BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUNE THE GIFT OF munvQ W. Sage 1891 ^-2,3 5=^^^^ ,*/2::2 Cornell University Library NP3425.D29 Concrete pottery and garden furniture / 3 1924 020 601 831 The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020601831 K o "hi: c CONCRETE POTTERY AND GARDEN FURNITURE BY RALPH C. DAVISON ASSISTANT SECRETARY CONCRETE ASSOCIATION OF AMERICA WITH 140 ILLUSTRATIONS NEW YORK MUNN & CO., Inc., Publishers 1910 PREFACE So MUCH interest has been manifested of late in ornamental concrete, and so little seems to be known about the un- limited possibilities of the artistic treatment of this material, that the author has endeavored in the following chapters to explain in detail how concrete can be made into objects of art. Numerous inquiries have come to ine from craftsmen who are anxious to work in this material but none of whom understand the nature of the material or the method in which it is to be handled. It is such in particular I had in mind when preparing this work and have therefore been most minute in my descriptions of how the various pieces described are to be made. I have taken for granted that the reader knows nothing whatever about the material and have explained each progressive step in the various operations throughout in detail. These directions I have supplemented with iv Preface illustrations which I have endeavored to make so clear that no one can misunderstand them. The method of using wire forms as a base on which to build up the finished piece is original with myself as far as I know, as is also the development of color work in cement. The chapter on the latter as well as those on Garden Furniture should appeal strongly to the professional as well as the lay- man inasmuch as there is a large and growing demand for this class of work. The amateur craftsman who has been working in clay will especially appreciate the adaptability of concrete for pottery work in- asmuch as it is a cold process throughout, thus doing away with the necessity of kiln firing, which is necessary with the former material. The textures which can be obtained on articles made of concrete, as described in the chapter on aggregates, in many instances are far superior to those which can be obtained with any other materials, as they have a dis- tinct characteristic of their own and are full of life and sparkle. Preface V If the reader derives as much pleasure as the author has done in experimenting with the material and in making the various articles described throughout the following pages the purpose of this work will have been accomplished. Ralph C. Davison CONTENTS CHAPTER T Marinc; Wire Forms or Frames i CHAPTER n. Cov1';rix(; iiii: Wiric F'rami.s axd Mom l- iN(i iiii': Ci:Mi:xr Moriak [nio Im)R.m. io CHAPI'I'.R III. Flasticr Molds i'ok Simim i, Iokms 19 CHAPD'R I\'. Plast]-.r Molds for (.)i!jlcts Ha\ lm; CUR\ED OU l'LIXi:S T,^ CHAPTER V. CoMisixAiiON OF Castixx; axd Modelixg — AX Egypt] AX \'ase 4;; CHAPTER VF Glue Molds 59 viii Confciits CHAPTER VII. Colored Cements and Methods Used FOR Produoing Designs wrrii Same . . 89 CHAPTER VIII. Selection of Aggregates 99 CHAPTER IX. Wooden Molds — Ornamental Flower Pots Modeled by Hand and Inlaid WITH Colored Tile . 1 10 CHAPTER X. Concrete Pedestals , , . . 122 CHAPTER XI. Concrete Benches 144 CHAPTER XII. Concrete Fences 15S CHAPTER XIII. PvIlSCT'XLANEOUS 1 89 INDEX OF ILLUSTRATIONS PAGE Fig. I — Wire Frames for Cement Pottery Fig. 2 — Flower Vases 4 Fig. 3 — Pieces of Wire iM'ame for Runnel Jar 5 Fig. 4 — P.eniling Wir.: Lath into Circular Fcn'ni 6 l"ig". 5 — Concrete Flower Bu.n 7 l'"ig. 6 — Pieces of Wire I'^ranie fnr Sr|nare J.ir N Fig. 7 — Attaching Rough Coaleil Jar to WumiI iMirnier. .. u Fig. 8 — Teni|)lale fnr F( inning Jar i,^ Fig. g— A Good Design fnr a Planter Mnlrl 15 Fig. 10 — Truing Inner h'ace nf J;ir !(■ Fig. II — Truing Inner Face nf Rnltnni ni Jar \~ F'ig. 12 — Wooden Mnilel nf Square l!u.\ 20 Fig. 13 — Window Bnxes 21 Fig. 74— Method of Placing Cl.iy 21 F'ig. 15 — Two Halves of Mold Slmwing Jnggles 24 Fig. 16 — Concrete hdnwer Fnx 25 Fi,g. 1 7— Details of Piece Core 2fi Fig. 18 — Casting the Pl.aster Case 2S Fig. 19 — Plaster Mold Set Up for Casting Cement- 2-) Fig. 20 — Concrete Jar with Liniestnne Finish ,u Fig. 21 — Correct and Incorrect Alelheids nf Di\iding a Mold .1.^ Fig. 22 — Successive Steps in AFdding an Outside Plaster Mold M Fig. 23 — A Core Made in Four Pieces 35 Fig. 24 — A Grecian Water Jar 35 Fig. 25 — Box for Turning Plaster 36 Fig. 20 — Template for Inner Part of Core 36 Fig. 27 — A Concrete \"ase of Bold Design 3iS Fig. 28 — Template for Plaster iNlodel 40 X lllusti\itii)iis J'AGE Fig. 29 — A Finished Plaster Model 40 Fig-. 30 — A Greeian Vase 40 Fig. 31 — Casting Plaster Case- 41 Fig. 3J — Pl.istei AJold m Position to Reeeive Cement ... 4.; F'g"- 33 — Progressive Steps in Alaking a iNIold for a \'ase. 43 Fig. 34 — Egyptian Vase 45 Fig- 35 — flaking Outside ?iIold and Core 46 Fig. 36 —Detail of Vase 47 Fig- 37 — Assembled .Mold for Vase 4S Fig. 38 — Formin.g Eiittom of Vase 50 Fig. 39 — Reversing Cast 51 Fig. 40 — A'ases and Pedestal 5J Fig. 41 — Forming Tnp of Vase 52 Fig. 42 — ]\Iold f' ir Casting Handles 53 Fig. 43 — Concrete I'able 54 Fig. 44 — Applyin,g I landles to Jar 56 Fig. 45 — Cast fmm Glue Mold 00 Fig. 45a — Glue i\lold 61 Fig. 46 — Cast frt mi Glue Mold 62 Fig. 46a — Glue Mijld 63 Fig. 47 — Ileavy Undercut AVcirk Cast in Glue Molds 64 k^ig. 48 — i\Iodel in Positinn to Co\-er with Clay 63 Fig. 49 — ?\Iodel Co\"ered with Cla_\" and Plaster Case 6,5 Fi,g. 50 — A Ileavy Piece Cast in a Glue Mold 6C Fig. 51 — ilodel and Plaster Case in Position Ready for Pouring the Glue 07 Fig. ^2 —Holding Case t(.i Working Bnard 67 Fig. 53 — Cimcrete Fountain 63 Fig. 54 — Cnncrete Sundial Pedestal or Talilc F!ase 69 Fig. 55 — kicking Pots for Glue 70 kig. 50 — Alelting Pot made from two Tin Pails 71 k"ig. 57 — Cirnamental Figures 72 Fig. 58 — Concrete Vase with Relief Design ■/} Fig. 59 — Highly Ornate Concrete Table 74 k'ig. 60 — Glue Mold Assembled Keail\' to Receive Concrete. 75 iMg. 61 —Plaster Model of Table Peg 76 Fig. 62 — First Operation in Making a (.ilue Mold 77 Ilhtstriitioiis XI PAGE Fig. 63 — Half of Model Gjverud with Cia\- 78 Fig. 64 — Plaster Case Being Cast on INIodtl over Clay. ... ;g Fig. 65— Model in Position to ha\e Upper Half Covered with Clay b'o F^ig. 66 — Model Completely Covered with Clay and Plaster Case Si Fig. 67 — Pouring the Glue Mold Sj Fig. 68 — Showing Flexibility of Glue Mold 83 Fig. 69 — Concrete Table S5 Fig. 70 — Large Vase and Saucer with 1 le^iyii in lll^h Relief S6 Fig. 71 — Combination Glue and Wood Core fir \'a.^e Work .S; Fig. 72 — Cop_\- of an Antique So Fig. 73 — Vase with Fl.aburatc Color Design 01 Fig. 74 — Pompeian Vase cij Fig. 75 — Progressive Steps in Cnlor Inla\' Work 03 Fig. 76 — A Good Fxample of Colored Concrete Work., ii' Fig. 7y — Small Articles of Concrete r,s Fig. 78 — Texture Produced with Selecte.l \ggregates. . . ico Fig. 79 — Concrete Urn in White Portland CeniciU 102 Fig. 80 — Flower Box with .Vntiipie St. me Finish 104 Figs. 81 and 8ia — Concrete I'dower Bo.xes of Seleeled .\g- gregates Inlaid witli 1 ile io'i-io7 Fig. 82 — Fland Modeled Vases Inlaid with Moravian Tile.. 110 Fig. 83— Outside Mold for Fl. nver Pot n 1 Fig. 84 — Details of Core Box 112 Fig. 85 — Mold Assembled 113 Fig. 86 — Mold Assembled, Showing Core Box in Place.. 114 Fig. S7 — Separate Pieces of Mold 115 Fig. 88 — Method of Removing Solid Core from Cast.... 116 Fig. 80 — Cast of Box after Removing from IMoUl 117 Fig. 00 — Cast of Box after ^Modeling is Complete i k* Fig. gi — Hand Modeled ^^ases 119 Fig. 92 — Vase of White Marble, Trap Rock and ^^doravian Tile I2C Fig. 93 — Concrete Pedestal 122 xu Illustrations PAl_.E Fig. 94 — D-imunsions of Pedestal IJ3 Fig. 95— Detail of Base Mold IJ4 Fig. 96 — Parts of Mold Before Assembling J25 Fig. 97 — Detail of Cap Mold 126 I'^ig. 98 — Detail of Main Part of Shaft ilold i_'; I'ig. 99 — Shaft Mold Assembled 12:^ Fig. 100— Details of Parts "B" and "C" of Shaft .Mold. . . . 129 F"ig. loi — Pieces of Pedestal I'.efore Assembling 1,50 Fig. 102 — Assembled Mold for Shaft 131 Fig. 103 — Pedestal with Design in Relief I33 Fig. 104 — Concrete Sundial Pedestal I35 Fig. 105 — Sundial Pedestal 136 Fig. 106 — Ornate Concrete Pedestal 138 Fig. 107 — Pedestal and Vase 139 F'ig. 108 — Pedestal and Vase 140 Fig. 109 — \'ase and Pedestal of I'old Design 141 Fig. no — A Good Design for a Pedestal and \'ase 142 Fig. Ill — Simple Design for a Ci">ncrete Gank-n Pieneh... 144 Fig. 112 — Detail of Bench Pedestal 145 Fig. 113 — Details of Mold 146 Fig. 114 — An Ornate Concrete Bench 147 Fig. 115 — Assembled Mold for Bench Pedestal 149 iMg. n6 — Mnld Assembled in Position to Receive Concrete. 150 Fig. 117 — Interior of !Mold for Bench Pedestal 151 Fig. 118— Details of Slab for Bench Seat 133 V'g. Jig — Design of Bench Pedestal with Curved Outline. . 155 big. 120 — Ornamental Concrete Bench 757 Fig. 121 — Fence Foundation 15S Fig. 122— Wood Mo\i\ for Fence Post 160 Fig. 123 — Wood Mrdd for Fence Cap lOi Fig. 124 — Lattice Fence Panel 163 Fig. 125 — Mold for Lattice Fence Panel 104 Fig. 126 — Mold for Coping 103 Fig. 127— Rubble Panel 167 Fig. 128— Mold for Solid Wall 169 b'ig. 129 — .\ Low Coping 171 big. 130 — Alolds, Templates, etc., for Copiu.u" 172 Illustrations xiii T.\C\i Fig. 131 — An English Ganlen 174 Fig. 132 — Plaster Akild for Baluster 175 Fig. 133 — Plaster Mold for lialuster i;6 Fig. 134 — Casting a Baluster 177 Fig. 135 — Stri))|)ing Mold from Baluster 178 Fig. 136 — Pointing Up Baluster 179 F'g- 137 — Progressive Steps in I\Iaking a Baluster Mold. . iS'o Fig. 138 — Steel Frame for Fence Work 1S4 Fig. 139 — Making a Cement Mortar Fence 1S5 Fig. 140 — Cement Mortar Fence , 18O CHAPTER I. MAKING WIRIv FRAMES OR FORMS Few people realize that anything of an artistic nature can be made from Portland cemsnt. Most of us are used to looking upon this material as fit only for heavy work, such as foundations for buildings, bridge abutments, piers, etc. It is not remarkable, then, that the layman does not know- that cement if used properly can be made to com- pare more than fa\orably with ornaments made from other and much more expcnsixe materials; for even those who are in the trade, and ^\•ork■ nig with it every day, know nothing of the -won- derful and endless ^'ariety of artistic effects -which can be procfuced with Portland cemei-it. The author for se\-en years has followeil the Portland-cement co)-icrete indiistr\' n-iore or less closely, and for the past two years has dc\-otcd his entire attention to it. Some time ago he started experimentiiig with concrete pottery, and the experiments coi-iducted along this line ha-\-e developed some very ii-itcrestlng and practical re- sults. The method of n-iakii-ig cement pottery is sim- ple when understood; and if the craftsman fol- lows the directions as given in the following chapters, he will find it easy to produce results Avhich are fully worth while. Each step in the operation from the raw materials to the finished product will be explained in detail, including the Jicrctc Po/tcry aiul Gi'rdci Furjiitiirc incorporation of color effects, water-proofing, \-anous surface effects, etc. Portland-cement mortar has peculiar character- istics of its own. It is unlil<;e clay- Therefore in modeling it has to be worked differently. In modeling clav one can form it into any shapie, and it ^^■ill remain there, for the reasopi that it is more or less sticky, and the various particles of M'hich It is made up cling or adhere to one another, and thus hold the entire mass together. Portland- cement mortar, of ^'^•hich cement pottery is made, IS composed of a mixture of sand or marble dust and pure Portland cement mixed together in ^-ari- ous proportions. This mixture is wet down with water, and then by turning o\qv and troweling, IS made into a plastic mass called cement mortar. It is next to impossible to model in this material, for the reason that unless it is placed in a mold or a form is used to hold it in shape, while in its plastic state, it ^^'ill fall down. The first step then in cement pottery work is to make the form. There are se\'eral methods of making forms. One is to make wire frames on which to build up the cement mortar, and another is to make \'('ooden or pilaster molds. In the latter method the cement is handled in an entirely different man- ner from that used for the former. 7 he use of wire forms is the simpler when there are but one or tv,-o of the same shape of articles to be made. When a quantity of one kind is to be made it pays \\ell to spend some time m making a Mooden Concrete Pottery and Garden Furniture 3 or plaster piece mold, as it can be used over and over again, whereas when wire forms are used a new form has to be made for each article, whether of the same shape or not. The best material for making wire forms is No. 20 Clinton wire lath having about a half-inch mesh. This can be procured at almost any hard- ware store. When buying it ask for galvanized wire lath, as this is better and easier to work with than the ungalvanized. If not familiar with this FiL,^ 1 —Round and Square Frames for a Picci- of Concrete Pottery material the accompanying illustrations will gi\"e a good idea of Mhat is to be used. The only tool necessary is a good strong pair of tinners' shears for cutting the wire, or better still, a combination wire cutter and nippers, as this will answer for two purposes. In the accompanying half-tone illustration. Fig. i, are shown two complete frames, one for a square and the other for a 4 Concrete rotterv and Garden Fiirniliire round piece of pottery. The latter form is com- posed of a round piece for the bottom and a long narrow piece for the sides. (See Fig. 3.) To make a wire form 5 inches in diameter by 4 inches high: First cut a piece of the wire lath large enough on which to lay out a 5-inch circle. Hammer it out until it is perfectly flat, and then place the point of the dividers in the intersection of the wires near the middle of the piece. Set Fig. 2 — F]ower Vases of Cuncreie the dividers to a 2jj-inch radius, and scribe the circle. A piece of red or black chalk is best for this purpose, as It will make more distinct marks. Now take the wire cutters and cut the wire di- rectly at the marks, and you will have the bottom of the frame complete. The diameter of the bottom being 5 inches, the piece necessary for the sides of the frame will ha\'c to be three times this length, or 1 1; Inches. Concrete Pottery and Garden Furniture 5 - — — — — "" ■ ■^ ~ ~- / \ — — • ./ \ / ^? \ r— ■ \ ) >^ t / ^ \ -^ ,-, -^ _^'_ _ — — 1 f< .^ ^ D si . z V L. •^ 5 *^ ,, ■ s .i F-' V. ' -N y i = >* 5 ■ 1 ^ -^ ri ^ r^ b 1 ^; ?< (; 6 t oiicrctc Pollcry and Garden Funiiturc Make it 17 inches long, thus allowing i inch for lap, and j _. inch of surplus wire on each end, as indicated at a — a. The height of the finished form is to be four inches. Cut the wire lath to 4,'S inches, leaving a series of wire strands half an inch long at the bottom as indicated. No-w take this piece which has been prepared for the sides and coax it into a circle by placing a straight edge (a piece of wood or metal having straight edges) successi\-el)' along each of the meshes and pulling up on the free enci of the Avire lath as indicated in ¥\g. 4. After the piece Is fairly well formed, lap the ends over, thus forming the cir- cle, and secure them firmly to the main body of the sides by turning the free ends of the wire around the strands of the wire mesh, using the nippers to clinch them tightly. After ha\'ing com- pleted the side the bottom is placed in position, and the half-Inch lengths of wire left at the bot- tom of the sides are used to wrap around the Concrete Pottcrv and Garden Fnniitiire 7 bottom and secure it In place. It is not essential to have this frame absolutely round or true, as it is used merely as a surface on which to build up the cement. The cement when once in place can be trued up by methods which will be explained in the next chapter. The square frame ^^hich is also illustrated is made in a similar manner. Care Fig. 5 — Coiurete Flmver Biix — Executed by the Eikiiis Studios must be taken, however, to get the corner lines perpendicular to the base, for if this is not done it will cause trouble later on Avhen truing up the sicies. In cutting the wire lath for the sides of the rectangular frame, as indicated in Pig. 6, do not forget to make it at least two inches longer than 8 Concrete Puttcry ami Garden furniture ] -J: -I /'/' ■hi.-fu f^J.//i:>l) O^ pi^ W' —J Ciincrete Pottcr\ and Garden Fiiniiturc 9 the sum total of the four sides. This will allow plenty for the lap and for the wire strands which are to be used for securing the ends in place. Of course, one need not confine himself to round and square forms, as innumerable sizes and shapes of frames can be made up, such as octagons, hexa- gons, etc., as well as forms for \'ases with grace- fully cur\-ed outlines, as sho«'n in the accompany- ing illustrations. The next chapter will treat of the method of applying the cement mortar aiul the forming of the finished pottery. CHAPTER II. COVERING THE WIRE FRAMES AXD MODELIXG THE Cl'.iMENT INTO FORMS I he next step is the co\-ering of the forms with the cement mortar. Ihe first operation is the application of a roughing or scratch coat. The mortar for the scratch coat should be made of one part Portland cement and two p>arts of fairlv fine, clean sand. This is known as a i-to-2 mix- ture. I he cement and sand should be thoroughly mixed together while dry, and to this mixture be- fore wetting should be added enough plasterer's hair to bind the particles together. Goat's hair is the best to use. It can be procured at almost any plasterer's or mason supply dealer's. It comes in matted bunches, which should be pickeci apart and the hair separated before adding to the cement and sand. The M'hole should then be M'ct down M'ith ^^•ater and thoroughly mixed. Be careful not to get the mixture too wet, for if so it will not hang to the forms. The proper con- sistenc\' is tliat of a stiff paste. Probably the best tool to apply this mortar to small work is an ordinary table knife; for large work a regular mason's troAvel or float may be used. Take as much of the mortar as can con\-eniently be han- dled on the end of the knife, and commencing at the bottom of the sides of the frame, force the mortar «el] in between the meshes of the form. Continue this ojieration until the entire sides of Concrete [■'oitcrx and Garden Furniture I I the frame are covered. Then turn the frame bottom side up, and cover the bottom in Hke man- ner. The rougher the surface, the better. Do not do anything to the inside of the frame as yet. After having completely co\ered the frame as described above, let the mortar set or harden, so that it will be securely cemented to the wire frame. In about four or five hours the mortar \y\]\ ha\c hardened sufficiently, so that the form can again be handled with safety. The finishing coat can then be applied. The mortar for the fmishmg coat can be made of a number of different ingredients, all of -ixliich will produce a different result as far as texture and color are concerneil. d he method of apphiiig the fuiish coat, ho\\'e\er, is the same in all cases, dherefore to start with, we will make the mortar to be used for the finish coat of the following mix- ture : I part of Portlantl cement and 2 pai-fs nt marlile dust. 1 his mixture \\ill produce a fairb, light surface A^-hen drietl OLit, and one -which is full of sparkle. It should be mixed to the cimsis- tency of a hea\'v paste as before. The method of applying the finish coat and forming the jar to the tlcsired sliape is as folloAAS: First cut a piece of wood, say ' i inch thick, into a ciixle ha\-ing a diameter about -^s or ' _. iiur, larger than the greatest diameter of the rough coat, which is already placed in the wire form. Now with a pair of di\-iders find the approximate center of the bottom of the rough-surfaced con-. I 2 ( oncrctc Pottrrx and Garden Fiiniitiirt Crete frame, and put a small hole through the mortar at this point as Avell as at another point near the circumference. Take the circular piece of wood and drive a nail through its center, and m turn place this nail in the hole already made in the center of the bottom of the rough-co\-ered form. Now turn the jar over, letting it rest on the circular piece of wood, as shown in Fig. 7, and you will note that the wood projects from 3/16 CIRCULAR WOOD FORM; M ' NITCHFORHMff ' ^ l«FNAI).TO flT IN-, - /, RbusH tovento WIRE FRAME e! f/^toX =«EKSt1«6=B(yiJ10 Kif;. 7— Mftluid of Attaching Rougli-Coated Jar td Circular Wood Form to J'4 of an inch all around the rough coat. The finish coat must be built out as far as this. Be- fore going further drive a nail or tack lightly into the wood through the hole which was made in the bottom of the jar near its circumference, as indicated at u, Fig. 7. This ^-s'ill hold the jar to the circular wood form, so that it will turn «ith it. As shown in the illustration, the head of the nail in the center of the circular piece of wood Concrete Pottery and Garden Furniture 13 should project beyond the bottom, and a niche should be cut in the working board for it to fit in. The head of the nail will then act as an axis around which the wood and jar can be re\-ol\-ed. The next step is to make a template or form- ing strip for the outside of the jar. In this case the jar has perfectly straight sides, therefore all that is necessary is a straight piece of wood. It should be made one inch or more longer than the #ff5^ J' ' e I I I I t :j< — ' Fig. 8 — F(irmcr ni- Tfiiijilati.' fur Truing Out.-iidf of J;irs distance from the working board to the top of the finished jar, and should be mounted on a frame, as shown in the illustration, Fig. 8, so that it will be perpendicular at all times. The cutting edge of the forming strip should be beveled oft as sho^^•n. After making this, all of the tools neces- sary for the forming of the jar are complete, and the putting on of the finishing coat can be com- menced. This is done as follows: First rough up and 14 Coiicrcfr I'oltcrx and iiardcii I'liniiliirc scratch with a sharp tool, such as the teeth of a saw blade, the rough-coated jar, and then thor- oughly ^\■ash off M'ith a brush and water any h)ose particles of ccnient that may be present. Then, as M-as done in placing the rcnighing coat, take as much of the already prepared finishing coat as can be held on the end of a knife blade, and com- mencing at the bottom of the jar build out to the edge of the circular piece of wood \\'hic!i acts as a guide for the forming template. Co^-er the \\-hole surface with the finishing coat, graduall)' building It out to the i-equired thickness. Xo\\- hold the template Hrmly against the circular guide, and at the same time re\-ol\"e the jar. By so doing, all surplus cement will be cut or scraped oft h\ the edge of the upright tem- plate, thus gl\ Ing a perfectly smooth and true sur- face to the jar. After this operation It ^^■\]\ be found that the top of the sides of the jar are left In rather a crude, rough state. To even these up and to obtain uniform height, nail a piece of «-ood, as Indicated by the dotted lines at (/ In Fig. S, to the upright template, and at the proper cle- ^■ation to scrape the top of the sitlcs to the desired le\el. Again place the template in position against the edge of the circular ^\■ood guide at the bottom of the jar, and start re\-ol\-ing the piece. The pro- jecting piece of «ood a, which has been attached to the upright template, will strike the high spots anti cut them off. Thin dn\\-n u'lth \\ater the Concrete Pottery and Garden Furniture IS mortar used for the finishing coat until it is a Httle more of a paste than was used for the sides, and fill in the low spots on top of the jar. Keep revolving the jar and adding mortar until a per- fectly smooth, e\'cn surface is obtained. In finishing the inside, the rough surface should FIp;. 9 — A Good Desipn for a Plaster MouM — B\' Kmcrson .^' Nnrris Ct>. be scratched and A\'ashed as was the outside sur- face before starting to ]a\- on the finisli coat. ILn- ing the outside surface as a guide, it is an eas\- matter to true up the inside without any further tools than a thin straight edge or a long table knife. But if one feels that he cannot make a true enough surface, another strip of wood, as shown at b. Fig. 8, can be attached to piece u, 1 6 Cniicrefc l'ottcr\ iiiid Garden I'uniitnrc which has already been secured to the upright template, in which case the distance c should be the same as the desired thickness of the finished walls of the jar, and the distance d should be the same as the desired inside depth. Then by plac- ing the template or forming tool as shown in Fig. lO ancl re\'olving the iar, a true surface will be obtained. It will be found that the lower end of the strip h while re\'ol\'ing v.\ the jar has formed ^-^ "; it; mix it up until it is of the consistency of a thin paste. Dip your hand into this and scoop the plas- ter up and throw it on the sides of the model. Cover the sides completely, and keep adding plaster until the sides of the model are co\'ered with at least '4 inch of plaster; if thicker, no harm will be done. This operation will ha\"e to be done quickly, for if not the plaster will set o'" become hard in the tin before you can use all ot it. When it has once set before it is used, it has to be thrown f)ut and another mix made. The piece will now appear as indicated in the plan A'iew, Fig. 14. Let the plaster ^^hich has been deposited on the sides i and 2 set for about im or ] i; minutes, and then i-em()\-e the strips ./ and B. Cut holes about ' 1 of an inch ilceji into the plaster on the surfaces formetl b\' the strips ,/ and B. These are called joggle holes, and are pro\-ided so that the plaster mold when Imisheil will tit together properly. Shellac and oil the faces of the plaster as weW as the sides 3 and 4 of the \\'()Oil model, and proceed to deposit the plaster on these as was done on the sides i and 2. Care must be taken in all of the above operations not to mo\-e the model from its original position on the working board. The model and plaster sides should now look as shown in Fig. 15. Be- fore remo\'ing the plaster sides le\el them off to the height of the model. Xow lift the whole up from the working board. If care has been taken in oiling all sides of the model, a slight jar will 24 Concyctc Pottery and Garden Piirnitiire loosen the plaster from it. Then pull apart, as indicated by the arrows, the two plaster sides of the mold. Lay these aside, and then proceed to make the core or the part of the mold which forms the hole or the inner sides of the box. This is made as ■JOGGLES Fij;. 15-Plan View of M..Jcl, also Two Halves of Mold, Sho\ving Jo^^les follows : It will be noticed that in the wooci model of the box, which is shown in Fig. 12, a slight taper is given to the inside. I'his taper is pro- \'ided so that the core will draw out more freely than if the sides were perfectly straight. Place your model on the working board. Shellac and grease well the inside of the box, and then mix Concrete Pottery and Garden I'lirnitnre 25 the plaster as before, and pour it into the inside of the box. Level the top, and let the plaster set for 10 or 15 minutes. Now turn the box upside down and tap it gently. This will loosen the plaster core, and it will fall out. If the core should for any reason stick to the sides, the wood model should be opened a little, so that the core Fig. 16— Concrete Flower Box — Embelished with the "Bacchic D.iiicc"— Fxccutid by LTbal .^- d: can be taken out without injuring it. The core will then be in one piece, as indicated in Fig. 17. It should now be smoothed up nicely, and all cor- ners and edges should be made round. Where a marked taper has been given to the core, it might be, if well oiled, used solid in the mold when cast- ing the cement. It is far better, however, to make what is 20 Concrete Poitcrx and Cdi'dru Furniture kno\vn as a piece core, as this can be rem()\'ed more readily, and Is less liable to break the ce- ment on remoA'ing than is the solid core. To make a piece core, cut the solul core shown in HOLE FOR SDR£W EYS Fig. 17 — ];it:ills c.f the I'icce Core Fig. 17 into four parts as indicated at A in Fig. This can be done with an ordinary wood 1 saw. If the saw binds or sticks, a little water applied to the blade \^-ill obviate the trouble. Mark the pieces thus cut i, 2, 3, 4, as indicated, Cuitcrcic /'(ill cry and Garden Funiitarc 27 care being taken to get the proper numbers on the right pieces, as this is the rotation in which they are to be removed from the cast. Piece number I, which is a decided wedge in shape, should be taken out first, and it is well to pro\ide in the top of this piece, as well as in the other pieces, a straight round hole in which a screw eye of suit- able size can be screwed. By passing a piece of wood through the eye of the screw, the piece can be easily pulled out from the mold. After ha\-ing cut the core and fitted it together nicely, as shown in Fig. 17, put it back into the A^'ood model. If necessary, tie a string around the pieces to hold tiiem in place. Also before put- ting the core into the mocfel, place in the bottom of the model a thin strip of wood; about 's of an inch thick will be thick enough. 1 his will allow the core to project 's of an inch abo\e the sides of the model, as shown in Fig. iS. Taper this 's- inch projection of the core as sho\Mi, and then place in position, on the outsitle of the model, the outside plaster molds which ha^-e already been made. Tie a string around these to hold them firmly In position. Now secure bv means of brads, or fresh plaster, strips of ' 2-Inch ^-ood around the outside mold, as indicated, about '4 of an inch from the top. Taper the edges of the plaster mold from the point where the wood is attached to the top as indicated. This can readily be done by cutting the plaster y\-\t\\ a knife. 2 8 Coiicrrtc Poftcrx and Garden Furniture Joggles or holes should be made in the top of the outside plaster mold, as well as in the top of the pieces of the core as indicated. These will help greatly in holding together as well as in as- sembling the various pieces of the mold. Now secure to the strips by means of tacks a ^-^-inch Ik Fig. IS — Parts Assfiiihleil for Casting tin.- Plaster Case, also Section of the Plaster Case Strip of heavy cardboard around the entire out- side mold. Shellac and oil well the entire inside of the inclosure thus made. Now mix your plas- ter as before, and pour it over the top of the core, the model, ancl the top of the outside plaster mold. The cardboard sides and wood strips al- ready attached will pre\-ent the plaster from run- ning down the sides. Smooth the plaster off le\el with the top of the cardboard, and let it set or Concrete Pottery and Garden Furniture 29 harden. When hard turn the whole upside down, and by gently jarring, the piece just cast will come off freely. This piece is called the case. It will have the form shown in section in Fig. 18, and is used as shown in Fig. 19, for setting up 4 FEICl CORE SIOES OF PLASTERMCLD CORO TI£S Y\\i. 19— Plaster Mold Sot Up for Casting Cfinciu the core and outside plaster mold in A\hich to cast the cement box. In fact, it forms part of the mold. Before casting the cement box it will be well again to shellac and oil all parts of the plaster mold which will come in contact with the cement. V' i niurr/r f'ollrry ami (.jiinlcn hminlurc I hen set up the mold as shown in Vig. 19, care being taken to bind the outside form firmly to- ijetlier by means of string. I'he mold is now read)' to recei\e the cement mixture, which should be made as follows: Take i part of Portland cement and 2 parts of marble dust, il a fairlv light coloi" is desired; if not, 2 parts of any good clean fine sand will do. INJix these thoroughly together while dry, and then add enough water to allow the whole to be mixed to the consistency ol a hea\'y cream. Let it be thin enough so that It will pour freeh'. Pour this mixture in the openings a, b, < , d, between the outer plaster mold and the core, until the mixture is flush with the bottom of the core. Lift the mold and gently jar it. This \\\\\ tend to settle the cement, and ^yill also force out any air that may be in the mold, and thus a\"oid the trouble of air bubbles or \oIds in the finished cast. Ihe cement already de- posited in the sides will settle, more or less, under this treatment. Now fill the remaining portion of the m()ld flusli \\ith the top of the outside plas- ter sides and jar the mold again. Ixepeat this o]ieration until the cement v>\\\ settle no more. Wipe oft the top of the mold with a straight edge, tlius remo\ing any surplus cement, and giving to tiie bottom of the box a good e\-en surface. Then place the mold in a level position, and allow it to stay there \'\'ithout moving for from 24 hours to 48 hours, the longer the better, as the longer it is allowed to remain, the hardier the cement Concrete Pottery and Garden Furniture 31 will set. After having set for the above-men- tioned time, the piece can be removed from the mold. The method of doing this is as follows: Turn the mold over into the position shown in Vh^. 20 — Larg'e Concrete Jar with Lime Stone Finish- Kxeeiited hy Emerson l^' Noi-ris Co. Fig. 18; tap the case A around its edges; this will loosen the case, M'hich is then removed. Now take the screw eye and insert It in the hole in the piece I of the core. Pull this out, and then repeat the operation in pieces 2, 3, and 4 of the core. 3 2 Concrete rettery mid Garden Furniture Cut the string which binds the sides together, and then pull them off in the direction indicated by the arrows in Fig. 15. If care has been taken throughout all of the abo\-e operations, the result will be a perfect cast. The next step is the curing of the box. This is a simple operation. All that is necessary is to soak it well with water. This can be done by placing the cast directly in water, and letting it stay there for one or two days, or it can be sprinkled or dashed with water three or four times a day for two or three days in succession or longer; the longer the process is kept up, the bet- ter the result. By the application of plenty of water, the product produced will become as harci or harder than stone. CHAPTER IV. PLASll.K MOLDS FOR OBJECTS IIAVIXC trK\i;n OUTLINES The method of making plaster molds for cir- cular objects is somewhat similar to that described for making square or oblong molds in the last chapter. Instead of making the outer mold in two pieces, however, as described for square work, it is always better to make three pieces, as illustrated in Fig. 2 1, for the reason that in making three pieces the liability of ha\'ing an undercut or o\ cr- CORKEC IHCOF\l\[Ct Y'uj;. 2\ — Correct liiuI Incnrrcrt MftlicKl.s of ])i\'i(llnn- tin- ( )utMili' Molil hang on one of the hal\ es of tiie mold is entirely obviated. ^Vhen two pieces onh' are made, un- less the mold is cut or parted exactly in the mid- dle there will be an undercut on one piece of the mold, which would pre\-ent the mold from Ireelng itself from the finished cast. By referring to the dotted lines in Fig. 21, the meaning of an under- cut will be made clear. The distance u is less 34 ^ i>iicrctc Pottery and Garden fiiriiitiirc than distance b, and so the part c cannot be re- moved. The method of maknig this outer mold is the same as was used for making the outer mold for the square form, excepting that as above stated there are three pieces instead of two to be made. The position of the modeler's clav and the Fig. 22 — Successive Steps in M:ikiiif.-- ihe Outside Mold \'arious steps in the construction of the outer mold are clearly shown in Fig. 22. Shellac and oil the edges of each section before casting the next. The sides of the concrete or cement cast, if the object is of any size at all, should be at least one-half inch thick, and therefore the core, which is to be composed of four pieces, as shoA^n in Fig. 23 at ./, B, C, D, should always be at least one inch Concrete Pottery and Garden Furuituri 35 smaller in diameter than the inside diameter of the outside mold. The first step toward making SF/f/OC£ 0/1/ nn/CH ■ COfli /S TV/^N(3 Fig". 23 — The CVn'e Made in I'oiir Pieces the core is to secure a box and tit it up as indicated in Fig. 21;. Ihe tapered center of the core D, shown in Figs. 23 and 26, should be made first. Fiij. 24 — Grecian Water Jar — Executed by the Erkins StiKlios The foundation for this can be made by winding around the spindle in the box shown in Fig. 25 ^6 Concrete f'ollcrv uiul Garden I'liruihirc clieese clcith nr mosquito netting \\-hich has pre\-- ioLisly been dipped in a thin "mixture" of phister of Paris. After ha\ ing prejiaretl the spindle as NOTCH TO PREVENT END, PLAY ^5— Jtax f(ir Turniii"- rListrr above, a temphitc should be cut from a piece of tin and secured to the box as shown in the phin \ie\v, I-'ig. 26. '!1ie tin template should be mount- II, 'I 1' Fiji. 26— Template for Inner Part of Coic cd on a piece of wood, to give it strength, and the wood in turn should be secured by small nails in posltinn on the box as shown. I'his template C oiicrctc Pottery and Garden Furniture 37 should be set the proper distance from the center of the spindle, so that on turning the spindle the center of the core produced will be of the exact size and taper desired, as indicated at D, Fig. 23. After having secured the template in the proper position mix up some plaster of Paris, as prev- iously explained, and pour or throw it on the partly built-up core, at the same time turning the spindle by means of the handle. The plaster thus added will adhere to and partly harden on the spindle. Keep adding plaster and turning the spindle until the plaster is built out to the tem- plate, which will cut or scrape it off and form it into a perfect cone. To smooth the surface of the cone, cut away all of the plaster that has ad- hered to the top of the template, and \\lth your hand, which has pre\-iously been wet with water, rub the surface of the cone as It is being re\ol\ed. Now remove the template and shellac and oil the cone well with either heavy oil, \-aseline, or lard. The next step is to turn up or form the outer portion of the core. A template should be made for this and secured to the box, as was done for the center of the core, care being taken to locate it In the proper position from the center of the spindle, so that the diameter of the outside of the core win correspond to the desired diameter of the Inside of the finished piece to be made. Proceed to pour or throw the plaster mixture on the center of the core, which has already been 38 Coiicrric Pottcrv and Garden Fnrnihirc oiled, and keep turning the spindle until the plaster has been built up and scraped off by the template and the desired form produced to the outer sur- pig. 27— A Concrete Vase of Bold Design— Greatest Diameter 37 in. Height 42 in. — Executed by L'Ibal & Co. face of the core. Smooth the surface off, as was done with the inside of the core or cone, and shel- lac and oil It well. Concrete Pottery and Garden Furniture 39 Now remove the whole from the box by lifting up the tin strips i and 2 in Fig. 25, which hold the spindle in place, and part the inner core D from the outer section of the core by jarring the end of the wooden spindle lightly with a hammer. The next step is to cut the outer sections of the core, which is now in the form of a continuous ring, into three pieces. This can be done with an ordinary wood saw; the thinner the blade of the saw, the better. Use water on the saw blade while cutting, as this will prevent it from binding. Be sure to cut the sections as shown in Fig. 23. The section yj must be wider on the inner circum- ference than on the outer, as shown. Now assem- ble the three pieces, into ^\hich the outer section of the cone has been cut, around the Inner section of the core D, so that they are again in the same position as shown in Pig. 23, fastening them firmly together with string as indicated. Then place the core as assembled in the box again, care being taken to get it Into the same position as before removing from the box, secur- ing it In place by placing the tin strips i and 2 over both ends of the spindle as before. Shellac and oil well the outer portion of the core again and then set in place on the box a tin template mounted on wood and shaped to correspond to the outer section of the finished piece, as Indicated in Fig. 28. As we are now going to make a model in plaster of the finished piece, the sides of which 40 Concrete Polfcrv and Garden Furniture must not be less than one-half inch thick, the tem- plate as shown must be placed at least one-halt echz 3- Fig. 2S — Template for Plaster Model '£ Fig. -9 — The Finished Plaster Model inch from the outer surface of the inner core. After having adjusted the template, proceed to Fig. 30 — Grecian Vase — Executed by the Erkins Studios throw on the plaster and turn it up until it is built out to the template and shaped into the desired form. Smooth it off with water, and then shellac Concrete Pottery and Garden Furniture 41 and oil. Remove the v/hole from the turning box, tap the end of the wood spindle, and if care has been taken to shellac and oil all of the parts as directed, the center of the core will fall out. To remove the outer part of the core, first take out the smaller piece yJ by forcing it toward the cen- ter. The rest of the core will then collapse, and we will have left a plaster model of the box, as shown in F^ig. 29, which we are to cast in cement. Oil the outside of this well, and then proceed to CLAY BELT Fig. 31 — Part.s Asseiiililcd fur Castin;,' Plaster C'a.sc make the outer plaster mold in three pieces, as already explained and as shown in tig. 2.2. After ha\-ing made the outer mold, proceed to assemble the parts as shown in Fig. 31, and cast the plaster case, as was described in the last chapter for square objects. Use a clay belt around the outer mold as shown to prevent the plaster from coming down too far. The spindle must be cut flush with bottom of plaster model. Be- fore casting the case be sure to shellac and oil all parts which come in contact with the wet plas- ter used in casting the case. After having re- 42 Concrete Pottery and Garden Furniture moved the case assemble the parts again, using the case as a base as shown in Fig. 32. Cut the spindle flush with the core. The mold set up in this position is ready to receive the liquid cement mixture, which is poured the same way as already explained in the last chapter. -PlastcT Mold ready to Receive Cement Mixture One need not confine themselves to straight- sided objects, as molds, for pieces embodying curved outlines, etc., can also be made by follow- ing the general directions gi\'en for the molci just described, the only difference being in the shape of Concrete Pottery and Garden Furniture 43 the templates used. It will therefore be unneces- sary to go into details as to how to make a mold for vases shaped as shown in Figs. 20, 27, and 33, as the illustrations, which show the various steps, will make it clear to one who has followed the previous directions closely. It will be noticed, however, that there is quite an undercut at the point a in the vase shown in Fig. 22>, owing to MODEL OF VASE CORE Fin;. 3^ — Steps in Making- a Moltl tnr a \^ase the mouth of the vase being of a smaller diameter than the greatest inside diameter of the piece. The main thing to guard against, therefore, in making the mold for this piece is the core. Care must be taken to ha^•e the distance B shorter than the diameter of the inside core or cone C. If this is not done, it will be impossible to get the core 44 (- '"'(■;•('/(' Pottery and Gartlcii Furniture out of the finished cast. It might be well to state the progressi\-e operations in the making of this mold. They are as follows: First, make inner core or cone. Second, build up outside part oj core. Third, remo\'e outside part of cf)re and cut into pieces as shown. Fourth, reassemble core and place in spinning box. Fifth, build up and turn plaster model of piece to be cast. Sixth, rcmo\'e all pieces from spinning box and cast out- side mold. Seventh, cast case. CHAPTER V. C()MP,INATION OF CASTING AXU IMODELIXG BY HAND AN EGYPTIAN \'ASE There are but few materials that lend them- selves to garden ornaments better than concrete, Like stone, it seems to harmonize with the sur- roundings and gives a dignified and massi\-e ap- pearance to the whole theme, which is most pleas- ing to the eye. This is particularly true if gooil. Fig. 3+ — Eg-yptian Vase e.\t><:utid in Cuncrete by the Author bold, graceful outlines are given to the designs of the ornaments used. As a usual practice, concrete ornaments are cast in plaster or glue molds. If the piece is at all complicated the making of the mold in which 46 Concrete Pofterx ami Garden luiruiture it is to be cast Is rather an expensi\'e operation, especially so when there are but one or two pieces of the same design to be made. The author has designed and made several \ases shaped as shown In Fig. 34, which have been much admired. The method used In making them Is simple and somewhat novel, Inasmuch as it embraces a combination of casting and model- jPollom Fip. 35 — MctluiJ of Making Outside Mold and Core i]Tg. A description of how these vases are made may be of interest to those readers who are apt at making things and who wish to beautify their ia«ns or gardens at a minimum expense. By closely following the Instructions gi\-en in the detailed descriptions of the ^'arious operations used in the making of the vase Illustrated, the C oiicrcte Pottery and Garden Furniture 47 reader will be able to produce a product equally as good as the one shown. The first thing to do is to make the outer mold, as shown in Fig. 35. This can be made of heavy cardboard or very thin, pliable wood. In the de- sign shown the greatest diameter is 12 inches, therefore the length of the piece of cardboard to be used for making the outside form must be at least 36 inches long. Make it 38 Inches. This \f- ^^' >i<^--f. 8/i.'- i...^ j-n:....^ . f ^- ^ i !^ — ^: 1 ?r-j — \ i : ; L 6 ^^. / N- - - - -"21 - - |~-/r- -i- -;- - 1. '\\'/fur/,oh-.u,/,,.,,r 1 ' III \ V ^''di'rpin.-^ules ^ ^ .--.- -J — ^ — " yi /^"r /iandit's i 4-^—' ""^ — ^ — UrainOf/0 /iole. Fig;. 36 — Detailed Drawing- of Certient \'ase Avill allow a lap of 2 inches, as shown. The height of the vase is 6jj inches, therefore the piece should be 38 inches long by 6^1 inches high. Form this into a circle and secure the ends b\- means of pins or by sewing them together witii string. Now cut out a circular piece of cardboard 12 inches in diameter as shown at A, Fig. 35 ; this is to be secured, by se^^'ing, to the bottom of the outside mold, thus forming a circular box 12 inches in tflameter by 6^2 inches high, as shown in the illustration. The next step is to make the 4^ Concrete Pottery and Garden Furniture core, or that part of the mold which forms the inside sides of the vase or the hole. By referring to Fig. 36 It will be seen that the core is 6 inches in diameter by 5 inches deep, therefore the piece of cardboard necessary to form the core must be twenty inches long by 5 inches high. This will allow a lap of 2 inches, the same as was gnen to the outside part of the mold. Form a circle of this piece, as shown at />, and secure the ends in liliirf/r7£ Fip. 39 — Showing Mcthrnl of Re\crsiiif; Cast the board which is now on top, as wqW as the card- board disk which formed the bottom of the mold, and proceed to model the upper part of the cast in the same manner as «as explained for model- ing or forming the bottom of the piece. A de- tailed drawing of the template to use in modeling the top is sho\A'n at A in Fig. 41. It will be noticed that the distance from the bottom to the top of this template is i inch sliorter than the template used for forming the bottom of the vase. This 52 Concrete Pottery and Garden Furniture is to allow for the depth of the ring around the top of the vase, as shown in Fig. 41. The shaded Fig, 4U — Concrete Viises antl Pedcstul- Executed by Emerson i^' Norrls Co. portion in Fig. 39 represents the superfluous ce- ment which is to be cut away from the top of the cast before starting to use the template to form . ?. '\\ — ( ^ n t ^ - - - -^^^1=^ :-- ^- --" — ^^=^. T''mpli7te /of toy ofrcme Fitj. 4I — Method of Forming Top of Vase Concrete Pottery and Garden Furniture 53 the finished outline of the vase. The square edges which will be left on the ring by the tem- plate, as indicated at a in Fig. 41, can be rounded off by hand, with a pointing tool or knife, as shown at b. The body of the \-ase is now com- plete, and it can be set aside to harden. Do not i'luv ;:'. J)- -^ Fi{;. 42 — Mold in which to Cast Handles or Ears attempt to remo\'e it from the working-board for at least eight to twelve hours, for, as yet, it is in a soft state and must be handled carefully. The next step is to cast the ears or handles. To do this a model must be made as follows: 54 Coiicnic Pottery uiu! Garden luirnitiirc First procure a piece of wood and cut it into a triangle, as shown at A in Fig. 42. Make the two sides marked i and 2, 7 inches long. Now lay out the outline of the handle on this piece of wood, as shown by the unshaded part at B, closely fol- lowing the dimensions given. The dotted lines FiK. 43 - t'dncrtte Table — Executed by Emerson Sc Norris Co. on the two ends of the handle shoM' a projection of about vs inch. This length is added to the handle in order to insert it into niches or holes which are later to be cut in the sides of the \'ase for this purpose. A piece of wood should now be cut out to conform to the outline of the shaded portion shown in Fig. 42 at B. 1 his should be Concrete Potterx and Garden Fiiriiitiire iS made of wood 2 inches thick or should be built up of two i-inch boards, as it forms the inner part of the mold for the handles, which are to be 2 inches wide. Secure this piece, by nails, in posi- tion on the triangular piece of wood, as shown at C in Fig. 42, and then nail lightly to the outside of the triangle strips of wood as shown. Be sure to have them lap as indicated. The tops of these strips should also be on a level with the top of the solid block a, or a distance of 2 inches from the inside bottom of the triangular piece, as shown In the cross-section at D in ¥\g. 42. Shellac and oil the inside of the mold well to prevent the concrete from sticking. Now secure four pieces of steel wire i 8 to 3/16 inch in diameter and from 13 inches to 14 inches long, and bencf them to the shape shown by the hea\'y dark line in the plan drawing at B, Fig. 42. Lay these to one side ami then start to fill the box or mold for the handle with a mixture composed of the same ingredients as was used for the body of the vase. Fill the mold first to a depth of jA inch and tamp or press the cement down well, and then lay in, in the position indicated, one of the wires. Now lav In i Inch more of the mixture, and press or tamp it down, and then place in the other wire, and fill the mold flush with the top as shown at D in Fig. 42. Trowel It off smooth and let it set for from eight to twelve hours, so that it will harden up well. Then care- fully remove the sides of the mold; first removing 56 Concrete Pottery unJ Garden Furniture side 3 and then side i. After having removed these two sides the cast of the handle can be easily removeci without fear of breaking it. Clean the mold out well and shellac and oil the insides of it again. Then replace the sides 3 and i and pro- ceed to cast the other handle in the same way. After remo\'ing the handles from the mold wet them down occasionally so that they will become good and hard. The next step is to cut holes into the body of the vase into which to insert and cement the han- dles. The sand or earth core, as well as the card- Fip. 44 — Method of Applyint;- Handk-s or Ears board lining, should be remo\'eci and a line should be drawn across the top and down both sides of the vase at its center, as shown in Fig. 44. This line will show where the handles are to be located. Hold the handle in its proper position against the side of the vase, and with a pencil outline the posi- tion and shape of its two ends on the body of the vase. Now with a hammer and chisel gently cut out holes at these points about 'j inch deep, into Concrete Pottcrx and Garden Fnrnitiire 57 which to cement the handle. Locate and cut out holes on the opposite side of the \-ase for the other handle to tit into it in like manner. Now by gently tapping with a hammer roughen up the ends of the handles, and then place both the \'ase and the handle in water or sprinkle them until they are thoroughly wet. Now mix some pure Portland cement and tt'ater together into a t airly thick paste, and trowel it well into the holes pre- pared for the handle in the body of the vase as well as on to both ends of the handle. Sprinkle both of these surfaces with water and then place the handle in position, firmly pressing it in place. True it up and scrape away the surplus cement, at the same time making a neat hnish around the handle "where it joins the \-ase. HoKl the handle in position by binding it firmly in place by good stout string. Wedge tlie string up, as Indicated in Fig. 44, to help further tighten it. Wet the joint down well with water occasionally and allow the string to remain in position for at least tuehe hours before remo\-ing it In order to allow the handle to be firmly cemented in place. Secure the other handle to the a ase in like manner, and the vase Is now complete. If by any chance there should be any holes or marked irregularities in the surface of the \-ase these can be pointed or filled up with a mixture composed of the same ingredients as used In the body of the vase. A good smooth, fairly light finish can be procured by rubbing the whole sur- 5^ Concrete Pottery uiul Garden Furniture f:icc down with coarse emery cloth. Then soak the \ase in water and rub o\'er its entire surface a thin coat of a mixture composed of i part of marble dust and i part of Portland cement. Let this dry out and then again wet down the vase. The oftener the vase is wet the harder it will be. Remember that water is a most important factor in all concrete work. One can never get a good bond between two surfaces if the parts are not thoroughly wet down. The dimensions given in Fig. 36 are merely suggestive. The same general principle and directions as given above can be used for making a vase of almost any size and shape, as well as for making tables, pedestals, etc. CHAPTER YI. GLUE MOLDS Glue molds, or flexible molds as thev are often called, are extensively used in casting concrete or- naments in which the design embodies hea\y relief work containing more or less undercut. Owing tn the flexible nature of these molds, thcv can be made in fewer pieces than a plaster mold could be made, for the same class of work, and at the same time they can be more easily removed from the cast, while the concrete is still in a more oi" less unhardened state, with less fear of injuring the more delicate parts of tlie design. The only objection to the glue !iiold is that its life is limited to from li\-e to eight casts at the most, whereas the life of a plaster mold is prac- tically unlimited. In making a glue mold, as in all other cast work, the first thing to do is to pro- cure your original or model of the piece which is to be reproduced. First will be explained how to make a simple one-piece form of glue mold, such as is used in casting pieces similar to those illus- trated in Figs. 4^, 46 and 47. Take the model of the piece which is to be reproduced, and secure it to the working-board, as shown in the cross-sectional drawing, Fig. 48. A cFiub of shellac on the back of the model in most cases will hold it in place on the working-board. Now dampen an old Go Cdiicrcic foffcry ami Garden Fiiniiliirc newspaper and lay it o\-er the model. Let it fol- low the general outlines of the model as closely as you can, as shown by the heavy line in Fig. 48. The next step is to procure some modelers' clay, and ^^•ith an ordinary rolling pin roll it out into a sheet about ^.2 inch thick. The model is now to Fi^. 45 — Cast from tSliie Mold Concrete Pottery and Garden Furnifiiri 6i be completely covered with this sheet clay, as shown in Fig. 49, thus producing an even thick- ness of yi inch of clay all over its entire surface. 7"he clay thus placed on the model is next to be entirely covered with a plaster of Paris case of about y^ inch to I inch in thickness, according to the size of the piece. Fio-. 45a— Glue Mold 6i Concrete I'ollcrv oiid Garden Fiiniiliire The method of casting a phister of Paris case is explained in detail in the chapter on Plaster Molds. Before casting the case, however, do not neglect to oil the surface of the clay well, so as to prevent it from adhering to the inside of the plas- Fit;. 46- Cast fn.in Glue Meld ter case. iXfter the plaster case has hardened mark its outline on the "working boanl, and then carefully lift the case and remox'e It from the clay coN'ering, then in turn remo\-e the clay co\-ering and paper from the model. If any of the paper Ciincrclc Puticry mid Garden Fiiniitiirc 63 should ha\'e adhered to the model, clean it off, and then shellac and oil the model well, so as to prevent the glue from sticking to it. Now take the plaster case and make a good- r t: Fis- 46a— C",Uie Mold sized hole In it at (/, as indicated in Fig. 51. This hole should be at least '4 inch in diameter, as it is to receixe the end of the funnel through which the glue is to be poured. Also make a number 64 CoiuTi'le Pottery ami Cardcii Fiiniiliirc ^^^^^l^^^ I^Hj ^^"f-^ ^Kw^H^H ^B -'^''0^ fl^l^^^H p^H ^^L ''^^^ PBHj - 4' 'J [.IB ■ _£^^^^B IJlJ Fifj. 47 — A Few Specimens of Heavy llndercut "Work Cast ill Ciliie Miilils Concrete Pottery and Garden Furniture 65 of smaller holes, say ^ inch in diameter, at various points throughout the cast, as indicated by the light double lines. These latter holes are n^tvt^ iifte uidura/es newspaper* Fig-. 48 — Positiun of Mndcl on Wurkinj; Board ready to Cover with Clay vent holes, and are provided In the case so as to let the air escape from ^^•ithln while the lii]uid glue is being poured. After ha\'ing prepared the cast as directed, rephice it m its original position o\-er the model, as indicated by the outline of it which was made on the working hoard before it was P/asU/^ of fiipis Case iJuci/tesi of C/ay Fii;-. 49 — Modfl Covered with Clay and Plaster Case removed from the clay covering over which it M-as cast. Secure the case Hrmly to the board by means of passing can^•as straps o\'er it, as shown in the end view Fig. 52. Now, instead of having 66 Concrete Pottery and Garden Furniture an even thickness of clay over the model, we have a cavity of uniform size around the entire model, into which the glue is to be poured. It is essential that the glue should be of a uniform Fit;-. 50 — Htavy Piece Cast in a Glue Mold— By J. C. Kraus thickness over the entire surface of the model, in order to have it flow properly, and also to pro- duce a uniform flexibility throughout the glue mold. The best glue to use in making glue molds is a fine grade of white glue. This can be pro- cured at almost any paint store. If the dealer does not know exactly what you want, ask for the Concrete Pottery and Garden Fitriiiture 67 regular grade of glue of which plasterers make glue molds. Almost any good glue, however, will do; it ranges in price from 18 cents to 25 cents per pound. Sheet gelatine can also be used in Spatv fopirjcr^i/ occupied bu cioi/ tnto wi gaj^i^ nouf io tie pouMd Fig. 51— Model and Plaster Case in Position Ready for Pouring the Glue making flexible molds, but it is a trifle more expen- sive than glue. To prepare the glue, soak it in water from ten to fifteen minutes, in which time Pki6[er- offheis Case ' .Cartas Stpap EncJ ^leuf of txtie s/wwin^ ca/ti/as st^^ips fop holdina coie c^ufn ' t^'hUe ^fiie is ietJzg poupcd Fifi:. 52 — Method of Holding- Case to Working Beard uhile Pouring the Glue it will absorb the water and swell up. Now take a regular double tin; cover the bottom of the inner tin with water, and then place in it the glue prepared as directed above. If a double tin is 68 Concrete I'ottcrv oiiil Garden Furniture Fig. 53~CoiHTete Fountain — By J. C Kraus Ciiiicrcfe Pottery niid Garden l-'uriiitiire 69 not a\-ailable, two tin pails can be used, as shown in Figs. 55 and 56. One of these should be placed inside of the other as shown, and the bottom of Fig. 54 — Concrete Sun Dial Pedestal or Base forTalile. Size 35 in. High by 3S in. in Diameter— E.xecuted by the Erkius Studios the inner pail should be kept about 2 inches from the bottom of the outer pail by letting it rest on a block of wood or a piece of brick. When yo Coiicrctr I'uflcry and Garden Purnihivc I'if,'. 55 — Glue Mcltinp; Puts im Stone showing rock fur Glue above Concrete Pottery and Garden Furniture 71 melting the glue do not have too hot a fire, but let the glue melt slowly until it Is of the con- sistency of thin molasses. When it is of the proper consistency pour it into the funnel, which has previously been secured in place in the plaster 72/r Pails 'h'atep h^ood opBpick Bbct Kit;-. 56 — Method of Makiiiij a CJKr- Mcltinij Pot from two Tin Pails case, as indicated in Fig. 51. Now as the mold fills up, the glue will run out of the \'ent holes, which are shown by the heavy dotted lines, thus indicating that the glue is flowing properly. As the glue appears at these holes, stop them up ^^ith a daub of modeler's clay. Keep on pouring the 7 2 Coiicrclr Poltcry tiiid LJurdcn Funiitiiri V'i^. 57 — Oriianicntal Fif^iircs— 711 im'hes Hi^h — Kxecutc»J hy the Krkins Stiulios Concrete Pottery and Garden Furniture 73 glue until it runs out of the highest vent hole and until the funnel remains full. The glue thus poured will take about twelve hours to congeal Fig. 58 -Concrete V.ise with Design in Relief— Executed by tlie Erkins Studios or harden, after which time the plaster case or mask, as it is sometimes called, can be lifted off. This is done by first cutting the glue away from the funnel, and then removing the canvas straps 74 Coiicrcfc Poftcry and Garden Furniture which lield the case down on the working board and prevented it from rising as the glue was poured. Now in turn remove the glue mold from the model. This can be easily done, if the model ^^^"■^^^ ^ ^K^^^s^' ^ Hii^^i^'fc^'-'';- i-'^V'- V. ^';-v^.>r j;fy> ij ^1^ ^iBBfli WK§- ■ 4 ilfl ■ ^^HL ^^^^^KEm.Wmfm^ M ,1 ^^Hb\ ^^^^^IL Ai!IF'<^ ^^^^^^k^^^^^'^'^S/^/bk. H^^hIHI W 'l ■Hi^H^^vi w 1 ^^RmBii^<# Ki^. 59 — Highly (JniaiiR-nteil t'oncrcte 'lable— By J. C. Kr, has been properly oiled, by simply springing out the sides of the glue cast, and lifting it up from the face of the model. Before making a cast In the glue mold, the face of it must be treated so as to make it as near Concrete Pottcrx and Garden Furnitnre /:> waterproof as one can. A common method of doing this is to paint the surface of the mold with a saturated solution of alum. About three coats of this solution are necessary, letting each coat dry out well before applying the next. A simpler and probably more effecti\'e method is to coat the face of the glue mold with one or two coats of a fine grade of good clear flexible varnish. Before making a cast, always oil the inner face of the mold well with a light oil. To assemble the mold Clue tnotdc/^ Canty into w/tiC^ Cement Mt!u/aK»;.ii Co;<^ Cow OP P/uo This Supfaoelode u/ell 01^ and tcipeped Fife 71 -C'omhiiKitinii Clluc ami \\'ci(k1 C'drt fur \'asc Wnrk plaster as described In a pre\ idus chapter, or the\' can be made of glue with an inner core of wood, as illustrated in Fig. 71. In this case the outer part of the inner -wood core should be well oiled, so that it can be withdrawn from the glue shell. The glue shell of the core, which will then re- main in place in the cast, can then, due to its flexible nature, be collapsed and withdrawn from the inner part of the cast. When casting vases, always cast them with the bottom up, as explained in Chapters III and W . When one is through •\-\-ith a glue mold, it need 88 t (iiicrcfc Poltcrv ami Garden Fiiniiliire not be thrown away, for the ghie in It is still good to use. It should be cut up into small pieces and allowed to dry out. It can then be melted over again and used for making other glue molds. A rack containing pieces of old glue molds cu.t up, ready for use, is shown in Fig. ^5, just above the glue pots and sto\"e. CHAPTER MI. COLOKIJI CKMKXTS AND MI/IHUDS USED I V PKOnUCIXG DESIGNS WITH SAME After ha\ing mastered the process of modeling and casting, as explained in the pre\ious chapters, the craftsman can now take up the decorati\"e features. The possibiUties of ornamentation, one can say, are ahnost unhmited with this material. Various effects can be obtained. One can repro- Fit;. 11 — Copy ut all Antique — Exeiiited by the Author duce antiques which can hardly be told from the originals, and original designs embodying various colors can be made which will compare favorably 90 Concrete Potlerv and Garden I'uriiitiirc with modern clay pottery effects. Owing to the material used the texture obtained is one which is full of life and sparkle. It has a distinct charac- teristic of its own which cannot be obtained in any other material. As a specific case of what can be done along these lines we will take the copy of an antique which is illustrated in Fig. 72. This was made as follows: It was first cast with perfectly smooth sides, a mixture of i part Portland cement to 2 parts of fairly coarse brown sand being used. After pouring this mixture it was allowed to set in the mold for from eight to twelve hours. The mold was then remo\'ed and the piece was found to be in a more or less soft state. That is, it had to be handled carefully, and the concrete had not become so hard that an impression could not be made in it with the sharp point of a knife; the design as shown ^^•as then marked on the surface, and in turn it was cut and dug out by a strong knife blade. A straightedge was placed along the ^•arious lines, being used as a guide for the blade. The depth to which the design should be cut \aries according to the size of the piece; but in small work usually from J ,s of an inch to 3 '16 of an inch will gi\e the most effccti\'c results. If for any reason one cannot commence the work of cutting out the design within twehe hours after the piece has been cast, or until the piece has become quite hard, it -will then be necessary to use a small hammer antl chisel with which to cut Concrete Pottcrx and Garden Furniture 91 out the design. Care should be taken, however, in using these tools not to strike too hard a blow, for if one hits too hard the piece may break, although in antique work if the edges of the cut- out design are more or less irregular it makes the piece so much more effective. In preparing any article for color inlay work. Fig. 73 — Vaic with Elabonitc Culor JHsigu — Executed by the Author Avhich has been modeled and built up on wire forms as explained in Chapters I. and II., such as a vase or other piece, as illustrated in Fig. 73, the design must be cut out previous to the inlaying of the colors exactly as has been just described for antique relief work. If, however, the piece to be inlaid is to be made Q2 C oiicrctc Poflcry and Carilcii Fiiniiiiirc in a mold as described in Chapters III. and IV., the mold can be prepared to form the desired depression, in which case the d^isign will be cast in the piece. For complicated designs of this character a clay model must be provided from which the plaster mold is made. But in simple designs such as illustrated the piece which is to form the recess can be attached to the inside of the outside mold as shown in Pig. 71;. l^his can be made of wood and can be secured in place by Fig. 74— Fompeian Vase— Executed by L'Ibal 6c Co. brads. It should be located in the proper posi- tion and should be of the exact size and shape of the outline of the design and at least ' s of an inch thick. Shellac and oil the piece well before Concrete Putfcrv and Garden Fiiniitiire 93 pouring the cement and allow a good bevel or draft on all of the edges so that it will draw out easily from the cast and thus leave a good, clean, sharp edge to the ca\-ity into \\hich to lay the colored cements. A great many attempts ha\-e been made to pro- duce satisfactory color work in cement, but until Fig;. 75 — Mold for Formiiip: the Recess .inJ Steps in Laying; the C'oh)red C'ciiients of late these attempts have been most unsatisfac- tory. This was largely due to the fact that ordi- nary Portland cement is of a gray color and on mixing it with the various color pigments the result was a decidedly dirty or dead tint of the color used, similar to that which would be pro- duced in water colors by mixing them with water which had already been discolored by India ink 94 Concrete Pottery and Garden Furniture or lampblack. Another cause of unsatisfactory results along these lines was the fact that many of those who experimented did not use the proper color pigments, the result being that the colors faded out on exposure to the weather. The first cause of not being able to produce true tints can now be overcome by the fact that a really true tthite Portland cement is being manufactured. Ihis now can be procured from almost any cement dealer. By using this as a base with which to mix the pigments, true, clear colors can be obtained, and by the use of nothing but good mineral pigments, known as lime or cement-proof colors, it is possible to produce shades which will be absolutely permanent. The writer has experimented largely with color- ing matters from this country as well as from abroad. Many of the coloring matters obtained from abroad are very good, but their cost is naturally higher than those which are made in this country. As before stated, mineral colors are those which give the best and most permanent results. They all come in powdered form and should be mixed with the dry cement and marble dust or white sand, as the case may be, until the whole mass is of a uniform tint throughout. After having mixed them as above, water should be added and the whole mixed into a mortar. The following pigments, which can be pro- cured from almost any of the large manufacturers Concrete Pottery and Garden Furniture 95 or dealers in dry colors, will give satisfactory and permanent results: Dry Pigments Resulting Color Red oxide of iron ) t^ , TT ■ , } Ked V enetian red ) White Portland cement White Ultramarine blue ) ni r. ■ 1 ,- 11 ■ blue Uxide of cobalt ) Chromate of lead } ,- ,, V 11 . h 1 ellow 1 ellow ocher ) Chrome oxide of copper [ ^ Green, light Carbonate of copper \ | Green, dark Lampblack ) m i /-■ ^ IT , , , ( Black or Gray 1 Orcn black ^ r (accoi dint; to quantity Black oxide f)f copper ) u^ed.) Ordinary Portland cement Gray Burnt umber Brown 1 he amount of coloring matter to use in pro- portion to the cement depends entirely upon the depth or shade of the color desired. By mixing up small specimens of the color with \-arious proportions of cement and making small test pieces of mortar and then noting the color of these after they ha\-e dried out, one can readily determine the proper amount of coloring matter to use. It is always better to weigh the amount of pigment used rather than to judge the amount by bulk, for by weighing a much more uniform result can be obtained. 96 Coiici-clr Potlcry and Ganlcii Fiiniiiiirc VoY ornamental \york where a wide range of colors is desired they can be procured by the same means as is used in water or oil color painting; that is, by mixing together the three primary colcjrs, which are red, yellow, and blue. From these three colors can be obtained every color or tone that may be required. Thus blue mixed «'ith yellow produces green; blue mixed with red pro- duces \ iolet, and red mixeci with yellow produces orange, etc. In combining the coloring matters, always do so while they are in a dry state and thoroughly mix or grind them together before adding them to the white cement. Ihe method of laying these coloreci cement mortars in the design is as follows: First, enough water must be added to the dry mass to allow it to be mixed to the consistency of a thin paste. J hen the design, which has already been cut out as previously explained, should be thoroughly wet doAvn by sprinkling with a wet brush. If a \'aricolored design is to be inlaid, it is always well to lay in all of one color at the same time, as is illustrated in Fig. 75. In this case we have figures A, B and C which are to contain the colors red, blue, and black, as indicated. First, ^^•ith the aid of a blade of a penknife or any other handy tool according to the size of the work, lay the red cement in the design A as shown at D by the dotted lines. Let it come level with or even a trifle higher than the face or body of the ^'asc or piece which is being inlaid; also let the colored C oiicrcic Piittcrx and Garden luiniifurc 97 cement project beyond Its position in tlie finished design as indicated by the dotted lines. Now turn the vase around, and lay the red cement in the designs B and C, letting it project beyond its posi- tion as was done in the design J. The red cement which has been laid in the design J will now be set enough so that a straightedge made of a ■f.yr ■^ ^^^np.^ i muB' '% \ Bi^ f L. T^ip. 76 — A Good Exmiiple of Colored Concrete Work — Executed hy the Author flexible piece of wood, or other material such as cardboard, can be placed over it in the position of the finished design as indicated at D by the dotted lines. The sharp edge of a knife can now be used to cut away the surplus cement which projects beyond the edge of the straightedge. In cutting away the surplus cement always cut away from the 98 Concrete Pottery and Garden Furniture finished design. Proceed to cut away all other surplus cement from the other three sides of the design as just described and then in turji treat the designs B and C in the same manner. Now lay in the blue cement in all of the designs In a similar manner and then the black cement. If by chance any of the colored cements have gone beyond the designs and onto the face of the vase, scrape them Fig. 77 — Small Articles siich as Fern-Jars, Pin-holders and Ash Receivers of Concrete make Attractive Ornaments — Executed by J. C. Kraiis off before they harden and then with the back, of the blade of the knife, which is more or less blunt, run around the outline of the designs as well as between the colors, using a straight edge as a guide. By doing this a distinct parting line is produced between each color and a better effect can be obtained. The colored cements which have just been inlaid must, of course, be cured so as to harden them up. This is done by sprinkling them with water as explained in previous chapters. CHAPTER Vni. TlIE SELECTION OF AGGREGATES AND THE PREPA- RATION OF THE MIXTURE In the previous chapters nothing much has been said in detail in regard to the numerous and various materials which can be used with which to make concrete, such as the different Icinds of stones, pebbles, etc. Nor has anything been said in regard to the quantity of each ingredient neces- sary to make a fixed amount of finished material. Concrete is made by mixing together with water various proportions of Portland cement, sand, and stone. The sand and stone which go to make part of the mixture are commonly known as aggregates. It is by the careful selection of these aggregates that we are able to produce numerous pleasing and artistic results. In many cases, if the proper aggregates are used in the right proportion, natural stones such as limestone, granite of all colors, brownstone, and French Caen stone, etc., can be so closely simulated that it takes an expert to tell it from the real material. The ordinary concrete or cement surface as usually seen is most uninteresting in appearance. As a general thing, it is smooth and lifeless and of a dull gray color. The same general appear- ance as just described for ordinary concrete will lOO Concrete roHery ami Garden Fiiniiiiire prevail In almost any concrete surface, no matter ^^'hat the aggregate used, unless the surface is treateci so as to expose or bring out the aggre- gates used. If, however, the surfaces of the concrete in which selected aggregates have been used are properly treated, a marked difference between these surfaces and those obtained with Fig-. 78 — Showing Texture obtained by using Selected Aggregates ordinary mixtures wdl be noted. By varying the kind, size, and proportions of the aggregate used, sin-face Hnishes of practically any desired color and textin-e can be f)btained, the possibilities being limited only by the number of different kinds of aggregates available and the combinations of the same. Loncrctc Pottery and Garden Furniture loi In small work, that is, where the thickness of the finished product is to be }4 inch or less, never use any aggregate exceeding j/g inch in size, espe- cially so if the mixture is to be made thin enough to pour. In larger work having a thickness of i inch or more, aggregates up to j^ of an inch can be used with good results. Some interesting textures for pottery work can be obtained from the following mixtures: A mixture composed of i part ^^hite marble chips, not exceeding J4 inch in size, and i part of trap rock or other dark stone of the same size mixed with i part of Portland cement and i part of marble dust will produce a surface similar in appearance to a light granite. This mixture should be allowed to set for twelve hours after pouring, then the molds should be carefully re- mo\-ed, as the concrete is still green, and the surface of the concrete should be lightly brushed with a stiff brush. As the concrete is not thoroughly set or hard- ened yet, this operation will remo\e the surface cement, and thus expose the aggregates of marble an.d trap rock. After ha\-ing performed the above operation, allow the piece to harden a few days, and then treat the surface with a solution composed of i part of commercial muriatic or hydrochloric acid to 3 parts of water. Dash this solution onto the face of the concrete surface with a brush, and allow it to remain for at least fifteen minutes. Then thoroughly scrub it off with a 102 Concrete Pottery am! Garden Furniture good stiff brush and plenty of clean water. This operation will remove all of the surplus cement, and will leave a good clean surface full of life and sparkle. Instead of using white marble chips Fig. 79 — Concrete Urn made with White Marble Du.st and Portland Cement — Executed by L'Ibal & Co. and granite, as above, one can vary the results by using white marble chips and crushed-up red brick; or various colored marbles crushed to the proper size can be used, and then by treating the surfaces as explained, the colors in the various Concrete Pottery and Garden Furniture 103 aggregates will be exposed, thus producing some very interesting surfaces. A good light-colored surface somewhat simu- lating limestone can be procured by using i part Portland cement to 2 or 3 parts of white marble dust. After this has become thoroughly hard, treat it with acid as described above. The acid will eat off any surface cement, and thus the marble dust will be exposed, producing a pleasing sparkle throughout the entire surface. To simu- late white marble, use i part white Portland cement to 2 parts of marble dust, and treat sur- face with acid as described. By incorporating in the above mixture a small amount of yellow ocher a pleasing buff tint \\\\\ be given to the mass, which will then \ery closely resemble French Caen stone. To simulate red granite, use red granite chips or screenings. These can be procured at almost any stone yard where they cut granite. The pieces to use should range in size from J 4 inch down to dust. If the pieces available are too large, they can be crushed up with a hammer. The proportions of the mix- ture should be i part of Portland cement to 2 parts of the granite. After having set for twelve hours, brush the surface out and treat it with acid as already explained, and the surface thus ob- tained will very closely resemble the real red granite. From the above details the reader will have grasped the possibilities to be obtained by the selection of aggregates, and now by using a I04 Concrete Pottery and Garden Furniture little ingenuity can without further instruction experiment along original Hues, which will be found most fascinating work. In regard to the amount of the various ingredi- ents to use for a fixed amount of finished material, the uninitiated often think, and naturally so, that Fif;. 80— Large Flower Box, finished with Antique Stone Effect- Size of Box 24 in. hif;li hy 25 in. wide by 41 in. long, Legs 15 in. Iiigh— Kxeciited bv Krkii-s Stmho.s Concrete P alter y and Garden Fitrnitnre 105 if an amount of finished material equal in bulk to three glassfuls is required, all that is necessary to do, if it be a I to 2 mixture, is to take one glass- ful of cement and two glassfuls of sand, and then by mixing these together they will still ha\-e an amount of material that will fill three glasses. This is not so. The particles of cement are ground so fine that the cement is practically one dense mass; but the particles of sand are coarser, and between each of the particles appears a space or cavity. These cavities are called \-oids, ai:d it is in these voids that the larger portion of the cement finds its place when the mass is mixed. As the majority of sands used in concrete work contain from 25 per cent to 40 per cent of \-oids (we will take the larger figure for an example), it is plain then that each glass of sand contains about 40 per cent of voids. Therefore in two glassfuls of sand we will have 80 per cent of one glassful of ^•oids. As we only ha\-e one glassful of cement to add to the two glassfuls of sand, and as the cement fills the 80 per cent of \-oids in the sand, it is plain that we have but 20 per cent left upon which we can figure for bulk. Therefore, instead of having three glassfuls of material, as one might naturally think, we will only have two glassfuls and 20 per cent of one glassful over, or two and one-fifth glassfuls of finished material. The per- centage of voids varies largely in different grades of sands. The finer the particles of which the sand is made up, the smaller the percentage of lO 6 Coiicrcic Pottery and Garden Furniture voids. It Is always best to use sand in which the particles are not uniform in size, or in other words, use what is commonly termed a well- graded sand. By this is meant a sand in which the Fis- 81 — Concrete Flower Box made with Selected AgSfrcKUtes and Inlaid with Tile— Executed by Albert Moyer particles vary in size say from 1/32 inch or smaller up to 1/16 inch or a trifle larger. The heavier the work, the coarser the sand that can be used. Be sure that the sand used is clean. By clean sand is meant sand that is free from loam or clay. One can readily detect dirty sand by Concrete Pottery and Garden Furniture 107 placing same in the palm of the hand and slightly wetting it. Then if by rubbing it around the hand becomes discolored, there is more or less dirt in the sand. A little dirt will not do much harm, but it is always well to have it per- Fig. 81a — Concrete Flower Box made with Selected Aggregates and Inlaid with Tile — Executed by Albert Moyer fectly clean. It is often found necessary to wash the dirt out of sand by means of water. This can be done by placing the sand in a pail of water and agitating it, thus making the dirt rise to the top. To thoroughly wash the sand, keep ii:)8 Concrc/c Pottery and Garden Piiniiliire running the water into the pail and agitating the sand until the water discharged is practically clear. When using a stone aggregate in the mixture, the spaces or voids between the particles of stone are filled by the cement and sand in the mixture, as were the voids In the sand filled by the cement. As in sand, the larger the particles of stone used, the greater the percentage of voids in it will be. Therefore a greater amount of sand and cement will be required to fill them. By a little experimenting along these lines, one will become experienced enough to judge fairly closely the amount of each ingredient to use in mixing up any amount of finished material needed. It is always well to mix a trifle more material than is needed rather than not enough. For when one once starts pouring a cast, they should continue to pour until the mold is full. If not, a mark is \-ery apt to show in the finished cast where pouring was left off and started again. Never try to use any material that has been mixed and let stand for more than half an hour. For in this time the concrete will have commenced to get what is called its initial set. If the mass is now disturbed and worked up again, the product produced A\ill ne\'er have the same strength as one made with freshly-mixed material. In mixing, always mix the cement and sand together thor- oughly before adding the water. One can judge by the color of the mass, fairly well, as to whether the mixing is complete. If the color is uniform Concrete Pottery and Garden Furniture 109 throughout, it is a pretty good sign that the aggre- gates are well distributed through the mass. When making a mixture containing cement, sand, and stone, always mix the cement and sand dry first and then add the stone, which has previously been well soaked in water. In this way one is assured of having each stone coated with the cement and sand; for as soon as the damp stone comes in contact Avith the dry cement and sand, it adheres to them and covers the stones completely; thus a compact matrix of cement and sand is formed between each and every particle of stone, and binds them securely together into a dense and compact mass. CHAPTER IX. WOODEN MOLDS The accompanying illustrations show some in- teresting examples of decorative flower pots. These look as though they were difficult to pro- duce, but they are easy to make when one knows how. The first thing to do is to prepare a mold. Figs. 83, 84, and 85 show detail drawings of a wooden mold for a flower pot 9 inches square by 10 inches high, and Figs. 86 and 87 show half-tone illustrations of a wooden mold for a pot 14 inches Fig. 82 — Good Examples of Hand Modeled Vases, Inlaid with Hand Made Moravian Tile — Executed by Frank Nahodyl Concrete Pottery and Garden Furniture 1 1 1 square by i8 inches high. It will be noticed that the cores in both of these cases are different. The collapsible core, shown in Fig. 84, is undoubtedly the best, as there is less fear of breaking the cast when removing it. It takes a trifle longer to make, but in the end it will pay. After complet- -a-3-- -s /Seclurn through A.B. Fig. 83— The Outside Form of the Flower Pot Mold ing the mold, the concrete mixture should be made up. It should consist of i part Portland cement and from 2 to 3 parts of sand or marble dust. These should be mixed together dry as previously explained, and enough water added to make it of 112 Concrete Poftcrv and Garden Furniture the consistency of a thin putty or heavy cream. The next operation after mixing is the placing of this plastic mass into the mold. This is done as follows: First fill the mold solid up to a level with the bottom of the core, pack the cement down well, and then place the core box in position. _ 6l. ^ ^-'FC £oiaicLcarn.enjofcare \ ^ 6t ¥- i^u »0 H 1 Fig. 84— Details of the Core Box as shown is Figs. 85 and 86. Be sure that it is centered in the box. Ihis is important, for if the core is not exactly in the center, the sides of the pot will not be of equal thickness. A good way to center and secure the core in position is to nail a strip of wood to it, and in turn nail the ends of this strip to the top of the Concrete Pottery and Garden Furniture "3 outside form, as shown in Figs. 85 and 86. After the mold has been placed and secured as above, fill the rest of the mold with the plastic concrete. When the mixture reaches the top of the mold . Tile held inplace lifiiJi siring-- flood Si-rij3 £>r in jsositton,. OrnameritaZ Ule - ■ If drainage hole c's desired in 60660 rn^ Fit; flection iJirou^AS.JH 85 — The Mokl Assembled for the Placiiii^ of the Cuncrete smooth it off nicely, and set the mold and its con- tents on a le^'el place to let the concrete set or harden. In about twelve hours from the time of pouring (do not let it be longer than this, for if so the concrete will be too hard for treatment) the concrete will be sufficiently hard to remove 114 L oiicrcic Pottery uiut Uardcii Piiniitiirc the molds. This should be done carefully, in order not to break the corners, as the concrete is yet more or less soft. In removing the mold, take Fitf. 86— Mold Assembled— Front Side of Outer Mold off to Show Core Box the core out first. To do this, first remove the small strips a and b, which have been nailed from the inside, as indicated in Fig. 84. On removing Concrete Pottery and Garden furniture 115 these strips, the V-shaped sections c will be re- leased from the sections d and e, and can then be forced toward the center of the pot and drawn out. After these V-shaped sections have been Fig. S7 — Showing Separate Pieces of Mold removed, the sides / will be free, and can be collapsed toward the center of the box and in turn can be removed. The bottom, which is made in two pieces, as shown, will then release itself freely. It would be well to grease the outer part of the core before placing the concrete, as this ii6 Concrete Potter\ and Garden Furniihrc will allow of the core being released more readily than if it were not done. If a solid core is used, as indicated in Fig. 86, a direct pull must be given to remo\'e it from the cast. The best way to remove a core of this kind is shown in Fig. 88. In Fig. 89 is shown an Illustration of the cast after it has been removed from the mold. The outline of a design has been drawn on It, and the modeler f Pu// ffopc loop Stnonff Stict lllodi ofh^ood FIk. 88— Metliiid of Removing Solid Core from Concrete C;ist is just starting to cut the design out. As the con- crete is still in a soft state, this can be readily done by scraping the surface with steel tools of the proper shape. Fig. 90 shows the piece after the modeling Is practically finished. The modeler is shoAvn here in the act of touching up some of the finer detail. Fig. 82 shows two pots cast in the same mold as described above. These pots Concrete Pottcrx and Garden Furniture 117 are also modeled by hand, after being taken from the mold, but in addition to the modeling they are also embellished with hand-made Moravian tile. There are various methods employed for Insert- ing these tiles In the outer surfaces of the pots. Fig. 89 — Cast of Box after being Removed from Mold Il8 Concrete Pottery ami Garden Fiiriiiture A simple method for doing this is to place in the inner surface of the outer mold a negative mold. This negati\'e mold is made of wood and should be of the exact shape, but a trifle larger in size than that of the tile which is to be inserted. Fig. 90 — Cast of Box after Modeling is Complete Concrete Pottcr\ and Garden Furniture 119 These negative molds can be nailed in the desired position to the inside of the outer mold, and then on drawing or stripping the outer mold from the cast, a cavity will be left in the outer surface of the pot, into which the tiles can be cemented in place. Another method of placing the tiles in place is Fig. 91 — Haml Miideled Vases — Extcuttd in Dark Green Cement by Frank Nahodvl to bore small holes through the outer forms, and secure the tiles in their proper position on the inside of the outer forms by tying them in place by string as indicated in Fig. 81;, care being taken to see that the ornate side of the tile is placed next to the woocl. The concrete is then poured the same as though an unornamented pot was being cast. Before removing the outer forms in this 120 Concrete Pottery and Garden Furniture case, howe^•er, the strings which hold the tile in place should be cut. 1 his is perhaps an easier method of placing the tile than that of making a negative mold. But in some cases it is hard to Fig. 92 — Vase made with White Marble Chips and Trap Rock inlaid with Moravian Tile — Executed by Albert Mover get the plastic concrete to flow completely around the tile. If in removing the forms, however, it is foujid that there are some places where the con- crete has not run up to the tile, these holes or Concrete Pottery and Garden Funiiture 121 voids as they are called can be filled in or pointed up with cement mortar. This method of making pots or vases will be found most interesting, as it is suggestive of an unlimited number of designs and combinations, each of which will contain more or less individuality. CHAPTER X. GARDEN FURNITURE CONCRETE PEDESTALS Sun dials, statuettes, and vases mounted on ornamental pedestals add greatly to the pictur- esqueness of the modern garden. Ihese pedes- ^^^^^^-l ^^^9 ^^^^H' ^^ W^S^^ HH^H ^^p ^^^^B'^^i; fi^^^^^^l ^^^K'^^ p^j^^^H ^^^^H'l>| f^m^^^^^M ^^^Hft* PJ^H ^^^^mm H Fig. 91 — Concrete Pedestal — Kxernted by the Author Concrete Pottery and Garden Furniture 123 tals are made in numerous designs and of various materials, such as stone, marble, and concrete. Fifj. 94 — Outline Sketch, Showing Pimensions The accompanying half-tone illustration. Fig. 93, shows a pedestal made of white Portland cement. 124 Cuncrctc rottcvy and Garden Furniture It is of simple design, and one which lends itself nicely to the material, inasmuch as the forms in I IT" 4-^ ^0" 3^ ■^^ ■^1 ' Stee^ rods V/?' ^ Fig. 95— Detail of Base Mold which to cast it are easily made. Fig. 94 is an outline sketch of the pedestal, In which are given its general dimensions, and Figs. 95, 97, 98, 100, Cuiicrcte Pottery and Garden Furniture 12 5 ■-r5' 5 126 Concrete Potfcrv and Garden Furniture and i(J2 show details of the molds in which it is cast. Fig. 96 shows the various parts of the mold before assembling. Fig. 99 shows the shaft mold /■Mouldiiw n rddius r-MoutdhnQ Fig. 97— Detail of Cap Mold assembled in position ready to pour, and Tig. loi shows the three finished pieces of the pedestal before setting them up. The molds should all be made of i-inch lum- ber, and the dimensions given should be followed Concrete Pottery and Garden Furniture 127 closely. The base mold shown in Fig. 95 consists of nothing more or less than a square box with ■Attach tv fairh si^ a/" mould /or reeess Fig. 98— Detail of Main Part of Shaft Mold sides 5 inches high. In the center of the bottom of this box is placed a tapered core, so as to pro- duce a hole in the cast to correspond in size to 128 Concrete Pottery ami Garden Furniture the outside dimensions of the plug on the bottom of the shaft of the pedestal, as shown in Fig. loi. 1 he mold for the top or cap of the pedestal is >in-. ')9— Shaft ^ToUl Asseiiihlfil and in Position Rt-ailv to Pniiv shown in Fig. 97. This like the base mold is merely a square box. It is 4 inches deep, and a ' j-inch tapered plug is phiceil in the center of its bottom as shown, in order to produce a 'j-inch Concrete l'ollcr\ and Garden Furniture 129 hole in the bottom of the cap in which to insert the '.'2 -inch reinforcing rod, which passes through the entire length of the shaft, as shown in the assembled drawing. Fig. 102. Strips of 2-inch quarter-round stock molding mitered at the cor- ners, as shott'n, arc placed in the bottom of this ~J^'^ r-4'/^ \ ^ -*- A- ^U(.i . T^ Mouldmq ■-■ -D Fi--- lllO— Details of Parts " li " aiul " C " cf Shaft ^\o\A mold in order to give the desired outline to the lower portion of the cap. The main shaft mold is made in three pieces, as shown in Fig. 102. Fig. 98 shows the details of the sides of the main part of the shaft mold. The recessed panels shown ii^ the sides of the pedestal in Fig. 93 can either be T,() C'oiicrc/c I'oIUty itiid du'dcii J' iirin/iirc < m Concrete Pottery and Garden Furniture 131 cast in or it can be tooled out, after tiie pedestal has been cast, by means of chipping with a ham- Kig. 102 — Showing Assembled Mnul in ivhicn to Cast Shaft mer and chisel. If it is desired to cast it in, rather than to tool it out, a panel or negative 13^ L micrch' I'ollcrx and (jUI'iIcii I'liniiiurc inokl, :is shown at C, Fig. 98, should be attached to the inner side of each side of the shaft mold as shown. The edges of this negative mold for the panel should be be\-eled off as indicated in the sectional dra^^'ing, so as to allow it to be released readily from the cast when remo\'ing the forms. Details of parts B and C of the shaft mold are shown in Fig. iijo. Part B is a bottomless box lu inches square on the inside, with sides 6 inches high, and in it are secured, on all four sides, and mitered at the corners as shoA^'n, pieces of 2-inch quarter-round stock moldmg. These are securely fastened to the sides i inch from the top. Part C of the mold is made of four pieces of i-inch board as shown, on -which is built up the cone 'i^hich forms the lug on the bottom of the shaft. Part J of the mold at its top should have secured to it, on all four sides, pieces of 2-inch by i-inch tapered strips, as shown by the shaded portion at d \n Fig. H)2. The outside dimensions of these strips should be such that the inner portion of part B fits o^er them snugly. 1 he bottom of part ./ of the mold should ha\-e a 9/16-inch hole 'j inch deep bored in its center in which to place the ' _.-inch steel reinforcing rod, as shown. After having completed the \'arious parts of the mold as described above, sandpaper the inner surfaces of them and gi\'e them two coats ol shellac; let this dr)' thoroughly, and then oil tlie insitle sindace well with a fairly thin oil. Now assemble the shaft mold, letting section A stand Coucrclc Fotfcvy and Garden Furniture 133 Y\^r, 1(13- Showing Pedestal with Relief Desicjn— Executed bv the Rowley Studios 134 i oiicrcU' J\iltci'\' and Garden Unrnilurc on end, as shown in Hg. iu2. Place section B in position as shown, care being taken to let the quarter-round molding rest snugly down on the pieces d of section A. I hen place the steel rod in position, and commence to deposit the concrete mixture. If a white shaft is desired, use one part of white Portland cement and two parts of Avhite marble screenings ranging in size from dust up to .\s inch. Mix these together dry, and then add enough A\'ater to make a fairly thick paste. Fill the mold flush with the top of part B, tapping the sides and jarring part A of the mold occasionally to settle the concrete mixture as it is being deposited. When the concrete is flush with the top of section B, place section C in position, and proceed to fill it flush with the top. A11o\a- the concrete to set or harden in the molds for at least twenty-four hours before attempting to re- mo\-e the molds. In securing the molds together use as few nails as possible, and in remo\'ing the mold from the cast, great care must be taken in loosening them, so as not to in)ure the casts. In remo\-ing the shaft mold, take off part C first, then part B, and finally section A. The base and cap molds should be filled with the same mixture as above, and should also be allowed to set for at least twenty-four hours before remo\'ing the forms. It would be well to insert in the base, when casting, ffiur pieces of )_>-inch round or square steel reinforcing bars placed as indicated by the dotted lines in Fig. 95. These will add Concrete Pottery and Garden Furniture 135 greatly to its strength, and will prevent it from cracking in case the foundation, upon which the pedestal Is placed, Is not perfectly true and level. Fig. 104— Concrete Sun Dial Pedestal— Executed by J. C. Kraus 1^6 i'uiicrctc /'otlcry iiiul Cardcii I'uniiliirc Fif,'. 11)5— Sun Dial Pedestal— By J. C. Kraus Concrete /'nttery and Garden faniitiire 137 If by any chance the casts should be injured, in removing them from the molds, they should be well wet down with \Aater and pointed up with a mortar made of i part white Portland cement and I part of marble dust mixed v. ith enough water to produce a fairly thick paste. After ha\-ing pointed up the ^■arious parts of the pedestal they should be allrjwed to stand for a short time, and then all of the pieces should be well soaked with water occasionallv c\er\' da\' fcu- at least ten days. I his wetting down is kn()\\n as the curing process, and it should be well attended to, as the hardness and durabilit\- of the product prockiced depend largely upon the care taken In properly curing the casts. After the pieces ha\e become thorougiih' hai\l- ened or cured the\' can be assembled or set up \n position, as shown In 1- igs. 93 and 04. Ihc sur- faces of the parts which are to be joined together should be sprinkled with -water, and cii\ered with a thin layer of cement mortar composed of i part of \\iiite Portland cement and 1 part of marble dust. Thev should be placed on each other, and worked around with a twisting motion until bedded in place. 1 he surplus cement Mhich Is forced out at the joints should then be smoothed off, and the pieces allowed to set, without being disturbed, for from one to tA^o days, In which time thev will be firmly secured In place. By using the mixture of white Portland cement and marble chlos or screenings, as stated above, i}^ Concrete Poltcry and Garden luirnitiirr I'iy^. lilfi —Concrete Sun Dial or Vase Pedestal — Kxeriited by J. C. Kraus Concrete I'oilery and Garden Furniture 139 the effect produced will resemble that of white marble. If one prefers the gray color of ordi- nary Portland cement, the mixture used should Fig-. 107— Pedestal and Vase— By J. C. Kraiu then be composed of i part Portland cement to 2 parts of good clean sand and 2 parts of trap rock screenings or pebbles not to exceed ^2 inch 14" L'oiwrclc J'nllcrv mid Ganlcii I'uniiliirc in size. If a sun dial is to he placed on the ped- estal, it need not be cemented in place. They are 11^. KIS — Pedestal and V;ise—Bv J. ('. Kruis usually made of brass or bronze, and their weight is sutfTcient to holil them ilown. When ]ilaeing a Cuitcrctc Pottery mid Gtirdcn Fuviiitiivc 141 sun dial, always see that its vane points to the north and that the pedestal is placed in the full rays of the sun. It would also be Mell to prepare a good solid foundation for the pedestal to rest j^m: ■B » Fig. 109— Vases and Pedestals of Bold Design Lend Themselves Nicely to Concrete— F.xeciited by Emerson 5c N'orris Co. 142 Coiicrrfc Pot f cry and Gardc/i Fiiniitiirc on, for il this is not elone it is apt to settle as the ground becomes soft in the spring time. In fact, all heavy garden furniture should be provided Fif;. 11(1 - V:isc ami l'eilcst:il — F.xei'uteil by F.imrs.ni i'\. Nnrris Co. Concrete Pottery and Garden Furniture 143 with good solid foundations. Ihese foundations should be from 2 to 3 feet deep, and in size should correspond to the size of the base of the piece which is to rest upon them. To prepare a foundation of this kind, all that is necessary is to dig a hole of the desired size and depth and to fill it with a mixture of i part Portland cement, 3 parts of sand, and 5 parts of broken stone or gravel. Add enough water to this to make it of the consistency of a thick pasty mass. Tamp it down well and le\'el it off and alloN\- it to set or harden for twenty-four hf)urs, in which time the piece can be placed in position on it. In I'ig. id^ is shown a pedestal of the same general lines as that shown in Fig. 93, the design, howe\er, being somewhat elaborated. To produce a pedestal of this kind requires the incorporation of a plaster mold which is of a more complicated nature than the mold described abo\-e. Numerous other de- signs of pedestals are shown herewith,' so as to give to the reader some idea of the wide possi- bilities in design which can be obtained with con- crete. CHAPTER XI. CONCRETE BENCHES The accompanying illustration, Fig. iii, shows a concrete bench which is especially designed with a view of meeting the demand for a simple yet artistic piece of lawn furniture, and at the same time can be made with a minimum amount of skill and expense by those who are as yet uninitiated in this work. A detail drawing of the Fig. Ill — A Simple Desig-n for a Concrete Garden Bench — Executed by the Author end supports or the bench pedestals is shown in Fig. 112, and details of each piece used in the making of the wood mold for these end supports are sho^Mi in Fig. 113. The assembled mold ready for placing the concrete is shown in Figs. I 15 and 116. Concrete Pottery and Garden Furniture 145 The first thing to do is to procure a i-inch board, 12 inches wide by 16 inches long, and cut it to the shape shown in Fig. 1 13 at A. This is to be used for the bottom of the mold, as shown in Fig. 115. Now cut another piece of board, also I -inch thick, shaped as shown in Fig. 113 at B, and nail it down in its proper position on piece A. <5/i^/i^ /aper Y\z. 112— Detail nf Bench Pedest:.! The next piece to make is piece C in Fig. 113. Fhis piece forms the recessed panel; this panel as shown in Fig. 112 is only ' _> inch deep, therefore this piece should be made of ' j-inch board. Xail this securely in position, as sho«"n In Fig. 1 1 q on piece B. Be sure to be\-el the edges of pieces B and C, as shown by the dotted lines in Fig. iiq, for If this Is not done, one will have trouble in re- leasing the mold from the concrete when It Is set 146 Concrete Potterv and Garden Fnrniturc or hardened. Now proceed to make the pieces D, E, F, G, H, I, J, K, L, and i\/ all of i-inch thick material, care being taken to follow the dimensions given closely. When thfc'se pieces are Tu^ ^/ rA J ro 1 /^/ /« J/ dfs /a -J N * i» Pel re A. J Fis- 113— Details of Mold for Benrh Pcdesta: all made, assemble them as shown in Fig. iii^, using as few nails as possible in securing the pieces to one another; for when the concrete is hardened, the form or mold will have to be removed from Concrete Pottery and Garden Furniture 147 it, and the fewer the nails used, the easier the form can be stripped from the cast. In making the form use green or unseasoned wood, as it is less liable to warp when the wet concrete mixture comes in contact with it. Before assembling the mold, each piece should be shellacked thoroughly Fig. 114 — Concrete Bench — Executed by J. C. Kraus on both sides as well as on the ends. This will in a great measure prevent the mold from absorb- ing moisture, and will thus prevent any tendency of the mold to Avarp or buckle. After ha\-ing assembled the pieces, as shown in Figs. 115 and 116, if for any reason the joints do not match up as well as they might, they can be filled with 1 -^-S Concrete Pottery and Garden furniture putty or plaster of Paris, care being taken how- ex er to ha\-e e\'erything square and true. After having trued the mold up, the inside of it should again be shellacked, and when thor- oughly dry, a thin coat of fairly thick oil should be given to all parts of the mold which will come in contact with the wet concrete. The mold is now ready to be filled with the concrete mixture,_, which should be composed of i part Portland cement, 2 parts of good clean sharp sand, and 2 parts of trap rock or pebbles ranging in size from j-4 inch to J-2 inch. The method of mixing the concrete is as follows: It is important to follow the directions closely, for if the concrete is not properly mixed, an inferior product will be the result. I'irst the sand should be e\'enly spread 011 a Ie\-el xxatcr-tight platform. The cement should then be spread upon the sanci. Then, after thor- oughly mixing the cement and sand together until it is of a uniform color, water should be added, preferably by spraying, and the mass thoroughly turned o\-er and o\-er by means of a sho\-el or hoe until it is of a uniform consistency of a fairlv thick putty. To this mortar should be added the stone or gravel, which has preA'iously been drenched with water, and the whole mass shouki then be mixed or turned o\'er until the aggregate or stone is thoroughlv coated M'ith mortar. An ordinary garden rake is a good tool ^ith which to distribute the stones through the mortar, as it distributes them more uniformly than a sho^'cl. Concrete J'ottcrv and Garden Furniture 149 7 he concrete thus mixed should be deposited in the form or mold as soon after mixing as pos- sible. Under no conditions deposit concrete in molds which has been mixed more than two hours. To fill the mold use a shovel, care being taken to iUghf Taper JJ , atrnjof III Peicrs D.a E " _^_l i-ll 'l\- ■^ J" 1^- ^1- '^' -t- -:- ^--.T^ 7^/an of assemt/ed /^ou!d i__ - 14- >«■ <5howr^g LocleiZ £>td- View of P7ou,L£ Fig. 115— Assembk'd M,.M f(ir Bench Pedestal deposit the concrete into all of the corners. Tamp or tap it ciown well with the end of a piece of board. If the concrete has been properly mixed, this tamping will bring to the surface of the mass a slight skim of water. The mold should first 150 i oiicrcic I'oftcry ami Cnrdcii Fitniitnrc be about half filled, and then a strip of Clinton wire cloth or other steel reinforcing fabric should be placed in the form, as shown by the dotted hues in the plan \-ie\\' of the assembled mold in Fig. I 15. The proper size of wire cloth to use is that known as 3-inch by 12-inch mesh, made of Nos. 8 and 10 gage steel wire. If wire cloth is Fig. lir, — Mold Assembled and in Position to Receive the Co not a\ailablc, any good No. 8 gage steel wire, cut and placed as shown, will answer the purpose. After ha\ing placed the reinforcing, continue to deposit the concrete, and tamp it down until it is le\el with the top of the sides D and E of the mold. Scrape or float this surface level, and then take the cross strips /, and M , shown in V\g. i i :;, Concrete Pottery and Garden Furniture 151 and secure them to the top of the mold and against the end pieces H I and / A', as shown by the dotted lines in the side elevation in Fig. 115. These cross pieces not only act as a form for the edges a and b of the pedestal, as shown in Fig. 112, but they also act as a brace to the sides of the form, and prevent them from spreading apart, Fig;. 117 — Showing Interior of Mold for Bench Pedestal due to the weight of the plastic concrete pushing against them. After ha\'ing secured these pieces in place, fill the portion of the mold thus formed flush with the top of the strips and the end pieces G and F. Tamp the concrete down, and smooth the surface off nicely. The filling of the mold Is now com- plete, and it should not be disturbed for at least 152 Concrete Pottery ami Garden Furniture twenty-four hours, after which the cement should be wet down occasionally with a spray for at least a day. After having set or hardened for two days, the cast can be remo\'ed from the mold, and can be set aside to be cured or to harden up. I his is done by sprinkling it with water two or three times a day for at least seven to ten days. Care should be taken when remo\-ing the mold not to injure it or the cast, as the mold if not broken can be used o\-er and o\'er again. In remo\-ing the mold from the cast, first detach the cross strips L and M , then the pieces H , /, J , and /\, then the end pieces F and G, next the side pieces E and D, and then the bottom piece, composed of pieces A, B, and C. Before using the molci again, it should be thoroughly cleaned of any particles of cement \^hich may have adhered to it. After hav- ing cleaned it well, oil the inside and proceed to assemble it as before, anci cast the other pedestal for the bench in a similar manner as explained above. The next step is to cast the slab or seat of the bench. Ihis is 5 feet long by 18 inches ^^•ide by 3 inches thick. The form or mold for this is nothing more or less than an oblong box, having a bottom q feet long by 18 inches wide and four sides each 3 inches high, as shown in Fig. 118. The bench seat should be reinforced with the same size of wire cloth as was used in the pedes- tals, or by three '4-inch round rods spaced 6 inches apart. The reinforcing steel should extend Concrete Pottcr\< and Garden Furniture 153 within 3 inches of all four sides, and should be placed about j% inch from the under surface of the slab, as shown in Fig. 1 18. It would be well to clearly mark the under sur- face of the slab, so as to know which surface the reinforcing is nearest to, after the slab is cast, as it is important when placing the slab on the pedes- =^ ^ J 7« This cajc /iiaec reift-ford/^^ a-t tcp of >nculd a-s jA«i*,t^ iy 3ottcd It^Ci -J — TV--— ._ deJLrgd CM ed^£ o^J/a6 pia.ce trta.nyuia.r Sfr/p a.s ej n>eu2d Ported Ltn^j f/iet^ n Detail of Bench Tcp er Sfab S/iou/tn-y fIaL>i.forc//%ydfi3 Oefall 0/ ^ou/d. . Fig. lis — Details of Bench Slab or Seat Showinj; Reinforcing and Mold for Same tals to always have the reinforcing nearest the underside of the seat. Shellac and oil the inside of the mold, and proceed to fill it with a mixture composed of the same material as was used for the pedestals. First fill the mold to a depth of K inch, and then lay in the reinforcing as indicated in Fig. 118, and on top of this place the remaining 154 Concrete Pottery and Garden Furniture i-Yi inches of concrete and tamp it down well. This top surface will be the top of the finished bench seat, therefore it will pay to take pains in finishing it to as smooth a surface as one can. Cure or harden the slab in the same manner as described for curing the pedestals. It is well, how- ever, not to attempt to remove the under part of the mold for at least from seven to ten days. The sides of the form can be removed any time after forty-eight hours. A good smooth surface can be given to the bench by wetting it down well and rubbing it with a fairly fine grade of carborundum brick. By tooling the recessed panel in the outer sides of the pedestals by means of gently striking the surface with a chisel and hammer, a good stony effect will be produced, which will greatly add to the appearance of the ends. If on taking off the mold the cast should in any way be injured, the damaged parts can readily be replaced or filled in by applying and forming into shape cement mortar composed of i part cement to i or 2 parts of sand. Before applying this mortar, be sure to wet down the surface of the cast thoroughly, for if not, trouble will be had in securing a good and permanent bond. In set- ting the bench up, place the pedestals about 7 inches in from the ends of the slab, as shown in the illustration. It is unnecessary to secure the slab to the ped- estals in any way, as its weight will keep it in Concrete Pottery and Garden Furniture 155 place. If one should wish the top edges of the slab beveled off, a triangular strip of wood can be secured along the bottom edges of the mold, as shown in the cross section of the slab mold in Fig. 118. By following along the same general directions as given for making the bench shown in Fig. 1 1 i, one may elaborate on the design of the bench ped- Fig'. 119 — Design for Bench Pedestal with Curved Outline and Mold for Same estals. For instance, in Fig. 1 19 is shown a pedes- tal having curved outlines. The mold for this is made similar to the mold shown in Fig. 115, with the exception of the sides. A simple way to make a form for a design of this kind is to use sheet tin or thin galvanized iron, as shown in Fig. 119. If one has not the facilities for cutting and bend- 156 Loiicrcic Poltcrx and Garden I'urnilurc \ng the tin to shape, any tinsmith will do it for a triHing cost. All that is necessary to do in this case is to furnish the tinsmith ^Yl\:\\ a lull-sized draw- ing of the outline required and the width of the tin of \\-hich to make it. This \\idth will he the same as the depth of the mold, and in no case need the depth of the mold be more than 7 inches. It is always \\e\\ to brace these tin sides of the mold by means of strips of wood, as sho-iAii in Hg. 119. This will prevent them from bulging when the concrete mixture is placed in the mold. Some ^•ery interesting surface effects can be obtained in the pedestals by using selected aggre- gates or stones. When using this method, the concrete is mixed exactly as previously explaineil, with the exception that Instead of using plain pebbles or trap rock, one should use trap rock anci white marble or broken-up red brick. The size of the pieces used should not exceed ' j inch to ''4 inch. Place the mixture in the mold as prev- iously explained, but instead of allowing it to re- main there for two days as before, remo\'e the forms in from eighteen hours to t\venty-four hours. The concrete \\\\\ then be found a little soft. By spraying the cast with water and gently brushing the surface -with a good stiff brush, the sind'ace cement will be retno\'ed, and the stone and marble and pieces of red brick will gradually be exposed, thus producing a surface more or less resembling mosaic. The possibilities of the effects which can be obtainctl with this treatment, as pre- Concrete Pottery unci Garden Furniture 157 viously explained, are only limited by the colors and size of the stone aggregates which are availa- ble for use. If any surface cement should remain on the stones or exposed aggregate after the above treatment, a solution composed of i part com- mercial muriatic acid to 4 parts of M-ater can be applied to the surface of the cast by means of a Fig. 120 — Ornate Concrete Bench — Executed by the Erkins Studios brush. This solution should be allowed to remain on the surface for from fifteen to twenty minutes. Then the surface should be thoroughly cleaned off by means of washing with good clean water and a stiff brush. This acid treatment will cut away all surplus cement and will leave all of the stones clean and bright, thus producing a surface full of life and sparkle, CHAPTER XII. CONCRETE FENCES Concrete fences are becoming more in favor e\ery year, for the reason that they always lool< substantial and neat, and at the same time require practically no expense for maintenance. The accompanying illustrations are suggestive of what Is and can be done In concrete fence work. Foiiiidalioiis The first thing to do in building a fence is to prepare a good foundation or base for it to rest i'.f^^t^. ^ ip. 121— Detail of Conc'reU- Fouiukition on. Care should always be taken to see that the base is placed deep enough in the ground to obviate all trouble which may arise from frost or the heaving of the ground in the spring of the year. The depth of the foundation depends large- Concrete Pottery and Garden Furniture ii;9 ly upon locality and the nature of the soil, but usually a depth of from i8 inches to 3 feet from the surface of the ground is sufficient to o\'ercome any trouble from frost. To prepare the foundation, a trench should first be dug, as shown in Fig. 121. This should be about 14 inches wide. The depth depends, as stated above, upon the locality and nature of the soil. The bottom of the trench should be well tamped down, so as to make a good solid bottom on which to deposit the concrete «-hich should be composed of 1 part Portland cement, 3 parts of sand, and i; parts of broken stone or graxel. This mixture should be placed while fairly -wet, and should be well tamped down and lc\eled off. 1 he foundation after having set or hardened for from one to three days will be ready to rccei\e the fence posts and rails or panels \\'hich may be of various designs. Fence Posts The fence posts are usually made in wooden molds, and set up anci cemented in place on the foundation after they are finished. The posts and post caps are cast separatelv, as shown in Figs. 122 and 123. A detail of the post mold is shown in Fig. 122. It consists, as shown, of a square box built up of i-inch boards. These posts can be made of any desired dimensions. As a rule, a good size is about 12 inches square by from 3 feet to 4 feet high. A mixture composed i6o Concrete Pollcrv ami Garden I'lirniliire of I part Portland cement, 2 parts of Sind, and 4 parts of broken stone or gravel should be used for making the posts. The post mold should be placed on end, as shown in Fig. 122, and the concrete should be de- J "hoca-ds, prefeJ-aili/ '^'k 4" stud Fis. IJ Top ofpostsTimrint/ location of grooires in sides of post to receitv emls 0)' paneU -])i-tail of Wduilcn Mf.ld for Posts posited 'while in a pasty state. It should be well tamped down, and by working the heavy stone away from the sides of the mold, while depositing, by means of a wooden paddle or pitchfork, thus allowing the finer particles of cement and sand to come to the face of the mold a smooth surface Concrete I'ottcrx and Garden Furniture i6i will be obtained on the cast. It would be well to shellac and grease the mold before depositing the concrete. Be sure to get the top and bottom of the mold square with the sides, for if this is not done, more or less trouble will be had in truing the posts up when placing them in position on the base or foundation. Post Caps The caps as stated above are cast separately from the posts. A simple form or mold for the post caps can be made as sho\^-n in Fig. 123. This is composed of a \\'ooden box made to the desired ^ f-f, ^M. A ' Moiili/incf ■Fig. 123— J)ct:iil of Mold fnr I'uiu-e Post Cap dimensions of the finished cap. The bottom or curved portion of the cap, shown at A, can be produced by securing to the inside bottom edges of the mold strips of wood molding of any de- sired shape neatlv mitered at the corners as shown. This molding comes in standard sizes and shapes, i62 Concrete Pottery and Garden Furniture and can be procured In long strips at almost any carpenter's shop. Shellac and oil the inside of this mold well before placing the concrete, for if one neglects to do this, trouble will be had in strip- ping the moki from the cast. When stripping or removing the mold from the cast, remove all four sides first before attempting to remove the bottom. It will be noted that the molding is secured to the bottom of the mold only, the four sides merely resting snugly against it when the mold is assem- bled. Care should also be taken to level off and trowel smoothly the top of the cap after the con- crete is placed in the mold. Use the same mix- ture for casting these caps as was used in making the posts. Fence Panels- — Lattice Design Various designs are resorted to in filling in be- tween the posts in fence work, such as balasters, scroll designs, panels, etc. The diamond or lattice clesign of railing or panel, shown in Fig. 124, is largely used for porch work as well as fences. It is cast in one piece and is reinforced with a sheet of 6-inch mesh No. 4 expanded metal placed in the center of the concrete strands which are made about 2 inches square. The expanded metal re- inforcing lends itself nicely to this design, inas- much as the meshes are of a diamond shape. If, however, this metal is not available, ^'s-inch round or square steel rods can be used for reinforcing the panel, with good results. The method of Concrete Pottery and Garden Furniture 163 making a fence panel of this kind is simple. All that is required in the way of a form is a box 2 Inches deep by the desired height and length of the panel which is to be made. In the bottom of this box locate the position of the diamond-shaped holes. Then make of wood as many diamond- Fig. 124— Lattice Desig^n of Panel shaped blocks as are required, and secure them by nails in their proper position to the bottom of the mold. Allow a good draft or taper on all sides of the blocks as shown, so that the fence panel when cast can be easily withdrawn from the mold. Before casting, shellac and oil well all parts of the 164 Coiui'Ctc I'otlci'Y and Garden Furniture mold that will come in contact \\ith the wet con- crete. When the mold is complete, as shown in Fig. 125, place about i inch of concrete in it, then place the sheet of expanded metal or steel rods in position on it, and proceed to fill the moki flush with the top. Level off the concrete and allow it to set for two or three days, occasionally wetting it down ^^•ell ^^ith water. After the concrete is hardened, the mold can easily be removed by gently taoping the surface of the exposed diamond ^f / H^oor? /''/roj/r T'Jace Reiiilhrrini/ hhfrk.'i r/.v ■ illiinn /'ir ihilfrfl /fiif.s Kt'inl'i'rcivt'n''^. Diar/iora/ /y/^v/iv in o'licirlf ffei 'il ^ i2±l Fig. 125 — Dc-tail of Mold of Lattice Panel blocks here and there throughout surface of the mold. An)' corners of the cast that may have been broken (;r injured in removing the cast from the mold can be readily pointed up ^-lith a mixture of cement mortar composed of 1 part Portland ce- ment to 2 parts of sand. 1 he whole surface of the panel can then be well wet down and painted with a mixture of neat cement and water mixed to the consistency of a thick cream; this on drying Concrete Pottery and Garden Furniture 165 out will produce a good uniform color to the whole piece. The concrete mixture used in making this panel should be composed of i part Portland cement, 2 parts of sand, and 2 parts of gra\-el or broken stone, not to exceed '4 inch in size. In setting this panel in place, the fence posts /Taper •^id es of otrip Jinnr (w/t(iii/ ('/' tiwii/i/ :ifil ris ^ ■ Jd Rcuitarcinj/ Jiua 't~ni(hli of parw/^- Fig-- 1-^6 — Detail of M^'lil fnr C'nping should be piro\-ided with a groo\-c 2's Inches to 2' 4 inches wide by ' _• inch to -_[ inch deep in the middle of their t«o opposite sides, as shown in Fig. 122. This is to allow of the ends of the panels to set into the posts, .\fter ha\-mg located the panel in its proper position in the groo\'e or recess, the recess should be filled in with cement 1 66 Concrete I'ottcrv and Garden Furniture mortar flush with the face of the post, thus pro- ducing a good smooth finish as well as firmly cementing the panel in place. Cop'incjs The panels should be topped off with a coping, as shown in Fig. 124. The underside of this cop- ing should also be pro\'ided with a groo\'e, as shown in Fig. 126, of the same dimensions as the grooves in the sides of the posts, so that it can be let down on and securely cemented to the top of the panel. This coping can be cast in a wooden mold made as shown in Fig. 126. A strip of wood, tapered on the sides as shown, can be used to form the groo\'e in the bottom of the coping. The mold should first be filled to within the thick- ness of this strip from its top. The strip should then be centered, and the concrete filled in on both sides of it until flush with the top of the mold. A mixture composed of i part Portland cement to 3 parts of sand and fine gravel will give good results for this class of work. Rubble Panel Another very eftective panel for fences is the rubble panel made of field stone shown in Fig. 127. This is made in a mold composed of four pieces of 2-inch by 4-inch lumber. This frame is made of the desired size of the finished panel. It is then laid dott'n flat on a good level piece of ground and filled in with about i inch of cement mortar com- Concrete Pottery and Garden Furniture 167 posed of I part Portland cement and 3 parts of sand. A sheet of steel reinforcing mesh such as expanded metal or steel rods is then placed on top of this I inch of mortar, and over the reinforcing is deposited about 2 inches more of the cement mortar, into which the field stones are embedded. Fig. 127— Rubble Panel 1 68 Concrete Pottcrv and Garden fiirniiiire The stones before embedding into the mortar should be well wet down. 1 his panel should be allowed to harden, before attempting to raise it from its position, for at least from four to six days. It should also be occasionally well sprinkled with water. After it has thoroughly hardened it can be set up in place between the fence posts in a similar manner as explained for setting u].i the diamond design of panel. After this panel has been set in place, the rough side of it can be cleaned off and well wet down and finished, by means of plastering it with a cement mortar macie of I part Portland cement to from 2. to 3 parts of sand. Solid Ruhblc Wall The same rubble effect can be obtained in a solid •\\-all by building up on the foundation a ^^-ooden mold, as shown in Fig. 128. This mold should then be tilled in with heavy and light iield stone, and «hen the mold Is filled le\-el with the top, a fairly thin creamy mixture of i part Portland cement to 2 parts of sand can be poured into the mold. This cement grout as it is called will find its way into all of the cre\ ices or ^"oids bet\\'een the stones, and Avill securely cement them together. I'he moki should be remcned in from twelve to twenty-four hours at the longest. The sm-facc of the wall sliould then be scrubbed down well \\\t\\ a good stiff wire brush and plentv of water. J his treatment will remo\'e all of the surface cement, L oiicrcic Pottery ami Gurdcii F iiniitiirc 1 69 If desired, a and thus expose the stone to view, n uc^iicu, a coping can then be cemented to the top of the wall, as shown in Fig. 127, A wall of this kind can be made of any length. Fence posts can then be cast Jfood .spacer or ^prea^er fo ?w7d. -y/ff'^A of/orm propfi- dLstrau-e aptrrt "d'' rZ/ea/'. 1 Tr'nq'u e . and arooi-'ed jortffSat infifrvuL^ to ^~.--i:\C^e anti steady /'orm. Fill in wd'h/i'efd stonej and cernen t- evt-n/^'ta nhn'cund ■rn f'ro/n V\sr. 128— Detail .if MuKl f,,r Sc.li.l Rubble- \\'ail in place at the ends, or they can be cast sejiarately, as pre\nously explained and set up in place. AsscmhUng Panel Fences As stated abo\-e, when panels are used in the construction of a fence, the posts should always be cast with a groove or recess for them to fit into. When assembling a panel fence, the first post should be firmly cemented in position on the foun- dation or base with a mixture of cement mortar 170 Concrete Pottery iiud Garden Furniture composed of 1 part Portland cement to 2 parts of sand. One end of the panel should then be located in the groove in the fence post, and should be tem- porarily held in position until the next post is mo^'ed up into place, so as to engage the other end of the panel in the groove cast in its side. The second post and the panel should then be trued up and held in position by wooden wedges. The whole then should be firmly cemented in place with cement mortar, and the remaining posts and panels set up in like manner on the foundation until the fence is complete. Lozv Cement Copings Low cement copings, such as shown in Fig. 129, are much in vogue along the sides of paths as well as sometimes being used to indicate the di\'iding line between two pieces of property. These cop- ings can be easily constructed by the use of two boards, a few wooden pegs, and a metal template cut to the desired outline of the top of the finished coping. The first thing to do is to set the boards up along the foundation or base, as shown in Fig. 130, which has previously been made to the desired width, then drive in the wooden pegs as shown, spacing them about 16 inches apart. Nail the side boards to them firmly, anci then line up the sides and level off the top of the boards. Now fill in the space between the boards with a mixture of I part Portland cement and 4 parts of fairly coarse sand. Concrete Pottery and Givdcn Fiiniiti/re 171 Fig. 129 — A Low Cement Coping 172 Cmicrctc Pot I cry ami Garden h'liniiliire Te/iifiLUe ory&r/r/er/fl/- lop o/Virja/'/t// I ij. 13U-Dttail of Molil, Ti-niplate, t-tc , for Low Coping Concrete Pottery and Garden Furniture 173 Do not make this mixture too wet. Now make a former or template out of a heavy piece of tin or galvanized iron. Cut this to the form of the desired shape of the top of the coping, and nail it securely to a piece of i-Inch board as shown in the illustration. Place this in position on the top of the two side boards, letting the edges of it lap over the sides of the hoards, as shown at J . Now on the cement already placed bet\A'een the side boards build up more of the mixture until it reaches high enough to be scraped or cut off bv the template as it is mo\'ed back and forth o\-er the top of the side boards. Keep adding cement to the top of the coping and packing it tlown, at the same time mo\ing the template back and forth until a goocf smooth e\'en siwface is obtalncil of the same outline as the cut-out portion of the tem- plate or former. With this method a coping of any desired shape and length can be maile at a small expense. Biiluslrtidrs Probably one of the oldest designs of fence, and one that is still popular for certain architectural effects, is the balustrade. This is made up of a number of small pillars set on a base and topped oft with a coping, as indicated in the half-tone illus- tration, Fig. I ■; I . Formerlv these balustrades were made of stone or marble, and were used only in the highest class of work, owing to their great cost, due to the fact that each baluster had to be 174 Concrete Pottery and Garden Furniture z J -^ I Concrete Pottery and Garden furniture 175 cut out of a solid block or piece of stone. These balustrades are now made of concrete, and are used in places where formerly, owing to their expense, their use was prohibitive. The half-tone illustrations shown in Figs. 132, 133, 134, 135, and 136 show different views of the Fig. 132— Four Sides and Base of Plaster Mold for Baluster plaster mold in which the balusters are cast, as Avell as the various steps in the making of a con- crete baluster. The first thing to do in order to make the mold for a concrete baluster is to pro- cure a model. This can be of either wood, plaster, or stone, or it can be modeled in clay. 176 Concrete Pottery and Garden Furniture Perhaps the cheapest way would be to procure from a carpenter or builder a stock model of a wood baluster of pleasing design. This should be well coated with two or three coats of shellac. Fit,'. 1> 5— Showing Baluster MulJ Assembled with One Side Off it should then be oiled and placed on the work- ing bench, as shown in V\g. 137- A square block of plaster ./, i inch to I'j inches in thick- ness, to correspond in size and shape to the base B of the baluster, should then be made. Concrete Pottery and Garden Furniture 177 Fig. 134 — Baluster Mold Assembled and Being; Filled with the (^oiirretc Mixture 1 78 Coiicrcfc Pottery and Garden Furniture This should be placed and secured to the end of the bahister at B as indicated. Now take some modelers' clay, and place it along the entire length of the baluster from C to D, as indicated by the Pig. 15 5 — Stripping the Mold from the Concrete Cast shaded portions E and F in the end view No. I. Smooth off the surfaces G and // of the clay to an angle of about 45 degrees. After having pre- pared the clay on the model of the baluster as de- scribed above, block up the two ends by placing Concrete Pottery and Garden Fnrnitnre 179 Fig. 136 — Pointing Up the Baluster i8ii Concrete Pottery and Gartlen Furniture against them two pieces of board, as sliown at / and ./. Now get a fairly large tin dishpan and Ja^le ?wl38 Bracr/t'r dba i^'orkiriQ hoajyl orhench. jVh. /. Flitjter' .Vo. A-' ^ ^^ '"'^ "T V^ / / ^S'/^r/Au'-' _ V and ij/7 -V \ ec/,:;..^ - 'Joqcr/c /lu/i -s .Vo. , \ \X ^i',A:'.'rs" ^ 'K -Baluster Mude/ encased on aJI /ti/ir- ■sidc-i nir/i I'luste?- V \ y^ \-'i' L:\ y \ \ .Vo. ./ 1 Fig. 137. — Profjrcssivc Steps in the Making of a Plaster Mold for a Baluster partly fill it with water, and to this add plaster of Paris, at the same time stirring it well, until the mixture is of the consistency of thick cream. Pour Concrete Pottery and Garden Furniture i8i this mixture over the model of the baluster and into the cavity formed by the clay strips and the two end boards. Allow the plaster to set or harden for about ten minutes, after which time the clay and end boards can be remo\-ed. Now turn the model over, letting it rest on the plaster shell just cast, as shown in the end view No. 2. Then proceed as before to cast a plaster shell on side A of the model, using the clay sides and end boards. After the plaster has hardened, remo\c the cla)' and boards and turn the model o\er into the posi- tion indicated in the end \\c\x No. 3. Cut joggle holes in to the angular faces of the plaster shell as indicated in the various half-tone ilkistrations, then shellac and oil these surfaces aacII. Now proceed to cast section L ot the plaster moKl. ;\fter this is hanlened, turn the model o\ er again and cast section A^ of the mold, as shown in end \-ie\v No. 4. Let this harden f(ii- from ten ti> fifteen minutes. Now if the angular edges of the [ilaster ha\'e been properly oiled as directed, a slight tapping here and there on the plaster shell \\'\\\ be sufficient to release it from the model of the baluster. The inside of the plaster mold should now be cleaned up and be gi\-en two coats of shellac. After drying it should be well oiled M'ith a fairly thick oil to prevent the cement when casting from adhering to it. Before assembling the various parts of the mold, a hole should be made in the center of the piece A. This hole should be about t< inch deep and large enough to 1 82 Concrete Pottery and Garden Furniture receive the end of a Is-'mch round steel rod. Each baluster should be cast with a rod of this size running through it, from end to end. This rod not only acts as a reinforcing for the baluster, but it also helps to hold them firmly in place when setting them up in the balustrade. Now assemble the various parts of the plaster mold, and secure them firmly together by irons shaped as shown in the half-tone illustrations. Figs. 134 and 131;. To cast the baluster, set the mold on end as shown in Fig. 134, and fill it with a mixture of i part Port- land cement, 2 parts of sand, and 3 parts of broken stone or gravel not to exceed '4 inch in size. Mix these all together thoroughly, while dry, and then add enough water to this mixture to make it of a creamy consistency, so that it can be poured into the mold from a pail as shown. After pour- ing let the mold set on end, undisturbed, for about twenty-four hours. At the end of this time the concrete «-ill be hard enough to allow of the re- mo-\'al of the mold. Before casting the next baluster, clean and oil the inside of the mold well. If any part of the baluster should have been injured in removing the mold, it can be readily pointed up with a ce- ment mortar made of i part Portland cement to 2 parts of sand. Wet the injured portion well before starting to point it up, for if this is not done, trouble wW] he had in getting the mortar to atlhere to the baluster. The base upon which to set the balusters can Concrete Pottery and Garden Furniture 183 be made in a similar manner as described for the maicing of the low coping, previously explained; but instead of having a curved outline to the top, the base upon which to set the balusters should be made flat. Holes can be made at proper inter- vals in the top of the base, to receive the '2-inch rods which are cast in the balusters, while the ce- ment is still in a soft state. This will facilitate matters when setting up the balustrade. The coping can be cast in a square wooden mold in anv lengths desired in a similar manner as described for the casting of the coping for the lattice panel explained above. In setting up the balustrade wet all parts which are to be cemented together, and use a cement mortar composed of i part Portland cement to 2 parts of sand. Combination Metal Frame an J Cement Mortar Fence This type of fence is used where a good, neat, strong, and permanent structure is desired. Its life is practically unlimited, and the cost for main- tenance, when properly built, is nothing. No molds or wooden forms are ree]ulred in Its con- struction. It is made up on a steel skeleton cov- ered with metal lath. In the fence here Illustrated expanded metal lath was used. A detail of the steel skeleton or framework is shown in Fig. 138, and In Fig. 139 Is shown the progressive opera- tions In the building of the structure. Fig. 140 shows the fence as it appears when completed. 184 Concrcle Pottery and Garden Fiiniilurc Oil referring to Fig. 138, a clear idea of how the framework is assembled v^-xW be obtained. The posts are made of 3-inch steel I beams, and are rtrndy imbedded in a foundation of concrete i q inclies square by 3 feet deep. As sho'An the^' are Concrete Pottery and Garden Furniture 1S5 placed at 8 feet 3 inches centers, and the total height of the posts from the bottom of the foun- dation to their tops Is 9 feet. The top and bot- tom rails are made of 2j:/2-inch x 2j.2-inch steel angles. It will be noticed that the bottom rail is placed with the point of the angle down. The object of this is to relie\-e the fence, to a large ex- tent, from the upward pressure due to the rising Fip;. 139 — Progressive Operations in the Makinj^ of a Cement Mortar Fence of the ground in the Spring time. If the bottom was left flat as is usually done, a elirect pressure would come on it, but by forming it as shown the tendency, when the ground rises, is for it to slide oft on each side; thus relie-s'ing the fence of the direct pressure which it would otherwise be sub- jected to. .Midway between the posts are secured to the top and bottom rail i-inch x i-inch x ' s-inch 1 86 CtDicrcte Pottery and Garden Furniture angles, and in the center of these angles, as well as in the webs of the I beams used for the posts, are pro\ided three ;'s-inch holes, through which are inserted three '4-inch round steel rods. After this framework is set up, metal lath is wired to it, as shown in Fig. 139, and the steel Fig;. 140 — Cement Mortar Fence Complete skeleton is then complete and is ready for the ap- plication of the cement mortar. The first coat of cement mortar should be made up of I part Portland cement to 2 or 3 parts of fairly coarse sand, and should contain a sufiicient amount of long cow or goat hair to form a good key. The first coat should be applied to the thick- Concrete Pottery and Garden Fnrnitiire 187 ness of about i inch, and its face should be well scratched to make a good key for the second coat to bond to. After this coat has been applied to one side of the lath and has become hard, the re- verse side of the fence, the surface of which will appear very rough, should first be thoroughly satu- rated with water and then be plastered, to a like thickness, with a mortar of the same composition, except that the hair should be omitted. The posts should be treated with mortar in the same manner as the panels, forming them into shape as the A\-ork progresses. The finishing coat can now be applied to both sides. The cement mortar for the finish should be of the same proportion as used for the first coat; but before applying it, be sure to satu- rate the first coat with water, for If this Is not done, a good bond between the first and finish coat will not be obtained. The top of the fence can be finished off square or a coping can be placed on it, as fancy dictates. If a coping is desired, it can he cast separately and set in place, or it can be run in place in a similar manner as pre\Iously explaineci for making a low coping. The surface of the fence can be finished with any one of the artistic surfaces which are possible to obtain with this material, such as a rough or smooth surface, slap dash, pebble dash, or rough cast. Even some color can be incorporated If so desired. The dimensions for the framework as well as the construction of the frame as given In Fig. 138 are of a specific case, and are given more 1 88 Coiicrcfc Pottery and Garden Furniture as a suggestion as to what can be done along these hnes rather than to follow in detail. The gen.eral principles gi\en for tlie construc- tion of this t\'pe of fence can he modified to suit any size or shape of fence demanded by the vari- ous conditions that may arise. CHAPIER XIII. MISCELLANEOUS Tools Aside from the tools described and illustrated throughout the various chapters, which can be made as the work progresses, one will reejuire one or more of the tools here mentioned, depending upon the class of work which is to be undertaken. Pointing tools, steel float, wood float, rake, wire brush, scrubbing brush, trowels, straight edges, hoe, shovel, nippers (for cutting \\'ire), chisel (for cutting steel bars), shears (for cutting sheet metal), hand saw, wood plane, screw dri\'er, hammer and a mixing box. Reiiiforciiu/ There are innumerable types of reinforcing materials on the market. To describe them all would take up too much space; therefore the author will here only call attention to the necessity of using reinforcing, and gl\'e a few brief remarks as to why it is used. As the term implies, reinforc- ing is used to strengthen or reinforce the -s-arious objects made of concrete. When reinforcing is used in concrete, the product becomes a combina- tion of steel and concrete and is known as "rein- forced concrete." Reinforcing is made of steel. 190 Concrete Pottery ami Garden Furniture and the types which are most used for reinforcing the class of work described in the foregoing pages are in the forms of metal lath and of round or square steel rods. Concrete like all other ma- terials expands and contracts under temperature changes; therefore, concrete articles of any size must be \\t\\ reinforced, not only to gi\-e them ad- ditional strength with which to withstand han- dling, etc., but also to prevent them from cracking, due to the contraction and expansion of the ma- terial under the high temperature changes, which in our climate \'aries from the cold of winter to the warmth of summer to about 1 10 degrees Fah- renheit. JJ\ilerpro()fiiuj Like all other materials such as stone, brick, marble, etc., cement absorbs more or less moisture. If, hott-ever, proper care is taken in the selection of the aggregates and in the proportioning of the mixture, there should be little trouble in obtaining a product that ^^-ill be sufHciently imper^•ious for all such objects as are described herein, such as concrete pottery and garden furniture. Tf, how- e\'er, one wishes to produce an article such as a vase, and desires that it should be absolutely im- pervious or waterproof, one can make it so by using a waterproofing compound. There are a number of such compounds on the market, all of which have more or less merit. The principle upon which all of these compounds is based is that Concrete Pottery and Garden Furniture 191 of filling up the pores or minute holes which are to be found in all materials of a similar nature to that of stone or concrete. These compounds are offered for sale in both powder and liquid form. Some are incorporated in the mixture, and others are used as a surface treatment after the article is complete. The latter class are the simplest to apply, and will answer well for the waterproofing of the articles described in the foregoing chapters. INDEX Acid, use of loi Air bubbles, bc.w tc avni 1 30 A bun 75 Amount of ingredients neeessar_\' for fixeil anniunt of mixture 104. 105 Antiques, reproduction of 89, 90 Artistic possibilities i Assembling fences 169 Assembling a glue mold 85 Assembling of pedestal ^37 Assembling plaster mold - ). ,10, 42. 43 Balustrades 17,^ Baluster, plaster model for 175-182 Bencbes 144 Bench pedestals 140-155 Box for making round molds 3(1 Caen stones 10,? Carborundum brick 154 Cardboard molds 46-48 Case, plaster 27. 2 \ j). 41 Casting ornaments in sections i,10 Casting pl.aster, method of 23 Clay 2[, 34, 4S Clay, co\-ering model with do, 65 Ci ilor pigments 03 Ci dor, test pieces 9,=; C( ill ired cements So Colored mortars, prep.aralioo of 9(1 Colors, uide range of Od Cnmbin.allon cisting and modeling 45"3S Index 193 PAGE Cfimbinatinn glue and woofl core ^7 Ci)niljiiiatifiii iiK-tal and cement murtar fence 1S3 Concrete fences 1 58 Concrete nnxtures, preparation of 00 Copings for fences 166 Core, collapsible \vo(jd 166 Core, combination carrlboard ami ^and 4'i-4''^ Core, piece or sectional 26, 2~. 33, 3O, 43 Core, plaster 24 Core, solid 25 Concrete pedestals 122 Consistenc_\- of mortar \o. -\o Cow's bair i.sii'. Curing cement casts 1,2 Curing colored cements o.S Cutting out designs 90 Cutting plaster 39 Depositing tile cenienl 30 Designs in colored ci'Uient Sg Double tin for melting glues (17 Duplicate pieces 10 Egyptian \ase 45 Fences, ci aicrete 15.'-! Fences, foundations fiu' 15!-! Fence posts 1 30 Fence post cafis lOi Field stone, use of. for ienci's 1 07 Finisbing coat i I -14 Flexible niobls 50 Forming round jilaster molds 37-40 Forms, wire 2-9 Foundations for concrete furmun-e 141 Foundations for fences 15S Frames, wire 2-9 Framework fc ir fence 1S4 Fumiel for glue molds 63-67 Garden furniture 122 104 Index I'AGE GulatiiK' uy Glue, licst kind to unl- 66 Gliic, cli mlilc tin for nicltiny" 69, 71 (jluc, nK'tlidil (.f preparing 67 Glue ninUli; 59 Glue mold>, assembling (if 75 Glue molds, method eif making simple 59 Glue molds, using (dd pings 1 70 Marble dust II Mineral ci dors 94, 95 Mixing plaster 22 Models 19, -'0. 40 Mold for solid walls 109 ^Modeling in cement 50 Modeling over wire frames 10 Modeler's cla_\'. (See Clay.) Moravian tile 117 Muriatic acid loi Ne,gative nn dd 117 Oil 20 Panels, for fences 162 Paper, co\-ering model with 60 Index 195 Pedestals 122 Plaster, method of mixing 22 Plaster models 39. 40 Plaster molds i'j-43 Plaster molds for curved objects .>,V44 Plaster mold for square box _>o, 31 Plasterer's hair 10 Pointmg up iJi-i^O Portland cement mortar j-i i Pouring the cement mixture 30 Preparing glue (9 Proportion of aggregates r(9 Red granite 103 Reinforcing 55, 1J4. 1^2. 134, [50, 153, 104. 107. iSj. i8ij Removing cast from mold 31 Round core, sectional ,15 Rubhle fence panel 16O Sand 105-107 Sand, grading iil 106 Sectional glue molds 77 Sectional wood mold IJ.^, \2u. i.^l Seleclion of aggregates 00 Scratch coat 10-14 Scratch coat for fence If^7 Shellac 20 Size of aggregates roi Slab for bench seat 152 Solid core, method of removing from ca^t 116 Stones 99 Sundial pedestals 140 Surface finishes 100 Tamping" 49 Templates i,l, 14, K."', 17, 36, 40, 50, 52 Templates for coping> 172, 173 Three-piece outer mold 33, 34 Tile, method of inlaying 117 Time required for cement to set iO I(;() fiiilcx Tin l.n- mollis Tim, Is Turning piasKi- nmlds. I'nifi irni mixiny L'se iVir I lid yluc mollis. \'arnish fur yluf niuliK. W-nt link's \"iiuls J 35 iSq 129 37 loS SX /s 105 Wall, solid rubble 'CX \\ asliin,y sand 107 W aUr. iuiportancc of 50 A\'aurproohn,y igo W'atcriiroohUL; glue mold 74 AMiite marble 10,1 Wdiilc r'ortland cement 04 \\ ire frames or fi iriiis _>-ii \\'ire latli :,. 5, 6. S Wood e-ore, solitl n6 \\ ni id nil idcl for square box jo Wood nioldin.g, use of up AVood, ] I roper kind for molds 147 A\'oodeii molds lie Working beiard 20-22 PATENTS The Wealth of Nations /\ PATENT pjives you an exclusive right to your invention for a term of seventeen years. You can sell, lease, niortg-age it, assif;n portions of it, and grant licenses to manufacture under it. Our patent system is responsible for mucii of our industrial pro- {(ress and our success in competing in the markets of the world. 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