted and spiral columns1 delicate mouldings1 and fanciful beadings1 are of comparatively easy execution4 ,to form patterns upon wood or ivory1 various descriptions of chucks are employed2 one lathe serves for all1 as they are made to screw on to the nose of the mandrel4 ,by the aid of the concentric or common chuck1 every article you turn is circular2 the lines forming the circle are enlarged or decreased as the tool approaches or recedes from the axis4 ,the oval chuck1 as its name signifies1 works designs of an oval or spherical shape2 the eccentric turns patterns of a circular form1 but its peculiar properties enable the workman to alter the centre of his work at pleasure3 the geometric and compound eccentric produce beautiful geometric and carved designs2 the oblique and the epicycloidal also turn curious and intricate patterns1 and the straight line chuck performs all its work in direct lines4 ,these are the chucks most in use1 but many of them are expensive and complicated1 and they only execute the ornamental work2 the shape and size of the object are accomplished by the lathe1 without any aid but that of a common chuck and common tools4 ,the curious and varied mechanism of the above-mentioned chucks are truly wonderful1 and the patterns they perform very beautiful2 one of peculiar form1 and exceedingly intricate1 has been invented for bankers' checks1 to prevent forgery4 ,there are also two rests1 which are necessary appendages to them2 the sliding rest1 that moves in a direct line at any angle1 and the circular rest1 which enables the turner to ornament balls1 spheres1 and round objects4 ,we must not omit1 too1 to mention the eccentric cutter1 the drill1 and the universal cutter1 all exceedingly useful1 and enabling the turner to execute a great variety of designs and patterns4 ,the rose engine1 also1 is much admired for all kinds of ornamental work1 but it is very expensive1 and new inventions are daily adding to the machinery of the lathe1 and rendering its powers more extensive4 ,the wonderful discovery of voltaic electricity1 by which copper-plates1 plaster casts1 wood engravings1 and medals may be copied1 can also be applied in various ways to turning1 either in wood or ivory4 ,for instance1 by its aid a wooden thimble may be changed into the resemblance of gold1 or a box take the appearance of silver2 thus1 while your work retains its first beauty and delicacy1 the material is apparently of much value4 ,it would be going beyond the bounds of a work on turning1 to give any directions for this transmutation1 particularly as there are so many already published on the subject4 ,we must also add1 that by a careful and steady management1 the drill may be made almost to take the place of the graver2 by holding a plate of copper steadily against it1 and using various tools1 7not letting the lathe go too quick17 portraits and landscapes can be executed for printing4 ,having now finished this short sketch1 which we hope will not be unacceptable to our readers1 and will perhaps induce them to follow this interesting and healthful occupation1 we must beg that those who peruse 8,the ,turner's ,companion10 and follow the directions it contains1 will not be daunted by the first difficulties that assail them1 but will patiently persevere till experience enables them to overcome and vanquish them1 remembering that-- 8,the wise and active conquer difficulties1 ,by daring to attempt them4 ,sloth and folly ,shiver and shrink at sight of toil and hazard1 ,and make th' impossibility they fear40 ,,list ,,of ,,tools ,,necessary ,,for ,,turning4 ,gouges4 ,chisels4 ,scrapers4 ,side tools4 ,point tools4 ,moulding tools4 ,inside tools4 ,planes4 ,drills4 ,hatchet4 ,mallet4 ,hammer4 ,files4 ,vice4 ,hand ,vice4 ,gimlets4 ,saws4 ,screw-driver4 ,pincers4 ,compasses4 ,rule4 ,callipers4 ,t square4 ,brace and ,bits4 ,screw tools4 ,milling tools4 ,oil-can4 ,glue-pot4 ,sand ,paper4 ,chalk4 ,glue4 ,isinglass4 ,pumice ,stone4 ,nails4 ,,the ,,turner',s ,,companion4 ,the machines used for ,turning1 whether round or oval objects1 are called ,lathes2 they are of various shapes and sizes2 some very small1 as those generally used by watchmakers2 others very large and powerful1 for turning iron2 and others1 the kind ,i am going to describe1 of a middling size1 for fashioning wood and ivory4 ,the large lathes1 being too heavy to be worked with the foot1 are usually turned by a steam-engine1 but the foot-lathe is the most convenient for the turner in wood2 it may be made of iron or wood3 if of the latter1 it should be constructed entirely of very hard1 well-seasoned oak1 or of mahogany4 ,there are various opinions respecting the advantages and disadvantages of metallic and wooden lathes2 in the former1 it is impossible to obviate an elastic tremor1 which is unpleasant and injurious2 but then1 on the other hand1 they are so much more durable and compact2 and they enable you to perform your work with so much more accuracy and exactitude1 that they are1 on the whole1 perhaps1 to be preferred4 ,the drawing given in ,plate #a will serve as a pattern for either an iron or a wooden lathe2 but as the workman could construct the latter for himself1 we will suppose the description we are about to give relates to a wooden one4 ,the bed of the lathe1 ,b ,b1 may be of any length required1 and is firmly fastened with bolts to the uprights ,o ,o1 which form the legs of the lathe1 and to which the bed is strongly attached by bolts passing through both2 while the nuts that draw them tight1 being what is called countersunk1 are of no inconvenience to the workman4 ,the feet and the two uprights must also be firmly fastened to the legs ,o ,o2 and to prevent the least unsteadiness or motion1 they must be screwed strongly to the floor1 and must be of a sufficient size to form a solid support to the lathe4 ,illustration3 ,plate #a4 ,the left hand puppets1 ,c ,d1 or1 as they are sometimes called1 the headstock1 should be of iron1 and cast in one piece4 ,the under part fits tightly into the open space in the bed of the lathe1 and is fixed there with screws2 while the two cheeks of the puppets rest on the bed itself4 ,the mandrel ,e1 to prevent1 as much as you can1 any vibration1 should be as long as possible2 it runs in a metal collar1 through the puppets ,c ,d1 and is of steel1 turned perfectly cylindrical2 it is kept constantly oiled1 by pouring a few drops of oil upon it through holes made in each of the puppets4 ,the screw ,e1 at the end1 is called the nose of the spindle1 and upon it the chucks intended to receive the work are screwed4 ,the back puppet1 ,g1 is used to support long pieces of wood2 it is moved backwards and forwards on the bed of the lathe1 so as to suit the work upon which you are occupied1 by loosening the screw ,l2 within the upper part of ,g is a steel spindle1 ,j1 which screws in and out of the headstock1 by turning the screw ,k4 ,care must be taken that the point of this spindle be exactly on a line with the nose of the mandrel1 ,e4 ,the point1 ,j1 takes out1 and another nose1 ,l1 can be inserted in its place1 to receive the pointed end of any small work1 should it be more convenient4 ,upon the spindle is a brass or a mahogany wheel1 ,f2 it has three grooves in it1 and the great wheel1 ,k1 has three similar grooves turned in a ,v1 so as more effectually to take hold of the band which moves them round4 ,the three different grooves in this wheel1 and in the small one1 give different velocities to them4 ,the band which turns them is made of strong catgut1 and passes under the lower and over the upper wheel1 working in the corresponding grooves of each2 it is joined with a hook and eye of iron1 that have a screw in them4 ,slightly taper off with a sharp penknife a little of each end of the catgut1 so that it will just enter the hook and eye2 then hold the band firmly in a vice with your left hand1 and with your right take up the hook or eye in a pair of pincers1 and screw it upon the catgut till quite firm4 ,this is a far better means of joining the band than any other that can be employed1 as the hooks and eyes seldom give way1 and obviate the necessity of knots or joins1 which are always clumsy and inconvenient4 ,cord1 too1 gives way with the variations of the atmosphere1 so that it constantly requires shortening in dry1 and lengthening in rainy weather2 catgut is so slightly influenced by these changes1 that its use is far preferable4 ,the treadle1 ,n1 when moved up and down with the foot1 gives motion to the two wheels1 and thus the spindle1 with the wood to be worked screwed upon it1 is turned round with a quick or slow movement4 ,the axle of the great wheel1 ,s1 works in two screws1 ,q2 the crank1 ,m1 is connected at one end with the axle1 ,s1 and at the other hooks into the treadle frame1 ,n4 ,plenty of oil should be given to the axle at ,q to enable it to work easily4 ,the rest which supports the tools is represented at ,fig4 #a1 and ,m2 it is made of iron1 and consists of three parts2 the lower has a forked foot1 ,t1 which rests upon the bed of the lathe1 and enables it to be drawn backwards and forwards1 so as to accommodate the workman2 this foot is held in its place by a bolt1 ,o1 which1 passing through the bed of the lathe1 is sufficiently broad to rest upon each side of the foot1 ,t1 and is tightened by a screw that passes underneath the lathe1 ,p1 through which it passes2 the upper part of the rest is a cross piece of iron with a cylindrical stem1 that fits into the socket1 ,u1 and is moved up and down1 to the right or the left1 by loosening the screw1 ,h4 ,the workman should have rests of different sizes1 to suit various kinds of work1 but they must all fit into the same socket4 ,having now given a clear description of a lathe1 ,i need only add1 that it should be placed opposite a window1 so as to have the benefit of as much light as possible2 a skylight above the head is also a great advantage4 ,as it is indispensably necessary for the learner to exercise himself in plain turning1 that is1 in the formation of different articles1 so as to be able to turn them perfectly round1 oval1 or hollow1 as required1 before attempting more difficult and complicated work1 we will now give a list of the most useful tools for this purpose4 ,for the wood1 the gouge1 ,fig4 #a1 plate #a1 is first to be employed1 to reduce the unevenness of your work2 its edge is rounded4 ,to use it1 place the rest on a level with the axis of the work1 and hold the handle of the tool downwards so that its cutting edge is above the axis4 ,these tools are useful for making concave mouldings4 ,in using them1 do not push them roughly against the wood till it becomes tolerably even1 or you will spoil their edge and chip the work2 and hold your hands very steady4 ,the chisel1 ,fig4 #b1 is next used1 to give a smooth and polished appearance to the wood4 ,its cutting edge is oblique4 ,elevate the rest considerably above the axis of the work1 so that1 though held with a less inclination than the gouge1 the edge of the chisel operates on a higher part of the surface4 ,use this tool at first with great caution1 for it is much more difficult to manage than the gouge2 with an inexperienced hand1 the point is apt to dig into the wood1 quite spoiling its surface1 or else1 by pressing it too firmly upon the work1 it cuts great pieces in an uneven manner4 ,when skillfully used1 it should feel almost to work by itself1 merely running steadily along the wood1 shaving off all its inaccuracies1 and making it look quite bright1 smooth1 and polished4 ,all soft woods are entirely turned with the gouge and chisel1 of both of which you must have several sizes4 ,fig4 #c is called a right-side tool1 and has two cutting edges1 a side edge and an end edge3 so as at the same time to cut the bottom and side of a cavity4 ,the left-side tool cuts with the opposite side4 ,in using them1 hold the bevel which forms the edge downwards4 ,fig4 #d is a point tool1 useful for making small mouldings1 and much employed in finishing the shoulders and flat ends of work4 ,figs4 #e1 #f1 #g1 #h1 #i1 are inside tools1 used to turn out hollows2 also to make cups1 and various other articles4 ,fig4 #aj is a parting tool1 used to cut off work1 and to make incisions4 ,fig4 #aa is used exclusively for very hard woods1 as cocoas and ebony1 which chip if attempted to be smoothed with a chisel2 also for turning ivory1 bone1 or jet2 one side and the end are sharp4 ,this tool is very strong1 and requires some practice to use it well4 ,be very careful1 in sharpening it1 to keep the front edge quite straight1 or else1 in hollowing out boxes1 the inner sides will not be turned out evenly2 that is1 one part will be thinner than another4 ,this tool is held flat upon the rest1 which must be on a level with the axis of the work1 or sometimes the tool1 by raising the handle1 may be lowered so as just to scrape the wood4 ,it is frequently called a graver2 in turning metals1 it is the tool first used4 ,copper and brass are easy to turn1 and in case of necessity1 it is useful to have the proper tools1 and to know how to manage them4 ,these tools all are indispensably necessary to the turner1 and he should exercise himself constantly in their use2 for until he becomes quite master of them1 he will injure1 spoil1 chip1 and destroy1 whatever he attempts to turn4 ,figs4 #ab and #ac are very useful to make mouldings of various kinds4 ,the handles of the tools must be made of very hard wood1 and it is a great convenience to have them all of nearly the same size2 for the hand1 getting accustomed to them1 manages them with more facility4 ,drive the tool firmly into the handle1 and hold it there by a broad brass ring1 as in ,no4 #a4 ,to keep the tools in good order1 that is1 properly ground and sharp1 demands great attention4 ,if they become chipped1 grind them even on a grindstone1 taking care that the ,,bevels retain their proper angles4 ,to avoid spoiling their edges1 and to enable you to have them always near at hand1 a rack perforated with holes1 into which they can slip1 is very useful4 ,this rack may be fastened against the wall1 near the lathe4 ,a screw-driver1 two or three different-sized gimlets1 and nails of various kinds1 must always form part of the turner's tool-box2 also some files1 and a hand-vice4 ,before we leave the description of turning tools1 we will mention the saw1 which is an indispensable addition to the tool-box4 ,there are many kinds1 but the most useful are the hand-saw1 the tenon saw1 and the circular saw4 ,the first is about twenty-six inches long1 and is generally made with four teeth to an inch4 ,it is used for cutting wood across1 and in the direction of its fibres4 ,the teeth at the lower end are smaller than the upper ones1 by which means the wood is not so much torn as if the teeth were all of an equal size4 ,the tenon saw is used for cutting across the fibres of wood2 the smallest saw of this kind is about fourteen inches long1 the largest about twenty inches4 ,circular saws are of all sizes2 they are easily fitted up with a spindle1 which1 being screwed on to the nose of the mandrel1 and supported at the other end by the back puppet1 enables the workman to turn them by the wheel of the lathe1 while at the same time he holds the wood or ivory firmly against them4 ,should a larger circular saw be required1 it is more advisable to fit it up separately from the lathe1 with a frame-work and wheel to itself4 ,glue1 which is very necessary for turners1 requires some little care in preparing2 it must first be steeped for several hours in cold water to soften it2 if it swells without melting1 it is good1 and must then be dissolved in water2 the proper quantities are1 a quart of water to half a pound of glue4 ,the heat should be just enough to melt it1 and the pan in which it is contained must be placed in a larger copper vessel1 filled with water2 by this means1 when the water in the outer pan boils1 the glue will be dissolved without any fear of its burning1 which would immediately spoil it4 ,when you are going to glue a piece of wood to a chuck1 put very little glue thinly and evenly over the surface of the latter1 then press the wood upon it firmly1 and place a lead weight upon them to unite them perfectly4 ,,chucks4 ,illustration3 ,plate #b4 ,the chucks1 upon which the material to be turned1 whether of wood1 ivory1 or metal1 is always fixed1 next demand our attention4 ,they are of every variety of size and form1 and are all screwed upon the mandrel of the lathe4 ,many are made of brass2 others 7the most numerous1 because the turner can make them for himself71 are of wood2 but these latter should be used soon after they are made2 for if not constructed of very dry1 hard wood1 any great variation in the weather will cause them to shrink1 and thus the screw becomes slightly altered1 and will not fit tightly to the neck of the mandrel4 ,to avoid the expense of having many brass chucks1 which would be very great1 if we procured them of the size and shape requisite for all kinds of work1 it is a good plan to have several brass plates made about the size of half-a-crown1 plate #b1 ,a1 with a screw in them1 to fit upon the mandrel1 and four screw-nails with which to fasten them to wooden chucks of any form4 ,thus1 when these chucks are worn out1 unscrew the brass plates and screw them on to others4 ,in plate #b are the drawings of several chucks1 which are useful for various purposes2 they are all made of brass1 with a screw that fits upon the mandrel4 ,b is a brass plate1 about two inches in diameter2 from the middle projects a tapering screw1 about half an inch long4 ,this is used to hold any thing that is flat1 as a stand1 or candlestick base1 or1 with the aid of the back puppet1 to support a long piece of wood1 while turning down to fit a stronger chuck4 ,for this purpose1 bore a hole in the wood1 and screw it on to the chuck4 ,c is the same shape1 but has five iron points projecting from its surface2 upon them the wood must be firmly fixed by hammering it on4 ,it is better to use the back puppet1 as the wood is apt to become loosened by a sudden jar1 or any unevenness in the surface4 ,d is universally useful1 either for large or small pieces of work4 ,the wood or ivory may be turned to the proper size to fit1 on the chuck ,b1 and then driven firmly into the hollow cup with a wooden mallet2 or a piece of common wood may be made to fit it tightly1 and a hole turned in it to hold the object you intend to turn4 ,e is called a ring chuck1 and is made of box wood4 ,drill a hole through the centre1 and then saw it across in six parts4 ,by its being turned smaller at one end than at the other1 this chuck opens at the sawgates2 you then drive on to it1 with a hammer1 a ring of metal1 and the wood inserted in the hole will remain immovable4 ,f is called a square hole chuck1 the hole in the middle having several drills and bits to use with it1 as in #c1 #d1 #e1 #f4 ,g is called a die chuck3 it is the same in shape as the cup chuck1 only not so deep1 and it has several screws passing through its sides at equal distances1 and meeting in the centre1 by which the work is held1 so that it serves equally for a large or a small object4 ,h is exactly the same in shape as ,g2 with the addition of an arm1 ,no4 #a1 the use of which is as follows4 ,if this chuck does not turn the wood round properly1 fasten to the latter what is called a carrier1 ,no4 #b1 the end of which1 projecting further than the chuck1 rests upon the arm1 #a1 and causes all to turn together4 ,these appear to us to be the chucks most universally in use for concentric turning2 the ordinary ones the turner may make of wood1 and those for ornamental work we shall mention hereafter4 ,it may1 however1 be as well to describe the method of making the wood chucks3--,select a piece of close-grained dry wood--box is the best2 having taken off the corners and made it tolerably round with a chisel1 or a small hatchet1 you must then find the centre of the two ends4 ,to do this1 lay the piece of wood on a bench2 open a pair of compasses to nearly half the diameter of the piece2 fix one point of the compasses firmly in the middle1 and with the other draw a circle as near the edge of the wood as you can4 ,if you find the circle is not exact1 but further from the edge on one side than the other1 alter the position of the compasses1 till they become right4 ,bore a hole in the centre1 when found1 and screw the wood on to the chuck1 ,b4 ,place your rest facing the work1 and cut in the centre of it a hole1 the depth and ,,nearly the size of the screw on the nose of the mandrel4 ,this done1 take the piece of wood off the brass chuck1 and fasten it firmly in a vice2 then screw into the hole a ,,tap1 which has been made on purpose to fit the screw of the mandrel4 ,this tap cuts a thread as you turn it round in the hole1 so that when you unscrew it1 you have only to screw the wood to the nose of the mandrel1 taking care to make it fit quite close to the shoulder2 it must then be turned quite round and smooth with the gouge and chisel1 and the face of it also perfectly flat1 which is seen by holding against it the flat part of the ,t square1 plate #a1 ,r4 ,if the square touches all the face of the chuck1 it is ready to receive the wood2 but if you can in any part see the light between them1 take the chisel and smooth it over again4 ,the chuck being ready1 cut a piece of wood1 we will say for a box1 round it with a chisel1 take some thin glue1 and fasten the wood to the chuck with it4 ,when quite hard and dry1 begin to turn the sides even1 then cut down the groove to receive the lid1 which should be glued on to another chuck4 ,to hollow out the box1 turn the rest to the face of the work and use the gouge4 ,when of a sufficient depth1 take the callipers1 plate #a1 ,k1 push the small ends down the box to the bottom1 stretch them out as far as they will1 and set the screw1 then pull them slowly out1 so as to measure the size of the top of the inside of the box2 if not exactly the same1 turn out a little more of the bottom4 ,now begin to smooth the outside and hollow out the lid1 taking great care to make it fit exactly the groove made in the bottom of the box2 for this purpose the callipers must be set1 so that the forked end stretches to the width of the circumference of the groove2 you will then find that the other end will be exactly the same width1 and keep trying them to the inside of the lid1 till they enter it very tightly2 then try the lid on the bottom1 and it will fit4 ,by thus using the callipers1 you are saved much trouble in taking the work on and off the lathe1 to fit the parts together4 ,you must now cut the lid off the chuck1 either with the parting tool1 or with a saw1 and having it firmly placed on the bottom1 smooth and finish off the sides so that they look quite even1 and as if there was no separation between them4 ,this done1 move the rest to the front of the lid1 and finish it up the same1 taking care not to leave the slightest scratch or unevenness on the surface2 then rub the whole of the work well with sand paper1 making the lathe turn very rapidly1 first one way1 then the other1 and finish by rubbing it over with a drop of olive oil on a piece of rag1 and the shavings of the wood4 ,the great beauty of turning consists in all the parts being exact1 shining1 well finished off1 and not too thick2 to attain this latter perfection1 experience is necessary1 and ,i should advise constant practice in turning box-wood and holly1 till the learner is able to make his boxes fit properly1 and also look neat and light4 ,the lid being finished1 lay it aside1 and saw off the bottom2 then turn its own chuck to a proper size to receive it1 while you smooth and polish the outer part4 ,it is requisite to be very particular in the manner of chucking work1 such as boxes1 thimbles1 or any thing that has been hollowed out2 and remember always to make a chuck to fit ,,into ,,them1 instead of putting ,,them into one4 ,it is also better to leave a shoulder that the work can rest against1--you are then sure that it is supported evenly2 if not1 you may find that the slightest inclination to one side or the other will cause you to turn one side much thinner than the other2 and if you are working1 we will say the top of a box1 it will always look crooked1 and if the bottom1 it will never stand steady4 ,should the box feel loose and fall off the chuck before it is finished1 a little chalk may be rubbed upon the former1 which will give it a firmer hold1 and prevent the slipperiness consequent on the friction of two pieces of wood2 and sometimes a thin piece of paper inserted between them is useful in the same way2 for although the work should fit close and firm on the chuck1 if the chuck be too large1 so that you have to use force to make them unite1 you will most probably split your work all to pieces4 ,great care also is requisite to get it off the chuck2 insert one of the small chisels between it and the shoulder of the chuck1 and move it slightly1 first on one side1 then on the other4 ,many neat ornaments may be made on boxes with the smaller chisels1 such as lines and mouldings2 and there are several useful and ornamental tools1 called milling tools1 7see plate #e1 ,nos4 #a1 #b1 #c71 which are not expensive1 and give much effect to the work4 ,they consist of small wheels1 upon which the pattern is cut4 ,place the rest so that there is space for the wheel to turn between it and the work1 push it close up to the wood1 hold the handle very firmly with both hands1 so that the tool cannot slip1 and with a few quick turns of the wheel of the lathe1 the pattern will be clearly impressed upon the wood4 ,with these simple tools innumerable beautiful articles may be finished2 and though they require neither the application nor talent that can be displayed in performing other ornamental work with the eccentric chuck1 cutter1 and drill1 still they possess two great advantages--cheapness1 and facility of management1 and are easily procured4 ,by a little attention and ingenuity1 a great variety of elegant and useful articles may be made on the lathe1 with the assistance of but a limited collection of tools1--such as thimbles1 boxes1 cups1 rings1 stands1 small vases1 stilettos1 pen-handles1 pin-cushions1 needle-cases1 and vinaigrettes4 ,,the ,,screw4 ,we now come to the most difficult operation in turning1 that of cutting a screw2 to perform it well and easily is a proof of the workman's skill and proficiency in the art4 ,there are many ways of doing it2 we shall therefore give the best and least expensive4 ,the screw tools1 figures #ad and #ae1 plate #a1 must fit exactly one into the other4 ,fig4 #ae is an outside1 ,fig4 #ad an inside tool4 ,as the threads may be required to be cut coarse or fine1 according to the work you are engaged upon1 the small grooves in the tools are made to suit4 ,having turned your box quite round1 and hollowed it out1 cut the groove upon which the lid is to fit2 place the rest at a convenient distance1 turn the wheel1 not too fast1 and move the outside screw-tool along the rest with a regular horizontal motion1 and it will cut a screw1 the threads of which will fill up the space between the teeth of the tool4 ,but care must be taken to jerk the tool off when at the end of the space intended for the screw2 or if it be allowed to remain stationary1 cutting the wood1 the threads will be destroyed1 and become useless4 ,when this is well done1 turn out the lid of the box till it nearly fits the bottom1 and in the same manner press the inside screw tool against the side of the cavity1 draw it out horizontally as the work moves round1 and if carefully managed1 it will soon be made to fit upon the outside screw4 ,as1 however1 to accomplish this well1 and with precision1 great practice is requisite1 an invention1 called a traversing mandrel1 is frequently used1 particularly by beginners3 we will endeavour to give a description of its form and use4 ,at the end of the mandrel ,a1 pl4 #d1 is a brass cylinder1 ,i1 which fits upon the end1 and is kept in its place by a nut1 #b1 which screws firmly into it4 ,below this1 fixed to a brass plate that rises and lowers at pleasure by turning the screw-key1 ,b1 is attached the screw-guide2 7a brass plate cut into grooves of various sizes to suit the thread you wish to cut1 fig4 #c27 this guide moves round on a pin4 ,to use this machine1 unscrew the nut ,b1 pull off the brass cylinder1 and in its place put on the guide1 ,c1 and screw the nut in again2 turn the other guide1 #c1 to the groove which corresponds with it1 and which is usually numbered1 to avoid mistakes2 turn the key ,b till the lower guide meets the one you have just put on the mandrel1 and slips easily into it4 ,you will now find that by only allowing the fly-wheel to move half round and back again1 the mandrel will run backwards and forwards1 and thus have the exact motion requisite for cutting a screw4 ,fix your rest1 and hold your tool 7which must have the same sized thread as the guide then on the mandrel7 quite steady upon the rest1 against the revolving wood1 and in a few minutes the screw will be produced4 ,the inside screw is made in the same manner1 with the inside tool1 by turning the rest in front of the work4 ,do not press the tool too hard to the wood at first1 till the threads are slightly cut1 so that the teeth may enter always in the same place4 ,about six different-sized screw guides and tools to fit will be quite sufficient for an amateur turner4 ,there is also another way of cutting screws1 by means of a traversing chuck4 ,on the mandrel1 ,r1 pl4 #d1 is screwed the chuck ,b1 to which are screwed the chucks of the lathe1 ,r4 ,on the outside of ,b is turned a screw1 fitted to an inside screw worked in the block ,c1 from which extends an arm1 ,d1 sufficiently long to allow the arm ,e to slide up and down it2 a piece of iron should be screwed to the circular block1 ,c1 of such a length as to be capable of moving in a groove that may be cut in the collar2 it is intended to prevent the block ,c from turning quite round4 ,the rest1 ,g1 must not stand1 as usual1 parallel to the work in cutting the outside screw1 but at right angles1 as when an inside screw is to be cut1 in order that the further arm of the rest1 ,f1 may be joined to the end of the second arm1 ,g4 ,it is necessary that the second arm1 ,e1 shall be capable of fastening firmly the first arm1 ,d1 to any part of the rest1 ,g1 ,f1 as also to have a joint at each end1 to admit in a horizontal plane its free action4 ,thus1 as the lathe turns to or from us1 the arms must traverse forwards or backwards1 which gives a similar motion to the tool1 ,h1 that is screwed firm to the further arm1 ,f1 of the rest1 and thus you can cut a screw with a single point tool4 ,of course any unsteadiness would spoil the screw4 ,if you draw the centre of the rest nearer to you1 and thus bring the tool nearer to the arm1 ,e1 a screw of a much larger-sized thread will be cut2 for as the rest1 turning in its socket1 moves on a centre1 the further the tool is from the centre1 the greater will be the radius of the circle described1 and vice vers4 ,it may1 perhaps1 be feared that a piece of wood so far from the collar1 ,k1 may be apt to spring2 but this is easily avoided1 by not making use of the chuck1 ,b1 till the screw is to be turned4 ,another disadvantage would seem to arise from the impossibility of cutting screws when the puppet head is made use of4 ,but this may also be obviated by lengthening the arm1 ,e1 to the part where the screw is to be cut1 and thus we have the same screw as the traversing one4 ,the socket1 ,s1 slides on the rest1 and may be fastened to it by a screw1 the upper part that turns on a pivot admits the arm1 ,e1 to slide through it1 which arm is held firm with a screw4 ,at the commencement of the work1 the rest stands at right angles with the wood on which the screw must be cut2 then1 by bringing it back to its original angle1 and sliding forwards the tool to the last thread of the screw that was just cut1 we proceed to any length required4 ,when two or three threads are cut1 the most unskillful turner will be able to continue the screw with a common screw tool4 ,,boring ,,collar4 ,fig4 ,d1 plate #d1 is a boring collar1 used to support any long slender body which is required to be turned hollow4 ,without a support of this kind it would be impossible to keep the wood in its place2 and it would either incline from the centre1 thus causing the hollow to be drilled out quite crooked1 or it would spring from the chuck4 ,to obviate these two inconveniences1 the two collars1 figs4 ,c and ,d1 plate #d1 are employed4 ,in the former one1 which is made of iron or brass1 the holes are conical1 and their centres are all precisely at the same distance from the axis of the collar4 ,in using it1 remove the right hand puppet1 and provide a much lower one4 ,through it drill a hole1 the same size as that in the centre of the boring collar4 ,the centre of this hole must be in the same line with the centre of the mandrel4 ,the collar1 when attached to it1 faces the mandrel1 and is held firm by a screw4 ,when fixed1 the centre hole is opposite the axis of the mandrel2 and when the largest hole is used1 it clears the top of the headstock to which it is affixed4 ,the end of the work to be bored being placed in the hole which fits it1 the tool is held upon the rest against its centre1 and the boring is easily and accurately performed4 ,illustration3 ,plate #c4 ,the collar1 ,d1 is perhaps1 a simpler apparatus for supporting long pieces of slender wood or ivory1 and has this advantage1 that the workman can easily make it for himself4 ,it should be constructed of very hard1 well-seasoned wood4 ,the foot1 ,e1 must be in breadth exactly the size of the aperture in the bed of the lathe1 and is kept quite steady by a bit of wood thrust through it underneath the lathe4 ,into this collar1 fit many pieces of wood with different sized holes bored through them1 7all exactly in a line with the axis of the mandrel17 so as to admit large or small pieces of work1 the sides being grooved1 and the supports sawn to correspond3 they all slide in with great ease1 and are kept quite steady by an iron pin which runs through the top4 ,the fig4 ,g1 shows the collar1 with one of the supports slipped in1 the other sliding upon it2 ,h is the collar1 showing the groove1 and ,l ,l are two supports that fit into it4 ,the middle of the apertures of these supports1 whether large or small1 must always be exactly on a line with the axis of the mandrel1 therefore1 after they are bored quite true on the lathe1 they are sawn exactly across the hole4 ,this is a very useful addition to the lathe1 not only as a support when boring holes1 but also to be used with the right hand puppet1 to give strength to any long slender piece of work1 as a screen-handle or a pen-holder2 for1 being of great length1 the stress necessary to the proper management of the tools would be apt to break the wood or ivory1 and it is easy to make one of the ornamental mouldings of a proper size1 to enable it to run smoothly in one of the supports2 if too tight1 the wheel will not turn1 and if too loose1 the work will jerk up and down4 ,for boring1 there are many shaped tools of various sizes2 #af1 #ag1 pl4 #a1 are drawings of the most useful4 ,they have no handles1 but at the smaller end a hole is drilled1 to admit the point1 ,j1 of the puppet1 ,g1 pl4 #a4 ,having1 with one of the turning tools1 made an aperture in the work sufficiently large to allow the boring tool to enter1 screw the puppet1 ,g1 firmly to the bed of the lathe1 then turn the small wheel1 ,k1 till the point enters the hole in the tool1 which must be steadied by holding it straight and firm with a pair of pincers4 ,make the wheel turn rather quickly1 and with the left hand keep moving the left wheel1 ,k1 very gently1 so as to force the tool into the wood4 ,after a few turns1 stop the lathe1 and take out the boring tool1 to get rid of the shavings and dust2 move the puppet nearer and begin again4 ,a little difficulty will be found in making the tool enter the wood1 or bite1 as it is called1 but1 by humoring it gently1 it will soon take hold2 care must be taken to keep it quite straight1 and not to go too fast1 or it will be liable to break4 ,this method of boring is only used for small hollow tubes1 needle-cases1 crochet-needles1 handles1 and small work4 ,,of ,,woods4 ,there are many beautiful ,english woods which are excellent for turning2 beech is very universally used1 and it should be cut into moderate sized pieces and boiled1 to render it more durable1 and to make it work smoothly4 ,elm and chestnut are also much admired2 if the latter be dipped in alum water1 then brushed over with a hot decoction of logwood1 afterwards with one of ,brazil wood1 it will be made to imitate mahogany4 ,green wood should never be used1 as it is apt to split2 it should be kept for at least a year before attempting to turn it4 ,some persons1 if they fear the wood has not been sufficiently seasoned1 cut it up and put it in a vessel filled with a ley made of wood ashes4 ,in this it must be boiled for an hour1 and allowed to remain in the liquor till quite cold1 afterwards it must be dried in the shade4 ,old walnut wood is very beautiful2 to improve its colour1 it may be put in the oven1 and when worked1 polish it with its own oil1 very hot4 ,sycamore1 when grown in favourable situations1 is as white and nearly as hard as holly2 the cherry1 yew1 laburnum1 and pear-tree woods1 are also very beautiful2 but though invaluable for plain turning1 they are not hard enough1 or of a sufficiently close and fine grain1 to admit of ornamenting them in delicate and minute patterns4 ,the milling tools are generally employed for them4 ,of all ,english woods1 the holly is the whitest1 and is rendered still more so by boiling2 it is1 when very good1 used for inlaying1 in imitation of ivory4 ,box is the hardest and toughest of our woods2 when cut plank-wise1 it is apt to warp1 if not well seasoned2 but its yellow colour1 if highly polished1 is much admired1 and it will receive the most delicate patterns2 it is also used as a substitute for ivory4 ,the foreign woods are those most prized by the ornamental turner1 on account of their hardness1 and the beautiful polish which can be given to them4 ,cocoas1 or the wood of the palm1 is much used for all kinds of ornamental work4 ,it is of a beautiful brown1 streaked with darker veins1 and is found in the ,west ,indies4 ,ring wood is extremely hard1 of a chocolate brown1 with black veins2 it is a good wood for turning1 and comes from ,brazil4 ,partridge and leopard woods1 tulip and snake woods1 are also frequently used2 the latter is of a very deep red1 and very hard4 ,calamander wood1 a tree growing in the island of ,ceylon1 is very hard and heavy1 and the veins in it most beautifully shaded4 ,the principal colours are a fine chocolate1 sometimes deepening almost into black1 then gradually shading into a cream colour4 ,it is a very hard wood1 and takes a high polish4 ,african thorn is of a beautiful dark colour1 and much prized when it can be obtained good1 which is rarely the case4 ,ebony1 an exceedingly hard1 smooth1 foreign wood1 is much admired by turners4 ,the best is a jet black1 free from any veins1 and receiving a very high polish4 ,there is some difficulty in keeping woods to prevent them from warping or cracking4 ,the foreign woods1 particularly1 being usually very dry1 often open in fissures while working4 ,the best method of preserving them is to place them in a cool and rather damp place1 and to rub a little oil now and then over the outsides1 to keep them moist4 ,if the wood is sufficiently large to allow of its being quartered1 the danger of its splitting is much less2 but the foreign woods are rarely large1 as the trees are generally very high1 but small in circumference4 ,if foreign woods cannot easily be obtained1 box wood and holly may be stained so as greatly to resemble them4 ,the dying woods to be used must be in small chips or raspings4 ,when the wood is ordered to be brushed over several times with the fluid1 it should be dried between each time4 ,if the stain is wished to be very deep1 the wood should be boiled in the stain4 ,,to ,,stain ,,wood ,,red4 ,mix two ounces of ,brazil wood1 and two of potash1 in a quart of water2 let them remain in a warm place for some days1 stirring them occasionally4 ,with this boiling liquid1 brush over the wood till it becomes of the requisite colour2 then dissolve two ounces of alum in a quart of water1 and1 while the wood is wet1 brush it over with it4 ,for a pink or a rose red1 use double the quantity of potash4 ,a ,,yellow ,,stain4 ,steep one ounce of turmeric in a pint of spirits of wine2 let it stand for several days4 ,brush the wood over with it4 ,a red yellow is made by adding to the above a little gum tragacanth4 ,a ,,black ,,stain4 ,brush the wood with a hot decoction of logwood1 then with common ink4 ,a ,,purple ,,stain4 ,boil one ounce of logwood and two drachms of ,brazil wood in a quart of water1 over a moderate fire4 ,when one-half is evaporated1 strain it1 and brush the wood over with it4 ,when dry1 brush it over with a solution composed of a dram of pearl-ash in a pint of water4 ,a ,,mahogany ,,stain4 ,for a light stain1 mix two ounces of madder and one of fustic in a quart of water1 and boil them all together2 a darker stain is made by using half an ounce of logwood in the place of the madder1 and then brushing the wood with a weak solution of potash4 ,all hard woods are easily polished2 first1 they are made perfectly smooth and even1 with the turning tools1 after which rub them with sand paper1 then with ,dutch rushes1 which1 to prevent their breaking into small pieces1 should be steeped in water4 ,while using these1 make the lathe turn quickly round1 sometimes one way1 sometimes the other1 to prevent any unevenness1 and keep moving the sand paper1 c4 c41 or the edges are apt to cut lines4 ,when this is done1 and the work looks smooth1 rub over it a drop or two of olive oil1 wipe it clean with its own shavings1 take it off the lathe1 and brush it with a very hard brush1 the same as those used for blacking leather4 ,as it is impossible to turn well unless your tools are in good order1 great care must be taken to keep them very sharp4 ,if a bit of the steel splits away1 as is frequently the case in turning hard woods1 grind it down till it becomes even again1 then rub it on the ,turkey stone1 with a little olive oil1 till the edge is so sharp that you cannot see it2 for the gouges and hollow tools1 thick ,turkey stones1 rounded at the edges1 are sold1 which enter into the groove1 and the outer edges are rubbed on the flat stone4 ,as soon as the turner becomes quite master of his tools1 he will find ivory much pleasanter to work than wood2 it is not so liable to split1 it turns smoother1 polishes with less trouble1 and shows any ornamental work much better than wood4 ,but then it is very expensive1 and very difficult to obtain good and white4 ,new ivory may be bleached by exposing it in the sunshine1 and wetting it constantly1 or it will crack2 but till the ivory is cut up1 you cannot tell whether it will be good or not4 ,pieces may be bought cheaper that have a hollow in the middle1 they serve very well for pedestals of vases1 by screwing another bit into the hole1 or for boxes1 by gluing in a piece of ebony to fit the hollow4 ,ivory is polished before ornamenting1 with putty powder1 ground very fine1 rubbed on with a piece of linen dipped in water1 dry it1 and rub very hard with a bit of felt1 and the polish will be beautiful4 ,but after it is ornamented1 polish only with a brush dipped in water and chalk1 or even in plain water4 ,for dying ivory1 it is first necessary to cleanse it from the grease which it always contains1 more or less1 and which would prevent its receiving the stain or dye4 ,for this purpose1 mix half a pound of nitre in an equal quantity of water1 tie a string round the pieces of ivory1 and dip them in while the liquor is hot1 then plunge them into cold water4 ,,to ,,die ,,ivory ,,red4 ,take half a pound of pieces of scarlet cloth1 put them into a clean earthen pot2 add one ounce of soft soap1 after which pour in three quarts of soft water4 ,boil all together for half an hour1 stirring it frequently1 and squeeze the cloth several times1 to extract the colour4 ,when this is done1 have ready an earthen vessel1 put into it as much pulverized alum as will lie upon a sixpence1 pour the scarlet liquid over it1 and extract all the colour from the cloth by pressing it in a canvas bag4 ,steep the ivory in this liquor till it becomes of the proper scarlet4 ,,black ,,dye4 ,boil a quarter of a pound of logwood shavings in a quart of water1 in an earthen vessel1 for half an hour4 ,steep the ivory in it4 ,on taking the ivory out of these boiling liquors1 immerse it instantly in cold water1 to prevent its cracking4 ,,elliptic ,,turning4 ,this machine is frequently called1 by those who do not understand the ellipse1 an oval chuck2 but it is not oval1 for an oval expresses an object that is smaller at one end than at the other4 ,fig4 #a1 plate #c1 is a front view of the machine4 ,i ,k is the iron plate to which all the parts 7except the ring1 hereafter described7 are fastened4 ,a screw1 similar to that on the nose of the mandrel1 is riveted to this plate1 fig4 ,w1 and upon it whatever you wish to turn is fixed4 ,fig4 #b exhibits a back view of this machine2 at each of the four corners there is a short square pillar1 marked ,d4 ,within these are two narrow ribs of steel1 reaching the whole length of the plate ,i ,k4 ,each of them1 being bevelled1 forms an angular groove1 reaching all its length4 ,by means of these grooves the slider1 ,f1 moves up and down4 ,illustration3 ,plate #d4 ,when the slider is in its place1 two pieces of steel1 ,m ,m1 bear upon the side pieces1 to which1 and to the plate1 ,i ,k1 they are firmly attached by four screws1 ,x ,x ,x ,x4 ,the plate1 ,f1 being cast in the same piece as the slide1 cannot be thrown out of its place1 but moves in a longitudinal direction only1 the nut1 ,l1 acting as a stop to prevent its going too far4 ,the space between the end pieces1 ,m ,m1 is just equal to the diameter of the ring1 ,o1 ,fig4 #c1 upon the outside of which they revolve when the nut is screwed upon the mandrel4 ,two arms1 ,r ,r1 are connected with it1 and in each there is a groove extending nearly their whole length4 ,this machine is connected with the lathe1 and its motion obtained as follows3--,e ,e1 fig4 #d1 represents a headstock1 through which two holes are drilled1 the centres of which are precisely in a line with the centre of the mandrel1 ,m2 the ring is fastened to the headstock by two screws1 ,i ,i1 the shanks of which pass through the grooves and through the holes in the headstock4 ,when the ring is in this position1 it will be perceived that it can only move from side to side1 and its centre must always be in the same horizontal line with that of the mandrel4 ,now screw upon the mandrel the nut1 ,l1 fig4 #b4 ,the plate1 ,i ,k1 if set exactly opposite the mandrel1 will revolve in a circle2 but if the centre of the ring be the least in the world on one side of the mandrel1 it will revolve in an ellipse4 ,when1 therefore1 the work is fastened to the screw1 ,w1 it is quite as easy to turn an ellipse as on the ordinary lathe to turn a cylinder4 ,of course1 the slider must move with great steadiness and freedom1 to effect which1 very great accuracy in the workmanship must be observed4 ,figs4 #e and #f are two different views of the machine1--#e is the side1 #f the end view4 ,to turn a hollow sphere1 the convex surface is first turned1 and perfectly smoothed and finished2 it must then be bored with a centrebit1 to make an aperture sufficiently large to admit the tool1 fig4 #g1 plate #a1 with which the interior must be worked away4 ,as1 however1 it would require a large aperture to enable you to hollow out the whole sphere1 it is preferable to make six openings with the centrebit1 each in a line with the centre2 they must also be made at equal distances from each other1 and every hole must be at right angles with all the rest1 except one1 which is exactly opposite to it4 ,place the sphere in a chuck1 with the middle of any two of the holes in a line with the axis of the mandrel2 turn out as much as you can of the first hole1 then bring the other holes forward and do likewise2 at last the excavations will be cut through4 ,to turn the ,chinese balls1 which are so much admired for their beauty and curious workmanship1 we are told to proceed as follows3--,as they are composed of spheres one within the other1 the holes must be just deep enough to leave the thickness between each little more than the diameter of the smallest sphere4 ,the work must be begun by forming the innermost sphere1 and afterwards it must be continued regularly on to the larger1 till at last the outer sphere is completed4 ,an immense1 almost an endless1 variety of figures may be worked in the lathe by carefully regulating the tools4 ,beautiful flowers in ivory1 equal to the ,chinese carving1 are formed by the experienced turner1 with small wheels and other instruments3 medallions1 even1 are executed in the lathe1 with machinery so constructed that the tool follows on the wood the exact lines of the head that is being copied4 ,gold and silver ornaments1 such as watches1 snuff-boxes1 and other trinkets1 are worked with what is called a rose engine2 plates with patterns indented upon them are fastened upon the mandrel3 the screw regulates the tool1 which produces an exact counterpart of the pattern4 ,many of the copper cylinders used in printing calicoes afford curious specimens of engraving in the lathe4 ,it is impossible to imagine any thing more beautiful than the effect produced1 and a whole web of linen is printed by them in a very few minutes4 ,the methods employed in this kind of turning by the various artists who practice it are but little known2 and1 indeed1 to look at the patterns produced1 it would be supposed that the graver must have been used to form them4 ,a general idea of the nature of the work is all we are enabled to give4 ,the pattern intended for the cylinder must be cut upon a small steel wheel1 which revolves upon an axis4 ,this wheel is then to be held against the copper cylinder1 which1 quickly revolving in the lathe1 carries it round1 and receives from it the impression of its pattern4 ,the wheel operates like a punch1 but the roughness it makes on the edge of the work is easily polished down4 ,having now finished the directions for concentric and elliptic turning1 we will1 before beginning the ornamental parts of this interesting art1 beg to impress upon the minds of our readers that they must never be discouraged by failure in their first attempts1 even though they may be subjected to many disappointments2 for1 as the ,bard of ,avon expresses it3-- 8,oft expectation fails1 and most oft there ,where most it promises2 and oft it hits ,where hope is coldest1 and despair most sits40 ,,eccentric ,,turning4 ,illustration3 ,plate #e4 ,this name includes all the various1 beautiful1 and intricate work for which the powers of a lathe are so justly celebrated1 and which1 once seen1 must be admired by all who love the fine arts and examine the powers of machinery4 ,the eccentric cutter1 the drill1 the eccentric chuck1 and the universal1 or vertical cutter1 are all indispensable for those who wish to perform ornamental turning1 and with them the most delicate and intricate patterns can be worked with a precision and accuracy that are truly wonderful4 ,a sliding1 or parallel1 rest is absolutely necessary for turning patterns1 as upon it1 in some degree1 depends their exactness4 ,fig4 #a1 plate #e1 is the drawing of one4 ,the foot1 ,a1 screws firmly to the bed of the lathe1 like the common rest1 and the upper part fits into the socket1 ,b1 and1 by means of the nut1 ,c1 is turned in any direction you wish4 ,d ,d is a bed of steel1 five or six inches long2 through the groove down the middle is a screw which passes from one end to the other1 and1 by turning the squarehead1 ,e1 the tool slider1 ,j1 is pushed backwards or forwards1 while the rest itself remains stationary4 ,the steel bed is graduated4 ,between the bed and the screw1 ,e1 is a small brass wheel1 divided into numbers1 ,g2 this regulates the position of the tool4 ,the tool slider1 ,j1 fits into the bed1 ,h1 and slides in and out2 ,j is the part where the tool slips in1 and it is kept firm by a screw1 ,k4 ,the handle draws it to and from the work1 and the nuts l l1 regulate the depths of the cuts4 ,the tools belonging to this rest1 #a1 #b1 #c1 #d1 #e1 are of steel1 about two inches long1 and are ground to different angles3 there are various sizes of each4 ,when you intend to ornament a piece of wood or ivory1 first turn it quite round1 and smooth it with the common tools2 you must then make the surface perfectly flat1 and to accomplish this1 adjust the sliding rest at a proper distance1 put in one of the round-ended tools1 ,no4 #e1 let it just touch the wood by setting the screws1 l l2 put the lathe in motion1 and gently approach the tool to the work2 if it cuts too deep1 tighten the screws a little more2 if too little1 push the screw forward4 ,keep the tool steadily up to the work by pressing on the lever1 ,s1 which impels the tool to slide forward1 then1 with the right hand1 turn the head1 ,e1 by means of a handle1 ,p1 which will thus enable the tool slide to run from one end of the brass bed to the other1 at the same time that the lathe is turning rapidly round1 and thus the surface of the wood is rendered perfectly smooth1 level1 and polished4 ,sometimes1 however1 it will require to be worked over in this manner three or four times before it becomes quite flat2 and frequently1 even when it appears level1 there will still be a hollow in the middle1 which will quite destroy the accuracy of the patterns3 to discover whether this is the case or not1 take the ,t square1 see plate #a1 fig4 ,r2 place it with its edge against the wood3 if you can see light between it and the work1 the surface cannot be even1 and requires smoothing over again4 ,the next process is to cut very delicate circles all over the work1 at regular distances3 this is done to take off the bright look of the wood1 that the patterns may appear to greater advantage4 ,put into the tool slide a double angular tool1 ,no4 #d2 adjust it so as to make a distinct1 but still delicate1 cut into the wood4 ,make one cut in the middle of the work2 move the brass wheel1 ,g1 one number1 or from #a to #b2 make a second cut2 move to #c1 then to #d1 and so on3 each circle you will find enlarges gradually1 till you arrive at the end of the wood4 ,pattern #a1 plate #f1 is a specimen of this work2 but remember1 it is merely a preparation for other patterns4 ,in doing side work1 as the side of a box1 or a knitting-case1 unscrew the screw ,c1 and turn the brass bed of the rest round till in a line with it1 then proceed as directed for face work4 ,the wood being ready1 we will now go on to give a description of the eccentric cutter1 plate #e1 fig4 #b4 ,like the tool slider1 it fits into the sliding rest1 but now it is no longer the work which moves round and the tool stationary1 but the wood remains firmly fixed while the tool rapidly revolves and cuts the patterns4 ,for this purpose1 it is obviously necessary that the fly wheel should turn the cutter1 while the small wheel remains immovable4 ,several methods are used to perform this3 the one given plate #d1 fig4 ,k1 is the easiest4 ,the frame here represented should be of iron1 firmly screwed to the bench of the lathe1 and of sufficient height to be about a foot above the head of the workman4 ,in front is a spindle1 which works in two nuts1 ,no4 #a #a1 exactly in a line with the mandrel4 ,two wooden wheels1 ,no4 #b #b1 are fastened to this spindle2 the one on the left hand remains stationary over the fly wheel of the lathe1 by which it is turned1 the other slips backwards and forwards1 according to the work it is required to do4 ,take off the usual catgut from the fly-wheel1 and pass a long one over it1 and over the small wheel on the over-head frame1 ,no4 #b4 ,when the cutter1 #b1 plate #e1 is fixed in the slide rest1 draw the other small wheel on the spindle1 ,no4 #b1 forward1 till just above the rest1 then pass a catgut over it1 and round the small brass wheel1 ,b1 of the cutter1 and the whole will turn together4 ,the brass wheel of the lathe must then be fixed at one particular number4 ,it is usually divided into three hundred and sixty divisions1 each marked by a small hole in the brass wheel1 as in fig4 ,a1 plate #d1 and it is by properly dividing the numbers on this plate that the accuracy of the patterns depends2 to keep the wheel steady1 a small steel key1 h1 plate #d1 is slipped into the brass knob1 ,o1 plate #d1 and the other end1 being pointed1 enters into one of the small holes1 say the one marked #cfj2 the work is then immovable until you remove the key into another hole4 ,the cutter itself is of brass1 with a spindle1 ,c1 which works in two brass collars4 ,at one end is the wheel1 ,b1 by which it is turned1 at the other a steel frame1 ,t ,d1 which is marked on the upper edge in small lines1 ,e1 to regulate the quantity of eccentricity4 ,the steel tool-box1 ,f1 holds the tool1 which is kept firm by a small screw underneath4 ,by means of a screw through the frame1 ,d ,d1 similar to that of the sliding rest1 the tool is pushed backwards and forwards1 and cuts a large or a small circle4 ,g is the nut that moves it1 and it also is divided into numbers4 ,this cutter1 for many patterns1 is quite as useful as the eccentric chuck1 but1 in conjunction with the former1 is invaluable1 and the patterns performed by them may be multiplied according to the taste and genius of the turner4 ,the two screws1 ,h ,h1 fix the depth of the cut2 the wheel of the sliding rest determines the necessary distance1 that of the cutter the eccentricity1 while the brass wheel keeps the pattern accurate4 ,the tools1 ,nos4 #a1 #b1 #c1 #d1 #e1 plate #e1 are of various forms and sizes3 care must be taken not to break them1 and the cutter must be constantly well oiled with olive oil2 the holes1 ,k ,k1 are made to receive it4 ,in using this tool1 make the wheel of the lathe go very quick1 but approach the tool very gently and slowly to the work4 ,the better to do this1 the lever1 ,s1 is used2 it enters into one of the holes in the side of the cutter1 and into a similar one in the sliding rest1 so that by a slight pressure the tool is impelled gently forward4 ,there are generally about two dozen tools shaped like those in the plate1 but of various sizes4 ,to imitate the second pattern1 plate #f1 which1 it will be perceived1 is a number of circles1 slide the cutter towards the edge of the work by turning the screw of the slide rest1 then1 to make the outer circle of the border1 turn the small nut1 ,g1 of the cutter six times round2 put a double angular tool into the tool box1 screw it firmly1 adjust your cutter by the screws1 ,h ,h1 to the proper distance1 and stop your wheel with the steel key at #cfj4 ,cut one circle1 alter your wheel thirty numbers1 cut another circle1 then thirty numbers more1 till the twelve circles are all cut4 ,this done1 alter the wheel fifteen numbers1 which will make the circle cut half through two of the former ones1 then move #cj1 as before1 till the twelve are done4 ,for the small inner circles turn the nut1 ,g1 of the cutter two turns back1 to reduce the size1 and move #cj as before4 ,the pattern in the middle is still circles1 though differently arranged4 ,draw back the cutter till a little past the middle of the work1 then unscrew the nut1 ,g1 fifteen turns1 cut one circle1 move the brass wheel #ae1 cut another2 move #ae1 cut another2 then move #de1 cut another2 move #ae1 then #ae1 and so on till all are finished4 ,third pattern4--,set the cutter at five turns1 and move five numbers on the brass wheel for every circle4 ,for the middle pattern1 turn the nut of the cutter eight times1 move ninety numbers on the wheel1 till four circles are cut2 then move #de1 cut another2 then #ij again4 ,to make the small circles1 turn the nut1 ,g1 backward two turns1 and move #ij as before1 for the four first circles2 then move #de2 then #ij to the end4 ,illustration3 ,plate #f4 ,fourth4--,the border of this pattern is the same as the one in ,no4 #c1 only you place a piece of wood about a quarter of an inch in depth across the bed of the lathe1 letting it pass half under the slide rest2 screw the rest down firmly1 and proceed as above4 ,by thus raising the rest in a slanting position1 half the circle only is cut1 which has a very pleasing effect4 ,for the centre pattern1 set the cutter at a small circle1 cut one in the middle1 having the wheel fixed at #cfj4 ,then move the brass wheel of the slide rest1 plate #e1 three numbers for each circle2 these done1 return to the middle circle and continue the same to the other end4 ,then move the brass wheel of the lathe to #de1 and repeat as above1 three numbers for each circle1 till the next row is finished2 then again move forty-five numbers on the large wheel2 and so on to the end4 ,fifth pattern4--,set the cutter at a large circle1 the brass wheel at #cfj4 ,move #e for four circles1 then move #ae1 then #d four times more1 then #ae again1 and so on to the end4 ,for the middle1 set the cutter to a small circle1 and move the brass wheel of the lathe #ij four times4 ,sixth pattern4--,set the cutter to the largest circle it will make1 begin in the middle of the work1 set the wheel at #cfj1 and move ten every time4 ,to assist the beginner1 a drawing is given of the wheel1 supposing the largest number to be #cfj1 ,a1 plate #d4 ,by this the numbers are all arranged2 a table of the divisions is also given2 for on the proper and accurate calculation of the numbers depends the exactness of the patterns4 ,the plate on the wheel divided at #add is the plate for marking half-circles and arcs1 as in plate #ab1 fig4 #c1 which shall be described hereafter4 ,these patterns are very beautiful1 and1 from the arcs being gradually reduced in size1 they have a curious and elegant appearance1 but they cannot be worked without an eccentric chuck4 ,,the ,,drill4 ,the drill is a most useful auxiliary to the eccentric cutter1 not only for drilling holes1 which it does with great nicety and speed1 but also for making mouldings and patterns of various kinds4 ,unlike the cutter1 which moves either in a large or small circle1 the drill can only work upon its own centre1 and therefore the size of the pattern depends upon the tool placed in it1 its position being regulated by the screw in the sliding rest1 into which it slips like the cutter4 ,it is turned by a rope exactly the same as in the directions already given for the eccentric cutter1 and greatly resembles it in shape1 except at the end1 ,a1 plate #g1 which is made just to receive the tool1 and a small screw keeps it firm4 ,suppose you wish to ornament anything--say1 the pen-holder1 plate #i--with concave mouldings1 as in ,a4 ,having set the rest1 by the aid of the ,t square1 exactly in the same slanting direction1 put a round-ended tool1 ,no4 #c1 into the drill1 set it to the proper distance1 fix the brass wheel at #cfj1 cut a round hole2 move the wheel to #gb1 cut another1 and so on till five are drilled2 then1 without altering the rest1 put in a smaller round-ended drill1 hold it by means of the lever well up to the work1 make the large wheel go very quick1 and slowly turn the screw of the slide rest1 so as to impel the drill which ever way you wish4 ,do not cut too deep at first1 or you will break the tool2 if a great depth is required1 go over in the same line three or four times4 ,this done1 count #gb1 as before1 and proceed the same2 the pattern will have the appearance of the pen-holder in the drawing4 ,the end1 ,b1 after being turned to the shape1 is ornamented in small holes1 that resemble a honeycomb1 in the same manner1 with a round-ended drill2 counting so as to make them fit nicely between each other4 ,to do this1 you must be able to subdivide your first numbers4 ,thus1 suppose you drill a round hole at #a1 #dj1 #hj1 and so on till you come to #cfj1 these numbers can be divided by beginning the next row 7which must be begun the breadth of the tool from the former one1 by turning the slide-rest screw half1 or a whole turn1 according to the breadth of the tool7 at #bj1 then count forty numbers as before2 but if you had taken forty-five instead of forty for your number1 you could not have divided it evenly in the second row1 so as to make the holes intersect each other4 ,be very careful to remember how many times you turn the slide-rest wheel1 that each cut may be of equal length4 ,there are generally about four dozen tools belonging to the drill1 of various sizes1 but of the shapes given in plate #g4 ,nos4 #a and #b drill large or small holes1 as for instance1 round the sides of a turned pincushion1 or needle-book1 for the stitches to go through2 #c is used to make concave mouldings1 or to cut quite through the work in straight lines1 as in the lighter case1 ,e1 plate #i4 ,this pattern looks very pretty1 and is quite easy1 if your work is turned sufficiently thin2 it should be lined with coloured velvet4 ,no4 #d makes concave mouldings flat at the bottom2 these tools are also used to cut round dots3 #e1 cuts small or large beadings1 which give great lightness and finish to the work4 ,having made a moulding with the hollow tool ,no4 #b of the slide rest1 choose a beading tool that just fits the moulding1 put it in your drill1 set it to cut sufficiently deep to be quite round at the top2 having cut one1 count by the brass wheel the proper distance1 to make them fit close1 but without one spoiling the shape of the other2 the round dots on the bottom of the lighter case are intended to represent these beads4 ,tool ,no4 #f cuts mouldings of the same shape as the drawing4 ,in using this and the tools ,nos4 #g and #h1 be careful1 after the first cut1 where you place them for the second1 to make them fit2 and in using all the drill tools1 make the lathe go as quick as you can1 but move your tool very slowly1 and keep the drill slide well oiled4 ,,list ,,of ,,numbers ,,on ,,the ,,small ,,wheel ,,and ,,eccentric ,,chuck4 ---------------------------------------- ---------------------------------------- ---------------------------------------- ---- ,,lathe ,,wheel4 ,,chuck ,,wheel4 ---------------------------------------- ---------------------------------------- ---------------------------- ,no4 of ,no4 of ,no4 of ,no4 of ,no4 of ,no4 of divi- cuts to divi- cuts to divi- cuts to sions complete sions complete sions complete for the ,odd for the ,odd for the ,odd one circle4nos4 one circle4nos4 one circle4nos4 cut4 cut4 cut4 ---------------------------------------- ---------------------------------------- ---------------------------- #a #cfj -- #a #if -- #a #abj -- #b #ahj -- #b #dh -- #b #fj -- #c #abj -- #c #cb -- #c #dj -- #d #ij -- #d #bd -- #d #cj -- #e #gb -- #e #ai #a #e #bd -- #f #fj -- #f #af -- #f #bj -- #g #ea #c #g #ac #e #g #ag #a #h #de -- #h #ab -- #h #ae -- #i #dj -- #i #aj #f #i #ac #c #aj #cf -- #aj #i #f #aj #ab -- #aa #cb #h #aa #h #h #aa #aj #aj #ab #cj -- #ab #h -- #ab #aj -- #ac #bg #i #ac #g #e #ac #i #c #ad #be #aj #ad #f #ab #ad #h #h #ae #bd -- #ae #f #f #ae #h -- #af #bb #h #af #f -- #af #g #h #ag #ba #c #ag #e #aa #ag #g #a #ah #bj -- #ah #e #f #ah #f #ab #ai #ah #ah #ai #e #a #ai #f #f #bj #ah -- #bj #d #af #bj #f -- #ba #ag #c #ba #d #ab #ba #e #ae #bb #af #h #bb #d #h #bb #e #aj #bc #ae #ae #bc #d #d #bc #e #e #bd #ae -- #bd #d -- #bd #e -- #be #ad #aj #be #c #ba #be #d #bj #bf #ac #bb #bf #c #ah #bf #d #af #bg #ac #i #bg #c #ae #bg #d #ab #bh #ab #bd #bh #c #ab #bh #d #h #bi #ab #ab #bi #c #i #bi #d #d #cj #ab -- #cj #c #f #cj #d -- #ca #aa #ai #ca #c #c #ca #c #bg #cb #aa #h #cb #c -- #cb #c #bd #cc #aj #cj #cc #b #cj #cc #c #ba #cd #aj #bj #cd #b #bh #cd #c #ah #ce #aj #aj #ce #b #bf #ce #c #ae #cf #aj -- #cf #b #bd #cf #c #ab ---------------------------------------- ---------------------------------------- ---------------------------- ,illustration3 ,plate #g4 ,these tools are also useful for cutting out the edges of work in vandykes1 as in the top of the lighter case1 ,e1 for which pattern the tool ,no4 #h was used1 the gimped edge being cut with ,no4 #b2 the end of the needle-case1 ,d1 in plate #i1 is done with a round-ended drill1 ,no4 #c1 in the same manner as directed for the end of the pen-holder4 ,in the patterns ,nos4 #a and #f of plate #aa1 the straight lines near the centre are cut with the round-ended drill4 ,,goneometer4 ,all the eccentric tools require the greatest care in sharpening1 and the above ingenious machine has been invented for this purpose2 it is represented at ,p1 in plate #d4 ,the upper part1 #a1 is a plate of brass1 the outer edge1 #b1 is graduated as high as #ej each way1 beginning at the tongue1 #c4 ,beyond the numbers is a groove1 in which one end of the tool slide1 #d1 slips1 and is firmly fixed 7so as to point to any of the numbers that suit the angle of the tool7 by a nut underneath4 ,the whole plate1 #a1 is raised and lowered at pleasure by a small hinge at #e1 and the requisite height is fixed and settled by counting the numbers on the steel tongue1 #c4 ,underneath is another brass bed with two feet1 upon which the machine rests1 while the front part leans forwards and rests upon the end1 #e4 ,the box that contains the goneometer has three drawers in it2 the first is lined with brass1 except for about three inches in width1 which space is covered with fine ,turkey stone4 ,to use this machine1 take out this drawer1 lay the feet of the goneometer on the brass1 put the slide-rest tool1 ,no4 #d1 into the tool box1 screw it firm1 then slide the tool box along the groove till it arrives at the proper angle1 say #de2 fix it with the nut underneath1 then raise the whole brass plate1 #a1 sliding it along the tongue1 #c1 till at the exact height necessary for the tool to touch the ,turkey stone4 ,rub it backwards and forwards upon it with oil4 ,when one side is sharp1 move the tool slide to the opposite angle1 to sharpen the other4 ,the small eccentric tools are placed in the steel case1 ,u1 and the case fits into the tool slide4 ,,circular ,,rest4 ,the rest we have already described1 called the ,parallel ,rest1 works1 as its name sufficiently expresses1 in a straight line2 it is therefore useless for ornamenting spherical objects1 and the circular rest has lately been invented to supply this deficiency4 ,it is a most ingenious contrivance1 and perfectly fulfils the purpose for which it was invented4 ,illustration3 ,plate #h4 ,the bed1 ,a ,a1 is the same as in the parallel rest1 and screws in the same way to the bed of the lathe4 ,b is a brass socket and pillar1 which support the bed ,c1 in which the tool box slides2 they are formed in the same piece with the lower bed1 ,l ,l1 and firmly fixed into the lower part1 which is grooved1 by four brass-headed screws1 ,n ,n4 ,the grooves enable the whole socket and tool box to slide backwards and forwards on the bed of steel1 ,d ,d1 and by means of the screw which passes through it the workman regulates the advance or retreat of the rest to or from the work in a straight line1 while the lower part remains stationary4 ,the small wheel1 ,e1 is graduated1 and turned by a key1 to enable the turner to count the distance4 ,f is a steel spindle1 which works in two brass collars1 ,g ,g2 about half-way down4 ,the spindle is formed into a screw1 ,o1 which turns upon the brass wheel1 ,h1 and by moving the nut1 ,j1 moves the whole rest in a circular direction1 in the same way that the screw in the steel bed1 ,d ,d1 impels it in a straight line3 by this ingenious contrivance all objects that are round or spherical can be ornamented3 such as balls1 the globular sides of vases1 or small baskets1 in every variety of pattern4 ,the learner will easily discover the proper method of using this rest1 which is very simple in its mechanism and use4 ,the nut1 ,k1 is for setting the tool slider at different angles1 the same as in the parallel or sliding rest2 the tools to be employed are those of the above-mentioned rest4 ,,the ,,vertical1 ,,or ,,universal ,,cutter4 ,,plate #g4 ,this cutter1 which also fits into the slide rest1 is different from the others2 and1 as its name denominates1 the patterns it can cut are almost endless1 for it may be turned in any direction4 ,the bed of the slide is the same as with the drill2 at the end1 ,no4 #a1 is a screw1 which1 when turned by the key1 ,b1 inclines the tool-holder1 #b1 to any angle that may be required1 and it is regulated by the lines on the brass plate1 #c1 which are marked by a small steel point2 so that if you wish to cut out a pattern slanting to the right1 and another to correspond slanting to the left1 you have only to mark the number on the plate1 where you cut the first1 and then with the key move the cutter to the same position on the opposite side4 ,when the tool-holder1 #b1 stands straight1 as in the plate1 the tool cuts horizontally3 when it is screwed down to the last line on the plate1 it cuts perpendicularly1 but the cut always scoops out2 and by putting the tool as far out of the holder as you can1 the cut will be larger1 and the scoop deeper4 ,the back support of the pulley1 #d1 moves with the tool-holder2 and the pulleys1 #e1 correspond with each2 the back one is turned in the same direction as the front one1 by unloosing the screw1 #f4 ,the gut1 after passing over the pulley on the over-head frame1 comes through the two back pulleys of the cutter and round the front one1 as in the plate2 but when the cutter is screwed flat1 a short cord1 the same as that used for the drill1 is sufficient2 and the back pulleys are then not necessary4 ,this tool requires constant oiling at ,d ,d1 for the friction is very great2 it also demands much care and delicacy in using it1 as it must not be incautiously thrust against the wood1 or it will stick fast1 and not turn round4 ,there are about four dozen tools1 all of the shapes given in the plate1 but of various sizes4 ,this cutter slides into the slide rest1 and the depth of the cut is1 as usual1 regulated by the screws at the end1 and the cutter is brought to the work by the aid of the same lever as is used for the drill and eccentric cutter4 ,the patterns cut by this tool are counted and regulated by the numbers on the brass wheel1 as with the others4 ,when the turner has once tried it1 he will readily discover its advantages for all kinds of ornamental work1 particularly for the sides of boxes1 needle-cases1 and many other articles2 but it is needless to give many drawings of the patterns1 as they much depend upon the taste of the turner4 ,one beautiful design for a lighter case1 or small basket1 is worked with this cutter with a flat-ended tool4 ,turn the work very thin1 chuck it firmly1 make one cut deep enough to allow the tool just to cut through1 and no more4 ,count thirty on the brass wheel of the lathe every time2 the next row make the cut deeper1 so that the opening will be larger1 then move #fj4 ,by this means a piece of ivory will be left standing out1 with openings cut between1 which1 when lined with coloured velvet1 looks light and elegant4 ,this row count sixty every time2 the next1 thirty1 as at the beginning4 ,illustration3 ,plate #i4 ,the needle-case in plate #i1 fig4 ,k1 is entirely ornamented with this cutter in a variety of patterns4 ,figs4 #a1 #c1 #d1 and #h1 are worked with the flat and round-ended tools2 #b1 with the tool ,no4 #f2 #e with the tool #c2 #g1 with #d2 and #f with ,no4 #f4 ,the bottle1 ,b1 is also ornamented with the same tools4 ,it is hollow down the neck1 and is intended to contain a tin or glass of water2 in the stopper is glued a small camel's-hair brush1 which rests in the water1 and is meant to be used for wetting postage-stamps1 and fastening them upon letters4 ,the bottom of the neck unscrews at fig4 #a1 and the part below it is hollowed out like a box1 to hold the stamps4 ,the neck is ornamented in steps4 ,set the cutter quite flat1 facing the side of the work2 use the tool ,no4 #e2 cut one line1 move the brass wheel of the lathe just far enough to make the second cut join the first1 and the same all round4 ,in the next row make the first cut half-way between the others2 thus1 if you have begun at the numbers1 #a1 #f1 #ab1 in the second row begin at #c1 then go to #i1 then to #ae1 and so on4 ,every row of steps begins half-way through the former ones1 and for each row move the cutter on the slide rest the breadth of the tool4 ,the convex moulding at the bottom of the neck is done by putting one of the hollow tools of the sliding rest into a handle1 and rounding the ornament with it4 ,the other patterns are all done with the same cutter1 by placing the tools at different angles4 ,in the same plate1 #i1 the two patterns ,f and ,g are very beautiful1 they are worked with the eccentric cutter4 ,f resembles the scales of fish lying one over another3 put the most angular tool1 ,no4 #e1 7of the cutter tools71 into the cutter2 describe a circle from the edge of the middle line to the outer one2 cut one circle very deep1 move ten numbers on the brass wheel of the lathe1 and so on to the end4 ,the pattern1 ,g1 is worked exactly the same1 only a less angular tool1 ,no4 #d1 is used1 and fewer numbers are counted3 it resembles leaves1 one lying over the other4 ,the stopper of the bottle1 ,b1 is also ornamented with this cutter1 and with an angular tool4 ,first turn the stopper quite circular1 7the knob at the top must be glued in afterwards74 ,set the sliding rest at a convenient distance1 and place under it one of the slide-rest tools1 so as to raise it in an uneven manner2 screw the rest firmly1 and set the circle just large enough to encircle half the stopper4 ,by this means the tool cuts the ,,under part of the circle1 and passes over the other half3 this pattern must be cut very deep1 and about five numbers be counted between each cut on the brass wheel of the lathe4 ,d is another pattern for a stopper2 it is worked with a round-ended drill4 ,cut the holes rather deep1 and as near as you can to one another1 only leaving a very little thin shell of ivory between them1 and the pattern will resemble a honeycomb4 ,the lighter case1 ,e1 is ornamented with the drill and vertical cutter4 ,turn the upper part very thin1 then drill long lines quite through the ivory1 leaving a space between each2 this looks light and elegant1 if lined with coloured paper4 ,the base is cut in steps with the vertical cutter2 count twenty for each cut2 the second row1 make each cut between the former ones1 moving for each row the breadth of the tool4 ,the top is cut out in leaves with the drill tool ,no4 #h4 ,to sharpen all these tools1 use the goneometer1 taking care that you fix it exactly at the proper angle1 by counting the position by the numbers4 ,if you do not place the tool just at the right angle1 it will cut the patterns quite crooked4 ,,eccentric ,,chuck4 8,the centre mov'd--a circle straight succeeds2 ,another still1 and still another spreads40 ,illustration3 ,plate #aj4 ,perhaps the most useful of all the additions to the lathe is this chuck1 for by its aid the turner can alter the centre of his work as he pleases1 producing a great variety of circular lines of different sizes1 and other ornaments1 which cannot be attempted without it4 ,the tools are those already described belonging to the slide rest1 which latter1 when used with this chuck1 assumes quite a different character than when employed with the eccentric and universal cutters and the drill4 ,with these three1 it merely serves to mark1 by aid of its screw1 the distance they require to be from the work1 and the position in which they are to be placed1 but does not assist in the size or form of the patterns to be cut2 with the eccentric chuck1 however1 it is quite different4 ,the rest marks the size of the circles1 while the chuck fixes their position4 ,thus3 suppose you wish to cut a circle1 or series of circles1 not as in the pattern1 ,no4 #a1 plate #f1 which begin from the centre and gradually enlarge1 but like those in ,no4 #c2 the slide rest must be set to the proper position1 to enable the tool to cut the requisite circle1 and then the chuck must be screwed down till the tool arrives opposite the exact place where the pattern is to be worked4 ,with this chuck the over-head frame is no longer used2 the brass and fly-wheels being employed together1 as in common turning1 the chuck having a wheel of its own by which to regulate the patterns4 ,in the annexed plate1 fig4 #a1 is a front view of the eccentric chuck2 fig4 #b is the same seen sideways4 ,a ,a are two brass plates1 with a screw at the back of them1 as shown at ,p1 fig4 #b2 by this screw it fastens on to the mandrel of the lathe like a common chuck4 ,a ,a are so shaped as to admit of ,d sliding up and down them1 and the four screws enable the slide to be tightened or loosened4 ,down the middle of the chuck is a screw with a very fine thread2 it is turned at either end by the square head1 #c1 and thus ,d slides up and down at pleasure1 but cannot in any way get out of its proper position1 and1 above all1 can never shake in its bed4 ,e is a brass wheel divided into #abj teeth1 upon which the distances are calculated1 the same as on the other brass wheel2 in the middle of it1 ,f1 is a screw1 the same in size as that on the mandrel1 upon which the chuck that holds the work must be screwed4 ,the wheel1 ,e1 has a spring screw1 which1 by turning back the spring1 ,h1 enables you to move the wheel round as many numbers as you wish1 and the steel point1 ,k1 marks the one you wish to set it at4 ,l is a small wheel with four numbers marked upon it2 by setting it at ,o1 the steel screw passes from line to line of the wheel1 ,e1 fig4 #b2 by turning it one line further1 it stops at 2 another line1 it stops at 2 and a third1 at 2 thus enabling you to cut your patterns as fine and delicate as you like4 ,the square heads1 #c #c1 are placed at each end of the chuck1 so that the plate ,d can traverse the whole length1 and thus enable you to ornament a square or an oblong piece of work2 both heads have four numbers marked upon them1 by which you regulate the motions of the chuck4 ,for instance1 when ,d ,d is screwed up level with the black line ,o1 the screw ,f will be exactly in the centre of the lathe4 ,now1 suppose the tool in the slide rest is set to cut a very small circle1 and you wish1 having done that one1 to cut several others of the same size round it1 thus1 ,illustration3 small wheel you must turn the chuck down one turn by counting the numbers on the square head1 ,no4 #c2 and having cut one circle in the proper place1 count as many numbers on the brass plate1 ,e1 as are necessary to make them fit properly4 ,should you wish to make a second row of circles larger than the first1 besides turning down the chuck1 you must1 to enlarge them1 turn the screw of the slide-rest one turn forwards4 ,all the patterns already given for the eccentric cutter can be done equally well with the eccentric chuck1 except the border pattern in ,no4 #d1 which can only be worked by the cutter4 ,patience1 calculation1 and attention will enable you to perform the most beautiful1 minute1 and intricate patterns with the eccentric chuck2 but though ,i have endeavoured to give many specimens1 when printed they only in a slight degree convey an idea of the real beauty of this kind of turning2 the depth of the cut will wholly alter the appearance of a pattern1 and the same circles cut with another shaped tool present quite a different appearance2 in all1 however1 there is one rule1 which must never be forgotten--viz41 be very careful to make your wood or ivory perfectly smooth1 flat1 and even1 before attempting to ornament it1 or you will be disappointed by finding that your circles are cut deep in one part and are scarcely visible in another2 also remember to line it1 as directed when treating of the slide-rest1 for this gives much effect to the work4 ,illustration3 ,plate #aa4 ,pattern #a1 plate #aa4 ,begin by the shell4 ,having smoothed and lined your wood1 put a double angular tool 7,no4 #d of the slide-rest tools7 into your rest2 turn the slide-screw till the tool is exactly in the centre of your work1 when1 if you move the wheel round1 you will find the tool will only cut a dot4 ,the outer circle is the one with which to commence2 turn the slide-rest screw forwards ten whole turns1 and you will find you have the circle of the proper size4 ,now approach the tool to the wood1 cut the circle carefully at first1 till you decide on the proper depth for the cuts2 then set your screw guides1 and proceed as follows4 ,for the other ten circles1 move the eccentric chuck downwards half a turn1 and diminish their size by moving the slide-rest screw backwards half a turn1 so as to keep the lower part of each circle in the same place4 ,to have a good effect1 shells should be well cut up--that is1 each circle should be of a sufficient depth for the edge of the cut to meet the former one1 and thus efface the lines made in preparing the wood4 ,the rays from the centre are worked with the drill2 put a fine round-ended tool1 ,no4 #c of the drill tools1 into the drill2 place it in the slide rest1 stop the fly-wheel1 arrange the cords1 and set the tool with the screw guides to cut very little at first4 ,by means of the slide-rest screw1 push the drill forwards till the tool touches the outer edge of the shell2 hold it well up to the work with the lever2 make the lathe go very quick1 and move the drill on the slide forwards very slowly1 by turning the slide-rest wheel round with the key #ab turns ,,forwards1 then the same backwards4 ,move #ab numbers on the eccentric chuck wheel for each of the other middle lines1 and cut them as above2 then move the slide-rest half a turn forwards to shorten the line1 and move #a number on the eccentric chuck wheel1 and cut a line moving the slide-rest #aa turns forwards1 by which it will be equally shortened at each end4 ,move to the other side of the long lines and do the same4 ,the whole pattern is done in this manner1 counting one for every line on the eccentric chuck wheel1 and gradually shortening them by reducing the turns of the slide rest4 ,for the third pattern1 which would look better done in dots than in circles1 take away the drill1 put back the slide rest tool-box1 and take a flat-ended tool2 set it to cut a dot about the same size as the circles1 just deep enough to efface the under lines1 so that each dot will look bright and shining4 ,having cut one1 count #b on the eccentric chuck wheel for each of the other #fj2 then screw the chuck downwards #b turns1 so that the next row may be just above those already done2 cut five dots1 counting #b numbers for each1 then pass over four and cut five more2 and so on to the end4 ,the upper circle is worked precisely the same as the lower one4 ,the outer pattern is done like the arc patterns in plate #ab1 counting #e for each arc on the eccentric chuck4 ,,pattern #b4 ,the middle pattern is formed of eight shells1 with only four lines in each2 but these parts of shells begin at the centre point1 not round it1 as in the former pattern4 ,use a double angular tool1 screw the tool slide out #aj turns1 and the eccentric chuck downwards1 till the outer or largest circle just touches the centre2 cut one circle1 move #ae numbers on the eccentric chuck wheel2 cut another1 and continue the same till the eight are done2 then diminish each as directed for the shell1 counting #ae for every circle4 ,the second pattern1 of rings one within another1 is worked with the same tool2 set it to the centre point of the wood1 screw it forwards four turns1 then screw the chuck downwards until you can cut a circle just above the shells2 count #f numbers on the eccentric chuck wheel for each of the #bj3 then diminish your circles by turning the slide-rest screw backwards half a turn2 do the second row1 counting #f as before1 and the same for the two inner ones4 ,a still prettier way of doing this pattern is to cut steps instead of circles4 ,put a fine flat-ended tool into the slide1 set it to cut a circle the same circumference as the largest in the pattern2 then reduce its size as before1 and cut the next deeper1 by screwing out the screw guides a very little2 the third is still smaller and deeper4 ,a little dot should remain in the middle1 standing up as high as the level of the wood2 to do this pattern the wood must be thick1 as the steps require a certain depth4 ,the outer pattern is done in the same manner as that in pattern #a1 only the numbers are counted differently4 ,,pattern #c4 ,count #dj on the eccentric chuck wheel for each of the three large circles1 diminish one turn of the eccentric chuck4 ,then diminish the circle two turns of the rest screw1 and lower the eccentric chuck two turns1 and cut a circle every #bj numbers2 the others are done the same4 ,for the second pattern of circles1 cut one for every number on the eccentric chuck wheel2 then move one number on the eccentric chuck wheel1 and move the eccentric chuck downwards one turn1 and cut a circle every #ae2 by moving the chuck down1 and advancing one number every time1 the circles are made to incline sideways4 ,the outer pattern is much the same as in the two former ones4 ,,pattern #d4 ,this is a double shell in the centre4 ,begin with the large circle1 having fixed the eccentric chuck wheel at ,no4 #abj4 ,having cut one whole shell1 move the wheel to ,no4 #fj1 and work the other in the same way4 ,for the circles1 keep the tool in the same place on the slide rest1 and screw the eccentric chuck down two turns to clear the edge of the shell2 cut one circle every #ab numbers on the eccentric chuck wheel1 enlarge the circle by moving the slide rest one turn forwards2 cut the second row1 and so on till the fourth or largest one is done1 then diminish the size for the other two ,,without altering the chuck1 but counting the same4 ,the white dots are worked out with a flat-ended tool1 cutting one every six numbers on the eccentric wheel2 then move your chuck downwards three turns1 and cut one every #ab2 this done1 move back to the former row to the dot that comes between the circles1 replace the double angular tool1 enlarge your circle1 and cut one every #ab2 screw the chuck downwards three turns1 and proceed the same2 then screw the chuck upwards one turn and a half1 which will bring your tool to a level with the middle of the two former circles2 move the eccentric chuck wheel one number on each side of the former ones1 and the rosette will be finished4 ,the border is formed of plain circles1 omitting #c numbers every ninth cut4 ,,pattern #e4 ,the middle and second row of circles are too simple to require explanation4 ,for the clusters of rings1 begin with the middle row2 cut two a little apart from each other1 then one through the middle of them1 and so on to the end2 set the eccentric chuck wheel to the middle circle of one of the clusters1 and move the eccentric chuck downwards1 till the tool can cut through the middle of the others1 then upwards the same number of turns4 ,the extra half circle is made by moving the wheel of the lathe with the hand1 as for the arc patterns1 and counting the numbers on the eccentric chuck wheel1 between those already formed4 ,,pattern #f4 ,this is merely a circle of shells1 worked the same as in pattern #a2 only with this difference1 that each circle is done to correspond in each shell1 instead of working every one separately1 which would be more tedious2 #ae is counted on the eccentric chuck wheel for each row of circles4 ,the rays in the middle are done with the drill2 these can also be done without an eccentric chuck2 the numbers must then be counted on the fly-wheel1 which1 for this kind of line work1 is kept steady with the stop4 ,,pattern #a1 ,,plate #ab4 ,cut a small circle1 then one every #ab numbers on the eccentric chuck wheel4 ,move the chuck downwards two turns1 and the eccentric chuck wheel #a number1 either backwards or forwards2 if the former1 the rows of circles will incline to the right2 if the latter1 to the left4 ,proceed the same for every row of circles1 always counting twelve between each1 and advancing the chuck #a number at the beginning of every new row4 ,,pattern #b4 ,begin with a small circle in the middle1 then turn the eccentric chuck down two turns1 and cut one every #ae4 ,for the other two rows proceed the same1 lowering the chuck two turns1 and counting #ae for each on the eccentric chuck wheel4 ,for the chain work1 cut a circle every #ae near the edge2 then screw the eccentric chuck one turn upwards1 move #a on the eccentric chuck wheel on each side of the others2 thus1 if the upper row of circles begin at #abj1 the second row will begin at ,nos4 #a and #aai1 then at ,nos4 #ad and #af1 and so on3 the third and fourth rows are the same as the two first2 and the last is cut between the others4 ,illustration3 ,plate #ab4 ,patterns #c and #d are called arc patterns1 and are worked in a different manner4 ,in plate #d1 fig4 ,a is a drawing of the brass fly-wheel of the lathe1 with the numbers marked upon it4 ,d is a brass circle half an inch wide1 which is attached to it3 and upon which are marked #add lines1 every #ah of which is described by a number4 ,b ,b are pieces of brass which1 by means of a groove in the edge of the circle1 fit upon two steel slides that fit into the groove1 and are kept firm by two nuts1 which fix them opposite any number you wish4 ,p is a long thin piece of steel1 which enters by one end the bed of the lathe1 so as always to stand quite upright1 by which means1 when the brass fly-wheel is gently turned with the hand1 the flat end of the stop1 ,p1 catches upon the lower piece of brass1 ,b1 and if you reverse the motion of the fly-wheel1 the other piece1 ,b1 will rest upon the stop1 so that you will find the wheel can only turn half or three parts round1 just as you choose to set the stops4 ,these patterns1 it will immediately be seen1 are worked with the hand1 which must guide the wheel slowly up and down2 therefore slip off the cord1 and having arranged a double angular tool in the slide rest1 hold it up to the centre of the work1 put the stop1 ,p1 into the hole1 n1 of the bed of the lathe1 and gently move the wheel till you find the extent of circle you wish to cut2 fasten on one slide firmly1 then fix the other end of the arc1 and fasten the other slide4 ,this done1 approach the tool carefully to the wood1 and cut the first long arc by moving the fly-wheel with your left hand as far up and down as the stop will allow2 then move #bj numbers on the eccentric chuck wheel for every one of the other five arcs1 and cut them in the same way4 ,after these are completed1 move one number on the eccentric chuck wheel and unscrew the ,,upper slide1 and move it down as many lines as you think fit1 in order to shorten the next arc2 count #bj1 as before1 for every other of the #e4 ,each row is worked the same1 shortening the arcs and advancing one number on the eccentric chuck wheel for each row4 ,pattern #d1 and the border in pattern #a1 plate #aa41 all are done in the same manner1 only counting differently4 ,a great variety of arcs can be worked1 and have a very curious effect1 but you must be careful in cutting them not to let the tool go too deeply into the wood or ivory1 or it will either stick fast1 or else cut jagged1 uneven arcs2 rather prefer to spend more time over the work1 by working the arcs over and over again till the proper depth is obtained4 ,these patterns will enable the learner easily to discover and invent many others1 all beautiful when properly and neatly worked4 ,,pattern #e4 ,cut a circle every #bd numbers of the eccentric chuck wheel4 ,lower the chuck one turn1 and cut a circle on each side of the former ones1 so as to form the five knots of threes4 ,the edge is worked like the arc patterns1 making each half circle meet and join with a dot1 cut with a small flat-ended tool4 ,,pattern #f4 ,for the border cut three circles1 one for each number on the eccentric chuck wheel1 then cut another at #f1 #g1 and #h1 and so on till all are done4 ,the pattern in the middle needs no explanation4 ,illustration3 ,plate #ac4 ,plate #ac contains several specimens of eccentric turning4 ,the temple may be made either of wood or ivory1 and be left open1 as in the plate1 or have a coloured card-board case made to fit inside it4 ,the upper and lower parts of the pillars1 six in number1 are fluted with a round-ended drill1 but the middle parts are worked with the eccentric chuck1 and are curious specimens of its powers4 ,they much resemble a spiral staircase1 and though at first sight they may appear difficult1 yet they are not so when properly explained4 ,begin by turning the wood or ivory perfectly cylindrical with the slide-rest tool4 ,this done1 screw your eccentric chuck one turn downwards1 and turn the screw of your rest one turn forwards1 moving #ab numbers on the eccentric chuck wheel for every step4 ,as this requires great nicety1 delicacy1 and care1 7the cuts being very deep17 you must no longer depend upon the lever to approach the tool 7which is ,no4 #a1 of the slide-rest tools7 to the work2 instead of using it1 screw one of the screws1 ,l1 at the end of the tool slider1 to the deepest cut1 and leave it so2 then1 as you push the tool against the wood1 gently unscrew the other screw1 ,l1 till the first one prevents its cutting any deeper4 ,for every step1 move exactly the breadth of the tool4 ,if the piece you are working is thin and long1 it will be necessary to use the back puppet2 in which case remember to draw it away from the wood at every change of movement2 for1 of course1 when the eccentric chuck is altered1 the centre of the work becomes altered also4 ,nos4 #a and #b of plate #ac are different patterns for pillars1 both worked without the eccentric chuck4 ,the depth of the cuts1 it will immediately be seen1 form the steps4 ,the rings now demand our attention2 the tool used for forming them is ,no4 #f of the slide-rest tools1 plate #e2 one side of the tool cuts the outer2 the other1 the inner part of the rings4 ,put the tool into a handle1 where it must be held firm by a screw2 the same handle will be very useful to hold the slide-rest tools for making mouldings and delicate ornaments4 ,the end of the ring tool1 ,no4 #f1 being very sharp1 cuts a road for itself into the wood or ivory1 then press it gently to the left1 till you find one half of the ring is formed1 which will be seen by its filling up the half circle of the tool2 then remove the tool to the outside of the work1 and press the other side against it till the ring falls off4 ,it is a good way to turn a small cup and line it with velvet1 or some soft article1 into which to allow the rings to fall1 as the delicate ones would be apt to split by striking against the steel bed of the lathe4 ,to form the chain1 cut the rings carefully through on one side with a sharp penknife1 and slip them one through the other4 ,the handles of the temple are large rings1 the pins they hang upon are of wood4 ,flatten the knob either with a file or a small saw1 and drill a hole through it to receive the ring2 the pin is then glued into the moulding4 ,the ball at the top is turned quite round1 and may be ornamented with the circular rest4 ,the ball pendant from the chain is circular1 except on one side1 where a small pin is left1 through which drill a hole and slip the ring through it4 ,all the ornaments1 pillars1 and flutings may be made of separate small pieces of ivory1 which1 when worked1 are easily fastened together by a strong cement made of isinglass melted in gin4 ,the top of the temple may be worked with the universal cutter1 or the drill1 and the feet are turned quite round1 and then ornamented with the eccentric cutter1 as directed for the stopper of the bottle1 ,b1 plate #i4 ,the needle-case1 ,e1 in plate #ac1 is also a specimen of curious turning2 the whole thing should be of ivory1 or else the twists of ivory1 and the pillar in the middle of cocoa1 or some dark wood4 ,turn the ivory perfectly cylindrical1 and hollow it very carefully2 this done1 throw your eccentric chuck four times outwards1 the screw of the sliding rest one turn downwards1 and the eccentric chuck wheel four numbers for each plate4 ,the other twists are each worked exactly the same1 and they must have a small pin left at either end1 which is glued into the moulding4 ,when your centre pillar is hollowed1 fit the twists to it4 ,another method for working this pattern is with the aid of the drill1 and by this means the twists are in the same piece of ivory as the pillar4 ,having formed a smooth cylinder1 hollowed it out1 and made the screws1 take your largest flat-ended drill1 and drill fifteen holes round the pillar1 or one at every eighth number of the eccentric chuck wheel4 ,your ivory must be very thick1 to enable the tool to cut very deep4 ,having cut one row of holes1 slowly and carefully1 you must move the sliding rest forward two turns1 then cut another hole every eighth number again2 do a third circle the same1 moving the chuck and slide the same every time4 ,now examine your work1 and see whether the twists begin to appear4 ,they should1 as in the plate1 be quite separate from the ivory tube in the middle1 being only joined at the top and bottom4 ,for this no exact rule can be given1 as it depends on the circumference of the work3 if very large1 the tool must cut very deep to detach it3 but1 after trying two or three times by these directions1 it will be found quite easy4 ,as the ivory twists are1 of course1 very delicate1 and the least jar in working is apt to break1 do not use the lever1 but employ the screw guides1 as directed for the spiral turning4 ,line the ivory before beginning the twists1 and leave about half an inch at each end1 which you can ornament with the cutter3 this gives strength to the work4 ,for the same reason1 it is advisable to cut one piece of your ivory longer than the other3 on the shorter one make the outside screw1 and below it about half an inch of ornament2 on the other1 make the inside screw1 and work it with the cutter to correspond with the other part1 quite beyond where the screw extends4 ,when screwed together1 it will not be perceived that the two pieces are not even2 and as the part where the inner screw is worked is1 of course1 thin1 you would have no thickness for the spiral pattern4 ,when one end is finished1 put a fine double angular tool into your cutter1 and very carefully cut some circles at regular distances between the twists3 this adds much to the curious effect of the patterns3 to do it1 work backwards1 counting the same numbers on the chuck wheel and on the sliding rest as for the twists4 ,patterns that are not cut deep can have the impression taken off on paper1 either by slightly rubbing the wood over with printers' ink1 and laying upon it silver paper1 which must be pressed down upon it2 or by laying the paper on the wood1 and rubbing it well with a piece of lead melted into the shape of a pencil4 ,patterns on ivory also look very well by rubbing a little printers' ink well over them till the lines are full of it1 then wipe off the superfluous ink from the surface1 and the design will be black on a white ground4 ,an immense variety of most beautiful and intricate patterns are worked with the eccentric cutter1 in conjunction with the eccentric chuck2 indeed1 many of those formerly supposed to be only done with the double eccentric chuck1 invented by ,mr4 ,ibbetson1 can be worked by these two when used together1 but they require much patience1 and knowledge of the powers of the eccentric chuck1 to enable the learner to use them properly4 ,when the eccentric cutter is used1 always set the tool exactly in the centre of the work1 at its lowest degree1 before you begin any pattern1 or you will never be quite sure that your work is done straight2 when once you have settled the centre1 the patterns will diverge regularly and evenly from it4 ,in the patterns we are going to describe1 the slide rest fixes the position of the tool2 the chuck must be screwed down to the proper situation to meet it1 and the cutter tool must then be screwed out to cut the circle required4 ,,pattern #a1 ,,plate #ad4 ,this pattern is formed of four groups of circles1 containing seven in each4 ,your wood being perfectly smoothed and lined1 set the cutter tool 7a double angular one7 at its lowest degree1 exactly in the centre of the work1 so that if moved it would only cut a dot4 ,unscrew it eight or ten turns to make a large circle1 then by impelling the cutter box forwards with the slide-rest screw1 fix it so that the tool cuts the circle a little over the centre3 arrange your screw guides3 having cut one circle1 count #cj on the eccentric chuck wheel1 and the same for the other two4 ,it will be observed that these four groups go in straight lines1 each towards the edge of the work2 to perform this1 in the six following rows of circles1 move the slide rest forwards half a turn1 and the small wheel of the eccentric chuck half a turn upwards for each row of four circles1 counting #cj1 as before1 till the twenty-eight are all done4 ,,pattern #b4 ,illustration3 ,plate #ad4 ,arrange the circle a little smaller than for pattern #a1 and on a level with the centre point of the work4 ,set the chuck wheel at #abj1 cut a circle2 then one at #ae1 #cj1 #de1 #fj1 #ge1 #ij1 #aje1 when you will find the eight outer circles of the pattern are formed4 ,then move the slide-rest screw forwards four numbers1 and to ,no4 #a on the eccentric chuck wheel2 then to ,nos4 #ad-ca1 #dd-fa1 #gd-ia1 #ajd4 ,by following the same rule in the other circles you will find the pattern is not difficult1 though at first it may appear very intricate4 ,as all depends upon properly counting the numbers on the eccentric chuck wheel1 to make the calculation more easy1 ,i give the proper numbers for the sixteen circles composing one cluster1 and you will then see that the others can readily-be done the same1 always remembering to move the slide-rest screw forwards four numbers for every row2 #a1 #ae-b1 #ad-c1 #ac-d1 #ab-e1 #aa-f1 #aj-g1 #i-h2 the latter single number forms the centre or outer circle near the edge4 ,,pattern #c4 ,this pattern requires great attention and care to work it properly4 ,having arranged the cutter tool1 screw it out four turns to make the circle the proper size1 then move the cutter to the edge of the work1 cut a circle at ,nos4 #abj1 #dj1 and #hj1 on the eccentric chuck wheel1 then set the wheel at #bj1 and leave it fixed4 ,your next operation must be to screw down the eccentric chuck1 and alter the position of the tool on the slide-rest1 till1 by laying your hand on the fly-wheel and moving it gently1 the tool of the cutter appears to describe a half circle across the wood1 in the same way as for the arc patterns4 ,having arranged the first arc1 move #dj1 as before1 and see whether the second will exactly meet it1 then the third2 they should each diverge from the centre of the first circles which were cut round the edge2 if they do not exactly fit1 move the chuck up and down1 and the slide-rest screw backwards or forwards1 till you find the exact position2 as1 however1 the arc is difficult to settle1 the line being of course an imaginary one1 as the tool must not touch the wood1 it is a good way to cut a piece of pencil to fit like the tool into a box1 and with it mark the arcs2 they will easily rub out1 and thus you will be able to be more certain of your proper distance and position4 ,the next thing is1 to see on the fly-wheel of the lathe how many numbers are required to form the arc2 thus1 if it begins1 as the one ,i have worked did1 at #cfj of the brass wheel1 and ended at #he1 stop the wheel at the former number1 cut a circle1 then one at every fifth number on the same wheel1 till you arrive at #he2 then move forty numbers on the eccentric chuck wheel1 and do the other arc the same2 then the third one4 ,,pattern #d4 ,the arc pattern is first worked3 arrange it as directed for pattern #c1 and mark the outline with a pencil3 in this1 the arc began at #bhj of the fly-wheel1 and ended at #afh1 making in all #aaf numbers2 to divide #eh for each half of the arc1 divide them thus--#d1 #e1 #f1 #g1 #h1 #i1 #aj1 #c1 #d2 then count back #d1 #c1 #aj1 #i1 #h1 #g1 #f1 #e1 #d4 ,you will see that the numbers increase one every time or for every circle1 which also is enlarged one notch for each4 ,having made the three arcs fit by marking their position with the pencil in the cutter box1 cut a very small circle at #bhj1 enlarge one notch1 count #e1 cut another1 enlarge a notch1 count #f1 and so on till you have counted1 in all1 #di numbers2 do not enlarge the circle1 but cut one1 counting three numbers1 then #d1 which will be the middle1 then #d again1 then #c1 then #aj2 after #aj1 decrease the circle one notch for every cut1 and count backwards1 #i1 #h1 #g1 #f1 #e1 #d4 ,the other three arcs are done the same1 by counting #dj for each on the eccentric chuck wheel2 for each of the crowns cut five circles just above the arc1 by counting one number for each circle on the eccentric chuck wheel1 then lower the chuck one number1 and cut the same circles again through the others2 lower it half a turn more1 and cut two circles2 then half a turn again1 and cut one circle above and between the last two4 ,,pattern #e4 ,set the cutter to the middle1 enlarge the circle four turns2 then turn the slide-rest screw two numbers to the right1 cut one circle1 and for each of the other eleven1 screw the chuck down one turn1 then return to the middle and cut eleven the other way4 ,when #bc are finished1 screw the slide rest to the left four numbers1 and cut #bc more exactly in the same manner4 ,to work the side patterns begin by that on the right1 set the cutter to the middle of the work1 unscrew it two turns1 move the cutter slide twelve turns to the right on the slide-rest1 cut the middle circle1 enlarge one number of the cutter1 lower the eccentric chuck one turn1 and1 to keep the outside of the circles in a straight line1 move the screw of the slide-rest inwards half a number3 proceed the same till the nine circles are cut1 then return to the middle circle by counting back nine turns of the eccentric chuck1 nine numbers of the cutter1 and four and a half numbers on the slide-rest2 proceed exactly in the same way to cut the other eight circles1 only raising instead of lowering the eccentric chuck one turn for each circle4 ,the opposite pattern is worked the same1 only taking care to turn the slide-rest screw outwards the half turn for every circle1 or the straight pattern will come contrary4 ,in all these straight patterns take great care that the fly-wheel is stopped in such a manner that the eccentric chuck stands perfectly upright3 to do this1 hold the ,t square against one side1 and make a mark on the brass wheel for the stop to enter4 ,when you are quite sure that the chuck inclines neither to the right nor the left1 drill a small hole in the wheel sufficiently deep for the stop to hold it quite firm4 ,you will then find your patterns will always come straight4 ,,pattern #f4 ,set the cutter to the centre1 enlarge the circle six turns1 cut one1 diminish one number on the cutter for each of the other eight circles1 and move the eccentric chuck downwards one turn for each4 ,count back to the middle circle1 and work the other eight the same4 ,the side patterns are done much like those in pattern #e1 only the large circle is in the middle1 and the straight lines incline inwards4 ,,pattern #g4 ,set the cutter to the middle of the circle1 enlarge it two turns and a half1 cut a circle in the middle1 turn the chuck down two turns1 so as to cut another a little into the former ones2 continue the same till the seven are done2 return to the middle circle1 and cut the other six in the same line1 by screwing the eccentric chuck upwards instead of downwards4 ,when the thirteen are completed1 lower the chuck one turn1 and screw the slide rest outwards 7if doing the lines to the right7 two turns1 cut a circle1 then move the eccentric chuck downwards as before1 till the second line of circles is cut1 each line diminishing one turn of the eccentric chuck at the top and bottom4 ,,pattern #h4 ,set the cutter to the middle1 enlarge it two turns1 turn the slide rest outwards twelve turns1 cut a circle near the edge2 count #bj on the eccentric chuck wheel1 cut another1 then #e more1 each distant twenty numbers from each other4 ,to make the circles join in straight lines1 screw the eccentric chuck downwards two turns for every one2 when the outside pattern is done1 return to the middle circle1 and cut the other lines the same4 ,,pattern #i4 ,square patterns require great care in working them4 ,first saw the wood perfectly square2 then1 when on the lathe1 take the ,t square2 hold the flat edge firm on the bed of the lathe1 and the handle against one side of the wood1 till both are even1 then fix the wheel of the eccentric chuck to that number4 ,having with the cutter worked one row of patterns1 move the chuck #cj numbers1 which1 if the wood is quite square1 will enable you to do the second row2 then #cj more for the third side1 and #cj for the last4 ,we are told1 that ,french and ,italian turners often line boxes with the peel of the ,bergamot orange2 they cut a circle through the peel1 and carefully strip it off in two quarters1 turning the inside out1 and drying them2 the scent is very powerful2 of course they can only line globular boxes the size of themselves4 ,,to ,,line ,,wooden ,,boxes ,,with ,,tortoise-,,shell4 ,as many of my readers may wish to line their snuff-boxes with tortoise-shell1 ,i think it needful to give some instructions in the best method of doing it4 ,cut the shell into very thin leaves with a sharp fine saw1 then divide these into the size you wish for the inside of the snuff-box1 leaving a very little extra for the joint4 ,take a new rough file1 and scrape away a little of the two ends of the narrow strip of shell1 so that they can lie one upon another1 and fit so closely that the aperture is hardly perceptible4 ,plunge the tortoise-shell into warm water for a few minutes1 and it will become quite soft4 ,have ready on the lathe a piece of wood a little less in circumference than the inside of the box1 and perfectly round and smooth4 ,while the shell is soft1 place the joints together1 wrap a wet piece of linen tightly over them to hold them fast1 and press them firmly together with the finger and thumb4 ,then heat a pair of tongs to a proper heat1 7which is known by trying them on writing paper2 if they brown it1 they are too hot2 if they only turn it yellow1 they are right17 and with them compress the joint of the tortoise-shell4 ,the water1 the heat1 and the pressure united1 will make the two parts join firmly4 ,when finished thus far1 file away any roughness that may remain1 and steep the shell into hot water till quite soft1 then slip it upon the piece of wood before mentioned1 and see if it fits it perfectly2 if not1 try with pressure to give it the requisite shape2 and if this does not succeed1 take the wood out of the lathe1 leaving the tortoise-shell upon it1 and hold them over a brazier1 turning them frequently and quickly between the hands1 that the heat may equally penetrate all the parts2 then strike the side that bulged out with a mallet1 and with a little care it will soon assume the required form4 ,you may finish it on the lathe1 observing only to place it so that the tool does not catch the lap of the joint1 which might cause it to open2 and when you take it off1 plunge it in cold water to make it retain its form4 ,,to ,,finish ,,the ,,snuff-,,box4 ,make your box and lid of hard1 well-seasoned wood2 hollow them out1 and polish the insides1 only omitting to cut the lip upon which the lid fits1 and which will be formed by the tortoise-shell4 ,as you hollow out the box and lid1 keep fitting in the shell1 that you may not make them too large2 when it slips in rather tight1 take a point tool and cut some circles on the inside of each2 7this is done to enable the glue to hold firmly47 ,now1 take the tortoise-shell and file that part that is to be cemented to the box1 so as to make it rough4 ,take a pair of compasses1 in one end of which is a sharp knife1 set them to the exact size of the inside of the bottom and lid1 then place them on a piece of tortoise-shell1 and cut out the two round pieces4 ,melt some glue till rather liquid1 thicken it with vermilion1 lay a coat on the inside of the top and bottom of the box1 and press in the two circles of tortoise-shell2 in the same manner glue in the sides1 leaving the lip 7upon which the lid is to fit7 standing up above the bottom part of the box4 ,leaving the glue to harden for a day1 then replace the work on the lathe1 turn the inside quite even1 and polish it with pounce powder and oil1 then with tripoli powder and water4 ,should the lid1 when finished1 become too small for the box1 dip it for a minute in boiling water1 fit it on to a piece of wood the exact size1 and leave it there to harden4 ,,horn ,,to ,,imitate ,,tortoise-,,shell4 ,dissolve three ounces of potash in a pint of boiling water4 ,let it boil for a quarter of an hour1 then pour it into a basin capable of holding about as much again1 and in which you have put half a pound of quick lime1 stir it well1 and when the latter is slacked1 add three ounces of red lead and one ounce of vermilion4 ,when the whole is of the consistency of thick soup1 dip a thin pointed stick into it1 and lay the drops it will take up upon a piece of horn in those parts required to be coloured1 leaving those that are to be transparent4 ,when quite dry1 clean the whole with a wet sponge1 and you will find it will greatly resemble tortoise-shell4 ,,mastic ,,used ,,in ,,turning ,,ivory ,,very ,,thin4 ,to turn ivory as thin as writing paper1 so as to render it quite transparent1 is very difficult to accomplish1 but is much admired when done1 and shows the skill of the artist4 ,to enable the ivory to bear the action of the tool without splitting1 the following mastic has been found very useful1 both for strengthening it and for giving a deep colouring1 by which means the thinness is more perceptible4 ,some turners wet the ivory for the latter purpose1 but as when wet it is quite transparent1 and thickens again when dry1 the mastic will be found much preferable4 ,take some lamp or ivory black in powder1 and strain it through a fine sieve1 so as only to retain the finest parts4 ,steep these in water to free them from any impurities4 ,after lying in it a few minutes1 pour off the water1 and make some glue very hot1 mix it with the lamp black till of the consistency of oil paint4 ,this mastic must be kept warm near the fire1 and when you have sufficiently hollowed out the vase1 or whatever you wish to turn1 very thin1 shape the outside a little3 then dip a large camel's-hair brush in the warm varnish and lay a thick coat all over the inside2 let this dry1 put on another1 and repeat the process till sufficient strength is obtained4 ,you may now1 without fear or danger1 work your ivory as thin as possible1 and ornament it with the cutters and drill4 ,without this mastic it would not1 when transparent1 bear the force of these tools4 ,when the work is all finished and carefully polished1 take it off the lathe1 and put it in a basin filled with warm water4 ,after a few minutes' immersion1 take it out1 and plunge it in clean water1 shaking it gently4 ,this will make the mastic dissolve and leave the ivory4 ,renew the warm water frequently1 as leaving it in the blackened liquid might injure the colour of the work4 ,,beautiful ,,varnish ,,for ,,wood1 ,,to ,,be ,,used ,,while ,,the ,,work ,,is ,,on ,,the ,,lathe4 ,to one quart of spirits of wine add four ounces of lacker1 three ounces of gum benzoin1 one drachm of camphor1 half a drachm of sandarac1 half a drachm of dragon's blood1 one drachm of turpentine4 ,put these ingredients in a long-necked bottle capable of holding two quarts1 and tie a piece of wet parchment over the neck2 when dry1 pierce it with holes with a large pin4 ,place the bottle in the bain mare till the contents are perfectly dissolved1 shaking it frequently4 ,when cold1 strain the liquid through a piece of coarse muslin1 and keep it well corked for future use4 ,having finished and polished your work with tripoli powder and sand-paper1 wipe the wood quite clean with a piece of fine linen4 ,this done1 put a few drops of the varnish on a bit of cotton wool1 and one drop of olive oil1 to prevent its drying too quickly2 while applying this varnish1 make the lathe wheel go very quick1 and hold the cotton close to the work4 ,to polish the above1 when the varnish is perfectly dry1 take some finely-powdered whiting or chalk1 and with it polish the work in every direction1 but be careful not to press too strongly on the varnish1 or it will be marked2 and do not rub it for more than a few minutes at a time1 as the friction and excessive speed and heat will spoil the polish4 ,when done1 take a sponge dipped in water1 wash the work well1 and then rub it with a piece of fine linen1 and a drop or two of olive oil2 lastly1 clean it with a bit of soft old rag or leather4 ,,turner',s ,,cement4 ,sometimes the workman is too much hurried to wait till the work can be glued upon the chuck2 the following cement will be found useful4 ,take two pounds of ,burgundy pitch1 one pound of rosin1 one pound of colophonium1 two ounces of yellow wax1 and one ball of whiting4 ,melt all1 except the latter1 in an earthen pot1 over a slow fire4 ,when it begins to bubble1 stir it well with a stick to prevent its passing the edge of the pot1 and when all is quite melted take it off the fire4 ,add the whiting1 finely powdered1 little by little1 stirring in well till the contents are perfectly mixed4 ,replace the pot on the fire1 still stirring it2 and after a few minutes1 pour all the cement quickly into a tub or basin of cold water for about a minute4 ,then take it out1 and knead it well with the hands4 ,roll it into sticks upon a smooth stone1 and plunge them into cold water to harden4 ,the strength and goodness of this cement depends greatly upon its being made as rapidly as possible4 ,to use it1 melt the end of one of the sticks by putting it near the fire2 rub it on the chuck2 when you think there is sufficient cement laid upon it1 heat the bit of wood or ivory you wish to unite to it1 and the warmth will make it adhere firmly4 ,another cement1 that is preferable for using in cold weather1 is made by adding two pounds of ,burgundy pitch1 two ounces of yellow wax1 and two pounds of ,spanish white4 ,these are melted together1 rolled into sticks1 and used as above2 one stroke of the mallet will detach the work from the chuck when joined with this cement4 ,,new ,,and ,,valuable ,,recipe ,,for ,,taking ,,beautiful ,,impressions ,,from ,,turning ,,patterns4 ,take a sheet of rice-paper1 paste it upon letter-paper with flour paste1 which must be mixed as smooth as possible1 and laid on very thin4 ,leave it till quite dry1 then lay the rice-paper thus backed upon the piece of ,turning1 and with the thumb nail or a piece of cloth rub the back of the paper1 pressing it gently so as to make it enter into all the deep1 fine cuts of the ,turning4 ,the impression will be beautiful1 and have the appearance of a raised medallion4 ,it is invaluable for taking off patterns from ivory1 as it can in no way injure the colour or delicacy of the work2 and from the facility of bending the paper1 impressions can as easily be taken from round articles 7as the sides of a box or pillar7 as from flat ones4 ,the medallions may be left white1 or the pattern coloured with water colours1 leaving the ground white2 and they can1 besides their utility as patterns to which to refer1 be employed in ornamenting various useful articles4 99 99 99 99 99 ,in turning the pillars in the temple1 pl4 #ac1 great inconvenience and trouble have been found in working them1 for want of the support of the puppet ,g1 plate ,i2 for as in each step the eccentric chuck has to be slightly altered1 the point1 ,j1 of the puppet1 when the work is moved1 is apt to slide back into the hole it first formed1 thus making the steps quite crooked4 ,to obviate this difficulty1 ,i should advise my readers to use the following simple contrivance4 ,take out the point1 ,j1 and replace it by a piece of wood turned to fit exactly into the tube1 and on the end of which is left a circular piece the size of a half-crown4 ,take another bit of wood1 of the diameter of your pillar2 fix a short nail into the middle of it2 glue the other side to the pillar1 put it on the lathe1 screw up the puppet1 ,g1 and you will find the nail will always1 whenever you move the chuck1 firmly fix itself into the wooden end which replaces the point ,j4 99 99 99 99 99 ,and now1 having1 ,i trust with sufficient clearness1 explained the practical and ornamental parts of concentric and eccentric ,turning1 ,i will take leave of my readers1 only adding that1 if they wish to attain perfection in this interesting art1 they must patiently continue their exertions1 for experience and industry will alone enable them to avoid many faults1 and discover the real cause of many failures2 and to those who may feel disheartened with repeated disappointments1 ,i will say-- 8,courage6 try thy chance once more40 ,let me also observe to those who cannot afford to purchase much expensive machinery1 that with care1 patience1 and perseverance1 the common tools may be made to work a great variety of very beautiful articles3 and if they will also keep in mind the old-fashioned but true saying1 8that whatever is worth learning at all1 is worth learning well20 they will1 ,i have no doubt1 soon become proficients in an art that has been admired and practised for centuries4 ,,the ,,end4 ,,stereotyped ,,by ,l4 ,,johnson ,,and ,,co4 ,,philadelphia4 ,transcriber's ,notes pg #bj ,changed are great authority17 to3 authority71 pg #bh ,added period after ,gimlets pg #dj ,changed make them for himself17 to himself71 pg #dg ,changed #a1 #b1 #c17 to3 #c71 pg #fc ,changed pedestals of vases4 to3 vases1 pg #gj ,added colon after3 ,bard of ,avon expresses it pg #ge ,changed wheel on the overhead to3 over-head pg #ha ,changed resemble a honey-comb to3 honeycomb pg #ib ,changed 7of the cutter tools17 to3 tools71 pg #ib ,changed glued in afterwards47 to3 afterwards74 ,other hyphenated and non-hyphenated words left as written4