•j. . J Jbweff /S‘9-6 ■mr: .! H*rUn'C. / ( i-A') -f’ «A 0 ^^ Digitized by the Internet Archive In 2015 I https://archive.org/details/panoramaofscienc01snnit_0 ‘ j'K. HcavcJi, at tbc Ifivocatioii cf' Oniins, l)csto\vs o?i fbe I.a bonus, tfje jytejh'/igs tf' Jfoo/ja/u’oat a?fd ScuJitijic Ijtventums THE PANORAMA OP SCIENCE AND ART; EMBRACTNG C!)e §)c(ences OF AEROSTATION, AGRICULTURE AND GARDENING, ARCHITECTURE, ASTRONOMY, CHEMISTRY, ELEcraicirv, galvanism, hydrostatics and hydraulics, magnetism, mechanics, optics, and PNEU>UTICS ; THE AMTS OF Building, Brewing, Bleaching, Clockwork, Distillation, Dyeing, Drawing, Engraving, Gilding and Silvering, Ink-making, Japanning, Lacquering, Willwork, Moulding and Casting in Plaster, Painting, Staining Glass, Staining Wood, and Varnishing: THE METHODS OF W ORKING IN WOOD AND METAL, applicable in annealing, boring and drilling, filing, grinding, tempering STEEL, MAKING SCREWS, SOLDERING, COMMON AND ELLIPTIC TURNING, &c. And a iHistellaneaus g^election OF INTERESTING AND USEFUL PROCESSES AND EXPERIMENTS. BY JAMES SMITH. With Forty-nine illustrative Engravings, by eminent Artists, JN TWO VOLUMES. VOL. L LI VERPOOL, PRINTED FOR NUTTALL, FISHER, AND CO. 1815 . • ? 7 ','■?<>. e'^dSI -s6t 'A '■: -•.■■ = ^ : . V .;,J- ''•.^: ^,- ; I- .r; - 4 J 7 >,' ; Y.r \ .'t'h^'- '.• .^. , >: . , ■ i; -* //:•'■ •« .£ -.-' — :ii .i_f-;. •'>>V/,r> •'V • . ■ * ■ ■ ■' ' ■ " ■ - ^ :m?. bum & Jo .moiipoibof /8silTi^OV jr ’ ifcl ^ II ;^(Hrty»nxf(jc, >n''fjjann ■ lhoiV-#Uf«'/;i‘.iV.^,3KJ,,Bvbf< 7lll 1.mviHV.«>r^-. '^ ftrfr rtrl iiotriafibs..., icrff W ^nu« , Jo /tt/ii'Jil' iiiiF/'- ■ l^lii!r>rl3W9d i8 :tfou f ' J Jtw-iiq boH -.ifl.- Vw> , , M.-t } ; ' . .•ri'i'wibl bife " (Vq syHj' ni f. ^ ’i ,^'H VMfftrfajatrtHib'm hfTf ^4- j[Ufi(TJJ/!in o(f bliifj'^t BOouoLj^..iiut lo .nbisetji^oiq sd> feofi malls^ixa sri'jT btiiBiafsoarf ' " .8«bJ 307, 25, for “ fig. 2 ” read " fig. 3.” 312, 5j from Hie bottom, for “R” read “S,” and in next line for "S” read “R.” 315, 20, for " A ’ read “ it.” 331, 3, for "hand” read "band.” 332, 1, for "was ” read " has.” 300, 12, from the bottom, after "turned ” insert ' " above.” 354 , 9, for "a J ” read " a p.'' 357, 24, for " TCHO ” read “ TCHQ.” 368, 17, from the bottom, for “ah'"' read “ a pj' 376, 8, for " ST” read " SS ; ” and in line 35, for " IK ” read " IR.” 377, 3, 4, and 7, for " K ” read " R.” 382, 14, from the bottom, for “ g” read “/i.” 390, 3, for “ RS ” read “ BG.” 444, 20, for " S/’A” read “Sfg,” and injine 23, for “ S c A ” read "Sc g.” 435, IS, for " eye ” read " retina.” 519, 6, for " assigns” read " signs.” 665, 10, for " 29 17 44 3 ” read " 27 7 43 5.” *89, 7, for " farther ” read " faster.” iC07, 1, for “ y T ” read “ VT.” VOL. II. Page, line, 4, 24, for " B ” read “ P.” 26 , 3, for " A” read " F.” 210 , 9 , for “ e ” read " c.” 230, 19, for " A” read " E.” 301, 17, for " nitio-muriatic” read “ nitro-muriatic.” 307, -9, for “ crucible ” read “ retort.” 322, 12, for " fig. 5 ” read " fig. 10.” .346, 13, for “ burn ” read " burns. ’ 398, 26, for “ air ” read " hair.” 406, n, for “ no” read " not.” 661, 3, for " where” read " were.” 709, 3 and 7, from the bottom, for " a: v R ” read "ar Ry,” and in line 2 from the bottom, for “vlK ”read " c R t.” 714, 20, for " Va: ” read “ V ar/.” 714, 21, for " w VP ” read “/w VP,” and strike out " through the point t.” 714, 22, insert "/” after "to.” 605, 7, from the bottom, for “ mercury ” read " alum,” ' (Most of the errata for both vols. occur only ia part of the copies,) THE PANORAMA OF SCIENCE AND ART. MECHJNICJL EXERCISES. Of Iron. Of all metallic substances, iron is the most abundantly diffused, and the most intrinsically valuable. It may be detected in plants, and in animal fluids it is the chief cause of colour in earths and stones ; sands, clays, the waters of rivers, springs, rain, and snow, are seldom perfectly free from it ; and in several parts of the w^orld, whole mountains are composed of iron ore. if the use of this metal were lost to mankind, the arts and sciences would dwindle into insignificance, and civilization itself 'become rapidly retrogressive. An inquiry, therefore, into the properties and means which render it subservient to such important purposes, will not, it is presumed, prove uninteresting to the general reader; while the prudent artizan, whose first care is generally to provide himself with tools adapted to his labours, will attentively review every hint which may improve his knowledge of that material, the proper choice and management of which constitute the first step towards success in mechanical pursuits. Iron is employed in three states, viz. that of cast iron, wrought iron, and steel. Cast iron is the metal in its first state, rendered fusible by its combination with those tw o substances which chemists distinguish by the names of carbon and oxygen. In the great iron works, the ore, broken into small pieces, and mixed with a portion of limestone to promote its fusion, is thrown into the furnaces, which are from sixteen to thirty feet high. Baskets r * * — ■■.■■■ ■ - • Metallic grains of iron have been found in strawberries; and one-twelfth part of the weight of dried oak wood is said to consist of this metal. — The blood contains much iron, to which it owes its red colour. 1.— VoL. I. B MECHANICAL EXERCISES. Manufacture of cast and wrought iron. of charcoal or coke, in due proportion, are thrown in along with it. A part of the bottom of the furiiace is tilled with fuel only. This being kindled, the whole is raised by the blast of the great bellow s, to a most intense heat. The metal, as it is reduced, sinks down tlirough the fuel, and collects at the bottom of the furnace. More ore and fuel are supplied above, and the oper- ation goes on till tlie melted metal, increasing in quantity, rises almost to the aperture of the blast ; a passage is then made for it at tlie side of the furnace, and it is run into what are called pigs of cast iron. A furnace will furnish daily from two to five tons of iron, according to the richness of the ore, and the skill with w hich the operation is conducted. Ores of iron combined with mag- nesia, are very refractory, and, as well as those which contain sul- phur and arsenic, require to be roasted before they are cast into the smelting furnace. Pig iron is of very different qualities; that which is called No. 1, and the fracture of which is of a dark colour, runs so fluid as to be admirably suited for grates, and ornamental w ork. Cast iron cutlery is manufactured from it, as no other would run fine enough for the purposes to which it is applied, such as forks and small scissars, fish hooks and needles. These articles obtain by annealing a considerable degree of malleability, and are even rendered capable of being welded. When great strength is required, as for large wheels, beams, pillars, or railways, the iron w hich contains a smaller proportion of carbon is preferable, as that called No. 2. Tlie proportion of carbon in cast iron varies in the different sorts, from one-fifteenth to one-twenty-fifth. Cast iron also frequently contains a portion of the phosphuret of iron, in which case it breaks of a white colour, and must, from its excessive hardness, be rejected for purposes which require it to be filed, or turned, or cut with the chissel. It may be ob- aerved, that the whiter the metal is, tlie harder it is also ; whether these properties are owing to its quality, or the mode of its ma- nagement. Cast iron expands in passing from the fiuid to the solid state ; it consequently assumes the exact figure of the mould into which it is poured, a circumstance which adds greatly to its value for casting. Crude or cast iron is converted into wrought iron, by keeping it in a state of fusion for a considerable time, and repeatedly stirring it in the furnace ; the oxygen and cai bon which it contains unite, and fly off in the state of carbonic acid gas, and as this takes place the iron becomes more infusible ; it gets thick or stiff in the furnace ; and the workmen know, by this appearance, that it is time to submit it to the repeated action of the hammer, or die regular pressuie of large steel rollers, by which the parts MECHANICAL EXERCISES. 5 Qualities of wrought iron. — Manufacture of blistered steel. which still partake of the nature of crude iron so much as to retain the fluid state, are forced out, and the metal is rendered malleable, ductile, more closely compacted, of a fibrous texture, and totally infusible. In this state it is known in commerce by the name of bar iron. The loss of weight sustained by iron, in the process of refining, is considerable, generally amounting to one-fourth, and sometimes to one-half. Forged, like cast iron, varies greatly in quality. Thus some of it is tough and malleable both when it is hot and when it is cold. This is the iron in common use, and it is the best and most useful. It may be known generally by the equable surface of the forged bar, which is free from trans- verse fissures, or cracks in the edges ; and by a clear, white, small grained, or rather fibrous texture. The best and toughest iron is that which has the most fibrous texture, and is of a clear grayish colour. This fibrous appearance is given by the resistance which its particles make to separation. The texture of the next best iron, which is also malleable in all temperatures, consists of clear, whitish, small grains, intermixed with fibres. Another kind is tough when it is heated, but brittle when cold. This is called cold-short iron, and is distinguished by a texture consisting of large shining plates, without any fibres. It is less • liable to rust than any other description of forged iron. A fourth kind of iron, called red-short, or hot-short, is extremely brittle when hot, and malleable when cold. On the surface and edges of the bars of this kind of iron, transverse cracks or fissures may" be seen, and its internal colour is dull and dark. The quality of iron may be much improved by violent compres- sion, as by forging and rolling, especially when it is not long ex- posed to violent heat, which injuries and at length destroys its metallic properties. But though iron is rendered malleable by hammering, this operation may be continued so long, as to deprive it of its malleability. Steel is made of the purest malleable iron, by a process called cementation. In this operation, layers of bars of malleable iron, and layers of charcoal, are placed one upon another, in a proper furnace, the air is excluded, the fire raised to a considerable degree of intensity, and kept up for eight or ten days. If upon the trial of a bar, the whole substance is converted into steel, the fire is extinguished, and the whole is left to cool for six or eight days longer. Iron thus prepared is called blistered steel, from the blisters which appear on its surface. In England, charcoal alone is used for this purpose ; but Duhamel found an advantage in using from one-fourth to one-third of w ood ashes, especially when the iron was not of so good a quality as to afford stew. 4 MECHANICAL EXERCISES. Tempering steel by colour. possessing tenacit}? of body as well as hardness. These ashes prevent the steel-making process from being effected so rapidly as it would otherwise be, and give the steel pliability without diminishing its hardness. The blisters on the surface of the steely under this management, are smaller and more numerous. He also found that if the bais, when they are put into the furnace, be sprinkled with sea salt, this ingredient contributes to give body to the steel. If the cementation be continued too long, the steel be- comes porous, brittle, of a darker fracture, more fusible, and in* capable of being welded. On the contraiy, steel cemented with earthy infusible powders, is gradually reduced to the state of forged iron again. Excessive or repeated heating in the forge is attended with the same effect. The properties of iron are remarkably changed by cementa- tion, and it acquires a small addition to its weight, which con- sists of the carbon it has absorbed from the charcoal, and amounts to about the hundred and fiftieth or two hundredth part. It is much more brittle and fusible than before ; though it may still be welded like bar iron, if it has not been fused, or over cemented ; but by far the most important alteration in its propeities, is, that it can be hardened or softened at pleasure. If it be made red hot, and instantly cooled, it attains a degree of hardness, which is sufficient to cut almost every other substance; but if heated and cooled gradually, it becomes nearly as soft as pure iron, and may with much the same facility be manufactured into any determinate form. A rod of good steel, in its hardest state, possesses so little tenacity that it may be broken almost as easily as a rod of glass of the same dimensions. This brittleness can only be diminished by diminishing its hardness, and in the pro- per management of this point, for different purposes, consists the art of tempering. The colours which successively appear on the surface of steel slowly heated, are, yellowish white, yellow or straw colour, gold colour, brown, purple, violet, and deep blue. These signs direct the artist in reducing the hardness of steel to any par- ticular standard. If steel be too hard, it will not be proper for tools which are intended to have a fine edge, because it will be so brittle that the edge will soon become notched ; if, on the con- trary, it be too soft, it is evident that the edge will turn or bend. Some artists inclose the tools to be hardened, in an iron case or box, and slowly heat them to ignition ; they then take the case out of the fire, and drop the pieces into water, in such a man- ner as will allow them to come as little as possible into contact Xvith the air. This method answers two good purposes ; it causes the heat to be more equally applied, and prevents the scaling occasioned by the contact of the air. When the work has been MECHANICAL EXERCISES. 5 Manufacture of cast steel. polished, and well defended from the air, it is, when hardened, nearly as clean as before. If the tool be unpolished, they brighten its surface upon a stone ; it is then laid upon burning charcoal, or upon the surface of melted lead, or upon an ignited bar or plate of iron, till it acquires the desired colour ; at which instant they plunge it into cold water. The yellowish white indicates a temper so little reduced as to be used for few edge tools; the yellow or straw colour, the gold colour, and the brown, are used for pen- knives, razors, and gravers ; the purple for tools used in working upon metals, especially iron; the violet for springs, and for instru- ments used in cutting soft substances, such as cork, leather, and the like ; but if the last blue be waited for, the hardness of the steel will scarcely exceed that of iron. When soft steel is heated to any one of these colours, and then plunged into water, it does not acquire nearly so great a degree of hardness, as if previously made quite hard, and then reduced by tempering. The degree of ignition required to harden steel is different in the different kinds. The best kinds require only a low red heat. It has been ingeniously supposed, that the hardness of steel depends on tlie intimate combination of its carbon ; and, on this supposition, it follow's, that the heat which effects this is the best, and tl^at a higher degree will be injurious. The texture of steel is rendered more uniform by fusion. When it has undergone this operation it is called cast steel ; which is wrought with more difficulty than common steel, because it is more fusible, and is dispersed under the hammer, if heated to a white heat. The cast steel of England is made from the frag- ments of the crude steel of the manufactories and steel works. A crucible, about ten inches high, and seven inches in diameter, i& filled with these fragments, and placed in a wind furnace, like that of the founders, but smaller, because intended to contain one pot only. It is likewise furnished with a cover and chimney, to in- crease the draught of air. The furnace is entirely filled with coke, and five hours are required for the perfect ffision of the steel. It is then cast into ingots, and afterwards forged in the same manner as other steel, but with less heat and more precau- tion, as it is more liable to break. Cast steel is about thirty per cent, dearer than other good steel. Its uniformity of texture is for many works an invaluable advantage. It is dady more and more used in this country, but must necessarily be excluded from many works of considerable size, on account of the difficulty of welding it, and the facility witli which it is degraded in the fire. Cast steel takes a fine firm edge, and receiving an exquisite polish, of which no other sort of steel is, in so high a degree, susceptible. It is made use of for all the ffuest cutlery ; but though it may be 6 MECHANICAL EXERCISES. Tempering steel with tallow, oil, &c. cast into ingots, it is too imperfectly fluid to be cast into small wares. The tenacity of steel hammered at a low heat, or even when cold, is considerably increased ; but the effect of this ham- mering is taken off by strong ignition. Tools, therefore, made of cast steel, and intended to sustain a good edge, for cutting iron and other metals, are not afterwards softened, but the ignition is care- fully regulated at first, as the most useful hardness is produced by that degree of heat which is just sufficient to effect the purpose. Cast steel, annealed to a straw colour, is softened nearly as much as other kinds to a purple or blue. A convenient mode of tempering a great number of article* at once, and of heating them uniformly, however irregular their shape, is to put them into a proper vessel with as much oil or tallow as will cover them, and then to place them over the fire, or the flame of a lamp, until a sufficient heat is given. Clock and watch pinions, watch verges, &c. are tempered in this man- ner, sometimes many dozens at once, as expeditiously as a single article. The requisite temper may be known by the following circumstances : when the tallow is first observed to smoke, it indicates the same temper as that called a straw' colour. This will reduce the hardness but little ; but if the heat be continued till the smoke becomes more abundant, and of a darker colour, it w'ill be equal to a browm, and indicates a temper that may be wTought, that is, turned or filed, though with difficulty, and only when a mild sort of steel is employed. If the tallow^ be heated so as to yield a black smoke, and still more abundant, this w ill denote a purple temper ; and if the steel be good, it will now' work more pleasantly, though still hard enough to wear well in machinery. The next degree of heat may be known by the tallow' taking fire, if a lighted body be presented to it, but yet not so hot as to continue to burn when the light is withdraw n ; and this will denote a blue. If the whole of the tallow be allow- ed to burn away, or burn dry, as it is termed by the w'orkmen, it imparts the temper which clockmakers mostly use for their work. Further tallow’ is useless; a small degree of heat more W’ould just be seen in a dark place, or the lowest degree of red heat. Any single article, to spare the trouble of brightening its surface, may be smeared with oil or tallow', and its temper, when heated, ascertained in a similar manner. Small articles, such •s pendulum and other springs, need not be dropped into water, but only made to pass through the air, by tossing them out, and letting them fall to the ground, which will make them hard enough for most purposes. Small drills may be hardened by holding their points in the flame of a candle, and, when suffi- •ieiitlv hot, suddenly plucking tliem outj^ the air will harden MECHANICAL EXERCISES. 7 Effects of saline liquids and mercury, in hardening steel. them ; or they may be laid upon a plate of cold iron or lead, and another plate upon them. They may be tempered, if found too hard, by taking a little of the tallow upon their point, then passing them through the flame at about half an inch above the point, and holding them there till the tallow begins to smoke. Solid tallow is an excellent material for hardening drills, and other articles, which require considerable hardness, but must not be made brittle ; tallow differs from oil, in the absorption of heat for its fusion. Oil is found to harden the surface of steel much more than its internal part, so that it resists the file, but is much less easily broken by the hammer. This effect is owing to its imperfectly conducting quality, and the elevated temperature it demands to be converted into the vaporous state ; a covering of coal is also formed round the steel by the burned oil, wliich greatly retards the transmission of the heat. Any other fluid which covers the steel in like manner, for instance water holding soap in solution, produces a similar effect. Hence the vehicle in which ignited steel is plunged, is of great consequence. The colder it is, the more effectually it hardens the metal. Various artists avail themselves of different substances for this purpose. Some use urine, others water charged with common salt, nitre, or sal ammoniac. Saline liquids produce rather more hardness than common water, and aquafortis, in particular, possesses this property in an eminent degree. Files are covered with the grounds of beer and common salt, and dipped while wet in a powder made of burned or parched horn, leather, or other coally animal matter. By this means they are not only defended from scaling, by the fused salt and animal coal, which covers them on all sides, but even rendered rather more steelly on the surface, by the absorption of carbon. They are taken out as soon as they have acquired the low red heat called cherry red, and instantly plunged into pure cold water. When steel is required to possess the greatest possible degree of hardness, it may be quenched in mercury, which will render it so hard as to cut glass like the diamond; but this fluid, it is obvious, can only be used on a small scale. Wrought iron may tye hardened, in a small degree, by ignition and plunging in water, but the effect is confined to the surface ; except, as very often happens, the iron contain veins of steel. These are no small impediments to the filling and working of this material. The general method of chusing steel for edge tools, is to break a bar, observe its fracture, and select the closest grained. But this mode is not always certain, as a variation in the fracture ■will be occasioned by the. difference of its temper, and the 8 MECHANICAL EXERCISES. Choice of steel. — Case hardening. greater or less heat at which it has been hammered ; and some steel breaks of a very close gram, though of indifferent quality. The surest method is to have one end of the bar drawn out under a low heat, such as an obscure red, and then to plunge it suddenly, at this heat, into pure cold water. If it prove hard, for instance, if it will easily cut glass, and requires a great force to break it, what- ever its fracture may be, it is good, the excellence of steel being always proportionate to the degree of its tenacity in its hard state. In general, a neat curved line fracture, and even grey texture, denotes good steel, and the appearance of threads, cracks, or brilliant specks, is a proof of the contrary. If diluted nitrous acid (aqua fortis) be applied to the surface of steel previously brightened, it immediately produces a black spot ; but if applied to iron in like manner, the metal remains clean. By this test it will be easy to select such pieces of iron or steel as possess the greate.st degree of uniformity ; as the smallest vein of either upon the surface, will be distinguished by its pecu- liar sign. The hardness and polish of steel may be united, in a certain degree, with the ffrmness and cheapness of malleable iron, by what is called case-hardeningy an operation much practised, and of considerable use. It is a superficial conversion of iron into steel, and only differs from cementation in being carried on for a sliorter time. Some artists pretend to great secrets in the practice of this art, using saltpetre, sal ammoniac, and other fanciful ingredients, to which they attribute their success. But it is now an established fact, that the greatest effect may be produced by a perfectly tight box, and animal carbon alone. The goods intended to be case-hardened, being previously finished w ith the exception of polishing, are stratified with animal carbon, and the box containing them luted with equal parts of sand and clay. They are then placed in the fire, and kept at a light red heat for half an hour, when the contents of the box are emptied into water. Delicate articles may be presei^ed, like files, by a saturat- ed solution of common salt, with any vegetable mucilage to give it a pulpy consistence. The carbon here spoken of, is nothing more than any animal matter, such as homs, hoofs, skins, or leather, just sufficiently burnt to admit of being re- duced to powder. The box is commonly made of iron, but the use of it, for occasional case-hardening upon a small scale, may be easily dispensed with ; as it will answer the same end to en^ lope the articles with the composition above directed to be used as a lute, drying it gradually, before it is exposed to a red heat, otherwise it will probably crack. It is easy to infer, that the depth of the steel induced by case-hardening, will vary with the MECHANICAL EXERCISES. -9 Bluing of steel. — Expansion of steel in hardening. time the operation is continued. In half an hour it will scarcely be the thickness of a sixpence, and therefore will be removed by violent abrasion, though sufficient to answ'er well for fire irons, and a multitude of other utensils, ill the common usage of which its hardness prevents its being easily scratched, and its polish is pre- served by friction with so soft a material as leather The bluing of steel has a remarkable influence on its elas- ticity. This operation consists in exposing steel, tlie surface of wliich has been brightened, to the regulated heat of a plate of metal, or of a fire or lamp, till the surface has acquired a blue colour. If this blue coal, so commonly considered rather as ornamental than useful, be partially or wholly removed by grinding, or in any other manner, the elasticity is proportion- ately impaired, and the original excellence of this property can only be restored by bluing the steel again. Saw-makers first harden their plates in the usual way, in which state they are brittle and warped; they then soften ffiem by blazing, which consists in smearing the plate with oil or grease, and heating it till tliick vapours are emitted, and burn off with a blaze. They then hammer them flat, and afterwards blue them on a hot iron, which renders them stiff and elastic, without altering their flat- ness. It may be useful to apprize the inexperienced, that tlie harden- iug of steel increases its dimensions ; so that such pieces of work as are finished with nicety in their soft state, will not fit their places when hardened. The amount of this expansion cannot be accu- rately stated, as it varies in different sorts of steel, and even in the same steel, operated upon at different degrees of heat, Rinman found that bars of steel six inches long, six lines wide, and half an inch thick, were lengthened at least one line, after hardening at a w hitish red heat, which is about one-seventieth part of the linear dimensions ; but, according to the experiments made by others, the expansion is not so considerable. It is also a curious fact, that intense cold has an unfavourable effect upon steel ; so that, in severe frosts, workmen often find their tools incapable of receiving the temper they wish. A slender rod of wrought iron may be expeditiously con- verted into steel, by plunging it into cast iron in fusion ; — a sa- tisfactory proof that cast iron contains the steel-making principle, w hich, we need not repeat, is carbon. In fact, as it is princi- pally in the superabundance of its carbon that it differs from steel, many attempts (and not wholly without success) have been made to convert it into the latter, without the intermeffiate opeia- tion of rendering it malleable. But the best steel made pursuant to this idea, is very imperfect. It is, hovyever, not unimportant io MECHANICAL EXERCISES. Hardening cast iron. — Forging and welding. to observe, that all cast iron so far resembles steel, as to be hard- ened, in a high degree, by sv.^den cooling, which imparts to it, at the same time, whiteness of colour, brittleness, and closeness of texture. This property of crude iron may be advantageously employed on many occasions ; for instance, in the fabrication of axles and collars for wheels, which are easily turned or filed in their soft state, and may afterwards be hardened, so as to wear ad- mirably well. The heat applied to cast iron, previously to^its being plunged into w ater to harden, is greater than that to w hich steel is subjected for tlie same purpose ; it should be little short of a white heat. Cast iron, also, when once hardened, admits not, like steel, of that hardness being reduced, by various gradations, to any specific de- gree ; to soften it materially, it must be submitted, for some time, to complete ignition, and very gradually cooled. The smaller ramifications of cast iron work, and those por- tions of metal which have the furthest to run from the git, are often found so extremely hard, tliat the best file w ill make no im- pression upon them,' while the remainder of the casting is sufii- ciently soft and manageable. This effect is owing to the heat carried off by evaporation from the moistened sand of the mould, by which the portions of metal, under the circumstances alluded to, are suddenly cooled. To increase the number of gits, and to use the sand as dry as possible, are the obvious means of prevent- ing this defect ; but when it has taken place, annealing is the only remedy. The chemical properties of iron, and the best metliods of pre- serving it from rust, to which it is so liable, we shall speak of hereafter. The mechanical management of it, which constitutes our present subject, now requires us to proceed with the opera- tions of Forging and Welding, In forging, the fire must be regulated by the size of the work ; and in heating the iron, the workmen, when the flame begins to break out, beat the coals, round the outside of the fire, close together with the slice, to prevent the heat from escaping. To save fuel, they damp their coals, and throw water on the fire, if it extend beyond its proper limits. To ascertain the state of the work, they draw it partly out of the fire, and thrust it quickly in again, if not hot enough. The heat the iron receives in forg- ing, is judged of by the eye, and is not commonly distinguished into more Uian these three degrees, viz. the blood or cherry red heat, the white flame heat, and the sparkling or welding heat. The cherry red heat is us^ when it is oifly intended to smooth MECHANICAL EXERCISES. 11 White flame heat. — Welding heat. — Use of sand in forging. — ‘Upsetting. ; 1 the surface of the iron, or stiffen it in a small degree, operations which are performed by striking evenly with the hand hammer ; with light bloAvs, when smoothness of surface only is wanted, and using considerable force, when it is desirable, at the same timej rather to harden the work. When stiffness alone is required, the iron is usually hammered cold, by which means it may be rendered considerably elastic. Bell-springs are rarely made of any thing else than sheet iron thus managed. In changing the form of iron, the white flame heat is used, and, according to the size of the work, it is battered by one, two, or more men, with sledge hammers, the largest size of which, called About Sledges, are slung entirely round, with both hands nearly at the extremity. When the iron is nearly reduced to the proposed f©rm and size, it is finished with the hand hammer, the dexterous use of which will save much trouble in filing. When the iron is required to be doubled, or two or mora pieces consolidated, the sparkling or welding heat is used, by which the metal is brought nearly to a state of fusion, and ap* pears to be covered with a strong glaze or varnish. This varnish is still more abundant in steel. As soon as the two pieces of iron to be united, have attained the w'elding heat, they are taken out of the fire with the utmost dispatch, the scales or dirt, which would hinder their incorporation, scraped off*, placed in contact at the heated part, and hammered until no seam or fissure re- main. If they have not been sufficiently incorporated, the beating and hammering ought to be repeated, until the work is perfectly sound. Workmen differ very considerably in the care they bestow in this respect ; and when axletrees and other parts of machinery give way, a defective forging is generally vei’y apparent. To make the iron come sooner to a welding heat, stir the fire with the hearth staff, and throw out the clinkers, as well as the cinders upon which the iron may have run, as they will prevent the coals from burning. The fire for welding should be free from sulphur ; and the rods may, in part, be prevented from wasting, by taking care to supply them, at the heated part, with powdered glass, or sand ; or a mixture of sand and the scales wliich fly from ignited iron in hammering. Care must also bo taken to prevent the iron from running, which w ill make it so brittle as to prevent its forging, and so hard as to resist the file. If this accident occur, the whole of the iron supposed to be injured by the extreme heat to w'hich it has been exposed, must be cut off and rejected. When it is required to thicken any part of a bar of iron with- out welding, the operation called upsetting must be resorted to^ This consists in giving it th« whit« flame heat at the part to bo 12 MECHANICAL EXERCISES. Necessity of blending steel and iron. — Damascus steel. thickened, and, while one end rests upon the anvil, hammering at the other till the required size is produced. In forging steel, great care must be taken not to use a higher degree of heat than is absolutely necessary to effect the desired purpose, as well as to use the fewest heats possible. To unite steel to iron completely, without injuring the former, is an oper- ation that demands a nicety of management which workmen are hot often very anxious to display. Those, therefore, whose purposes require it to be well performed, will only employ men on whom they can depend. It is not always merely for economy, that steel is welded to iron, but often principally with the view of uniting the opposite qualities of the metal in each state. If jthe mandrel of a lathe were made of the best steel, sufficiently hard to wear well in the collar, it would be snapped by a sudden check : and an axe, wholly of steel, if soft, would be useless ; and if hard, would probably neither bear the shock of a violent blow, nor the twisting to which such tools are subjected. But by unit- ing a proper quantity of iron with the steel, the inconvenience, and even danger, resulting from such accidents, are avoided. In applying them to each other, regard must be paid to the manner in which the tool will be used. For an axe, the edge of w^hich is formed by grinding both sides, the steel is placed in the middle, between two plates of iron; the blade of a plane, which is ground only on one side, requires the iron also to be only on one side, namely, the back of it ; and for that part of a man- drel which works in the collar of a lathe, the steel must enciicle the iron. Damascus was anciently famed for the excellence of the steel goods manufactured there, especially its swords, which are said to possses all the advantages of flexibility, elasticity, and hard- ness. These united distinctions are supposed to have been ef- fected by blending alternate portions of iron and steel ; the latter, by repeatedly drawing out, doubling, and welding the work, feeing diffiised throughout the former, almost as completely as a drop of ink is diffused, by intermixture, with a glass of w ater. But the best attempt wdrich we are at present aware of having been made in England, to imitate Damascus steel, according to the plan here pointed out, did not perfectly succeed, the mass produced having cracked in tempering. It appears pro- bable, that the desired imitation may be effected with muck greater advantage by the use of steel alone, the iron Irom which it is made being judiciously selected, and afterwards very care- ftiily cemented and forged. It is Swedish iron that is mostly converted into steel ; but that kind called old sable (which, we believe, conies from Russia,) possesses, in point of tenacity, ac- MECHANICAL EXERCISES. 15 Walby’s forge hammer. — Welding cast steel. cording to the experiments of an ingenious philosopher, a very decided superiority over every other kind. It would, doubtless, therefore, be suitable for the purpose ; the properties of steel being influenced, as will easily be supposed, by the proper- ties of the iron from which it is manufactured : and, in confir- mation of what has been said of the advantages of good forging, we may here take notice of the forge hammer,* invented by George Walby, of London, for which invention, the Society for the Encouragement of Arts, See. rewarded him with their silver medal and forty guineas. Although it weighs seventy pounds, it may be wrought by one man, with the greatest accu- racy and ease, at the rate of three hundred blows per minute, and performs the work of two or three men. The inventor states to the Society, that the steel is kept in better temper by this hammer, and fewer heats are required for the same work, than in the common way ; that the trowels made with it by him,, will bear any pressure of bending, and return by their elasti- city to their original shape, and they will even cut a chip from a bar of iron, without hurting their edge ; they also are lighter and more handy than common trowels, and serve much longer in use. The steel which contains the smallest proportion of carbon, as, for example, shear steel, is the most easily welded ; but it is by fusion, which entirely destroys its fibrous texture, that it is rendered incapable of being welded to itself, and some maintain that genuine cast steel has never been united even to iron by welding. Yet others have stated, that the means by which this may be accomplished, consist in placing between the iron and the steel another kind of steel, in the form of filings, or a thin plate, the iron being brought to a wielding heat, and the cast steel made as hot as can be done with safety. Such, however, are the difficulties of the operation, and so frequently imperfect the work when finished, that other means of effecting the union have been resorted to. One of them, for which a patent has been granted, has been brought into common use, for the blades of joiners’ planes, and many other purposes ; it consists in unit- ing the steel to the iron with soft solder or'tin. In this process, the cast steel, not being exposed to much heat, loses none of its good properties ; but the union is not so substantial as that afforded by welding. O * For the description of this hammer, illustrated by an engraving, see the Transactions of the Society for the Encouragement of Arts, Manufactures, and Commerce, or the Repertory of Arts, vol. 7, second series, I80d. 14 MECHANICAL EXERCISES. The forge bellows. — The anvil. — The vice. Of the Tools used in forging Iron^ and in the working of MetaU gejierally. Minutely to describe the vaiious tools made use of in forging iron, and in the working of metals generally, would be more likely to tire than to please our readers, to whose information on such points, a volume of the most elaborate description, would not add so much, as a few moments’ inspection of workshops which may be seen in every village of the kingdom. We shall, therefore, on this, as on other occasions of the kind, confine our remarks to particulars M'hich are, for the most part, cither not generally practised, or not often communicated by workmen, or not the most likely to catch the eye of the looker-on. The best position for the bellows is on a level with the fire- place, but they are frequently placed higher, and the blast com- municated through a bent tube, for the purpose of gaining room near the floor. The small end of the pipe of the bellows passes through the back of the forge, where it is fixed in a strong iron plate, called a tue iron, or patent back, in order to preserve the bellows from injury, and the back of the forge from requiring fre- quent repair. The a?ivil is a substantial mass of iron, to the surface of which a plate of steel is firmly welded, and made sufficiently hard to withstand the file, or the blow of a hammer. It is usu- ally made, for forging iron upon, with one or tw’o projecting arms, and is then called a beak iron. These arms are useful in giving the requisite form to various sorts of work : when there is only one, it is preferred of a conical shape ; when there are tw'O, one of them is pyramidical. They are affixed lengthways, a little below the surface of the body of the anvil, and rather in- clining upwards towards the point. In Birmingham, where attic rooms are frequently converted into workshops, the block upon which the anvil is fixed, is placed upon a stratum of sand, which prevents the vibrations that would otheiwvise be commu- nicated to the floor, and much of the noise which w^ould incom- mode the inhabitants of the room below. The contrivance is simple, and susceptible of other applications. Clock-makers use very small anvils or beak irons, w hich they fix in the vice when in use. The anvils of tin-plate workers are of various sizes, and ye often made w ith concavities and projections upon them, by tb« help of which they can readily communicate different shapes to their work. The large vice must be firmly fixed to the side of the work- bench, to the edge of which ite chaps must b« parallel, their MECHANICAL EXERCISES. 15 Hand vice. — Hammers. upper surface being at the same time exactly horizontal. The best elevation for a vice, is that of the workman’s elbow, when the upper ann is held vertically against the side ; and the lower arm, for the sake of trying tlie height, is held at right angles thereto. In riling, if the vice or the work be above this position, which is seldom heeded, or even thought of, the stroke will not be so pow erful as the same exertion would otherw ise make it ; and, whether higher or lower, it will be found exceedingly difficult to carry the rile in a horizontal direction. As the teeth on the inner surface of the chaps would mar rine work, if pressed against it sufficiently hai d to keep it steady, they are, as often as the occasion requires, covered with plates of lead, about the eighth of an inch thick. These plates must be large enough to extend about half an inch on each side beyond, and an inch above the chaps, to each of which, w hen screw ed tight, one of them is secured by hammer- ing down the projecting parts. The hand vice is used to hold small articles in the act of filing ; it is held in the left hand, and the parts of the iron, while pressed upon the end of the bench, or upon a bit of W'ood or bone in the large vice, is successively turned to the file, which is held in the right hand. A nick is made in the wood or bone, to keep the work from being carried aside by the file. Hammers, like anvils, are faced with steel, in a state of considerable hardness. Tlieir handles are almost always made of nearly a uniform thickness in every part, or if they differ from such figure, it is not for any specific purpose. Hence the vibra- tions of the hammer head are communicated to the hand, to which they occasion very unpleasant sensations, and the workman is tired before he has much exerted his strength. If the handle of the hammer, at a little distance from its upper end, be made considerably smaller, for a short space, than in any other part, the alteration will be found a decisive improvement. Such a ham- mer will, as it is technically termed, fall well ; diminishing, at the same time, the workman’s fatigue, and convincing him that his blows 'are solid and effectual. Fig. 1. pi. III. will clearly designate this construction : it represents a hammer for chipping iron ; for which purpose, the head need not be more than sixteen ounces in w'eight, and the handle about tsvelve inches long. In a hammer of any given shape, calculated to give the hardest blows with the least weight, and, consequently, with the least fatigue, the quantity of iron in the head should be equal on the opposite sides of a line supposed to be drawn perpendicular to the centre of the face. Hammers, therefore, made for the pur- |)Oie of drawing nails, with claws, which lean backwards from 16 MECHANICAL EXERCISES. Rivetting — Cutting metals with shears — chisels — saws. this line, are not calculated to produce the best effect in ^riking. Clockmakers, tin-plate workers, and braziers, polish the face of their planishing hammers, by rubbing them upon a soft board, covered with a mixture of oil and finely washed emery. Watch- makers and silversmiths lake still more pains with theirs, select- ing them free from every flaw, removing every scratch, and giving them an exquisite lustre with colcothar or putty. These various artists, also, for their respective purposes, require them to be made of a numberless variety of shapes, convex, concave, cylin- drical, &c. In rivetting two pieces of metal together, if tlie head of the rivet is not intended to project, the hole must be widened a little at the top and bottom. One of the heads of a rivet should be made before it is put into its place, in which it is secured, by strik- ing the edge of the other end of the shank (previously filed flat, with light blows, till it is evenly spread all round, when heavier blow s may be used, till it is sufficiently firm. When the head of a rivet or screw is on a level with the surface of tlie w ork, it is said to be countersunk. In cutting sheet iron or brass, and even bars of the same metals, shears are used. They are frequently made three or four feet long ; one handle is screwed fast in the vice, or secured to the bench, and the uppennost only is moveable. The harder the work they have to do, the more obtuse the angle by which the edge is formed. A chisel is often used instead of a pair of shears, and though it does not cut with so much rapidity, it is, on many occasions, more convenient, as it can be made of dif- ferent figures, guided in various directions, and stopped at any given point. Plates of metal to be cut with a chisel, are laid, during the operation, upon a mass of lead, or upon an anvil ; if the latter be used, they are not cut quite through, to prevent in- juring the chisel, yet tliey are so nearly divided that the separation can be effected by striking them with the hammer while held on the edge of the anvil, or by wriggling them with the hand or in the vice. Saxes for cutting metals, are made very narrow, (see fig. 2. pi. Ill :) and stretched by a screw at one end ; they are, in ge- neral, rather thicker on the edge than at the back ; the teeth are small, and are not bent like those for joiners’ use. Clock and watch makers often make their saws of broken watch springs, the temper of which is suitable for the purpose, and the metal com- monly excellent. In sawing malleable iron and steel, oil must be used ; crude iron and brass require no oil, but for the latter, a very sharp saw is necessary, and it may also be rather harder tlian for iron. MECHANICAL EXERCISES. 17 The chipping chisel. — The punch. Metals are sometimes wrought by chipping. This operation not only often produces the intended effect in an expeditious manner, but saves much expence in the files which would other- wise be required. It is most frequently applied to cast iron, the dark rind or outside of which, taken as it comes from the mould, is always harder than the rest, and frequently so very hard, that it w ould spoil tlie best file in a few minutes, w hile, at no greater depth than the twentieth part of an inch, or even less, it is nearly as soft as brass. The chisel wdll penetrate this hard crust, and afterwards, as may be easily understood, its edge need only be made to act upon the soft part. The chisel, for this de- scription of work, need not be more than seven inches long, but it ought to be made of the best cast steel. Fig. 3. pi. III. re- presents such a chisel. — No. 1, showing the front, and No. 2, the side of it, to point out the nature of its edge. The hammer to be used wdth it has been already mentioned. It is held in an angle of about forty-five degrees, and the blow's of the hammer are given in quick succession. Some dexterity, certainly, which can only be acquired by practice, is requisite, to preserve a tolerably equable surface, but the art is not of difficult acquire- ment. A pellicle of iron may, by the chisel, be taken from a surface of a hundred square inches, in four or five hours, and when it has been well done, the file very speedily levels the ine- qualities which it leaves. When much exactness is required, it is advisable to examine the work, before the chipping is commenced, and if improper protuberances or hollows appear in it, the chisel must be struck deeper, or not so deep, at such places, as the cir- cumstance dictates. Malleable iron, in a state of ignition, is easily perforated with a steel punch, which is made of the size and shape of the hole required, except that it must always be tapered more or less towards the lower end, to facilitate drawing it out. It is seldom pointed at the extremity, which is hardened without tempering, ns the heat of the iron will soften it suffi- ciently, and sometimes too much; to check the latter effect, it is plunged into water, as often as it is supposed to be con- siderably heated. The hole may be finished with a file, or by hammering it at a low heat upon a smooth mandrel or pin, or by a well tempered triangular, square, or octagonal bar, fixed to a handle, and wrought the same way as a carpenter's auger. A tool of this description is called a rimer, and is made to taper a little from the handle to the lower end. In using it the motion must be slow% The triangular and square form answer well for brass, and the softer metals ; but the octagonal one is much more suitable for iron; as the other would take hold lo l.—VoL. L D 18 MECHANICAL EXERCISES. Old method of boring cylinders — new method. deeply as to break with the force requisite to turn them round. A sharp-pointed punch will penetrate a piece of cold iron, not exceeding the tenth of an inch in thickness, sufficiently deep to cause a projection on the under side ; when this projection is tiled off, if the hole does not appear, a repetition of the punching will immediately produce it ; and it may be widened by the octagonal tool above-mentioned. Brass may be managed in the same way, with still more facility : the plate of metal to be pierced, should be laid upon lead ; or the under surface, opposite the point of the punch, should be placed over a hole in an anvil. As punching is not applicable to cast iron, nor to small and deep, or very large holes in any metal, and is, besides, apt to throw the piece out of shape, mechanics have recourse, accord- ing to the nature of the work they have in hand, to the different methods of Boring a?id Drilling, The steam engines of the present day are not more indebt- ed for their excellence to modern improvements in their con- struction, than to the new methods which have been adopted to render them faultless in point of workmanship. In the latter respect, the boring of the cylinder presents one of the most remarkable features of difference from the old plans. The way usually was, at some of the first founderies, to put it upon a carriage, insert the cutter block, set the mill to work, hang a cloth at the open end to keep in the dust, and let it bore away, which it would be doing, on a large cylin- der, for three weeks or a month ; and if it was tolerably smooth, it was said to be well done. As the cylinder is cast hollow, though the molder pursues the most correct method his art is capable of, yet it is impossible to be certain that, when the mould has received the metal from the furnace, it shall come out quite straight ; and if it come out crooked, it must remain so, for this despicable mode of boring will never remedy that imperfection. It is not like boring a solid piece of metal, as in boring ordnance, &c. All that this old bor- ing can do to a cylinder, is to make it round and smooth, for there is nothing to conduct the boring bit in its progress, but the form given it by the moulder, whose best exertions cannot ensure success: it complies, therefore, with the twdstings of its road, and the cylinder is inaccurate. If the metal be harder on one side than another, it produces an additional source of imper- fection. The new method of boring originated with John Wilkin- son, iron master, and the cylinders were executed in a man- MECHANICAL EXERCISES. 19 New method of boring cylinders. ner which has not since admitted of improvement. When the process is conducted by an intelligent workman, if the cylinder should be cast ever so crooked, or ever so thick on one side more than another, he can take out the redundancy from that side, and scarcely touch the other. This will rea- dily be admitted, when it is understood, that the cutting ap- paratus is conducted along a tool (called by the workmen a boring bar) which is itself a masterpiece of workmanship, a perfect cylinder. Hence, whatever is carried along this bar, parallel to its axis, must move in a right line. When, there- fore, it has been turned with the utmost care and precision, it is to have two grooves cut opposite each other in this direc- tion. A cast iron socket is then bored and ground upon the bar, so as to fit it in the most exact manner. The external part of this socket is made conical, with four or six studs upon the base of it, to receive the cutter block ; and fillets fastened upon the inside of it, and falling into the grooves, while they allow it to slide along the bar, prevent its being carried round, unless the bar be carried round at the same time. To give a progressive motion to the socket and cutter block, while the bar is turning on its own axis, a collar of metal is fitted on the socket, and that collar is connected with two racks, long enough to reach through the cylinder, and communicate with a pair of pinions, which being acted upon by two levers, carrying a sufficient weight to overcome all resistance in the operation, the socket is drawn along the boring bar, and the cutters fastened in it effectually perform their work. The manner in which the lever is applied, will be understood by an inspection of fig. 4, pi. III. by which it is obvious, that if the weight at its upper end be sufficient to overcome the resistance, it will move the pinion till it reaches the earth ; at this moment, or a little before, the workman who attends the machinery, lifts it up, and the catch affixed to it, which takes hold of the ratchet wheel, prevents its return with- out giving motion to the pinion. In fitting up the boring apparatus, some diversity of prac- tice prevails. By some, a hole, to admit a single rod, is drilled through the whole length of the bar, and a groove is sunk entirely through one side of it, so as to come into the hole thus drilled. A branch from the internal part of the socket is fitted into the groove, with an eye to receive the end of the rod, to which it is secured by a screw, so that when the rod is drawn along, the socket moves at the same time in the same direction. A weight with a rope over a pulley, is applied to give the progressive motion to the socket upon the bar. This 20 MECHANICAL EXERCISES. Boring of ordnance. — Drilling with the lathe — the bow. mode of constructing the bar is the best way for the boring of small cybnders, as there is no incumbrance upon the socket; and if the bar is sufficiently strong, it will move with great steadi- ness. Ordnance were formerly cast hollow; they are now always cast solid, and afterwards bored by machinery. The gun to be bored lies with its axis parallel to the horizon, and in that position, moving in a collar fixed at each end, it is turned round its axis. The borer is laid truly horizontal, in the di- rection of the axis of the gun, and is incapable of motion in any direction except that of its length ; and in this direction it is constantly moved, so as to pierce and cut the gun, by means of rack-work, a lever and weight, as above described for cylinder boring. The outside of the gun is smoothed at the same time by men, with instruments lit for the purpose, while it revulves, so tliat the bore may be exactly in the centre of the metal. Boring differs fmm drilling only in being commonly applied to larger works. Drilling may be effected in a lathe with great facility. The drill is screwed, or otherwise fastened, upon the spindle, so that its point shall turn exactly opposite the point of the screw in the right hand puppet. The piece to be drilled is then slightly pierced with a punch, where the drilling is to com- mence, and also where it is intended to come out. Against the latter puncture, the point of the screw in the right hand puppet is directed, and gradually pressed forward as the dr’dl, on turning the wheel, is found to cut. The motion of the wheel must be slow', especially for iron. The rest, or any temporary support, may be used to keep the work steady, which may then be perforated with expedition and accuracy. A short lever, with a weight at the end of it, may be applied to advance the screw, 60 as to leave both hands of the workman at liberty for otlier matters. Small drills, used by clock-makers and others, are usually made of a single piece of steel wire, upon which, about the middle, a pulley or drill barrel is driven, (see fig. 5 . pi. III.) Sometimes, a shank or small mandrel is used, with a square hole, about half an inch deep, at the end of it, into which drill bits of various sizes can be alternately inserted. The disadvan- tage of this construction is, that the chill bit is seldom held true, which causes it to perform indiflerently. It is, therefore, but little used by those workmen who can readily furnish themselves with the other kind as they want them. When these small drills are used, they are held horizontally, and pressed against the work by a breast piece, which is sometimes made of w'ooc^ MECHANICAL EXERCISES. 21 The hand-drill. — Precaution in tempering drills. and sometimes of sheet iron ; but, in either case, is rather con- cave on its inside, to rest more steadily upon the breast, and in the centre of the outside is fixed a bit of steel, for the blunt end of the drill to work in. The drill is turned by drawing backwards and forwards an elastic bow, the string of which is coiled once round its pulley. The best bows are made of steel, and the strings of catgut ; the strength of them must be proportioned to the size of the drill. A piece of stout cane makes no bad substi- tute for a steel bow. To make large holes, more force is required than can be given by the bow and string, instead of which a brace, not very unlike that used by joiners, is employed, and the drill itself is fitted as a bit ; but instead of the stock M'hich, in the joiner’s tool, remains stationary, while the rest is turning, we have here a long tapering spindle, which being nothing more than a continuation of the brace, is necessarily carried round at the same time. The upper end of the spindle works in an iron or steel plate, which is fixed on the under side of a beam, called the drill beam. One end of the beam turns upon a transverse pin between two uprights, pierced with various holes, to fix it at dilferent elevations; the other end, which is pressed down by a weight, passes, when great steadiness is wanted, between tw'o other uprights. The point of the bit being then placed upon the part of the metal to be drilled, the brace is revolved by the hand, and a hole to any required depth may be made. The bit should be well fitted to the brace, though, as very small holes are not made with this apparatus, the disad- vantage of its shaking a little is not of so much moment as in the breast drill. The drill is commonly fitted up so that the w^ork to which it is applied can be fixed in the vice. Fig. 6. pi. III. re- presents the manner of fitting up the hand drill, and fig. 7- one of the bits separately. The vertical part of the crank, by which the hand revolves the drill, ought to be very smooth, or, what is still better, it may be covered with a loose handle. If this handle be made of iron, it may be bent round and soldered ; if of wood, it may be made out of a hollow cylinder, cut in two pieces, between which the vertical part of the crank may be enclosed, and it may then be fastened by glue, or by a hoop at either end, the diameter of the hoop being made large enough to pass over any part of the brace. Drills ought to be made of the best steel, and the cutting part only should be hard; they are therefore tempered by keeping the lower end out of the fire, but heating the rest considerably, till the point attains the desired colour, when it is instantly cooled in the usual manner. By this means, the cutting part of 23 MECHANICAL EXERCISES Use of a fly in drilling. — Filing. the bit may be tempered to a straw colour, while the rest is not higher than blue, so that its liability to break when in use, is greatly diminished. We may observe, in passing, that this mode of tempering from the back of the tool, so as to have the edge only in a state of great hardness, is observed as a general principle in the art. The application of a fly wheel to the upper part of the large hand drill, would be a considerable improvement ; not merely on account of its weight, but because its centrifugal force would tend greatly to keep the drill exactly vertical. In drilling, as in sawing, forged iron and steel require oil, but to brass and cast iron none must be used. For brass, also, the drill bit is made thinner, harder, and the cutting edge formed by a more acute angle than for iron. Filing. In the working of metals, there is no operation more common than that of Jilingy and perhaps there is none so little understood. A file is an instrument too familiar to every one to require descrip- tion. To use it well, generally proves one of the most difficult tasks w'hich the practical mechanic has to encounter, and this difficulty is owdng more to the want of a proper plan in setting about the work, than to any other cause. Plane surfaces, for instance, for the plates of air-pumps, and a thousand other pur- poses, are of indispensable use ; but a knowledge of the manner in which they may be readily and completely executed, is con- fined to veiT few ; and a workman, aware of the exactness required from him, can rarely be found who will undertake to execute them. Grinding is the common and dernier resort of those who w ish to produce, on such occasions, the last degree of accu- racy ; but tw o surfaces of metal may be ground together for ever without being made plane, unless, by some previous operation, all their cross-zci tidings are completely removed. In the execu- tion, however, of this previous operation, nearly the whole difficulty of the business lies. In what must it consist f Giind- ing has a tendency to perpetuate any regular convexity or con- cavity wdiich either surface may have, and even to produce one or other of these forms on each piece, although both were plain to begin with. The application of turning to the production of plane surfaces, (for which see the section on turning,) ia not an easy undertaking, and requires an expensive apparatiis; and often the mere fixing (upon the chuck) the metd to be turned, takes as much time as ought to be required for the completion of the work. We would incite, therefore, the in- genious artist to place confidence in the Jile, with which, we MECHANICAL EXERCISES. 23 Value of the rt of filing. — General reflections. hesitate not to assure him, that more beautiful and accurate workmanship may be ei uted, than most of those who are, in other respects, very resp table mechanics, are either apprized of or disposed to consider possible. In this line of exertion, we have witnessed, with admiration, the performances of one who now holds a distinguished situation in the Royal Mint. With the file alone, as his cutting and polishing tool, he has not only produced specimens of workmanship which challenge all com- petition, and the severest scrutiny, but effected his purpose with a degree of expedition, and consequent economy, of which no other method would admit. The work (the appearance of which, though remarkably fine, was only a secondary considera- tion,) required the exact parallelism of its several sides, some of which presented a surface of not less than fifty or sixty square inches ; and in his hands the file did all this, in such a manner as to set at defiance the elegant art of turning, and to render the dirty and tedious process of grinding wholly unnecessary. How often, in provincial towns especially, have embrjo inventions been kept back, for the want of workmen of sufficient skill to execute the proposed contrivance ; and how often w'ould inventors them- selves carry into effect their designs, if they were not filled with the apprehension that the acquirement of a competent share of manual dexterity was too difficult a task to be attempted! Those who have had the most ample opportunities of observation, will not consider these idle surmises ; they cannot but be sensible, that the inventions which become publicly known, are few in com- parison with those which spring up in the minds of ingenioui men, and perish from such obstacles as have been just stated, often, perhaps, with the hour wffiich gave them birth. What one man has accomplished, let not another despair of accomplishing also. Superior opportunities of experience, are often vanquished by superior exertions ; and if these remarks on the excellence attain- able in an art of the first importance to the practical mechanic, should stimulate one person to the improvement of his skill, they will not be useless. The practical directions belonging to this subject now claim our attention. Here the general principle, upon the proper application of which success depends, may in the first place be noticed ; it is simply this, that if a plane surface, already known to be true, could be made use of so as to show, with perfect facility and correctness, the errors of another upon which the artist may be employed, as often' as he wishes to as- certain the state of his work, a file, or any tool by which all the projections may be removed without reducing the other parts, w'ill enable him at length to bring the latter surface to an exact 24 MECHANICAL EXERCISES. The different forms and names of files. — Choice of files. correspondence with the former. Such a surface is, therefore, indispensably necessary in the art of flat filing ; and we may add to it another implement of almost equal utility, though very little used, namely, a perfectly straight steel ruler, for which we shall adopt the technical term, by calling it a straight edge. On the production or procuring of these two things, we shall speak in a future section ; at present we shall suppose them to be obtained ; then an assortment of files follow^s of course, as also a vice, or some other method of steadily supporting the metal upon which the file is intended to operate. Files are differently formed, and of various sizes for differ- ent purposes, their sections being either square, oblong, trian- gular or segmental ; the files of these sections are respectively de- nominated square, flat, three square, or half round. That sort of file called the safe-edge, (on account of its not being cut on one edge,) which is flat on both sides, and of equal or nearly equal breadth in every part, is the best for every purpose to which its form admits of its being applied, and is particularly to be recom- mended for flat filing. In chusing files, some degree of attention is requisite, and will save much subsequent trouble ; a file, the surface of which is twisted in various directions, (a circumstance which very often happens in hardening,) will constantly deceive the workman, as it will produce nothing but false strokes. They must, therefore, be chosen free from such imperfection, but a small degree of re- gular convexity is not detrimental. The goodness of a file, so far as its shape is concerned, may be readily determined by the eye, in the same way as the joiner examines the straightness of a piece of wood. It is perhaps too obvious to require remark, that the scratches made by a file will be proportionate to the size of its teeth ; and that the larger these are, the greater will be the effect which an adequate force wdll produce at one stroke : hence the very evident propriety of commencing the work with the coarsest file intended to be used ; and afterwards, in regular gradation, employing finer and finer ones, as it approaches to the finished state. — Files may be obtained, the teeth of which are so extremely fine, that they w'ill leave the surface of metal, especially if it be brass, almost as smooth as an oil-stone. These are, however, seldom necessary ; and for most purposes, files of tliree or four degress of fineness, are quite sufficient. As most of the articles of manufacture, to which the file can be applied, are composed of flat surfaces ; as he who can file a flat surface w^ell, will find no difficulty in executing what- ever the file will enable him to do j we shall detail the progress MECHANICAL EXERCISES. 25 Particular directions for filing. of a block of metal taken rough from the foundery, till it is brought to a tiiiished state ; and supposing a rectangular figure to be aimed at, its surfaces Avill then be truly flat, and, accord- ing to their situation, either exactly parallel, or exactly at right angles to each other. As somewhat greater difficulties occur in filing iron than brass, and as cast iron is not in ge- neral so easy to manage as the other descriptions of the same metal, we shall suppose it to be a block of cast iron. Merely for the sake of having definite ideas of our subject, as we go along, let us suppose it to be nine inches in length, seven in breadth, and one in thickness. On receiving it, the first step is to examine the state of the metal, whether it be hard or soft, warped or tolerably straight, perfectly solid, or interspersed with cavities. If it prove very hard, which may be known by trying it with a file, it will be adviseable to anneal it; which w'ill greatly facilitate our w ork ; but the outside \vill still be somewhat harder than the internal part, owing principally to some of the sand of the mould closely adhering to it ; this out- side, or rind, some workmen remove by chipping, in the man- ner already spoken of; others, who have the convenience, take it off with a large grindstone turned by machiner}*; and othei*s, again, use the file immediately, taking the precaution only of using, in the first instance, a file that is already rather worn, as a new one would quickly be spoiled. Chipping is upon tlie whole the most economical and convenient process, and when, for the removal of imperfections, or any other purpose, it is requisite to reduce the block materially, it is decisively to be preferred. If after the outside has been removed, there appear any cavities or other imperfections, which are not likely to be removed by the file, and wffiich w ill unfit the piece for its destination, they may be drilled out, and the holes made by the drill filled with rivets. Small imperfections may be removed by drilling to the depth of alx)ut half an inch, aed then driving in a plug made of wire, which may be fitted sufficiently tight to bear any degree of hardship, and sufficiently correct to avoid the slightest appearance of a flaw', without the trouble, as in ri vetting, ‘of making the top of the hole wider than the rest. With a view, however, to complete security, some tap the hole they have drilled, and then screza in a pin which exactly fits it ; but when this is done, and the screw has a fine thread, in filing the surface level, that part of the thread which is nearest to the surface, is apt to break off, to the extent of a semicircle, and thus leave the work imperfect ; where- as, when the plug or the rivet is well fitted in, the place cannot afterwards be distinguished from the other parts of ffie block, by 2,— VoL.I. E 20* MECHANICAL EXERCISES. Particular directions for filing. any other circumstance than the superior brightness of the mal- leable iron. As the holes in a piece of cast iron, which are occasioned either by stagnated air, or the falling in of part of the mould, have mostly not only very rough surfaces, but are wider internally than at the outside, they may be filled with melted lead, pewter, or some other soft metal, which they will retain : type-metal will answer extremely well, as, from the antimony it contains, it ex- pands in passing from the fluid to the solid state. This mode is applicable when levelness of surface is the principal object in view, and it is not necessary to regard the uniformity of its appear- ance, the equal hardness of its several parts, or its being able to bear a strong heat. If we were speaking of a piece of metal, eventually to be subjected to considerable stress, we might here observe, that thus to fill up the hollows it contains, will greatly increase its capability of resistance. Let us now suppose that the block we have in hand, is com- pletely freed from its hard black scurf, and, as far as may be thought necessary, from every imperfection which the subsequent operations with the file are incapable of removing. We now select the file we intend to use first, and in doing this we pitch upon a safe-edge one, about fourteen inches long, an inch and a half broad, and containing about fourteen rows of teeth in each inch of its length. In the act of filing, the file is held by the handle and pushed forward by the right hand ; while the left hand, near the waist, pressing upon its lower end, gives effect to the stroke, which must be directed as nearly horizontal as possible. By the occasional application of the straight-edge to the surface we are filing, in various directions, but in particular, diagonally, we easily ascertain the state of our work, and remove in succession the elevated parts. The inequalities at length become so small, that it would be tedious to apply the straight-edge to discover them ; but being provided with a surface which we know to be true, (and which w e shall designate by calling it a table, as it ought always to be larger than the work we are filing, and for general purposes, may with much advantage contain several square feet,) w'e now make use of it, for the detection of the remaining imperfections, in the following manner : w e mix finely washed red chalk or ochre, with olive or any other oil which is not vis- cid, and we rub this mixture upon it w ith a piece of cloth, so as to cover the whole of it very thinly and evenly. If the surface we are filing be then turned down upon it, and moved a few times backwards and forwards, it will be every-where equally covered with ochre fiom the table, provided it be equally level. But as this will never happen at the first trial, those parts which MECHANICAL EXERCISES. 27 Particular directions for filing. are highest will alone be reddened, and they must be reduced by the re-application of the tile. As soon as the marks left by the ochre have disappeared, and we think we have removed the inequalities they pointed out, we again try the state of our work as before, and continue to repeat the same process till it is fin- ished. When it approaches nearly to a perfect plane, the ochre will redden a great number of places in small spots or strips, and then we not only, agreeably to the remark already made, use a fine file, but hold it rather differently. Instead of pressing it down, as when we began, with tlie broad part of the hand, we now merely press upon it with two or three of our fin- gers, by which means we are enabled to observe more distinctly the spot upon which we bear, and to move with more expedition from one part to another. Before we begin to finish our work with much nicety, we carefully attend to one thing : turning that side of the block w'e have been filing down upon the table, w'e strike the back of it, at the corners, centre, and various other parts at pleasure, w ith a mallet, or the end of the handle of a hammer held perpen- dicularly. If a dead sound, such as would be heard on strik- ing the table itself in a similar manner, be produced, we feel gratified by the assurance thus afforded, that w'e have none of those twistings of the surface wliicli are technically termed cross- wiridingSy to remove ; but if a sharp chinking sound be pro- duced, it is evident that the surfaces of the table and the block do not coincide, for the blow of the hammer has pressed one part of the block lower down than it was before, and raised ano- ther part ; and to the action of the surfaces upon each other thus occasioned, the ringing sound is attributable. If the corner of the block, to the extent of a square inch, or even much less, be lower than the remainder of the surface, in no greater degree than the common thickness of a sheet of writing paper, this mode of trial will make the imperfection very distinctly perceptible. It^ therefore, the block will not stand the test of this examination, w e immediately proceed, by the use of the ochre, to detect the extent of the elevated parts ; and in moving the block upon the table for this purpose, we are careful to press only on those parts under which we know, by our previous trial w ith the hammer, they are comprized. Having obtained the marks we desire, we file away, to the best of our judgment, the convexities they indicate, and re- peat the experiment and filing, till the block wall lie perfectly solid upon the table. This object, so essential to good work, being ob- t^ed, and it ought always to be obtained as early as possible in our progress, we shall approach with surer steps, to the successful accomplishment of our task. 38 MECHANICAL EXERCISES. Use of the callipers and guage in filing. The practitioner, however, will soon discover, that although the test by the hammer answers an important purpose, in prov- ing the existence or non-existence of cross-windings, yet its appli- cation extends but little further ; the depression of any particular part, before it can point it out, must not only extend to the edge of the block, but must embrace a small portion at least of two sides. Without, therefore, expecting from it what it cannot afford us, we use it merely as a collateral help ; the use of the ochre simply is our universal test ; but if we w ish to know the measure of any particular imperfection, we resort to a good straight-edge, the application of the arris of w'hich, to any part we chuse to try, gives us, with the utmost precision, the information we are seeking. If the surface tried be perfectly true, no light w ill pass between it and the straight-edge ; but if any hollow be present, the breadth and depth of the line of light which appears, betrays its extent . — Arris is a common term in the arts, applied to signify the line of concourse or meeting of two surfaces. Let us now suppose, that one surface of the block will bear examining in the different ways above mentioned; it will then coincide with the table so exactly, that when laid upon it, the finest hair could not be drawn out, or even moved, at whatever part betw een the tw'O planes a portion of it w ere placed. Not- withstanding this, the surface, though very smooth, has not been nicely polished ; the polishing we leave, if not to the last, at least till the opposite side, to which we now proceed, is equally advanced. Here w e have an additional object to attend to ; w e have not only to make the second side as level as the first, but also to make it parallel with it at the same time. The flatness is obtained by a repetition of the means adopted to bring the first surface to that state, and the parallelism of the two sides is a necessary consequence of making the block every-where equally thick. Having, therefore, set a pair of callipers to the thickness intended, or adopted some other equivalent mode of measurement, we frequently examine it w ith respect to this par- ticular. Callipers, in experienced hands, may be made to answer for this purpose very well, but they are apt to mislead the unwary, as they afford different indications with slight differences in the manner of holding them. In using them, therefore, we ahvays hold the centre of the head in such a man- ner that a line passing through it, and exactly midway between the points, shall be parallel with the surfaces they inclose. Cal- lipers are often superseded by what is called a guage, which is nothing more than a piece of sheet iron, steel, or brass, cut in the manner show'n by fig, 8. pi. III. so that the distance be- MECHAmCAL EXERCISES. 29 Advantage of using two guages. — Effect of heat produced in filing. tween the legs A B, which ought to be exactly parallel with each other, whll exactly take in the proposed thickness of the block. It is much easier to file correctly with the assistance of a guage than a pair of callipers ; and as the width of the former always remains the same, we have an additional reason for preferring it, when it is probable we shall often have occasion to measure like dimensions ; callipers, even if we wish to keep them to one extent, being easily deranged by a fall cr other com- mon accident, and the frequent resetting of them frittering away our time. Those who wish to avail themselves of the utmost refinement of artificial help, will not be displeased by the mention of another expedient belonging to this subject. Two guages may be made, one of them of the true width, and the other a very little wider ; the block may then be filed down to the latter with rather a coarse file, and afterwards to the former with a fine one. Those who think fit to take this pains, can scarcely fail to succeed to their wish. Another hint deserves a place : we are attentive to make the block fit the guage tightly ; for of the degree of tightness we can correctly judge ; but if we make them slack to each other, we can hardly determine the degree of that slackness with even tolerable accuracy. When we discontinued filing the first side, we have re- marked, that we left it unfinished or unpolished. Tlie reason for this requires explanation; labour bestowed in polishing, at the time alluded to, would have been thrown away. The heat produced by the strokes of a large coarse file, expands the sur- face upon which they act, renders it convex, and the opposite one necessarily concave. These effects remain in part, after the equilibrium of temperature is restored. While we are employ- ed upon the first side, they are overlooked, but when, after having nearly finished the second side, we find upon trial with the ochre, that the other no longer affords the same indications of correctness which it did before, w^e are convinced of the propriety of having postponed the finishing of it. In a block eight or ten inches long, the error seldom exceeds the five hundredth part of an inch, and therefore, not having begun to polish when it occurs, we can use a file, by which it will quickly be removed. Having now so far accomplished our purpose as to have ren- dered the two principal surfaces of our block correctly plane and parallel with each other, w e immediately direct our atten- tion to the four which yet remain in the rough state ; these, for the sake of distinction, we may call the edges. We begin upon one of the two longest of them, and file it fiue, in the 30 MECHANICAL EXERCISES. Precaution in using the square. — Manner of fastening the block to be filed. same manner as we did in the first example, except that we make use of a square, applied alternately from the two sides already filed, in order to assist us in keeping it exactly at right angles with them. As soon as this edge is true, we make the opposite one parallel with it by a suitable guage, checking the chance of error by applying the square, which can quickly be run along the whole length of the edge ; and ascertaining, as usual, the general flatness of the whole surface by the use of the ochre and table. As soon as tw^o of the edges have been made true, the remaining two are brought to the same state, by a repetition of exactly the same means. If we are provided with a rectangular bar of iron, or any hard metal, the sides of which are very smooth, and exactly perpendicular w^hen it is placed upon the table, we may make use of it, in the filing of these edges, as follows : cover one side with the ochre and oil, place upon the table either of the sides at right angles with the one thus coated, opposite wdiich place tliat edge of the block which is to be tried ; press the block and the bar down upon the table and against each other at the same time, moving one of them, while they are in contact, back- wards and forwards two or three times. By the matks left upon tlie block, we detect at once all its deficiencies This mode of trial would also completely succeed in other cases ; for example, if we had to file the inside of a frame such as printers use to fasten their types in, to which no other method would be so advanta- geously applicable. We pass one of our smoothest files along the arris of the two surfaces upon which we are going to apply the square, in order to take off that extreme sharpness, and those overhanging particles of iron, produced by filing, and which would prevent that instrument from affording a correct indication of the angle examined. As our block is too broad to be held between the chaps of the vice, we placed it, before we began to file the principal surface, upon a piece of stout board, in breadth about an inch each way larger than itself. Close to the edge of the block, we drove a strong nail here and there into the board, so as to prevent its horizontal motion, but not its being lifted up and taken off perpendicularly. By a square piece of wood, about two inches broad, being firmly screw^ed to the under side of the board, and fastened in the vice, a steady and convenient support is ob- tained for our work. But as soon as the filing of the edges was commenced, this board was discarded, and the vice alone, its teeth only being covered with lead, was used to hold the block. MECHANICAL EXERCISES. 31 Economical way of using files. Experienced plane-makers and others, who use files to smooth their wood-work, select those, the teeth of which are not jagged by cross cutting, and we find that upon iron, files of this sort answer better for polishing than any other. e accordingly use them of such a degree of fineness as will efiect our purpose, if that can be ettected by a file : the last degree of smoothness can only be obtained by grinding. We always take care, when using a fine file, to spread the ochre so tliin as hardly to colour the table, otherwise we should presently choke up its teeth, and not finish our work with so much exactness. Ochre is too soft a material to injure a file, and when it does choke up the teeth, it may be re- moved with a brush. We have now' aetailed the means by which a rectangular prism of cast iron, possessing a remarkable degree of correct- ness of figure, may be produced. On the uses for which such a block may be required, on the application of the general plan to other sorts of work, and on the importance and multipHed advantages of conect filing in general, we presume it is un- necessary- for us to enlarge. If there be those who are more attentive to authority than reason, and w'ho inquire by whom a process is used, rather than what is its merit, w-e assure them that the method of filing here pointed out, is adopted in the far-famed manufactory of Bolton and Watt, at the Soho, near Bir- mingham. Workmen who have various sorts of metal to woik, have an economical mode of management in the use of files, which deserves to be noted. They use all their new files to brass in the first in- stance ; when the original keenness of the teeth has been dimi- nished by this metal, they lay them aside to be ready for filing cast iron ; and when they cease to be sharp enough for cast iron, they use them to malleable iron, for which they will serve tolerably well aw bile longer. Let this order be reversed ; let a new file be used first to malleable iron, then to cast iron, and lastly to brass, it will hardly do more than half the service ; the teeth strike into the malleable iron, and the best portion of them is broken ofi* ; the file is then of little value for cast iron ; and glides over brass, which requires a keen edge, almost without effect, unless seconded by a great exertion of strength. Tlie last uses of a file may be to smooth wood or metal revolv- ing in the lathe ; some keep them for a short time red hot in the open fire, and then retemper them before they use them in this way ; the scale which they cast leaving them somewhat sharper than they were prenously : others make such of their old files as have stood well, into ^crew-plates and chisels, on the presumption that they cannot have better steel. a2 MECHANICAL EXERCISES. General remarks. — Method of grinding a true plane. Grinding. We restrict the signihcatioii of this term to the abrading of metals and other substances, by rubbing them against each other. In general, some hard body, such as emery, in a pul- verulent state, and mixed with water, oil, &c. is interposed between the pieces ground together; but when one or both of them, as in the example of grit-stone, is composed of particles which will cut, and motion alone separate, the powder,- and even the fluid, are often dispensed with. When grinding is only employed to produce a smooth shining surface, it is called polishing. An observation or two has already been thrown out on the sub- ject of grinding, but this method of working metals, requires a little further elucidation. If the artist be not fully aware of the general principle upon which he must proceed, and of what grind- ing will really enable him to do, he will often incur considerable expence and disappointment. In grinding two surfaces together, the usual sources of error are, that the cutting pow der is unequally spread between them, that they are not every where equally hard, and that some parts receive a greater number of strokes than others. Suppose we have two similar blocks of iron, and wish to make one of them, at least, perfectly flat, from which state, as far as the eye can judge, let it be granted that they are already not very remote. Let us grind them together with emery. Having done this for some time, they assume a very smooth appearance; but w^e find, upon examining them, that we have not attained our object — they are not plane. If we have been grinding long enough, we shall generally find, that one of them is pretty regularly concave, and the other correspondently convex ; and we may be assured that, w'ithout some further device, no variety of rectilinear, circular, or elliptical strokes, will ever bring either of them to the state w^e desire. But suppose we are provided with a third block of a similar size, and concave in about the same degree as one of the two in ques- tion; if we grind these tw^o concave surfaces together, they will mutually correct the defects of each other. Here then we are furnished with the key to success in this art : — to grind one surface perfectly flat, it is indispensably necessary to grind three at the same time. In practice, we do not ascertain the state of each surface by experiment, with the view of bringing similar defects together, (as just stated in order to render the explanation more evident,) but proceed by grinding them interchangeably, often reversing their position, pressing upon every part with MECHANICAL EXERCISES. 33 JNlethods of grinding, an equal weight, spreading the ernerv, or whatever may be used as the cutting powder, as evenly as possible, sometimes moving dia- gonally and sometimes from side to side, with an intermixture of rectilinear, circular, and elliptical strokes. To execute good work in this art, so far at least as plane surfaces are concerned, manual labour can alone be depended upon. Though glass is much more easily ground true than most of the metals, yet the plate glass, which is ground by machinery, is perhaps never so perfect as it might be made by the hand, and sometimes parts ol looking glasses called plane, are demonstrably possessed of the properties of con- cave or convex mirrors. Emery is the substance most commonly employed as the cutting powder in the grinding of metals. The artist should be provided with it of various degrees of fineness ; and as it is necessary that the finest sort should be entirely free from the admixture of coarse grains, it is adviseable, on this account, to keep it at a dis- tance from the other kinds. It is the practice of some, not to polish in tlie same room, or even in the same clothes, they used for the rougher part of their operations. As soon as the emery thrown upon the work, is found to have little or no effect, being converted into mud, it must be entirely washed away, and the sup- ply renewed. When iron or brass have been ground with emery, it is difficult to file them ; the file w ears very fast, and produces but a slight effect, till the emery which has entered into the pores of the metal is removed. Water, having the stioiig recomineudation of cheapness, is the fluid most commonly used in grinding ; but with oil, metals are cut more evenly, expeditiously, and fewer scratches are produced. It is therefore most used to finish and polish with. The softer the three bodies intended to be ground, the greater may be their inequalities at the commpncement of this labour, with an equal chance of making them perfect in the end. Sile- cious substances, such as emery and sand, take such powerful hold upon calcareous fossils, to which class of substances belong almost all the hardest stones in common use, that they may be ground, from rather a rough state, till they become very true. The stone and marble masons care nothing about that high degree of accuracy which is here contended for ; but if any one who may be disposed to follow the directions given in the last section for filing, be supplied by one of these artists with three slabs of mar- ble, or some close-grained homogeneous stone, made true in their best manner, he may afterwards, with proper care, finish them, ac- cording to the principle here laid down, so as to possess a table, with which he will probably have little reason to be dissatisfied. This must be understood to be the resort, when it is impossible or 2. — VoL. I. F 34 MECHANICAL EXERCISES. Methods of grinding. inconvenient to procure an iron table, which is always to be pre- ferred, and may in fact be manufactured with ease, especially if no extraordinary size is required, by the help of one of stone, ob- tained as above recited. The metals are of a much more unyielding nature than irtone ; and when they are the subjects of our labour, a different line of policy must be pursued. The grinding of them should always be comparatively a short operation. In the removal of considerable inequalities, the file will often do more in a quarter of an hour, than grinding in a whole day ; but when the imper- fections extended over a surface become exceedingly numerous and minute, such, in short as a file or any tool which acts only on a small spot at once, is necessarily disposed to leave, and which scarcely at all affect the general level of the whole, the case is reversed, and the file will not produce so finished an effect in a day, as grinding in a quarter of an hour. If any one of three plates or slabs, which have been ground together, will adhere so closely to either of the other two, as to exclude the atmosphere from the surfaces in contact, and allow both to be lifted up by taking hold of one of them, a strong presumption is afforded that all of them are true. Tlie common grindstoney upon which tools are sharpened, requires no description ; yet it may be useful to observe, that it will be much easier to grind plane-irons, chisels, See. upon it, if the circumference in the direction of the axis be kept a little con- vex. When these and similar tools are ground, the stone should also turn towards the person holding them, so as to run against their edge. Grindstones are often turned by machinery. When the velocity is very great, they do not cut well, and will also some- times break, a circumstance which has occasioned the most serious accidents. It was formerly the invariable practice to hang them on an axis passing through a piece of wood which occupied a square hole cut through the centre of them ; w hen this wood be- came wet, the swelling of it powerfully seconded the tendency of rapid motion to break them. The practice of securing them by a circular plate, screwed firmly against each side, was therefore adopted, and is becoming more general. The stones upon which cutlery is ground, are carried at the rate of about six hun- dred feet per second. At Wickersley, near Sheffield, stones are obtained w'hich heat so little that they admit of being used dry. When clogged, they are cleared with a bar of soft iron. This process of dry grinding is of the most destructive nature to the men employed ; the sharp particles of iron, constantly flying about, find their way to the lungs, and ultimately produce incurable com- plaints. MECHANICAL EXERCISES. 35 The glazor. — The polisher — The brush. — Grinding copper-plates. In the manufacture of cutlery, the use of the stone is followed by that of the lap or glazor. This is formed of a number of pieces of wood, in such a maimer that the edge or face may always present the end way of the wood, or it would change its figure. Some glazors are covered with strong leather, others with an alloy of lead and tin. After the face of them is turned to the proper form and size, it is covered with rakes or notches, which are filled up with emery and tallow. The glazor is carried at the rate of fifteen hundred feet per second. The polisher, in the same branch of art, is a circular piece of wood, running upon an axis like the stone and glazor. It is co- vered with butf leather, and its surface is from time to time reple- nished with colcothar. The polisher is not allowed to move quicker than about seventy or eighty feet per second. A brush, consisting of a circular piece of wood fitted upon an axis, and set upon the face with strong bristles, is used to polish those parts which have been filed, and which the lap and the polisher cannot touch. Copper-plates are prepared for the engraver, by placing them upon a board forming an inclined plane, and rubbing them with a piece of sharp grit stone, first in the direction of their length, and then in that of their breadth, with rectilinear strokes, till the marks of the planishing hammer and other de- fects are taken out. The low'er edge of the plate may lie in a trough of w^ater, so that the necessary supply of this fluid will be carried over the plate without stopping to throw' it on. The scratches left by the grit stone are then removed by rubbing in the same way w ith a piece of pumice stone. Charcoal is next used, with water, to remove the scratches left by the pumice stone, and the operation is finished with the same substance and a little oil. If the piece of charcoal, when it is tried, glide over the surface with little or no effect, another piece must be select- ed. Its fitness for the purpose may be distinguished by its making no scratches, yet, when wet and rubbed upon the copper, seeming rough, and making a low' murmuring noise. Clock- makers finish the plates betw'een w’hich the w heels of clocks are enclosed, in a similar manner, except that they do not take so much pains to remove every scratch, but obtain a high gloss by rubbing w ith colcothar or putty laid upon leather. A piece of old hat makes a good polisher, as does also paper rolled up till it forms a cylinder of sufficient size, when the end, being first cut straight, must be used. If the hat, in the dying of which iron is employed, be immersed a few minutes in sulphuric acid, the iron will pass to the state of red oxide, and it then answers the purpose still better than before. 36 MECHANICAL F,XERCl!>ES. Tripoli. — Polishing rouge. — Burnisher. — Annealing. A species of the clay genus, called tripoli, or rotten stone, is much used to prepare metals, marble, and glass, for receiving, after the use of emery or sand, the highest polish of which they are capable. It is of a yellow colour, tastes like common chalk, and is rough or sandy between the teeth, although no sand can be se- parated from it ; and its particles are in fact so tine and soft, as to leave no perceptible scratches. Goldsmiths, to give the last polish to their work, which they commonly call colouring it, employ what is termed polishing rouge. This powder is said to be a very pure native red oxide of iron. Sometimes it is of a red inclining to purple, and has the appearance of very fine colcothar; but this sort is of inferior quality. Burnishing is too nearly allied to the above methods of polish- ing, to require a separate section. The burnisher used by the makers of spurs and bits, 8cc. is partly iron, partly steel, and partly wood. It consists of an iron bar, wdth a wooden handle at one end, and a hook at the other, to fasten it to another piece of wood held in the vice, while the operator is at w'ork. In the mid- dle of the bow', wuthin side, is w^hat is properly called the burnisher, being a triangular piece of steel with a tail whereby it is rivetted to the bow'. The iron ore called red haematites, or blood-stone, is much used for burnishing metals, but steel burnishers are more common for this purpose than any other sort. They are much varied in shape according to the fancy of the user, or the w ork for w'hich they are intended. The form shown at fig. 9- ph HI« or some near resemblance of it, is most frequently adopted. The steel of which a burnisher is made should be in a very hard state, entirely free from flaw s, and exquisitely polished Annealing, In a considerable number of instances, bodies which are capable of undergoing ignition, are rendered hard and brittle by sudden cooling. Glass, cast iron, and steel, are the most remarkably afliected by this circiunstance ; the inconveniences arising from which are obviated by cooling them very gradu- ally, and this process is called annealing. Glass vessels are carried into an oven over the great furnace, called the leer, where they are permitted to cool, in a greater or less time, ac- cording to their thickness and bulk. Steel is most effectually annealed by making it red hot in a charcoal fire, which must completely cover it, and be allowed to go out of its own accord. Cast iron, which may require to be annealed in too large a MECHANICAL EXERCISES. 37 Annealing. — The straight-edge. — Square. quantity, to render the expence of charcoal very agreeable, may be heated in a turf or cinder tire, which must completely envelope and defend the pieces from the air till they are cold. The fire need not be urged so as to produce more than a red heat ; a little beyond this, bars and thin pieces would bend, if destitute of a solid support ; and w ould even be melted without any vehement degree of heat. If it be required to anneal a number of pieces expeditiously, and the fire is not large enough to take more than one or two of them at once; or if it be thought hazardous to leave the fire to itself, from an apprehension that the heat might increase too much, the following scheme may be adopted : heat as many of the pieces at once as may be convenient, and as soon as they are red hot, bury them in dry saw dust. Cast iron, when annealed, is less liable to warp by a subsequent partial exposure to moderate degrees of heat, than that which has not undergone this operation. The above methods of annealing render cast iron easy to work, but do not deprive it of its natural character. Cast iron cutlery is therefore stratified with some substance containing oxygen, such as poor iron ores, free from sulphur, and kept in a state little short of fusion for twenty-four hours. It is then found ' to possess a considerable degree of malleability, and is not unfit for several sorts of nails and edge-tools. Copper forms a remarkable exception to the general rule of annealing. This metal is actually made softer and more flexible by plunging it when red hot into cold water, than by any other means. Gradual cooling produces a contrary effect. The Straight-edge and Square. A steel ruler, made, by filing and grinding, perfectly true, is called, by mechanics, a straight-edge, and is an instrument of great use and value to the workman. A straight-edge is not made to any fixed length, which must be varied according to the work to which it is intended to be applied. Unless very short, its breadth is commonly from one to two inches, and its thickness should in all cases be sufficient to support its own weight. To have this property, it must be thicker than would be generally supposed If it be made thirty inches long, it should not be less than half an inch thick, and if forty inches long, its thickness should be five-eights of an inch. If made materially thinner of these lengths, it will be found to sink in the middle, when sup- ported at the ends, a fact easily ascertained by trying it with the arris of another straight-edge. This instrument is not even known by name, to a great number of proviiidai artists, who might be benefited by its use. 38 MECHANICAL EXERCISES. Straight-edge. — Square. It should be made of the. best cast steel, and filed, ^vitll all pos- sible exactness, agreeably to the directions given on that subject. Three must be made at the same time, and they must be ground A one edge can be pressed upon the rest, it may be held remarkably steady. To describe the use of the tool, fig. 30, may afford a fami- liar illustration of the advantage attending a proper adaptation ! of the figure of the tool to the work. It is intended to turn the I flat heads of the small brass nails used in fastening the sheathing upon ships. These nails are little more than an inch long, and as a very trifling charge is made for turning the heads, the oper- ation requires to be performed with proportionate expedition. A square hole, which just admits the shank of the nail, is made in the end of the mandrel ; the nail is placed in this hole, the fly w heel set agoing, and the tool, fig. 30, applied so that the notch shall touch the rim, and the low er part of the tool the face of the head ; then as the parts of the tool thus applied, have both cutting edges, the rim and face of the head are both instantly turned, while the nail is prevented from flying out of the lathe. — When one nail is done, another is inserted without stopping the fly wheel, and thus several hundreds may be done in an hour. Of the Farallel Rest. If a tool, opposed to any body revolving in a lathe, be drawn along, parallel to the axis of the mandrel, a cylinder will be produced ; if it move in a line forming an angle with the axis of the mandrel, a conical figure will be obtained ; and if it operate at right angles to the same axis, a flat surface will be the result. The machine in which a turning tool is fixed, to produce these effects, as it is frequently applied to the turning of parallel surfaces, has occasionally obtained the name of the Farallel Rest Fig. 31, pi. III. is a perspective view of the parallel rest, which must be wholly made of iron. It consists of two parallel cheeks, like a lathe, but the standards B B, are very short, as the whole height of the machine to the chisel F, must not be more than that of the axis of the mandrel from the bed of the lathe in 70 MECHANICAL EXERCISES. The parallel rest. which it is intended to be used. The standards, B B, are firmly screwed to a strong plate CC, or, what is still better, cast in the same piece with that plate. The cheeks are united to the stan- dards by four screws, in the same manner as those of the foot lathe already described. The lower part of the headstock D fits the space between them, in the most accurate manner, so that it cannot be thrown askew, but yet is not so tight as to prevent its free horizontal motion. If at any time it is found too slack, it may be tightened by a screw a, at the bottom of it. The lower part of the interior side of each cheek is chamfered^ and the plate through which the screw a passes, to act upon the headstock, slides between the chamfered portion of the cheeks. This arrangement is shown in the section, fig. 32 ; a is the head- stock ; b b the cheeks ; c the plate through which the screw passes, and in which there is no screw thread required ; d the tightening screw. On the top of the headstock D, fig. 31, there is a rec- tangular groove for the chisel F, which is fixed in any part of it by a plate or cap on the top of the headstock. This plate or cap is fastened down by screws, passing perpendicularly through itf two screws, in this situation, are sufficient for a small machine, but four will be required for a large one. To effect the horizontal motion of the headstock D, a screw E, the nut of which is in the standard B, is connected with it by means of a collar, and by turning the winch b of this screw, the motion required is produced. The screw must be long enough to push the headstock to the further end of the space between the cheeks, and it is adviseable to make its thread a fine one, particu- larly when iron is intended to be turned with the machine, in order that the motion communicated to the headstock in 2 Ly with greater facility be made very slow and uniform In adjusting the machine to the lathe, the strong iron plate HI, %. 33, is made use of. There are two wide grooves in it, fi g, by which, with the help of two bolts, it is fastened upon the lathe, in the manner of a rest. The heads of the bolts must not project above the surface of the plate ; therefore the grooves must be considerably wider at the top than the bottom, and the heads may then be countersunk. On the plate H I are also three im- moveable cylindrical pins, h i A:, all of them screwed at the top and fitted with nuts. In using the machine, the plate C C, fig. 31, is placed on the plate HI, fig. 33, so that the pins of the latter enter the apt itures Imn of the former. The middle pin exactly fills the middle aperture, and upon it as a centre, from the width of the other apertures, the machine has,, without moving the lowermost plate, fig. 33, a short range back and forward, until the nuts in it are screwed down upon the upper plate CC, fig. 31. MECHANICAL EXERCISES. 71 The parallel rest. Now suppose a bar of iron, intended to be formed into a cylinder, be put into the lathe, let the machine be fixed so that its cheeks may be, as nearly as can be ascertained, parallel to the axis of the intended cylinder, at the left hand end of which place the tool so that it shall take off a slender shaving. Set the lathe to work, and slowly turn the winch b, till the tool has completely traversed the bar. Repeat the operation, if necessary, till the irregularities in the figure of the bar are removed, and the tool has touched every part of the surface; then, with a pair of callipers or a guage, exa- mine whether the bar, at both ends, is of equal diameter ; if any inequality appear, the rest has not been set parallel to its axis, and it, consequently, is not a cylinder. The matter is rectified by slackening the nuts of the pins h i k, and pushing in that side of the rest, which is opposite the thick end of the bar, just half the extent of the error. The nuts being then screwed down, and the tool made to traverse the surface again, the cylinder will be completed. As it has been supposed that the bar was, in the first instance, by some oversight or other, turned rather conical, the method of making a regular cone with the parallel rest, when occasion re- quires, needs no explanation. When a flat surface is to be turned, it must be well secured to a chuck, the machine fixed across the bed of the lathe, and the cutting edge of the chisel F precisely on a level with the axis of the mandrel, or some part of the centre will remain unfinished. The tool may be made to cut with so much exactness, that if the face of a rectangular block of cast iron were attempted to be turned flat with it, the edges will not be jagged, when the circle of revolution, extending beyond the shorter diameter of the piece, is not complete. W hen the chisel F, in the parallel rest, requires to be moved a little further in, some chuse to alter it by percussion, and keep it only so tight that the blow of a moderately sized hammer will drive it in ; others think it better to regulate it by a screw, and provide a frame for the back of it, similar to that at the back of the puppet D, fig. 13, pi. I. in which the screw a acts upon the end of the mandrel. The section of the cheeks of the parallel rest, to abridge the labour of filing, may be made to resemble that proposed for the cheeks of the foot lathe, fig. 2, pi. I. 72 MECHANICAL EXERCISES. Use of tlie screw-tools. — Traversing mandrel. Of cutting Screzcs in the Lathe The art of cutting screws in the lathe, constitutes one of the most curious and useful branches in the art of Turning. Accordingly, it generally proves one of the most interesting exercises to the young practitioner, who is further stimulated by the celebrity of those who can cut every description of screw with facility, — an attainment commonly considered, among turners, one of the most decisive proofs of skill that can be ex- hibited. In proportion as the art of cutting screws has been cultivated, the methods by which the object might be accomplished, have been diversified. We shall notice some of those contrivances which are least expensive, most easily reducible to practice, and most suitable for general use. If the screw-tool, fig. 25, be opposed to a cylinder revolv- ing in a lathe, and at the same time be moved along the rest, with a regular horizontal motion, it will cut a screw on that cylinder, the threads of which will fill the angular spaces between the teeth of the tool. Fig. 25, is an outmde screw^- tdol ; if the cylinder had been hollow, and intended to be screwed internally, the inside screw-tool, fig 26, must have been employed, which, when pressed against the side of the cavity, while drawn out horizontally as the cylinder revolved, would have produced the desired effect. There is some diffi- culty in acquiring the art of cutting screws in this manner, though the process is in very general use among experienced turners. To obviate every disadvantage which attends it, and ensure per- fect precision in the operation, was the object of the invention of the traversing mandrel. Of this ingenious contrivance, we shall next, therefore, endeavour to give the reader a description. At the end of the mandrel E, at e, fig. 1, pi. I. there is a screw about two inches long, the thread of which is like that intended to be made. Upon this screw, called the guide, is fitted a piece of wood, the motion of which is entirely prevented by any mode of fastening which may be found convenient. The piece of steel on the headstock C, which falls into the groove of the mandrel, and hinders its horizontal movement, being then withdrawn, and the great wheel turned, the mandrel assumes at once a rotary and rectilinear motion, which is con- tinued till it has gone so far, that the screw' e can no longer turn in the piece of wood. If, as soon as this circumstance occurs, or a little sooner, the great wheel be turned the contrary way, the rotary and rectilinear motion of the mandrel immedi- ately takes place again, but in a reversed direction. Thy MECHANICAL EXERCISES.' 73 Traversing mandrel. — Traversing chuck. compound motion of the mandrel, is precisely what is wanted to facilitate the use of the screw-tool, which, while it is going on, only requires to be held steadily upon the rest, against the revolving body, and the sciew will be produced. The teeth of the screw-tool must correspond with the screw upon the mandrel, as if it had been made by holding it against that screw revolving in a lathe. It is customar}" to cut three or four screws, of different threads, one behind another, upon a traversing mandrel, as a single one would only be of limited use. But even as three or four screws are often insufficient to meet the wants of the artist, and the length of so many together is awkward and inconvenient, it is better to make a concave screw in the end of the mandrel, to which any variety of convex or guide screws may then be alternately attached. — The revolution of the guide screw, without the mandrel, may be prevented by a screw z, near the end of the latter. In cutting screws, the proper motion cannot be communicated from a fly wheel to the mandrel by means of the foot acting upon a treadle. If a fly wheel be used, it must be turned backwards and forwards by a winch, through a space proportionate to w^hat the guide screw will allow, so that two persons will be required for the operation. But to cut screws in a foot lathe, the fly of which is unprovided with a winch, and to render one person ade- quate to the performance, a cord descending from a spring, as in the pole lathe, is coiled round the pulley of the mandrel, and attached to the treadle, the range of which may be suited to the occasion. With respect to the mode of fastening the wood in which the guide screw turns, a word may be expected. Let a stock or horizontal piece, w, be screwed to or cast along with the head- stock C ; let the end of it be tapped to receive the screw x, which must be taken out previously to fixing the wood upon the guide screw e. When the w ood is in its proper place upon the guide, it must hang down over the end of the stock zc\ and there must be a hole in it just large enough to admit the screw Xy by which it can then be made perfectly secure. The use of the traversing mandrel will probably in a little time give way to that of the traversing chuck, which was invented by Robert Healy, A. B of Lublin, and a description of it, communicated by him, inserted in the Philosophical Magazine. On the common mandrel A, fig. 1, pi. IV. is screwed the chuck B, to which may be screwed the chucks of the lathe, aS R. On the outside of this chuck B, is turned a screw, which is fitted to an inside screw worked in the ’’oular 4.— VoL.I. L 74 MECHANICAL EXERCISES. Traversing chuck. block C, from which block extends an arm D, as long as may be thought fit for the purpose of permitting another arm to slide up and down it ; a piece of iron should be screwed to the circular block C, of such a length as to be capable of moving in a groove that may be cut in the collar, or adapted to it. This piece of iron should be regular in its shape, and well fitted to the groove ; it is intended to prevent the block C, from being turned round, and to allow it only a steady rectilinear motion. The rest, G F O, must not stand as usual parallel to the work, in cutting an outside screw' ; but at right angles, as when an inside screw is to be cut, in order that the furthef arm of the rest F, may be joined to the end of the second or intermediate arm E. It is necessary that this second or intermediate arm E, be capable of fastening firmly the hi st arm D, to any part of the rest, G F ; it must also have a joint at each end to admit, in a horizontal plane, its free play. Thus, as the lathe turns to us or from us, the arms must traverse forwards or backwards ; which gives a similar motion to the tool H, that is held steadily or hxed wdth a screw on the further arm F, of the rest ; and thus a screw is cut with a tool of a single point. Is is unnecessary to mention, that no joggling should arise from the motion of the arms, as that would cause a failure in cutting a perfect screw. If the centre of the rest should be drawn nearer to us, and by that means bring the tool closer to the intermediate arm E, then a screw of a much larger size will be cut ; for as the rest, turning within its socket, (the thumb-screw for fixing it in the pillar, being in this operation always withdrawn,) moves on a centre, the further the tool is moved from this centre, the greater wdll be the radius of the circle described, and consequently the coarser will be the screw ; and, vice versa, the nearer the tool is brought to the centre, the smaller will be the radius of the circle, and thus the screw will be finer. Should the intermediate arm E, be connected with the nearer arm of the rest G, and the tool held on the further one F, then a left-handed screw will be cut, of a thread the distance between the turns of which w ill vary according to the distance of the point at which the tool is held betw een the centre and extreme end ; for, as the lathe turns to us, the arms receive a forw'ard motion, except the further arm F, of the rest, which receives a backward motion ; but when the lathe turns from us, then the further arm receives a forward motion ; and as the tool meets the w'ood, so it cuts a left-handed screw'. It may be apprehended that a piece of wood so far removed from the collar K, might spring its motion; but this may be obviated by not making use of the traversing chuck B, till the screw is to be turned; for as the cutting of it is light work. MECHANICAL EXERCISES. 75 Traversing chuck. there will be little resistance, and, of course, but little spring; or the traversing screw, B, may be turned on the mandrel A. Another disadvantage would seem to arise from the impossibility of cutting screws when the puppet head is made use of, to pre- vent the springing of a long piece of wood. But this may be ob- viated by lengthening the intermediate arm E, to the part where we intend cutting the screw, and thus we have the same screw as that of the traversing one : if a finer or coarser screw should be required, then, by having an arm of the rest to slide in and out, and the intermediate arm to be connected with the centre of the rest, we have just the same power of turning screws as in the former case. A socket S, is represented, the lower part of which slides on the rest, and may be fastened firmly to it by a screw : the upper part, that turns on a pivot, admits the intermediate arm to slide through it, which arm is held stationary in it by a screw. If the rest were to make a right angle with the piece of wood on which the screw was to be turned, at the commencement of the process, and to become parallel “to it when the screw was finished, an approximation would take place from a larger thread to a smaller, or me versd ; but it is impossible for the rest to become parallel to the work, from the connection of the arms. Now let the traversing arm D, lie in the centre of the screw B, on which it plays, and let the rest make a right angle with the wood on which we intend to cut the screw. The rest may tra- verse thirty degrees on either side of the right angle ; which will not cause any sensible approximation in the thread, and will admit a motion sufficiently extensive for turning the common length of Screws. But as the method answers for a short screw of a few turns, that is sufficient for every purpose ; for, in order to make a long screw, there may be three different ways of accomplishing our object : 1st, At the commencement, the rest stands at right angles with the w'ood on which the screw is to be cut ; by its describing an arch of a few degrees, a short screw is cut ; then by bringing back the rest to its original angle, the right one, and sliding for- ward the single pointed tool to the last thread of the screw that was just cut, w^e proceed to any length by repeating the same process. Sndly, When one or two threads of a screw are cut, by mak-- ing use of a common screw tool, the most unskilful hand will be able to continue the screw to any length. 3dly, Should a side tool with many teeth, instead of the single pointed one, be made use of, a screw of any length may be cut^ the rest describing its usual arch. 76 MECHANICAL EXERCISES. Apparatus tor elliptic turniii(>. Elliptic Turning, PI. II, exhibits perspective views and elevations of the appa- ratus for elliptic, or (as it is vulgarly called) oval turniug. An oval is smaller at one end than the other, like an egg, and there- fore differs essentially from an ellipse. In all the different figures, 1, % 5j 6, 7, and 8, the same letters refer either to the same things, or to corresponding parts of the machine. Fig. l,ds~a front view of the machine. IK is the principal iron plate, to^whicli all the subordinate parts of it, except the ring, (afterwards described,) are affixed. A short screw W, is rivetted or soldered to tiffs plate, upon which the material to be turned must be fastened, either with or without the intervention of a chuck, as the nature or form of it dictates. This screw, to raise the back or lower part of it above the level of the plate I K, has a shoulder, which -affords a useful bearing to whatever is screw^ed upon it, and prevents the inconvenience which would otherwise arise from the projecting heads of the screws x x x x. Fig. exhibits the various parts of the machine on the back of the plate I K, at each of the four corners of which there is a short square pillar, on the summits of which are placed the letters of refei ence, d d dd. Within these pillars, are placed too narrow side ribs or pieces of steel, ffj which reach the whole length of the plate 1 K. Each of these pieces, on the side opposite the other, is bevelled, so that when placed on the plate it forms an angular groove in the direction of its length. The two angular grooves formed by the pieces ff^ are filled by the chamfered sides of the slider EF, which is capable of a free longitudinal motion between them. Wlieii the slider has been put in its place, tw'O end ribs or pieces of steel m m, are placed w iilffn the pillars, ddddj parallel to each other ; they bear upon the side pieces ff^ to which, and to the plate I K, they are firmly held by the screws XXX X. The nut L, is cast in the same piece with the slider EF; in using the apparatus, it is screw^ed upon the nose of the mandrel, and its size must accordingly be proportioned to the mandrel for which it is intended. When the end pieces, m m, are fixed, the slider cannot be throwm out of its situation in the grooves, as they limit its only motion, the longitudinal one, to the space between them, because the nut L acts as a stop, at either end to which the slider may be impelled. This effect, however, though a necessary consequence of the construction, is not esssential to the excellence of the machine ; the principal use of the end pieces, m m, is of a different nature. The space between them is exactly equal to the; diameter. of the ring. OP, fig. 3, upon MECHA'I^ICAL EXERCISES. 77 Apparatus for elliptic turning. the outside of which they revolve, when the nut L is screwed upon the mandrel. Two arms, RS, are connected with this ring, and in each of them there is a groove, nearly their whole length. These grooves are exactly straight and opposite each other, and a line carried from one to the other, along the mid- dle of them, \\ ould intersect the centre of the ring. The pro- jection of the ring above the arms, is cleaidy shown by the eleva- tion, fig. 4. The elliptic machine is connected with the lathe, and its pecu- liar motion obtained in the following manner : let E F G H, fig. 9, represent the upper part of a headstock, through which two holes have been drilled, at a little distance from the collar, the centres of which holes are precisely in a line with the centre of the mandrel M ; let the ring be fastened to the headstock by means of two screws 1 1, with button heads, the shanks of which pass through its grooves, and through the two holes made in the headstock, at the back of which they can be drawn tight by nuts. When the ring is in this situation, it \vill be perceived, that it can only be moved from side to side, and its centre, from what has been said of the position of its grooves and that of the holes through which the screws that fasten it pass, must always be in the same horizontal line with that of the mandrel. Tighten the nuts of the screws tt. No\v let the apparatus A B C D, fig. 2, be united to the mandrel, by screwing upon it the nut L; the inner surface of the end ribs or pieces m m, will fall at the same time upon the outside of the ring. The plate I K, if the ring have been set so that its centre exactly coincides with that of the man- drel, will, when motion is communicated to it, revolve in a circle ; but if the centre of the ring be in the smallest degree on one side of that of the mandrel, it will revolve in an ellipse, the difference between the conjugate and the transverse, or Ipng and short, dia- meters of w hich, will be double ,the distance between the centre of the ring and that of the mandrel. When, therefore, the work is fastened to the screw W, as in common turning it is to the nose of the mandrel, it becomes as easy to turn an ellipse as in other cases it is to turn a cylinder. . The slider EF ought to move wdth great steadiness, and at the same tiine w ith freedom ; — requisites which cannot be com- bined without considerable accuracy of workmanship. To obtain an easy mode of making the w^earing parts of the machine fit, and also to lessen the friction in some degree, several little arrange- ments are made, to some of which it may not be, improper to ad- vert. The slider is made of bell-metal, or a composition similar to that already recommended for the collar of a lathe, and only a Jiarrow’ strip on each side of it touches the back of the plate I K j 78 MECHANICAL EXERCISES. Apparatns for elliptic tnrnine. these narrow surfaces of friction are sHo'smi by a lighter shade of the engraving, on the right and left of E, fig. 1 ; the rest of the surface is cast about the twentieth part of an inch lower than these strips, and it therefore requires but little labour to make the slider true. The other or upper side of the slider E F, fig. II, is not so thick as to touch the end ribs, m rrij when sliding under them. In each of the four pillars, dddd, are tvvo screws. Four of these screws, w n ri n, press upon the end ribs m m, which, by screwing them in, can at any time be brought nearer to each other, for the purpose of correctly fitting the ring. The side ribs, in like manner, to embrace the slider tightly, may be brought nearer to each other, by the four other screws, only two of which, r r, can be seen in fig. 9.. The four screws, 1 1 1 Xj the square heads of which are seen in fig. 1, and their ends in fig. 2, are screwed only into the end ribs m m ; they are rather smaller than the holes in the plate I K, and those in the side ribs, f /*, through which they pass, otherwise the screws in the pillars would not enable us to drive the ribs fiuther in. Fig. 5, and 6, are two elevations of the machine, which ex- hibit the form and relation of some parts of it to each other, more clearly than the perspective views. Pig. o, is the side, and fig. 6, the end of the machine. The same letters of reference being, as previously observed, placed upon the same things, the position of which only is varied in the different figures, much further description would be superfluous. It may be observed, however, that fig. 6, shows distinctly the bevel given to the sides of the slider E F, as well as that given in a contrary direction, to the side ribs ff] in order to form the grooves which receive the slider. Fig. 7, represents one of the side ribs, and fig. 8, one of the end ribs, separately. The form given to the ring, fig. 3, though eligible for a small machine, would be unsuitable for a large one. The limit of its proprierty is determined by the breadth of the puppet for which it is intended; h cannot be wrong, when the puppet is broad enough to admit the holes for the screws 1 1, fig. 9, to be placed so as to allow the ring its full lateral range, in which case it can be brought close up to the mandrel. But when the shape here delineate is inadmissible, the grooves or openings for the screws, may be formed within the ring, by two stout ribs on each side of its centre, and it may then bO fa^ened to a puppet of the custo- mary dimensions. MECHANICAL EXERCISES. 79 Earl Stanhope’s turning rest. — Smart's rest. Miscellaneous Remarks on Turning. The parallel rest, already described, is similar in principle to a machine invented by Earl Stanhope, for turning flat surfaces. This patriotic Nobleman found, that tlie method of stereotyping invented by him, as well as that construction of the printing-press which is distinguished by his name, could not be carried to the perfection he had in view, without devising some method of mak- ing large surfaces of cast iron accurately flat. He has always had in view the important object of rendering the successful appli- cation of his inventions as independent as possible of manual dex- terity ; and, accordingly, the rest or tool which he has invented to perfect his stereotype labours, is, if we judge by its effects, and the manner in which it is w rought, commensurate at once to his genius and his wants. Massive blocks of iron, presenting a sur- face of eight or nine square feet, are turned by it with wonderful facility, and with a degree of exactness which w ill probably never be exceeded. It is, like the paiallel rest, peculiarly adapted to the turning of metals, and doubtless exceeds, in the excellence of its performance, every thing of the kind before attempted. — Of the contrivances which have been adopted to facilitate, upon similar principles, the expeditious and correct turning of wood, that by Smart, of Ordnance Wharf, Westminster, deserves par- ticular notice and approbation. The apparatus which this ingenious mechanic has invented, is used in his manufactory, and when applied to a common lathe, enables one man, with the assistance of two labourers at the great wheel, to turn six hundred poles, each of them a very accurate cylinder, and five and a half feet long, in the course of twelve hours. His man- drel revolves twelve hundred times in a minute, in which short space of time one pole is finished. The means by which he attains his object, have the merit of not only being efficacious, but of possessing great simplicity. The gouge for roughing out the work is fastened in a block, or cutter-frame, which is nothing more than a piece of wood, containing a cylindrical hole, large enough to be shoved over, without touching, the work to be turned. The gouge passes through the block into this cavity, where its edge projects, just as the blade of a joiner’s plane projects from the bottom of the block in which it is fixed. The chisel, which succeeds the use of the gouge, is fastened in another frame of a similar description. The gouge and chisel are held in their respective places by screws. The remaining part of the apparatus consists of two strong wooden cheeks ; and as these must alw ays be as long as the w ork, it is 80 MECHANICAL EXERCISES. Smart’s turning rest. best to make them, at once, the full length of the bed of the lathe, measured from the middle puppet. They may form a , separate frame, or they may be fastened one on each side of the middle and right hand puppets, parallel to one another, and their upper surfaces in the same horizontal plane. Their posi- tion will then be similar to that of the cheeks of the lathe itself. To give them additional steadiness, if found necessary, they may be supported, in one or two places, by feet resting upon the lathe, or by short puppets of sufficient breadth to reach under them. On the bottom of the gouge and chisel frames, there are two grooves, the same size and distance from each other as these additional cheeks, which they are intended to admit into them. The cheeks must be of such a height, that the cutter- frames can be slidden along upon them, with the axis of the holes, into w'hich the gouge and chisel project, coincident with the axis of the mandrel, and consequently coincident with that of the work. The projection of the mandrel, and that of the screw in the right hand puppet, is always rather more than the breadth of both the cutter-frames together, in order that the latter, when in use, may be made entirely to clear the ends of the pole. At the commencement of the process, after the cheeks upon which the cutter-frames slide have been fixed, let the cutter- frames themselves, (that containing the gouge being outermost,) be placed against the right hand puppet, the screw' of which, if far enough out, w ill then extend tlirough the centre, and a little beyond them. The pole to be turned, which we will suppose already prepared, by hewing it octagonally, or somewhat rounding it, is fixed to the lathe in the customary manner, and the gouge frame, the men having begun to turn the great wheel, is pushed along its whole length ; and the tool being previously adjusted so as to take off a shaving of sufficient thickness, as soon as it has cleared the end of the pole, it is left over the mandrel. The chisel frame is next pushed along in like manner, and thus it is that one minute suffices to complete a very smooth and accurate cylinder. It is obvious, that the best position for the gouge and chisel in their frames, will be that which gives each of them the same inclination to the surface of the work, that is found most advantageous in turning by hand. This mode of turning may be classed, perhaps, among those inventions, which every one requir- ing their aid is apt to wonder he has not thought of, or to believe that he could have thought of ; and the very simplicity of which, while, instead of disparaging, it enhances their value, and the debt which the public owe to their authors, is one of the main obsta- cles to the discovery of them. A numberless variety of figures may be produced in the MECHANICAL EXERCISES. 81 MiscellaDeons rt-marks on tnrninff. latbe, by regulating the action of the tool, in its advance to, or recess from, the face of the piece exposed to its action. Medal- lions, and other similar pieces, have been executed by enthusiasts in the art, who have spared neither expence in procuring the iks cessar>’ apparatus, nor patient perseverance in the use of it. In the British Museum, there is a profile in bass-relief, of Sir Isaac Newton, wholly made by turning ; the resemblance is considered very correct, and the place in which it is deposited may be con- sidered a sufficient proof of the difficulty with which it has been executed. Watch-cases, snuff-boxes, and various sorts of trinkets, are sometimes formed by w hat is called rose-w ork. Plates of iron or brass, indented or waved on the edge, in any curve or form which may be desired, are screwed upon the mancheL These plates, which are called roves, ser\e as guides to regulate the action of the tool, in producing a correspondent fonn on the work. The copper cylinders used at Manchester in printing calicoes by machinery, afford specimens of turning, or rather of engraving in the lathe, of tlie most curious and interesting kind. No pro- duction of the art can be more beautiful than the workmanship of many of them, nor more admirable than the effect produced by their use. A whole web or piece of calico is printed by them in three minutes. They are, in the first place, turned accu- rately cylindrical, and polished with as much care as the copper- plates for common engraving ; the pattern is then cut upon them, and it is tliis part of the process, in preparing them for use, which most remarkably exercises tlie genius of the artist. Two methods of executing it present themselves — the graver and the lathe. As the latter, for every pattern to which it can be applied, is so much more expeditious and acciuate than the former, a desire to make use of it in preference naturally follows ; and accordingly it is made use of in cutting a vast variety’ of beautiful patterns, to the production of which few would consider any tool but the graver, directed by the most complete manual dexterity, in any degree adequate. The identical methods pursued by different artists, in this branch of turning, are but little known, but a geueral idea of the nature and possibility of the thing is not of difficult comprehension. Let the pattern intended for the copper be cut upon the circum- ference of a small steel wheel, which must be made to revolve upon an axis. Lloyed in the mechanic arts, we pass over as unnecessary in this enumeration. It will be more useful to subjoin a few remarks on the mode of seasoning and properties of timber in general. The goodness of timber not only depends on the soil and situation in which it stands, but likewise on the season in which it is felled. With respect to the latter point, considerable disagreement of opinion prevails ; some are for having it felled as soon as its fruit is ripe, others in spring, and many in autumn. But as the sap and moisture of timber is certainly the cause that it perishes much sooner than it otherwise would do, it evidently seems to be a good general rule, that timber should be felled when there is the least sap in it, viz. from the time that the leaves begin to fall, till the trees begin to bud. The only plausible objection to a practice founded upon this idea, is, that tlie sap in winter is thicker than at any other season, and therefore may be of more difficult extraction, in the subsequent seasoning, than if the tree had been cut when it w as more abundant and more fiuid. In England, the work of felling timber usually commences about the end of April, because the bark then rises more freely ; and w here a quantity of oak timber is to be felled, the statute requires it to be done at that time, for the advantage of tanning. The age at which timber is cut, is a matter of great import- ance ; if cut too old or too young, it w ill not be so durable as when cut at a proper age. It is said, that oak should not be cut under sixty years old, nor above two hundred. It is easy to offer as a general rule, that timber trees should be cut in their prime, w hen almost fully grown, and before thf^y beiiin to decay ; but when it is inquired, how these particulars are to be deter- mined, w e are compelled to refer to judgment and experience as the only guides which can be depended on. Difference of soil, situation, and climate, hasten or retard the grow th of timber so much, that the age at which any particular kind of tree arrives at maturity, cannot be coirectly assigned. Marshall observes, that poplars may stand from thirty to fifty years; ash and elm-trees, from fifty to a hundred. V\ ith respect to the best mode of seasoning timber after it has been sawed, a variety of opinions are entertained ; but practical men, who seldom regard the notions of the speculatist, and who require a process not only effectual but convenient upon a large scale, consider no method better than that of exposing MECHANICAL EXERCISES. 93 Seasoning of timber. the timber they intend to season, for a sufficient length of time to a free current of air, and every vicissitude of wind and weather. Boards from one to two inches in thickness, which have under- gone this exposure twelve or eigliteen months, they deem tit for use. They observe, that the mere drying of timber is not the same thing as seasoning it, and that unless it is frequently wet, while exposed, it receives little benetit. This is only stating, in other words, the necessity of extracting the sap. Some persons, how- ever, advise the planks to be laid up in a dry airy place, out of the wind and sun, or at least free from the extremes of either ; and that they may not decay, but dry evenly, they recommend them to be daubed over with cow-dung. Ihey must not be piled on their ends, as in the common w ay, but one plank must be laid over another, small pieces of wood being interposed, to prevent the contact which w ould otherwise occasion an injurious mouldiness. This mode, though not so convenient, nor probably so effectual as the former, or common one, is certainly more rational than that recommended by others, of burying the timber in the earth To season timber in a short time, it may be laid in a pool, or running stream, in order to extract the sap, and afterwards dried in the sun or air. On a small scale, boiling water, as di- rected for beech, may be employed, by which the seasoning of green wood may be accomplished with the greatest expedi- tion. The process will be tound useful to turners and cabinet- makers. But whatever mode of seasoning be adopted, against shrinking, more or less, there is no remedy. The principal disad- vantage occasioned by the shrinking of timber, is from the dimi- nution of its transverse dimensions. When this kind of shrinking takes place in casks, for example, in any considerable degree, the hoops drop off, and these vessels fall to pieces ; perhaps as great a number of them are destroyed by this cause as by any other. To obviate its effects, G. Smart has lately taken out a patent for constructing casks on a new principle : before he puts them to- gether, he presses the w ood into a smaller compass than it would ever be reduced to by drying : 32,000 vessels made according to this plan, have verified its utility in the most ample manner, not one of them having leaked, under circumstances that rendered those made in the common w ay useless. The Venetians are supposed to be the first in modem times, w ho adopted the method of seasoning timber by charring it, which was done by exposing the piece to be seasoned to a strong fire, in the flame of which it was continually turned by an engine, till it was completely covered with a black coally crust, when it was taken out and fit for use. By this means, it became so hardened, as to resist the effects of earth, air, and water, for cen- MECHANICAL EXERCISES. 94 Preserving timber from decay. turies. The beams of the theatre at Herculaneum, were con- verted into charcoal by the lava which overliowed that city, and after a lapse of more than seventeen hundred years, the charcoal is as perfect as if it had been formed but yesterday. Casks charred in the inside are used to preserve w ater uncorrupted, and are particularly to be recommended for long voyages. Charring, also, is the best preparation which piles, or any kind of stakes, intended to be driven into the ground, can receive. When boards or planks have been properly seasoned, without charring, additional care becomes necessary to preserve them against the depredations of worms, the effects of air, moisture, Scc. For this purpose, Evelyn directs common sulphur to be put into a glass retort, with as much nitrous acid as will cover it to the depth of about two inches. The whole must be distilled to dryness, and rectified two or three times. The remaining sulphur is then to be exposed to the open air on a marble, or in a shallow glass vessel, where it will liquefy into a kind of oil, with which the timber must be rubbed over. This mixture, he asserts, will not only infallibly prevent the attacks of worms, but also preser\e every kind of wood from decay, either in air or water. Two or three coats of linseed oil may also be used to defend timber from the inliuence of air or moisture ; and some have recommended the wood-work of buildings to be painted, but this ought always to be deferred, till it is thoroughly dry. If the w aiiiscotting or other timber of a building be used too green, and has in consequence riven or cracked, it has been strongly recommended to cover it immediately with a solution of beef-suet, which will often close the crevices so effectually, that the defect will be scarcely perceptible. Some carpenters close the devices w ith a composition of grease and fine saw-dust. The timber employed in building, without due precaution, is extremely liable to destruction from the dry rot, which appears, by some late communications to the Society of Arts, &c. to be occasioned by a plant. It will destroy half-inch deal wainscotting in a year. The plant is of the creeping kind, and cannot rise above tw o inches ; so that w ood, in all cases, must be in contact w ith the earth to support it. To preserve w ood, then, from its effects, it must be charred, painted, or prevented from touching the earth by bricks and mortar. It is never ob- seiv'ed to commence in the middle of floors, so that it will pro- bably be found sufficient to secure the ends of beams or joists. The plant has no adhesive powers but in contact with wood. Timber thoroughly impregnated with brine, or a solution of com- mon salt, has been found by experiment to be secure from its destructive effects. MECHANICAL EXERCISES. 95 General observations on timber. The experiments which have been made to ascertain the strength and quality of timber, under different circumstances, have been attended with results widely different from each other ; but as it would be unsuitable to the plan of this work to enter upon the lengthened statements by which contradictory results are supported, we shall merely collect a few remarks, which seem to have obtained general assent. The wood next the bark of a tree, called the white, or alburnum, is much weaker than the rest. The wood of the north side of all trees which grow in Europe, is the w eakest, and that of the south-east side is the strongest ; this difference is most remarkable in hedge-row' trees, and such as grow singly. The heart of a tree is never in its centre, but always nearer to the north side, and the annual coats of wood are thinner on that side. In conformity with this, it is a general opinion of carpenters, that timber is stronger whose annual plates are thicker. The trachea, or air-vessels, are weaker than the simple ligneous fibres. These air vessels are the same in dia- meter and number of rows in trees of the same species, and they make the visible separation between the plates, or annual layers. Therefore the thicker these plates are, the greater the proportion they contain of the simple ligneous fibres, and the better the timber. A contrary opinion is nevertheless prevalent, and w'ood with a fine grain, or thin annual layers, is preferred. The tenacity of wood is greatest when it is green, and diminishes with drying. No person, perhaps, has made experiments on wood wdth so much minuteness as Bufton, who observes, that he invariably found the heaviest pieces to be the strongest, and he recommends an attention to this circumstance as the surest guide in the choice of timber. Banks is of opinion, that beams should be strong enough to bear twenty times the force they have to resist, or they will pro- bably bend, and in time break. The same author also observes, that one piece of wood is much stronger than another, not only cut out of the same tree, but out of the same rod ; or a piece of a given length, planed equally thick, and cut into several equal parts, these pieces will be broken with different weights. From a great number of experiments which he made on the strength of wood, he found that the worst or weakest piece of dry heart of oak, one inch square, and one foot long, bore six hundred and sixty pounds, though much bent, and two pounds more broke it. The strongest piece he tried of the same dimensions, broke wdth nine hundred and seventy-four pounds. The worst piece of deal he tried, bore four hundred and sixty pounds, but broke with four pounds more ; the best piece bore six hundred and ninety pounds, but broke with a little more. 96 MF.CHASICAL EXERCISES. General observations on timber. The fibies of timber requiring so great a force to tear them asunder in a vertical direction, and being easily broken by a liansvcise strain, when compared to that of a rope carrying nrarly an equal weight in all directions, opens a wide licld for useful experiments. All timber trees have their annual circles or growths, which vary greatly according to the soil and expo- sure to the siin. The north-east side of the trees (being much smaller in the grain than the other parts, which are more exprrsed to the sun,) is strongest for any column that has a weight to support in a vertical direction; because its hard cir- cles, or tubes, are nearer each other, and the area contains a greater quantity of them ; nor are they so liable to be compressed by the weight, or to slide past each other, as when they are at a greater distance. On the other hand, this part of the tree is not fit for a transverse strain ; because the nearer the hard circles are to each other, the easier tlie beam will break, there being so little space between them, that one forms a fulcrum to break the other upon ; but that part of a tree, tire tubes of w hich are at a greater distance, or of larger grain, is more elastic, and requires a greater force to break it ; because the outside fibre on the convex side cannot snap till the next one is pressed upon it, which forms the fulcrum to break it on. It is generally observed in large timbers, such as masts, that the fracture is seldom on the convex, but usually on the concave side ; which is owing to the fibres on the concave side being more readily forced past each other, and those on the concave side being so difticult to be torn asunder, that they cannot snap, in consequence of the largeness of the segment of the circle they describe when on the strain. Tl’he curve described by the inner layers of the wood being so large, and indeed little less than a straight line, cannot form a ful- crum to break the outer ones upon ; and as the convex side, or that on which the fibres are extended, ought to be always free frtmi any mortise or incision on the outside,' the strength decreases as it approaches the centre. In early periods, the trunks of trees were split with wedges into as many and as thin pieces as were required, in a manner similar to that used by lath-cleavers at the present day. The saw, though so convenient and beneficial, has not been able en- tirely to banish the practice of splitting timber used in building, or in making furniture and utensils. To be aware of the peculiar advantages of splitting timber, may be useful to artisans in wood generally. By its advantage.s, we do not so much allude to its being more expeditiously performef/fl/'7 . M I ; c j 1 Ajs i c.\ 1 . i: \ i : i { t • i s i : s . MECHANICAL EXERCISES. 97 Difference between metal anti wooden springs. — Measurement of round timber. . the grain of the wood, and leaves it whole ; whereas the saw, I which proceeds in the line chalked out for it, divides the fibres, j| and therefore lessens its cohesion and solidity. Though split tim- !j ber turns out often crooked or warped, this fault, which may sonie- !l times be amended, is, on many occasions, not prejudicial. The |j fibres retaining their natural length and direction, thin boards, par- ! ticularly, can be bent much better. This is a great advantage in i making staves, or sieve frames, and in forming various articles of 1 the like kind. There is a cm ions point of difference between wood and metal, j when employed as springs, wdiich deserves to be noted, as it is not I very generally known, though the information may occasionally prove very useful to the engineer. A metallic spring, if it has no- thing to stop against, but is suffered to vibrate after performing the requisite action, will, in a short space of time, if the action be fre- quently repeated, either break or set. A wooden spring, when the vibration cannot be avoided, is the best substitute w hich can be em- ployed, as, in the property alluded to, it is the reverse of a me- tallic one ; if stopped in its vibrations, it soon sets or breaks ; but if permitted to vibrate, its temper or elasticity suffers not the smallest diminution. The best wood for the purpose, is clean- grained deal, perfeci*ly free from knots. To measure round timber, let the mean circumference be found in feet and decimals of a foot : square it, multiply this square by the decimal, 0.79577, and the product by the length. For exam- ple, suppose the mean circumference of a tree be 10.3 feet, and the length 24 feet. Then 10.3 x 10.3 x 0.079577 X 24 = 202.615, the number of cubical feet in the tree. The foundation of this rule is, that when the circumference of a circle is 1, 'the area is 0.0795774715, and that the areas of circles are as the squares of their circumferences. But the common way used by artificers, for measuring round timber, differs widely from this in its result. They measure the circumference or girth, and reckon one-fourth of it equal to the side of a square, whose area is equal to the area of the section of the tree. They therefore square this estimate of one-fourth of the girth, and multiply the product by the length of the tree. According to this method, the tree of the last example would only exceed by a small remainder 139 cubical feet; for one- fourth of 10.3, or 2.573X 2.575x24=159.135000. In measuring hewn or square timber, the custom is to take the breadth in the middle, by placing two rules against the sides of the tree, and measuring the distance between them. In like manner they measure the breadth the other way, and if the two measure- ments are unequal, they are added together, and half their sum i# taken for the true side of the square. 5.~Vol.I. O 98 MECHANICAL EXERCISES Mechanism of a saw-mill. — Smart’s saw-mill. Of Saw-mills. The sawing of timber is accomplished by manual labour and by machinery. Sawing by manual labour is so familiar to every one, as to require no particular description in this place. With respect to sawing by machinery, the mills for the purpose are not numerous in Great Britain, nor does the utility of them appear to be so properly appreciated as in America, ^Norway, and other countries. A general] description of the objects to be attained by the mechanism of a saw-mill on the largest scale, may be comprised in a few words ; the saw is drawn up and down as long as is necessary, by a motion com- municated (commonly by w ater) to the wheel ; the piece of tim- ber to be cut into boards is advanced by a uniform motion to receive the strokes of the saw ; for here the w ood is to meet the saw, and not the saw to follow the w’ood, therefore the motion of the wood and that of the saw ought immediately to depend the one on the other ; and when the saw has cut through the whole length of the piece, the machine should stop and remain immove- able ; lest, having no obstacle to surmount, the force of the moving power should turn the wheel with too great rapidity, and break some part of the machine. Circular saws, for ripping up boards or scantlings of moderate thickness, are not so generally used by artists, as would be found advantageous. We shall therefore particularly notice the construction of a circular saw^-mill, invented by Smart, and used in his manufactory.' Like his improvement in the art of turning cylinders, already described, it is distinguished by its simplicity and utility. A B, fig. 2, pi. IV. is a strong table, made of planks firmly braced together in the form of a joiner's bench. In the middle of this bench, a longitudinal opening, r 0 , admits the circular saw, F, w hich is made of well-tempered steel plate. G is a pulley on the same axis with the saw, and a rapid motion is communicated to it by means of an endless strap from a large fly wheel, turned by horse pow’er. The saw is fixed on its spindle D, (fig. 3,) by a shoulder c?, against which it is held by another moveable shoulder e, pressed against it by a nut, ky screwed on the end of the spindle, which is tapped for the purpose. The hole in the centre of the saw must fit the spindle exactly, and may be either square or circular. If it be circular, it must have a small notch in it, to fit a fillet on the spindle, that the saw and the spindle may revolve together. The ends of the spindle are turned off to cones, in the custom- ary manner for working in centres. The cone or point nearest the saw, works in the end of a screw, c, fig. 2, screwed into the MECHANICAL EXERCISES. 99 Curving of wood. bench ; the other point works in a similar screw, screwed through a cross beam H, morticed between two vertical beams, KK, ex- tending from the floor to the ceiling. The cross beam, H, can be raised or lowered in its mortises through the beams, KK, by wedges, nn, above its tenons, and two others below them. A long straight piece of wood, LL, called the guide, is connected with the bench by joints similar to those of a parallel ruler. It can be set at any distance from the saw, and fixed by screws passing through circular grooves, d dj cut through the bench. The front of the guide, LL, must be perpendicular to the plane of the bench"; and it may then be made use of to set the plane of the saw also perpendicular to the same plane. In using the machine, the work- man slides the end of the piece of wood to be cut against the saw as it turns round, and presses its edge against the guide, LL, at the same time, so that it may be cut straight. When the saw is blunted by use, the centre screw, c, or that in the cross piece, H, must be turned back ; the spindle and saw can then be removed ; and by taking off the nut A:, fig. 3, the saw will be loose, and another may be put on, or it may be sharpened, in the same manner as any other saw, while fixed in a vice. The teeth of the saw are set, that is, bent out of the plane of the saw, one tooth on one side, the next on the other, and so on alternately all round ; the outsides of the teeth are not filed to leave a surface perpendicular to the plane of the saw, but inclined to it, and in the same direction that each tooth so filed is bent in the setting. By this means the saw, when cutting, first takes away the wood at the two sides of the kerf, or passage which it makes, leaving an angular ridge in the middle of it, the use of w'hich is to keep the saw steady in a right line, that it may not have so much tendency to get out of the straight, in any place where the wood is harder on one side than on the other. On giving a curved form to Wood, Curved wood is frequently purchased by millwrights at a very high price ; and such is its scarcity, that very imperfect pieces are frequently made use of, not only from motives of economy in the first cost, but from necessity. The inequali- ties also of wood which is naturally curved, are often so consi- derable as materially to impede the workmen; but when it is intended to curve it artificially, it may be dressed in its straight state, so as to require very little labour afterwards. The follow- ing observations, therefore, on the curving of wood, from a treatise on Carpentry, by J. H. Hassenfratz, will be interesting 100 MECHANICAL EXERCISES. Curving of wood. to many, and will develope some principles with respect to the management of wood, which are not very generally known. \^’hen trees are young and tender, their stems may be bent either by cords, or by poles, stakes, or frames. They are kept in this situation so long that they retain the curvature intended to be given them, even when disengaged from the obstacles by which they are held. Of all the methods of bending trees, that applied to young and grow ing wood is the most easy and convenient ; their sup- pleness and their elasticity admit of their assuming any form that is desired. There are few’, to which, with proper care, the most singular forms may not be given ; but, it is true, they are often reduced to a state of constraint and disease prejudicial to their growth. The curving of w’cod after it has been cut, though more difficult, is, however, more customary, because such pieces may be selected as are best adapted to the objects for which they are intended, and a suitable curvature may be given them imme- diately. The process generally employed, is founded on the property possessed by caloric, of augmenting the elasticity of wood by pene- tiating it, and of diminishing its elasticity when it retires. Accordingly, to give a curvature to thin pieces of wood, such as pipe staves, and the planks that cover the sides of boats, they are heated in the part where the curve is required, and they are gradually bent as they become hot. But caloric, applied to a particular portion of the wood, while the other is in contact with the air, heats it unequally, and only partially increases its elasticity : in curving, some parts become stiff, and others bend, w hich produces an inequality of curvature, and sometimes cracks in the interior, and splinters on the surface of the w ood. The only method of correcting this inequality, is to heat the wood alike in every part. Ovens and stoves, gradually heated, facilitate the curvature of wood, by procuring an equal heat; but the risk of injuring the wood in a dry heat is very considerable. The elasticity of w ood, also, is in proportion not only to its temperature, but likwise its humidity. At an equal temperature, the same pieces of wood have different degrees of elasticity, according to the quantity of svacer by w hich they are impregnated ; in the same manner as, with an equal degree of humidity, they are the more elastic the more they are heated. We have an example of the two-fold intluence of humidity and of caloric, in putting together two pieces of wood, as the tenon and mortise, in w hich the mortise is only one-third of the MECHANICAL EXERCISES. 101 Curving of wood. i size of the piece that is to go into it. This manner of joining, ^ apparently so extraordinary, is considered such an important in- > vention, that most of those by whom it is practised, keep the [ method a secret. It was the process employed in producing j this effect, that suggested the method now employed for curving f with facility the thickest and most obstinate pieces of timber; the i whole art consists in impregnating the pieces of wood with humi- dity, by procuring them a uniform temperature, then to bend them, and suffer them to cool, in the form they are intended to assume. To heat and to impart humidity to wood, three different pro- cesses are employed ; the first is by boiling water, the second by steam, and the third by wet heated sand. The boiling of the wood in water, is attended with the inconvenience of dissolving part of the substance of the wood ; at least, on drying again, it shrinks both in thickness and in length ; its strength and elasticity are considerably diminished. The next method tried was the vapour stove, which was a chest proportioned in size to the wood to be curved, formed of thick planks, firmly joined together. The wood intended to be sub- mitted to the action of the vapour, is placed upon supports. For small chests, a boiler may be placed at one of the extremi- ties, the wood being introduced by a door at the other. In large chests, the boiler is placed in the middle, and the wood is introduced at both ends. The boilers communicate in the inte- rior of the chest by means of a pipe. The vapour formed by the ebullition of the water, impregnates the wood with humidity, aug- ments its elasticity, and renders it fit to be curved. Vapour stoves require little care or expence ; but they can only be used for planks of a certain thickness, because they cannot impart to wood a higher temperature than that of boiling water, which is insuffi- cient to give thick pieces the elasticity they require in order to be curved. These considerations led to the invention of the sand stove, which is formed of four walls of stone or brick, having in the middle two fire-places that communicate with several circular flues to convey the caloric, the heated air, and smoke, t 1 1 ' A L c XL, 1 1 r j si: s . PL.n. Jfi . MtCHANICAL EXERCISES. 103 Smart’s method of converting the trunks of trees into sq.uare timber. end, sawn square, one foot each side : cut it exactly through the centre in two cross-cuts, aby de ; it will produce four pieces, which are put together, as in fig. 6 and 7, with the centre turned outwards, the but-end of one piece with the small end of the other, and dowel and bolt them together as in fig. 8. A beam will then be formed, whose section is shown in fig. 6 and 7, regu- lar from one end to the other, with the advantage of having the heart of the tree in the place where the hardness and strength are most wanted, viz. in the corners, which form the abutments; whereas the same tree squared into a parallel beam, would have been much smaller, and the soft or sappy parts of the wood ex- posed to the action of the air and moisture. In flush framing, it ’ IS observeable, that the failure of all timber in old buildings has commenced much sooner than it otherwise would have done, owing to the sappy Wood being at the corners of the principal beams. This sappy wood soon decays, as its spongy quality at- tracts the moisture ; whereas the heart, especially of oak, will be as sound as the first day it w'as used. As beams, taking their weight horizontally or on any transverse bearing, have their principal strain on the upper and lower sur- face, every workman ought to guard against having sap in beams, because if they do not immediately decay, they shrink, so as to loosen all the framing, and soon cripple the building or machine ; but on the above plan, the sappy or w’orst part of the wood is excluded from what would cause its decay, and the timber in- creased in quantity so as considerably to overbalance the extra labour and expence. A tree of oak, forty feet long, two feet in diameter at the but-end, and one foot at the top, when put toge- gether on this plan, will have its sides each eighteen inches square, and w ill contain ninety feet ; whereas on the old plan, forty feet would be the contents of a square beam cut from the same tree ; fifty cubic feet would have been cut off as slabs, or chopped up for the fire. Estimating the expence of thus putting together a beam, of the dimensions in question to cost c£3, (and it would probably not amount to more where the price of labour is highest,) and the fifty feet saved to be worth no more than <£6; the proprietor W'ould save £S by each beam so converted. The dowels ought not to go through, as that would weaken the timber. In an eigh- teen-inch beam, the dowels should come within three inches of the outside ; but where a mortise is cut in place of a dowel It IS proper to have an iron screw bolt to prevent the joint open- ing with the pressure of the tenon ; and the work ought to be put together with screw clamps, for nails or hammers bruise the wood, -ind weaken or destroy the cohesion of its fibres for a considerable depth. 104 MECHANICAL EXERCISES." The axe. — The adze. Of the Tools used in the working of Wood. We do not here intend to speak of the tools used in turning wood, they having been already noticed. We allude more pai- ticularly to the tools required by the carpenter, joiner, and ca- binet-maker, and which differ not from each other so much in their general construction and name, as in size, and the varieties necessary for coarse and large, or ornamental and small work. We offer the enumeration of the tools used by these artisans, not with the hope that the mere enumeration will convey any iu- formation of importance, but to afford an opportunity of making a few remarks on the mode of using and choice of them, and on those pt^:uliarities in their form, upon which their excellence chiefly depends. The principal tools employed in the working of w ood, are, the axe, the adze, various sorts and sizes of saws, planes, chisels, ham- mers, and boring tools. The construction of the axe and the adze, and their use in chopping or hewing, scarcely require any remark. In grinding these tools for use, the general rule observed in grinding all other edge-tools must be attended to, viz. that of suiting their edge to the work for which they are intended. When the wood they are to cut is hard and knotty, the part ground off to form the edge must be short, so as to leave the tool rather thick and strong near the edge; on the contrary, for soft, clean-grained stuff, the part alluded to may be brought to an acute angle, so as to fomi a thin wedge. A w'orkman applied his axe to the chopping of bones, and thought the metal it was made of very bad, or badly tempered, because it became notched or gapped, almost at every stroke, till the edge was gone. The fact was, that it w as ground to so acute an angle as only to be fit for cut- ting fir. Such mistakes, however gross, are not uncommon. The tool in question should have been ground so as to have had an edge almost like that of the chisel for chipping iron. The axe is ground on both sides to form the edge : the adze is a much thinner and lighter tool than the axe, it is ground only on one side, namely the inner ; the part ground is at a right angle to the handle ; and the blade is arched to the portion of a circle, the radius of which is somew hat less than the length of the handle. The adze is much used by the cooper, as well as the carpenter and joiner ; it will pare away very thin slices or chips, and leave a much smoother surface than the axe, which, besides, cannot, like it, be applied to a surface in a horizontal position. That part of an axe, adze, or any other tool, which is ground ofl to form the edge, is called the basiL ' HECHA^IICAL EXERCISES. 105 “ General remarks on saws. Of Sarcs. Saws are made of plates of steel; if they possess great elasticity, and bend equally in a bow, they are judged to be well tempered, and evenly ground. The edge in which the teeth are cut, is thicker than the back, that the back may readily follow the edge. The teeth are cut and sharpened with a triangular file, the blade of the saw being first fixed in a whetting-block or vice. After the teeth have been filed, they are set, that is, turned out of the right line, that they may make the kerf or fissure wider than the thickness of the saw-plate, and thus prevent the friction which would otherwise impede the motion of the tool. If the first tooth be bent to the left, then the next is turned to the right, and so on ; and it may also be remarked, that the extremity of each tooth, at the outside corner, is left higher than on the inside corner, which tends to facilitate the cutting. Hence it will be ob- served, that the teeth of Smart’s circular saw, which have been particularly noticed, are formed in the same way as those of the common saw, and for tlie same reasons, in addition to those stated on page 99- The instrument with wdiich the teeth of saws are bent, is usually a piece of iron or steel, five or six inches long, with several nicks in the edge, at right angles to its length, and of different sizes. The tooth intended to be bent, being slipt into the nich which it will exactly fill, and the saw in the mean time being held fast, th® effect of bending the tooth may readily be produced by twisting the instrument up or down. The teeth of a saw are made larger for coarse cheap stuff, than for hard and fine, in cutting which large teeth would make too great a resistance. The plate of a saw should be quite straight, or it cannot be depended upon for making a straight kerf. In large towns, there are men who earn a portion of their livelihood by sharpening saws, and those who perform the business well, receive considerable praise for their ingenuity, from journeymen, not always of the most clumsy and idle class, who employ them without reflecting that the skill they admire is easily attained by a little attention ; that the time em- ployed in carrying, looking after, and fetching their tools, is generally equal to what would be required for repairing them at home; and that they can therefore seldom call themselves gainers, even if they had nothing to pay for the work they have had none, or if it were no inconvenience to be for a time de- prived of a tool almost constantly required to be at hand. The teeth of saws have a proper degree of acuteness, w hen comprise ing an angle of about sixty degrees. In sharpeoitig them, the p. VoL. I. P 106 MECHANICAL EXERUSES. The whip-saw. — Hand-saw, — Pannel-saw. — Frame-saw. — Tenon-saw. whole of the outer arris of each tooth, should be made sharp ; this can only be done by moving the file in a straight direction, which will make the slanting sides of the teeth flat. Saws used for dividing wood longitudinally, or in the direction of its fibres, may have the front edge or apex of each tooth standing almost as forward as the base of the tooth on that side next the lower end of the plate. But this form, in transverse or cross- cutting, would be inconvenient, as it would hinder the workman from pushing forward the saw ; tenon-saws are therefore usually made so that the apex of the tooth is not more forward than the centre of its base. The saws in most common use are the following, viz. the^izV- saWy which is a large tw^o-handed saw, for sawing timber in pits, chiefly used by the sawyers. The whip-saw, which is also two-handed, is used in sawing such large pieces of timber as the hand-saw will not easily reach. The hand-saw, which is made for a single man’s use; the length of the plate is about twenty-six inches, and it is generally made with about four teeth in an inch. It is used in cutting wood across, as well as in the direction of its fibres. The teeth toward the low^er end of it are rather smaller than those at the upper end, or broadest part of the plate, which facilitates the working of the saw in that part of its course, when the work- man has the least power upon it, and the wood, on the surface and at the sides of the kerf, particularly in cross-cutting, are not so much torn as they would be if the teeth were all of equal size. The plate of the pannel-sazo is about the same length as that of the hand saw, but it contains about half as many more teeth in the same compass. It is used for cutting very thin boards in any ♦direction which may be required. The how OY frame-saw is furnished with cheeks ; by the twist- ed cords from the upper parts of these cheeks, and the tongue in the middle of them, the upper ends are drawn closer together, and the lower set further apart; so as to tighten the plate, -which is too long and narrow to be kept straight without a frame. The tenon-saw is used for cutting across the fibres of wood, ?and derives its name from its use in forming the shoulders of tenons. The smallest saw to which this name is given, is about fourteen inches, and the largest about twenty inches long. The • number of teeth in an inch are from eight to ten, according- to the - length of the plate, the larger sizes of which have the fewest teeth in the same compass. MECHANICAL EXERCISES. 107 The sash-saw. — Dove-tail-saw. — Compass-saw. — Key-hole-saw. — Planes. The saw used in cutting the tenons of sashes, is called a saskr saw ; the plate is about eleven inches in length, and the number of teeth in the inch about fourteen. The dove-tail-saw is used by joiners and cabinet-makers in dove-tailing drawers, &c. ; the plate is about nine inches long, and the number of teeth in the inch about fifteen. — ^The plates of the tenon-saw, the sash-saw, and the dove-tail-saw, are so thin, that the back of them is let into a stout piece of iron or brass, to keep them from bending, and as they are not intended to cut into wood their whole breadth, this addition is no disad- vantage. The compass-sazv is used for cutting a circular or any other compass kerf : its formation is peculiar ; the teeth are not set, as the setting of a saw has a tendency to keep it in a right line ; the teeth are small, about five in an inch ; the plate narrow, about an inch in the broadest part, and gradually di- minishing to about a quarter of an inch at the lower end ; the cutting edge is thick, and the back very thin, so that it may have a compass to turn in. The sides of this saw should either be cor- rectly flat, or a little concave like a razor, otherwise it will not work well. A small kind of compass-saw, called a key-hole-saw, is used for quick curves, such as key-holes. The handle is long, and in shape similar to that of a chisel, but perforated through its whole length, in order that the saw, which is fixed by a screw, may be set at any distance within the handle. Hence in cutting the smallest curves to which it can be applied, or at the commence- ment of the work, or when it is only wanted to saw through an inconsiderable depth, but a small portion of the saw^ is allowed to project from the handle ; by which means the springing or unstea- diness of sawing with the end of a long narrow blade is avoided, and more force can be applied, w ithout the hazard of breaking th^ plate. Of Planes. Planes of different kinds form a very important part of the tools of artizans in wood. A few remarks in explanation of technical terms, will enable us subsequently to be more concise and intelligible in noticing this class of tools. The block of wood in which the blade or chisel of a plane is fixed, is called the stock ; it is mostly made of beech or some other hard wood, exceedingly w^ell seasoned. The blade or chisel is called the iron ; it is composed of iron and steel welded together, the fore part of the lower half of it, when in the stock, containing the steel. The underside of the stock is called the sole. The height 108 MECHANICAL EXERCISES. General remarks on planes. or depth of a plane are synonymous terms, signif}ing the dimen- sion from the sole to the upper surface. The handle of a plane is called the tote. That part of the aperture in the stock upon which the iron is laid and secured by the wedge, is called the bed, which is a plane surface, making a ddferent angle w ith a line per- pendicular to the sole, according to the use for which the plane IS intended. For the jack-plane, the trying and the smoothing- planes, the angle of the bed is usually from forty-two to forty-fiye degrees ; for moulding planes about thirty-five, and for those planes which operate by scraping, it is almost perpendicular, not making an angle of more than live or six degrees. The angle W'hich the iron makes with the perpendicular alluded to, is called its pitch, and the greater this angle, the low'er is said to be the pitch of the iron. The basil of the iron forms an acute angle with the steel side, which is not ground, but always kept level. In grinding and whetting plane irons, the basil must be made as flat as possible, or in a small degree concave, otherwise it will not seem to be sharp when in use. Plaires are generally about three inches and one-eighth deep ; the jack-plane is sometimes rather more, and the smoothing- plane is mostly rather less. The blades of planes are, in many cases, made double, a simple expedient of remarkable utility in planing cross-grained stuff. The addition made to the blade for this purpose, consists of a piece of iron of the same breadth as the blade, with its lower end very thin, and of the same shape at the edge as the edge of the blade. This piece of iron, usually called the top-iron, i« connected by a screw with the blade, at any necessary distance from the edge of which it can be flxed The top-iron, the edge of which should never extend below the sole, is fastened upon the front or steel side of the blade, and the space between its edge and that of the blade, determines the thickness of the shaving. It is always necessary to make ibe top-iron fit the blade so correctly that no shaving can get between them ; for this end, it is arched a little towards the lower end, and the con- cave side of this arch being turned inw ards, the screw' necessarily makes the edge tit closely the level surface of the blade. The top-iron is generally employed in the jack-plane, and alniost al- ways to the trying-plane, the long-plane, and the jointer. To the smoothing-plane, and the various sorts of moulding-planes, it is not used. If the iron of a plane project too far, the blow of a hammer, on the fore end of the stock, will slacken the wedge and raise it in a small degree. In this case, the wedge must be re-fastened by driving it down with a light blow or tw'o before the plane is used again. A smart blQW on the fore end of a plane wHi loosen MECHANICAL EXERCISES. 109 The jack-plane. — Trying-plane. — Long-plane. — Jointer. — Strike-block. the wedge so much that the iron may easily be withdrawn by the- hand. Instead of striking the fore end, for these purposes, some w'orkmen strike the upper surface of the stock, near the orifice for the shavings. I’he jack-plane used by joiners, is generally about seventeen inches in length. Its use is to take off the greater irregularities of the stuff, left by the axe, the adze, or the saw, and it is therefore the first plane employed. To suit the coarseness of its work, the cutting edge of the iron rises with an arch of considerable con- vexity in the middle, and the opening or mouth which admits the shavings through the stock, is wider at the sole than that of any other plane. The iron is often used without a cover ; the quantity of Its projection must be regulated by the texture of the stuff, in proportion to the hardness or knottiness of which it must be les- sened ; the due degree of it is easily ascertained by trial : it must be adjusted so as not, on one hand, to require hard pressing down, or many strokes to be made in reducing the wood ; nor, on the other, to fatigue the workman and tear the stuff, by taking hold too keenly. The convexity of the cutting edge of the iron, prevents the corners from entering the wood, which ought never to occur, as the effect would be to spoil the work and impede the progress of the artizan. When a piece of stuff has been nearly reduced to the intended form by the jack-plane, the trying-plane is made use of to pro- duce a higher degree of regularity and smoothness. It is four or five inches longer than the jack-plane, and its iron is broader, set with a less projection, not so convex on the edge, and, like the two following sorts of planes, always used double. This plane, in taking off a shaving, is pushed along the whole length of the stuffj, whereas the strokes given with the jack-plane are only within arms’ length. The third plane made use of in facing a piece of stuff with the utmost exactness, is the long-plane, which is four or five inches longer than the tr\ing-plane, and proportionately broader, while the projection and convexity of the iron are somewhat less. The jointer is the longest plane of all ; its edge is very fine, and scarcely stands out above a hair’s breadth ; it is chiefly used for shooting the edges of boards perfectly straight, ^o that when joined together their surfaces will exactly coincide, and the juncture be hardly discernible. The jointer is made about thirty inches long. As the last-mentioned plane, from its extraordinary dimen- sions, would be unhandy in shooting short blocks, a short kind of jointer, called the strike-block is also in common usO. It- is 110 MECHANICAL EXERCISES. Smoothing-plane. — Tooth-plane. much employed in planing the ends of boards, across the fibres, and the inclined plane forming the bed, is lower than that of the jointer. When employed for soft wood, the angle is only in- creased two or three degrees ; but for fine cabinet work, when the stuff is hard, it is often considerably more, so as to make an angle with the perpendicular of fifty-five or even sixty degrees. In the latter case, the position of the basil is reversed, so as to be in front, or next the fore end of the stock. The usual length of the strike- block is eleven br twelve inches. The smoothing-plane is about seven inches in length, it has no tote or handle, and otherwise differs in shape from any of the planes yet mentioned. The sides of the stock are convex, and its whole figure resembles that of a coffin. The inclination of the bed is similar to that of the jointer, which it also resem- bles in the set of the iron. It is the last plane used in finishing off the surtace of w'ood, and from its smallness can easily be applied to smooth any small part which the large planes cannot touch; and the direction in which it is wrought can also be varied with facility, so as to suit cross-grained stuff. To secure these advantages more effectually, it is wTOught, like the jack- plane, with short strokes. From this description of its use, it will be obvious, that though it is used in finishing of wood, it is smootJmess, and not straightness of surface, w hich it is calculated to produce. But if the work be w ell managed, the inequalities w'hich it leaves are not perceptible to the eye, and are therefore left with impunity in tables, bureaus, desks, and other furniture, even of the best kinds. • Though the double iron is an excellent invention, and the use of it is, in fact, the best general remedy known against the curling or cross-grained stuff of ordinary quality; yet, without some other assistance, the planing of many of the finest specimens of mahogany, and many other w oods, among which fustic may be particularly mentioned, would be to the last degree a difficult and perplexing operation to the workman. Hence a plane, the stock of which is usually made of the shape and size of the smootli- ing-plane, is fitted up so as to act by scratching or scraping. The blade, or iron, on the steel side of it, is covered with rakes or small grooves close to each other, and all of them in the direction of its length ; when therefore it is ground, and the basil formed, its edge presents a series of teeth like those of a fine saw ; the bed of the stock intended to receive it is inclined only about six degrees, and consequently when the iron is fixed it is almost per- pendicular. On account of these teeth in the iron, the plane ob- tains the name of the tooth-plane. With this kind of a plane, however haid the stuff may be, or however cross and twisted iU MECHANICAL EXERCISES. Ill Compass and Forkstaff planes. — Round-sole. — Rebating-plane. — Plough. grain, the surface may be made every-where alike, and will not be rougher than if it had been rubbed with a piece of new fish-skin. This roughness may be effectually removed with the scraper, which is a thin plate of steel, like part of a common case-knife, the back of it being let into a piece of wood, as a handle. To form the concave or convex surfaces of the rims of carriage-wheels, or the top rails of a camp-bedstead, and work of a similar nature, the sole of the plane must be curved in the same degree as the concavity or convexity to be . produced. Planes of this description are called compass-planes ; they resemble the smoothing-plane in size, and also in shape, excepting so far as regards the curve of the sole. A plane of the size and shape in question, with a concave sole, is also distinguished by the name of uforkstaff-plane ; and one which is convex, is sometimes called a round-sole. The rahhet or rehating plane j is employed in taking away (by shavings) from the edge of a board, a piece in the form of a square or rectangular prism, so as to leave a groove consisting of two surfaces at right angles to each other. This mode of reducing the stuff is required for some cornices, and various sorts of ornamental work. The groove formed by the rebating- plane, is also employed to receive the edge of another board cut ill a similar manner, so that the two lap over each other to the breadth of the rebate, and form one even surface. Rebating- planes deliver their shavings at the side, and not at the top, like the planes hitherto described. They are also of various kinds ; some of them are provided with a fence which regu- lates the horizontal breadth, and others with a stop, which de- termines the vertical extent or depth of the rebate ; while some have both stop and fence, and others neither. Rebating-planes without a fence have the iron the w hole breadth of the sole ; some of them have the cutting edge of the iron only on the side, and others only on the bottom of the stock ; these are employed for dressing and finishing w ith exactness, separately, either side of the rebate. The plane by which a square groove is taken out of the edge of a board, so as to leave a ridge on each side, is called a plough, and the operation of cutting with it is called plough- ing. To prevent the necessity of having, for grooves of dif- ferent sizes, a great number of ploughs, which w^ould be cum- bersome and expensive, a tool of this description, called a univer- «al plough, is manufactured. The stop and fence of the univer- sal plough are moveable, and it admits alternately, according to the extent of the groove desired, ten or a dozen different sizes of irons. 112 MECHANICAL EXERCISES. Moulding-planes. — The gouge. — The firmer chisel. — Mortise chisel. Moulding-planes admit of the greatest diversity of contour, which is necessarily the reverse of the moulding produced. The figure of the edge of the iron and that of the sole, should exactly correspond ; in whetting the iron, great care must be taken not to injure its form : the whole of the sole, or at least the ridges of the moulding, especially if narrow at the base, should be made of box-wood, which unites, in a greater degree than perhaps any other wood, the valuable properties of hardness, toughness, smooth- ness, and durability. Of Chisels » The very large chisels used by carpenters, millwrights, and others, for heavy coarse work, are generally composed of iron and steel, welded together, — the steel forming but a small por- tion of the whole mass of metal, as it seldom extends higher than the broad part of the tool, and often constitutes no more than a third of the thickness. The small and middle-sized chisels of the best kind, are alw^ays made of cast steel. As all chisels, not exclusively employed in turning, are driven more or less by per- cussive force, they are (except the socket chisel) provided with a shoulder, which abuts against the end of the handle into which the tang is driven, and prevents it from being split by blows. The basil of chisels is on one side, and if well formed should be quite tlat. The gouge used by the joiners and cabinet-makers is similar to that of the turner, though not always sharpened in the same w^ay. The edge is generally, by joiners and cabinet-makers, for small work, made straight across the end, and not convex like th« turner’s gouge. Tlie millwrights, again, often make the basil on the hollow or concave side of the gouge, in order to cut with it perpendicularly. The thin broad chisel, the sides of which are parallel for a certain length, and which afterwards becomes narrower towrards the shoulder, obtains the name of the firmer chisel when driven by the mallet, and of the paring chisel^ when the hand only is em- ployed in cutting w ith it. The common mortise chisel, the section of which is a rec- tangle approaching almost to a square, is, as its name implies, em- ployed in making mortises ; the basil is made on one side of its narrow sides. It is, from its form, very strong, which is necessary not only on account of its having to sustain extremely heavy blows with the mallet, but because it is partly used as a lever to get out the pieces of wood as they arc severed, in the course of cutting the mortise. MECHANICAL EXERCISES. 113 The socket-chisel. — The auger. The socket-chisel is distinguished from other chisels by its having a conical socket, instead of a tang and shoulder, to receive the handle. It is used for the same purposes as the mortise-chisel, but is not so thick in proportion to its breadth. It is much used for very large work. The upper end of the handles of chisels which are driven by percussion, should be made convex, as they will then be least liable to be split or injured by blows. Boring Tools. The largest of the boring tools for w ood, is the anger. The oldest construction of the auger, which is yet in common use, in various parts of the country, cannot be wrought till a small excavation has been made, which is mostly done with a gouge, at the place where the hole is to be ; and till the auger arrives at a considerable depth, the motion of it is very unsteady. This old auger is shaped like a gimblet, except at the point, which is like that of a nose-bit. An improved construction of the auger, by Phineas Cooke, appeared to possess so much merit, that the Society for the Encouragement of Arts, presented thirty guineas to the inventor. This is called the spiral auger, for it consisted of a rectangular bar of steel, twisted in the shape of a bottle-screw, terminating in a short taper screw’, with a double worm like a gimblet. The upper part, like that of the com- mon auger, is formed into a large ring, in which the handle is inserted, at right angles to the length of the auger. That part of the screw adjoining the spiral, presents an edge which cuts the wood. This auger is not very commonly used, but it pierces the wmod much truer than the common one ; no picking is necessary before it can be wrought, nor does it require to be drawn out to discharge the chip. It is, how'ever, better adapted to the boring of soft wood than hard. Its use being on this account more limited than w’orkmen like, besides its being not cheap in its first purchase, and if not made of good metal and very carefully tempered, easily changing its form, it w ill probably not regain the character it once acquired. The latest construction of the auger has been found to answ er so well, that it will proba- bly, ere long, nearly supersede the use of the spiral and common auger. Like the spiral one it terminates with a gimblet-screw, which draws it dowm into the wood, while the workman turns it round and presses upon it; and another peculiar advantage of which is, that its point can be set precisely upon the centre marked for the perfonttion, the proper direction of which there is then a goodxhance of preserving, w hile the broad -ended auger is apt to deviate considerably at its very commencement. Immediately 5. — VoL. L Q 114 MECHANICAL EXERCISES. Disadvantages of the anger. — Stock and bit. above the spiral screw, it is, for a short length, rather of a pris- moidal shape, taperiug a little upwards, like the socket chisel below the conical part. The prismoidal part has one cutting edge which cuts the sides of the hole, and another which cuts the bottom. The core rises as the act of boring goes on, in the fonn of a spiral shaving. Above the prismoidal part, the shaft may be of any shape at pleasure, that possesses sufficient strength, tak- ing the obvious precaution of making its diameter less than that of the bore. The general disadvantage of augers with gimblet points, is, that when they encounter knots or hard places in the wood, they are apt to break. Every one who makes use of an auger in the usual way by hand, knows by experience that he never can so completely exert his strength in tins operation, as wdien he bores down perpendicu- larly, with his body leaning over his work ; and it is very evident that by every degree of the auger’s elevation from this situation, his power is of less effect, consequently his labour is increased, and his work so much retarded, that in the former position he can bore four holes for one in the latter. In hand boring, also, the unsteady and irregular motion of the auger, (particularly when the common old-shaped one is used,) at its first entrance into the wood, occasions the holes to be bored very crooked, often larger w itliout than w ithin, and very w ide of the direction aimed at, espe- cially if tlie wood proves hard and knotty, and the holes are deep. Regarding the prevention of these disadvantages as a matter of considerable consequence to ship-builders, and a variety of other artists, the Society for the Encouragement of Arts, &c. presented the sum of fifty pounds to William Bailey, for his invention of a machine for boring auger-holes, by the use of which the force of the workman, and consequently the dispatch of his operations, are equally exerted in all directions. It is unavoidable also, in Uie usual way of boring, for the action of the auger to be discon- tinued twice in every revolution; but with the machine the mo- tion is continued with equal force and velocity, till the auger hai bored to the depth required. A description of this machine, illustrated by a plate, may be seen in Bailey’s Advancement of Arts ; our limits will not allow us the further notice of it here, but the fact of such a contrivance having been executed, being mentioned, the ingenious mechanic will not perhaps find it very difficult to contrive one for himself. The contrivance for boring next entitled to notice, is the stocky wliich is in effect a crank, not unlike the hand-drill, and frequently made of iron, though generally of w^ood, defended by brass, at the paits most subject to wear. Where the crank terminates, two short limbs project from it, in a line with each MECHANICAL EXERCISES. 115 The gouge-bit. — Centre-bit. — Countersink. — Gimblet. Other, and parallel with that part of it by which it is revolved. In the end of one of these limbs, which is called the pad, the piece of steel by which the boring is performed, is inserted ; the other limb is connected with a broad head, rather convex exter- nally, which head is placed against the breast, and is stationary while all the other parts are revolved. The piece of steel inserted in the stock is called the bit ; as it can readily be taken out or put in, the same stock serves for bits of all sizes. They are differently shaped, according to their use. The gouge-bit is best adapted for boring small holes in soft w^ood ; it is shaped nearly like the turner’s gouge, but is 1 ather more pointed like a spoon at the extremity ; the basil is made in the inside, and the sides are brought to a cutting edge like those of a gimblet. The centre-bit has a small conical point projecting from the lower end ; this point entering the w ood first, keeps the tooth of the bit from wandering out of its proper course, and the hole is bored straight with great ease. The taper shell-hit is used Cor widening holes; it diffeis from the gouge-bit chiefly in tapering gradually from the pad to the lower extremity. The bit for widening the upper part of a hole, to admit the head of a screw, is called a countersink. The head of the countersink is conical, and the cutting edge is single when made for wood alone, and stands out a little from the side of the cone. Joiners and cabinet-makers, however, are generally provided with countersinks for brass, and these, which have ten or a dozen teeth on the surface running slantwise from the base up the sides of the cone, they frequently make use of for wood, especially when it is hard, and they are anxious to avoid tearing it ; for the teeth of the brass countersink act like those of a tile The gimblet is a boring implement too well known to require any explanation of its construction ; but with respect to its management, it may not be wholly useless to remind the novice, that like other boring tools of a similar conformation, it requires to be withdrawn to remove the core as often as the cup or groove is filled, and this will be sooner or later, not only in pro- f ortion to the depth penetrated, but the density of the wood, ndeed, in boring such wood as lignum-vitae, which clogs the tool, it is adviseable to withdraw the gimblet, to clear away the core, before the cup is full. The auger gives warning of the time to stop, by the difficulty of turning it, when surcharged with shavings, and is too strong a tool to be in danger of being twisted ; but the smallness of the gimblet renders it liable to be twisted and broken before the workman is aware, if not often lid MECHANICAL EXERCISES. Sprig-bit. — Hammers. enough ^vitlldra\vn and emptied. Gimblets which are broken- pointed, or blunted on the an is of the screw, are generally thrown aside, it being tedious, and laborious also when they are large, to work with them in such a state ; but we may observe, that though the grindstone cannot be employed to sharpen the w'orm, a tile may, so that a few minutes’ labour will render them tit for use again. The smallest sort of boring tool is a kind of bodkin, called the hrad-azd, or spidg-bit, as it is chiefly used in making the per- foration to admit those small slender nails, which have no head except a tiifling projection on one side, and are called brads in some parts of the country, and sprigs in other parts. The sprig- bit is generally made with a shoulder where the tang terminates ; below the shoulder it is cylindrical, to within a short distance of the extremity, which is flattened, and thereby made rather broader than the diameter of the cylindrical part ; but so thin at the same time towards the end as to form an edge. Unlike other boring tools, the sprig-bit takes away no part of the substance of the w ood, nor is it turned entirely round in making a hole, but merely wrought backwards and forwards about half round before the mo- tion is reversed. The Hammer — Mallet — Square --Bevel — Mitre-square — Gauge — Straight-edge — IV hiding-sticks. Though hammers, of various sizes, are indispensable in the working of wood, yet we may pass over the consideration of them in this place, with little more than referring to what has been already said with respect to them, in treating of the w'orking of metals. 'Fhe object of having the head of the hammer perfectly weix secured to the handle is certainly well worth attention, from the serious accidents which may attend the neglect of it ; but to attain it, we recommend not the use of those hammers which have plates of iron extending from the head, forming a kind of socket for the reception of the handle. These plates, it is true, afford ample means of uniting the head and the handle ; but they render the latter inflexible at the very part w'here it is desirable there should be some spring. Hence those hammers are best, in w’hich the handle simply passes through a perforation in the head, wooden wedges being driven in at the end of it, after it has been tightly fitted, to make it fast. If the aperture in the head be rather wider at the back than where the handle enters, and the wedges be dipped in glue before they are driven in, the fastening may be made complete. To admit the wedges, the end of the handle is cut a little way down with a saw. MECHANICAL EXERCISES. 117 Mallet. — Square. The mallet is in effect a hammer, but is made of wood ; it consequently does not damage substances struck with it so much as the hammer, while presenting a large surface with an equal weight, it is more easy to hit the ends of the chisels, &c, \\ ith it. Alallets are made of the soundest and toughest wood which can be found; either ash or beech, or the hardest kind of elm, is usually preferred. They are mostly made rather concave on that side wdiich the handle enters, and convex on the other ; this is done because it is customary, or because it is supposed to look best : the diameter of the convex end, measured at right angles to the handle, is greater than that of the concave one, consequently the ends with which objects are struck are not parallel with the handle, but inclined to it and to each other ; this is done for convenience, for the mallet is generally used in such a manner tliat the end with which the blow is made, notwith- standing its obliquity with respect to the handle, is parallel with the surface struck. The squares used by joiners and cabinet-makers are fre- quently manufactured by these artists for their own use, in which case they are made of wood ; but these wooden squares are always so much inferior in point of durability, and gene- rally in point of correctness, to those sold by the ironmongers, at very reasonable rates, and which are made partly of wood and partly of metal, that we shall only notice the latter kind. The blade is a thin plate of steel, at a spring temper, of equal thickness in every part, and the opposite edges, or at least the two edges in the direction of its length, are correctly parallel with each other. The stock or wooden part is of considerable thickness, seldom less than half an inch in the smallest squares, such, for example, as are only three or four inches long, and the blades of which aie not above a twelfth of that thickness. The blade is let into the stock so as to form a right angle with it both internally and externally. The mortise or kerf which receives the blade, is made at one end, in the middle and entirely across its breadth ; great care is taken to make it paral- lel with the sides of the stock, but it is not cut so deep as to take in the whole breadth of the blade, the part left out being partly designed to admit of the outer edge being repaired, w'hen worn. The inner edge of the stock, which forms one side of the interior square, is faced with brass. The stock, from its thickness, forms, on each side of the blade, a shoulder, which being pressed against one edge of a piece of wood, acts as a guide or stop to keep the blade (which is extended over the adjoining surface) at right angles to the arris, while a line is drawn along its outer edge. The interior square is mostly used 118 MECHANICAL EXERCISES. Bevel. — Mitre-square. — Gauge. for examining the squareness of a piece of stuff, and not for drawing lines. In this case, the sides of the square are not held parallel with, but perpendicular to the piece examined. The mode of ascertaining the correctness of the square used in the working of metals, has been already detailed, and will probably suggest the proper method of trying the square now described. Here we have no occasion for a ledge, the shoulder is pressed against the edge of a rectangular piece of stuff, and a line drawn close to the blade ; the square is then turned over, and another line drawn as in the former case, and consequently if the instru- ment deviates from a correct figure, the error is detected upon the same principle as before. The hetel consists of a blade and stock similar to those of the square, from which it differs only in one particular, viz. that the blade is moveable, and can therefore be set at any angle which may be required. The joint should be stiff, otherwise the bevel cannot be depended on for remaining as it has been set. Though rarely practised among the workers in wood, it certainly would be easy in all cases to adapt a screw to the bevel, so as to hold the blade firmly at any angle desired. The stone-masons generally take this precaution. The mitre-square is a bevel, the blade of which is immove- ably fixed in the stock, and is commonly set for marking an angle of forty-five degrees, this angle being more frequently required in joinery than any other angle except the right angle. Pieces of stuff bevelled at their extremities, and joined by placing two of the bevelled surfaces together, are said to be mitred. Mitring is often used in plane work; but when the pieces to be joined at an angle, are moulded, and the continuation of the mouldings is not to be broken, it is absolutely necessary. Hence its frequent use ; instances of it occur at the corners of rooms, where the skirting boards of two different sides meet, in the surbase under the same circumstances, at the angles of picture- frames, &c The gauge is an instrument consisting of a stem, usually in the form of a square prism, with a small steel poifit, nearly at the end of one of the surfaces in the direction of its length, and just pro- jecting enough to mark distinctly when pressed upon wood ; the stem passes at right angles through a mortise in the middle of a "piece of wood called the head, to which it is about equal in point of thickness; but those surfaces of the head through which the mortise passes, should not be less than three times the diameter of the stem. The head can be set at any distance required from the steel point, and there secured by a small w'edge, passing through a mortise in one of its sides, and bearing upon the stem. MECHANICAL EXERCISES. 119 Mortise-gauge. — Straight-edge. — Winding-sticks. The use of the gauge is to draw lines parallel to the arris of a piece of stuff, to serve as a guide for the saw, the plane, or the chisel. In drawing the line, it is necessary to keep that side of the head which is next the steel point rather firmly pressed against the edge of the stuff, otherwise the point will be apt to deviate from its proper course, if it meet with knots or irregularities ia the grain. A gauge made \sdth two points projecting on the same side, and one of which (being moveable in a groove or mortise) can be placed at any distance from the other, is called a mortise-gauge ; it is used alike in gauging mortises and tenons. Though the steel straight-edge is hardly known even by name to a great majority of the artists who work in metal, yet the wooden straight-edge is familiar enough to most who work in wood. Wooden straight-edges should be made of stuff exceed- ingly well seasoned ; it is usual to make two at the same time ; the sides are first made true, and each piece of equal thickness ; they are then placed against each other, and fastened in the cheeks of the bench-screw, in which situation their upper edges are planed true with the assistance of a straight-edge which can be depended on, or as nearly true as can be determined by the eye, if w^e cannot readily obtain a straight-edge for the trial. When the pieces are supposed to be true, they are taken out of their situation, and the edges last planed are placed upon each other. If the surfaces coincide so exactly that no light can pass between them, the straight-edges are finished : but if any error be detected, the planing with the jointer must be renewed in the same manner as before, and the examination repeated till the result is satisfac- tory. The use of the straight-edge, in ascertaining the straight- ness of other surfaces, is not inconsiderable. Winding-sticks are always used in pairs, and the use of them constitutes another contrivance for determining the levelness of any given surface, that the workman may reduce it more or less ia any particular part, in order to make it true. Straight-edges are customarily finished only on one edge; but if both edges were finished, and they were made correctly rectangular, that is, of equal breadth through their whole length, they would answer the end of winding-sticks, which are used in the following manner ; one of them is placed at each end of the surface to be examined, the eye is then directed from the uppermost edge of the nearer one to that perpendicular side of the further one which is next the observer. If the eye be elevated or depressed, till one end of the nearer winding-stick intercepts the view of the opposite perpen- dicular side of the other; and the other two ends are observed to have the same relative situation, the ends of the surface examined 120 MECHANICAL EXERCISES. Draw-bore pins. — Glue. are already in the same plane. But if the nearer winding-stick will not intercept an equal portion at each end of the further one, the part found to be too high must be reduced till this is the case. It is always proper to examine the surface by placing the wind- ing-sticks in various situations, but especially across near the corners, so that the eye may look at them diagonally. Draw-bore pins are used in forcing a tenoned piece into its proper place in the mortise. They are made with tangs and shoulders, and fitted into handles like chisels. Below the shoulder they are round, and taper slightly to within a short distance of the point, where they are turned off* to cones, like the extremities of an axis running in hollow centres. To use them, bore a hole through the mortise-cheeks, at the place where the pin intended to fasten the mortised and tenoned piece together will be required, and which is generally made nearer the shoulders than the end of the tenon. Insert the tenon, and when it is as nearly in its proper place as it can b^e driven, mark it on both sides through the hole in the mortise-cheeks. Take out the tenon, and bore it through, a little nearer its shoulders than the centre of these marks ; insert it again in the mortise, and use the draw -bore pins by entering them at the holes, to draw' its shoulders against the abutments. The use- of the draw'-bore pins, also, condenses or hardens the wood on the sides of the holes, and w'hen the wooden peg is driven in, it has, on this account, a better hold. This is, indeed, their principal use ‘at present, as the cramping-frame, which acts by means of a screw, is much more powerful in forcing the shoul- ders of tenons against their abutments ; but the draw'-bore pins, or some substitute for them, will obviously be convenient to those who may occasionally require means to force tenons to their bear- ings, without possessing a complete apparatus. Of Glue, To prepare glue, it must be steeped for a number of hours, over night, for instance, in cold w'ater, by which means it will become very considerably swelled and softened. It must then be gently boiled, till it is entirely dissolved, and of a consistence not too thick to be easily brushed over wood. About a quart of water may be used to half a pound of glue. The heat employed in melting glue should not be more than is required to make water boil; and to avoid burning -it, the joiners, &c. as is well known, suspend the vessel containing it in another vessel contain- ing only w'ater, which latter vessel is generally made of copper, in the form of a common tea-kettle without a spout, and alone, receives the direct influence of the fire. MECHANICAL EXERCISES. Ul Directions for using glue. — Glue which resists water. I'he circumstances most favourable to the best effect which glue can produce, in uniting two pieces of wood, are the fol- lowing : that the glue should be thoroughly dissolved, and used boiling hot at the tirst or second melting ; that the wood should be waim and perfectly dry; that a very thin covering of glue be interposed at the juncture, and that the surfaces to be united, be strongly pressed together, and left in that state, in a warm but not hot situation, till the glue is completely hard. In veneering, and lor all very delicate w^ork, the whole of these requisites, as they not only ensure the strongest joint, but the glue sets the soonest, should be combined in tlie operation ; but on some occa- sions this is impossible, and therefore the most essential must be regarded, such as the hotness of the glue, and the dryness of the wood. When the faces of joints, particularly those that cannot be much compressed, have been besmeared with glue, which should always be done w ith the greatest expedition, they should be rubbed lengthwise one upon another two or threQ times, to settle them close. When glue, by repeatedly melting it, has become of a dark and almost black colour, its qualities are impaired ; wdien newly melted, it is of a light ruddy brown colour, nearly like that of the dry cake held up to the light ; and while this colour remains, it may be considered fit for almost every purpose. Though glue w'hich has been newly melted is the most suita- ble for use,* other circumstances being the same, yet that which has been the longest manufactured is the best. To try the good- ness of glue, steep a piece three or four days in cold water ; if it swell considerably without melting, and when taken out resumes, in a short time, its former dryness, it is excellent. If it be soluble in cold water, it is a proof that it wants strength. x\ glue which does not dissolve in water, may be obtained by melting common glue with the smallest possible quantity of w'ater, and adding by degrees linseed oil rendered drying by boiling it w ith litharge ; while the oil is added, the ingredients must be well stirred to incorporate them thoroughly. A glue which will resist water, in a considerable degree, is made by dissolving common glue in skimmed milk. Finely levigated chalk added to the common solution of glue in water, constitutes an addition which strengthens it, and renders it suitable for sign-boards, or other things which must stand the weather. A glue that will hold against fire or w^at^r, may be prepared by mixing a handful of quick lime with four ounces of linseed .oil : thoroughly levigate the. mixture, boil it to a good thickness, and then spread it on tin plates in the shade; it will become (j.— VuL. 1. R 122 MECHANICAL EXERCISES. Proportions of mortises and tenons. exceedingly hard, but may be dissolved over a fire, as ordinary glue, and is then fit for use. Several glues, such as that of isinglass, which, for a variety of reasons, are not used in the common course of business among joiners and cabinet-makers, we shall speak of particularly under the head Cements. Of the Mortise and Tenon, The proportion which mortises and tenons ought to bear to the wood, under different circumstances, has never been demon- strated by experiments made for that purpose. It is common practice, therefore, alone, which dictates the rules to be observed. In general the tenon is one-third of the thickness of the stuff ; but when the mortise and tenon are intended to lie horizontally, and the juncture will be unsupported, the tenon should not be more than one-fifth of the thickness of the stuff, otherwise a strain or w^eight on the upper surface of the tenoned piece would probably split off the under cheek of the mortise, while the tenon itself re- mained sound. In joining two pieces of timber, so that the tenoned piece shall not pass the end of the mortised piece, to prevent the necessity of cutting open the side of the mortise, the tenon must be reduced one-third or at least one fourth of its breadth. In either case, the mortise will still be so near the end of the piece in which it is made, as to be split by a small force in driving in the tenon. To prevent this accident, it is customary, on such oc- casions as admit of the precaution being taken, to make the end beyond the mortise considerably longer than it is intended to re- main ; the tenon may then be driven tightly in, and the super- fluous wood afterwards cut off. The above proportions for the mortise and tenon, refer to the joining of timber, like dimensions of which are of the same strength, and therefore it will be necessary to vary them, accord- ing as one piece is weaker or stronger than the other. In making deep mortises, especially in hard wood, it is custo- mary to shorten the labour, by commencing it with boring a num- ber of auger holes, the compartments between which are speedily cut aw'ay with the chisel. In neat work, before a saw is employed to cut the shoulder of a tenon, nick the place with a paring chisel ; the saw will not then tear the wood, and the line of its entrance may be correctly determined. When the mortise is to pass entirely through a piece of stuff, the space allotted for it is gauged on both sides with the greatest precision, and when it has been half cut from one side, the MECHANICAL EXERCISES. 123 Concluding reflections. remaining half is cut from the opposite one. By this means, if there be any error in the direction of the chisel, it is of little con- sequence, the irregularity being confined to the middle of the mor- tise. The sides of the mortise should, however, be made as even as possible, that they may every-where come in contact with the sides of the tenon. The sides of a mortise that passes through the stuff, should be inclined to each other a little towards the shoulders of the tenon, because the latter, after it is driven in, is expanded by wedges. We cannot close these details of the primary operations by which metals and timber are fitted for mechanical purposes, with- out offering a few sentiments to the consideration of the young artist interested in them, whether he is one who is anxious to ex- cel in a particular branch of art, as affording the means of honour- able livelihood ; or claims merely the appellation of an amateur, who studies mechanical operations from the love of knowledge, the desire of amusement, or the hope of celebrity in making discoveries or improvements. Let him not be discouraged by the failure of first attempts. Instead of losing his time in Hseler^’y regretting his disappointment, let him examine into t’ ^ cause of it, and promptly repeat his ex'periments with more precaution. It is a mistaken idea, that manual dexterity is absolutely dependent upon length of practice; uncommon are the cases in which it fails to be the early reward of those who unite perseverance — patient and prompt, with an attention ever alive to avail themselves of every new light which the liberality of others, or the course of their own experience supplies. But those who postpone ardent exertion, by satisfying themselves with the hope, that length of practice will perfect them, will in the end regret their delusion, and may ineffectually try to re- cover their loss, when habitual languor, and other injurious habits, have rendered the mind averse to observe, and the hand unable to perform. Much might be said on this subject, but we forbear a length- ened disquisition ; yet we cannot omit observing, that those who take an early delight, and attain an early proficiency in mecha- nical arts, are preparing an excellent groundwork for investiga- tions of a higher order. They are acquiring, in the disguise of amusement, that dexterity of hand, and facility of contrivance, that readiness in supplying their casual wants, and habit of methodical arrangement, which will afterwards qualify them to explore the paths of knowledge through the medium of philo- 124 MECHANICAL E^ERCISE^. Concluding reflections. sophical experiment; and in proportion as these interest their attention, they will be disposed to study in earnest the fundamental principles of science. It may be well for the young artists we are addressing, to be apprized, that to make any useful proficiency in mechanical pursuits, to be distinguished for skill and promptitude of execu- tion, requires a degree of patient assiduity, of which few who have been brought up at the desk or behind the counter, can form any adequate idea ; and who, therefore, would be uneasy and un- happy, under a degree of exertion which they must learn to dis- play without entertaining a sentiment of its hardship. Let them not, however, be disheartened at the prospect; the habits indis- pensable to their full success, if acquired, allowed their due influ- ence, and guided by* moral prudence, are of inestimable value : they are extending the means of multiplying their comforts ; they are increasing the pow er of the head to contrive as well as of the hand to execute, and the steadiness of attention superinduced, will be beneficial to them in every action of their lives. iUl knowy but few^ act as if they believed, tiiat.. accident out of the question, success in the general issue of om exertions, is made up of success in little matters, or individual operations. Let us then be allowed to impress this truism upon the reader's mind, and to elucidate it by stating, that if two workmen have each fifteen thousand motions to make in ten hours, he who shall perform each motion half a second more quickly than the other, will terminate his labour tw o hours sooner ! Tw'o hours of spare time may be employed to great advantage ; yet what is half a second considered by itself.^ and by how many may this economy of time be practised, without a perceptible addition of fatigue ? The quantity of labour is no criterion of the fatigue it will occasion, even to those who are alike in corporal power. The sentiments by which we are actuated in the per- formance of a task, have a paramount influence ; languor of mind prematurely exhausts the body, and the weariness experi- enced is often disproportioned to the animal strength possessed. But our sentiments are much under our control, and it surely should be our study to cherish those, which by inspiring alacrity of exertion, are essentially conducive to our interest. To the la- bourer, there is the prospect of commanding respect, and of bet- tering his condition ; to the amateur, besides the common, daily advantages of knowledge, and the indeprivable gratification which the acquirement of it affords, there is the animating hope, that if discoveries crown his exertions, he may be considered a benefactor to mankind. ARCHITECTURE. 125 Introductory remarks. — Ancient architecture. ARCHITECTURE. The science of Architecture may be considered, in its most extended application, to comprehend building of every kind ; but at present we must consider it in one much more restricted, according to which, Architecture may be said to treat of the planning and erection of edifices, which are composed and em- bellished after certain long established rules, according to two principal modes, 1st, the English or Gothic, 2nd, the Antique, or Grecian and Roman. We shall treat of these modes in distinct dissertations, because their principles are completely distinct, and indeed mostly form direct contrasts. But before we proceed to treaty of them, it will be proper to make a few remarks on the dis- tinction between mere house-building, and that higher character of composition in the Grecian and Roman orders, which is pro- perly styled Architecture ; for though we have now very many noble architectural houses, we are much in danger of having our public edifices debased, by a consideration of what is conve- nient as a house, rather than what is correct as an architectural design. In order properly to examine this subject, vve must consider a little, what are the buildings regarded as oiu* models for working the orders, and in what climate, for what purposes, and under what circumstances, they w^ere erected. This may, perhaps, lead to some conclusions, w’hich may serve to distinguish that descrip- tion of work, which, how’ever rich or costly, is still mere house- building, in point of its composition. It is acknowledged, on all hands, that our best models, in the three ancient unmixed orders, — the Doric, Ionic, and Corinthian, are the remains of Grecian temples. Most of them were erected in a climate, in wdiich a covering from rain was by no means essential, and we shall find this circumstance very in- fluential ; for as the open space within the walls was always partially, and often wdiolly open, apertures in those walls for light, were unnecessary; and we find, also, in Grecian struc- tures, very few, sometimes only one door. The purpose for which these buildings w'ere erected, was the occasional reception of a large body of people, and not the settled residence of any. But, perhaps, the circumstances under which they were erected, have had more influence on the rules which have been handed 126 ARCHITECTURE Ancient architecture. — Difference of mere building and architectural design down to us, as necessary to be observed in composing architec- tural designs, than either the climate or their use. It is now pretty generally agreed, that the Greeks, if they were acquainted with the mathematical properties of the arch, did not use it till it was introduced by the Romans. Here then we see at once a limitation of the intercolumniation, which must be restrained by the necessity of finding stones of sufficient length to form the architrave. Hence the smaller comparative intercolumniations of the Grecian buildings, and the constant use of columns ; and hence the propriety of avoiding arches, in compositions of the purer Grecian orders. The Romans introduced the arch very extensively, into buildings of almost every description, and made several altera- tions in the mode of working the orders they found in Greece, to which they added one order, by mixing the Corinthian and Ionic, and another by stripping the Doric of its ornaments, riieir climate, also, was so far different as to require more general roofing, but still, from the greater necessity of providing a screen from the heat of the sun, than apertures to admit the light, it does not appear that large windows were in general use, and hence an important difference in modern work. Although, by roofs and arches, much more approximated to modern necessities than the Grecian models, still those of Rome which can be re- garded as models of composition, are temples, or other public edifices, and not domestic buildings, which, whenever they have been found, appear variously unadapted to modern wants, and therefore unfit for imitation. In a few words, we may sum up the grand distinctions be- tween mere building and architectural design : — the former looks for convenience, and though it will doubtless often use architec- tural ornaments, and preserve their proportions, when used as smaller parts, yet the general proportion may vary very widely from the orders, and yet be pleasing, and perhaps not in- correct ; — but all this is modem building, and not architecture in its restricted sense ; in this the columns are essential parts, and to them and their proportions all must be made subservient ; and here we may seek, with care and minuteness, amongst the many remains yet left in various parts, (and of which the best are familiar to most, from the valuable delineations we possess of those who have accurately examined them,) for models, and in selecting and adopting these, the taste and abilities of the archi- tect has ample space. As an introduction to the dissertations, it may not be amiss to take a hasty sketch of the progress of Architecture in England. Of the British architecture, before the arrival of the Ro- ARCHITECTURE. 127 British architecture. mans in the island, we have no clear account; but it is not likely it differed much from the ordinary modes of uncivilized nations ; the hut of wood with a variety of coverings, and some- times the cavities of the rock, were doubtless the domestic habitations of the aboriginal Britons ; and their stupendous pub- lic edifices, such as Stonehenge and others, still remain to us. The arrival of the Romans was a new era ; they introduced, at least in some degree, their own architecture, of which a variety of specimens have been found ; some few still remain, of which, perhaps, the gate at Lincoln is the only one retaining its original use. Although some fine specimens of workmanship have been dug up in parts, yet by far the greatest part of the Roman work was rude, and by no means comparable with the antiquities of Greece and Italy, though executed by the Romans. When they left the island, it was most likely that the execution of the Bri- tons was still more rude, and endeavouring to imitate, but not working on principle the Roman work, their architecture became debased into the Saxon and early Norman, intermixed wdth orna- ments perhaps brought in by the Danes. After the conquest, the rich Norman barons, erecting very magnificent castles and churches, the execution manifestly improved, though still with much similarity to the Roman mode debased ; but the introduce tion of shafts, instead of the massive pier, first began to approach that lighter mode of building, which, by the introduction of the pointed arch, and by an increased delicacy of execution, and boldness of composition, ripened, at the close of the twelfth cen- tury, into the simple, yet beautiful early English style. At the close of another century, this style, from the alteration of its win- dows, by throwing them into large ones, divided by mullions, introducing tracery in the heads of windows, and the general use of flowered ornaments, together with an important alteration in the piers, became the decorated English style, \vhich may be considered as the perfection of the English mode. This was very difficult to execute, from its requiring flowing lines where straight ones were easier combined ; and at the close of the fourteenth century, we find these flowing lines giving way to perpendicular and horizontal ones, the use of which con- tinued to increase, till the arches were almost lost in a continued series of pannels, which, at length, in one building, the chapel of Henry the VII. covered completely both the outside and inside, and the eye, fatigued by the constant repetition of small parts, sought in vain for the bold grandeur of design which had been so nobly conspicuous in the preceding style. The refor- mation, occasioning the destruction of many of the buildings tlie most celebrated, and mutilating others, or abstracting the 128 ARCHITECTURE. British architecture. funds necessary for their repair, seems to have put an end to the working of the English styles on principle. The square pan- iielled mullioned windows, and wooden pannelled roofs and halls, of the great houses of the time of queen Elizabeth, seem rather a debased English than any thing else ; but during the reign of her successor, the Italian architecture began to be introduced, hist only in columns of doors, and other small parts, and afterwards in larger portions, though still the general style was this debased English. Of this introduction, the most memorable was the celebrated portico of the schools at Oxford, \ihere, into a building adorned with pinnacles, and having mullioned windows, the architect has crowded all the hve orders over each other. Some of the works of Inigo Jones are little removed beyond this barbarism. Longleat, in Wiltshire, is a little more advanced, and the banqueting-house, Whitehall, seems to mark the complete introduction of Roman workman- ship. The close of the seventeentli century produced Sir Chris- topher Wren, a man whose powers, confessedly great, lead us to regret he had not studied the architecture of his English an- cestors, with the success which he did those of Rome ; for while he has raised the most magnificent modern building we possess, he seems to have been pleased to disfigure the English edifice he had to complete. While his _works at St. Mary, Aldermary, and St. Dunstan in the East, prove how well he could execute imitated English buildings when he chose, though even in them he has variously departed from the true English principles. By the end of the seventeenth century, the Roman architecture seems well established, and the works of Vitruvius and Palladio success- fully studied ; but Sir John Vaubrugh and Nicholas Haw'ksmoor seem to have endeavoured to introduce a massiveness of s4yle which happily is peculiar to themselves. The works of Palladio, as illustrated by some carpenters, seem to have been the model for working the orders during the greatest part of the eighteenth century, but in the early and middle part of it, a style of orna- ment borrowed from the French was much introduced in interiors, the principal distinctions of which were the absence of all straight lines, and almost of any regular lines. The examples of this are now nearly extinct, and seem to have been driven out by the natural operation of the advance of good w^orkmanship in the lower class of buildings. All orna- mental carvings were difficultly executed in wood, and were very expensive ; but tow’ards the latter end of the eighteenth century, the Adams’s introduced a style of ornament directly contrary to the heavy carving of their predecessors. This was so fiat, as to be easily worked in plaster and other compositions, and orna- AECHITECTl'RE. 129 Four styles of English architecture. ■ * merit being sold very cheap, was profusely used in carpenters* work. This flatness was more or less visible in many consi- derable buildings ; but near the close of the century, the magni- ficent works of Stuart and Revet, and the Ionian antiquities of the Dilletante Society, began to excite the public attention, and in a few years a great alteration was visible ; the massive Doric, and the beautiful plain Grecian Ionic, began to be worked, and our ordinary door cases, 8cc. soon began to take a better cha- racter. The use of the simple, yet bold mouldings and orna- ments of the Grecian models, is gradually spreading, and per- liaps we may hope, from the present general investigation of the principles of science, that this will continue without danger of future debasement, and that a day may come when we shall have Grecian, Roman, and English edifices, erected on the principles of each. As the earliest in point of execution in England, we shall begin w ith the dissertation on ENGLISH ARCHITECTURE, In a w ork like the present, there will be little propriety in lengthened disquisitions on. the origin of this mode of build- ing ; but much service may be rendered to individuals, by a clear detail of those distinctions which, being once laid dow’ii with precision, will enable persons of common observation, to distinguish the difference of age and style in these buildings, as easily as the distinctions of the Grecian and Roman orders. During the eighteenth century, various attempts, under the name of Gothic, have arisen in repairs and rebuilding of eccle- siastical edifices; but these have been little more than making clustered columns and pointed windows, every real principle of English architecture being, by the builders, either unkiiowm or totally neglected. English architecture, then, which has been too long called Gothic, may be divided into four distinct periods, or styles, which may be named, 1st, the Norman style, 2nd, the Early English style, 3rd, the Decorated English style, and 4th, the Perpendicular English style. The dates of these styles we shall state hereafter, and it may be proper to notice, that the clear distinctions are now almost entirely confined to churches ; for the destruction and alteration of castellated buildings has been so great, from the alterations of a-VoL.I. S 130 ARCHITECTURE. Definitions. the nTodes of warfare, &e. that, in them, we can hardly tell which is original and which addition. ' Before we enter on a description of the styles separately, it will be necessary to explain a fe\v terms which are made use of in describing churches, &c. and without understanding which, it will be impossible to comprehend the subject clearly. Most of the ancient ecclesiastical edifices, when considered complete, were built in the form of a cross, with a tower, lantern, or spire erected at the intersection. The interior space was usu- ally thus divided : The space westward of the cross is called the nave. The divisions outw ard of the piers are called aisles. The space eastward of the cross is generally the choir. The part running north and south is called the cross or transept. The choir is generally enclosed by a screen, on the western part of which is usually placed the organ. The choir, in cathedrals, does not generally extend to the eastern end of the building, but there is a space behind the altar, usually called the lady chapel. The choir is only between the piers, and does not include the side aisles, which serve as passages to the lady chapel, altar, &c. The transept has sometimes side aisles, which are often sepa- rated by screens for chapels. Chapels are attached to all parts, and are frequently addi- tions. The aisles of the nave are mostly open to it, and in cathedrals both are generally without pew s. In churches not collegiate, the eastern space about the altar is called the chancel. To the sides are often attached small buildings over the doors, called porches, which have sometimes vestries, schools, &c. over them. The font is generally placed in the western part of the nave, but in small churches its situation is very various. In large churches, the great doors are generally either at the west end, or at the end of the transepts, or both ; but in small churches, often at the sides. To most cathedrals are attached a chopter-house and cloisters, which are usually on the same side. The chapter-house is often multangular. The cloisters are generally a quadrangle, with an open space in the centre ; the side to which is a series of arches, originally glazed, now mostly open. The other wall is generally one side ARCHITECTURE. 131 Definitions. of the church or other buildings, with which the cloisters commu- nicate by various doors. The cloisters are usually arched over, and formed the principal communication between the different parts of the monastery. The lady chapel is not always at the east end of the choir; at Durham it is at the west end of the nave ; at Ely, on the nortli side. The choir sometimes advances westward of the cross, as at Westminster. The spaces in the interior, between the arches, are piers. The windows above the arches, which appear on the out- side, over the roof of the aisles, are called clerestory windows. i\ny building above the roof may be called a steeple. If it be square-topt, it is called a tower. A tower may be round, square, or multangular. The tower is often crowned wdth a spire, and sometimes with a short tower of light work, which is called a lantern. An opening into the tower, in the interior, above the roof, is also called a lantern. Tow'ers of great height in proportion to their diameter, are called turrets; these often contain staircases, and are sometimes crowned with small spires. Large towers have often turrets at their corners, and often one larger than the others, containing a staircase ; sometimes they have only that one. The projections at the corners, and between the windows, are called buttresses. The walls are crowned by 2 l parapet y which is straight at the top, or a battlement j which is indented ; both may be plain, or sunk pannelled, or pierced. Arches are round, pointed, or mixed ; A semicircular arch has its centre in the same line with its spring. A segmental arch has its centre lower than the spring, A horse-shoe arch has its centre above the spring. Pointed arches are either, equilateral — described from two centres, which are the whole breadth of the arch from each other, and form the arch about an equilateral triangle ; or drop arches, which have a radius shorter than the breadth of the arch, and are described about an obtuse-angled triangle ; or lancet arches, which have a radius longer than the breadth of the arch, and are de- scribed about an acute-angled triangle. All these pointed arches may be of the nature of segmental arches, and have their centres bel6w their spring. Mixed arches are of three centres, which look nearly like ^iptical arches ; or of four centres, commonly called the Tudor 132 ARCHITECTUKE. Definitions. arch ; this is flat for its span, and has two of its centres in or near the spring, and the other two far below it. The ogee or contrasted arch, has four centres ; two in or near the span, and two above it, and reversed. The spaces included between the arch and a square formed at the outside of it, are called spandrellsj and are often orna- mented. Windows are divided into lights by mullions. The ornaments of the divisions at the heads of windows, &c. are called tracery. Tracery is either flowings where the lines branch out into leaves, arches, &c.; or perpendicular j where the mullions are continued through in straight lines. The horizontal divisions of windows, &c. are called tran~ soms. The parts of tracery are ornamented with small arches and points, which is called feathering or foliation^ and the small arches cusps^ and according to the number in immediate connec- tion, they are called trefoilj quatrefoilj cinquefoil, &c. for which see the plate. The cusps are sometimes again feathered, and this is called double feathering. Tablets are small projecting mouldings, or strings, mostly horizontal. The tablet at the top, under the battlement, is called a cor- nice, and that at the bottom a basement, under which is generally a thicker wall. The tablet running round doors and windows, is called a drip^ stone, and if ornamented, a canopy. Bands are either small strings round shafts, or a horizontal line of square, round, 8cc. pannels, used to ornament towers, spires, 8cc. Niches are small arches, mostly sunk in the wall, and orna- mented often very richly with buttresses, canopies, &c. A corbel is an ornamented projection from the wall, to sup- port an arch, niche, ^^c. and is often a head or part of a figure or animal. A pinnacle is a small spire, generally square and ornamented, which is usually placed on the tops of buttresses, both external and internal. The small bunches of foliage ornamenting canopies, pinna- cles, &,c. are called crockets. The larger bunches on the top are called and this term is sometimes applied to the whole pinnacle. The seats for the dean, canons, Sec. in the choirs of collegiate churches, are called stalls. ARCHITECTURE, 133 j ^ I Definitions. — Division of the subject. f | The bishop’s seat is called his throne. ^Die ornamental open work over the stalls, and in general any minute ornamental open work, is called tabernacle work. . " . In some churches, not collegiate, there yet remains a screen, I with a large projection at the top, between the nave and chancel, i on which w as anciently placed certain images ; this was called a ' rood loft. Near the entrance door is sometimes found a small niche, I w ith a basin, which held, in catholic times, their holy water ; these are called stoups. Near the altar, or at least where some altar has once been If placed, there is sometimes found another niche, distinguished I I from the stoup by having a small hole at the bottom to carry off the remains of the consecrated wane ; this is called a piscina ; it i;i is often double, with a place for the bread. On the south side, at the east end of some churches, are found iij stone stalls, either one, two, or three ; of which the uses have been much contested. ’ Under several large churches, and some few small ones, are I certain vaulted chapels, these are called crypts. In order to render the comparison of the different styles easy, we shall divide the description of each into the following sec- tions : Doors, AVindow's, jArches, Piers, Buttresses, Tablets, Niches, and ornamental arches, or pannels, Ornamental carvings, Steeples ; And at the end of the styles will be noticed, in one series, the sections of battlements and roofs. We shall first give, at one view, the date of the styles, and their most prominent distinctions, and then proceed to the parti- cular sections as described above. 1st, the NormaTi Style, which prevailed to the end of the reign of Henry II, in 1189; distinguished by its arches being generally semi-circular, and not pointed, with bold and rude orna- ments. This style seems to have commenced before the con- quest, but we have no remains really known to be more than a very few years older 2nd, the Early English Style, reaching to the end of the reign of Edward I, in 1307 ; distinguished by pointed arches. 134 ARCHITECTURE Norman doors. and long narrow windows, without mullions ; and a peculiar toothed ornament, more fully described hereafter. 3d, Decorated English, reaching to the end of the reign of Edward III, in 1377, and perhaps from ten to fifteen years longer. This style is distinguished by its large windows, which have pointed arches divided by mullions, and the tracery in flow- ing lines of circles, arches, &c. and not running perpendicularly ; its ornaments rich, and very delicately carved ; and ornament used to a very great extent, yet seldom crowded. Perpendicular English. This is the last style, and appears to have been in use, though much debased, even perhaps as far as to 1630 or 1640, but only in additions. Probably the latest whole building is not later than Henry the VIII. The name clearly designates this style, for the mullions of the win- dows, the ornamental pannelling, &c. run in perpendicular lines, and form a complete distinction from the last style, and the richer buildings are often so crowded with ornament, as to destroy the beauty of the design. The carvings are generally very delicately executed. It may be necessary to state, that though many writers speak of Saxon buildings, those which they describe as such, are either known to be Norman, or are so like them, that there is no real distinction. But it is most likely, that in some obscure country church tower, &c. some real Saxon w'ork of a much earlier date may exist ; hitherto, however, none has been ascertained to be of so great an age. We shall now begin to trace The First, or Norman Style. Normati Doors. There seems to have been a desire in the architects who suc- ceeded the Normans, to preserve the doors of their predecessors, whence we have so many of these noble, though, in most cases, rude elforts of skill remaining. In many small churches, where all has been sw ept away, to make room for even perpen~ dicular alterations, the Norman door has been suffered to re- main. They are varied, yet there is no prominent distinction to make it necessary to subdivide them. » The arch is semi-circu- lar, and the mode of increasing their richness, was by increasing the number of bands of moulding, and of course the depth of the arch. Shafts are often used, but not always, and we find very frequently, in the same building, one door with shafts, and one without. When shafts are used there is commonly an impost moulding above them, before the arch mouldings spring. These mouldings are generally much oruameAted, and AECHITFXTURE. 135 Norman windows. the wave or zigzag ornament in some of its diversities, is almost universal, as is a large round moulding, with the heads on the outer edge projecting their beaks over this moulding. There are also mouldings w ith a series of figures enclosed in a running ornament; and at one church at York, these figures are the zodiacal signs. The exterior moulding often goes dowm no lower than the spring of the arch, thus forming an apparent dripstone, though it does not project so as really to form one. The door is often square, and the interval to the arch filled with mould- ings. Amongst the great variety of these doors in excellent pre- servation, it is difficult to point out particulars, but Iffley church, near Oxford, is perhaps the best specimen, as it contains three doors, all of which are different; and the south door is nearly unique, from the flowers in its interior mouldings. South Ock- enden church, in Essex, has also a door of uncommon beauty of design and elegance of execution. Durham, Rochester, Wor- cester, and Lincoln cathedrals, have also fine Norman doors. In these doors, almost all the ornament is external, and the inside often quite plain. There does not appear to have been any double Norman doors. 'Norman Windows, The window’s, in this style, are diminutive doors as to their ornaments, except that, in large buildings, shafts are more fre- quent, and often with plain mouldings. The size of these win- dows is generally small, seldom, except in very large buildings, so large as even a small door ; there are no mullions ; the arch is semi-circular, and if the window is quite plain, generally sloped sides, either inside or out, or both ; the bottom often nearly horizontal. The proportions of the Norman windows are generally those of a door, and very rarely, if ever, exceed two squares in height, of the exterior proportions, including the or- naments. The existing Norman window’s are mostly in buildings retain- ing still the entire character of that style ; for in most they have been taken out, and others of later styles put in, as at Durham and many other cathedrals. There are still remaining traces of a very few circular .win- dows of this style ; the west w’indow at Iffley was circular, but it is taken out ; there is one in Canterbury cathedral, which seems to be Norman; and there is one undoubtedly Norman at Barfreston, rendered additionally singular, by its being divided by grotesque heads, and something like mullions, though very rude, into eight parts. 136 ARCHITECTURE. Norman arches, — piers. There seems to have been little if any attempt at feathering or foliating the heads of Norman doors or windows : but there is a singular door in the cloisters at Chester, with a semi-circular head, that has an ornament of this kind, but from its situation, and the alterations which have been made, it is uncertain whether it is original or not. Norman Arches. The eai'ly Norman arches are semi-circular, and in many instances this form of the arch seems to have continued to the latest date, even when some of the parts were quite advanced into the next style; of this the Temple church is a curious instance ; here are piers with some of the features of the next style, and also pointed arches with a range of intersecting arches, and over this the old round-headed Norman window. But though the round arch thus continued to the very end of the style, the introduction of pointed arches must have been much earlier, for we tind intersecting arches in buildings of the purest Norman, and whoever constructed them, constructed pointed arches ; but it appears as if the round and pointed arches were for nearly a century used indiscriminately, as was most consonant to the ne- cessities of the work, or the builders ideas. Kirkstall abbey has all its work exteriorly round arches, but the nave has pointed arches in the interior. There are some Norman arches so near a semi-circle as to be only just perceptibly pointed, and still w ith the rudely carved Norman ornaments. There are a few Norman arches of very curious shape, being more than a semi-circle, or what is called a horse-shoe, and in a few instances a double arch. These arches have sometimes plain faces, but are much oftener ornamented with the zigzag, and other ornaments peculiar to this style. Norman Piers. Tliese are of four descriptions, 1st, Tlie round massive colum- nar pier, which has sometimes a round, and sometimes a square capital ; they are generally plain, but sometimes ornamented with channels in various forms, some plain zigzag, some like network, and some spiral. They are sometimes met with but little more than two diameters high, and sometimes are six or seven, and those with square-headed capitals are generally the tallest. 2d, A multangular pier, much less massive, is sometimes used, generally octagonal, and commonly with an arch more or less pointed. 3d, The common pier with shafts ; these have sometimes plain capitals, but sometimes much ornamented with rude ARCHITECTURE. 137 ' Norman buttresses — tablets — niches — ornaments. foliage, and occasionally animals. The shafts are mostly set in square recesses. 4th, A plain pier, with perfectly plain round arches in two or three divisions. In some cases, the shafts are divided by bands, but the in- stances are very few. No?'?na?i Buttresses. Tliese require little description ; they are plain broad faces, with but small projection, often only a few inches, and often run- ning up only to the cornice tablet, and there finishing under its projection. Sometimes they are finished with a plain slope, and in a few instances are composed of several shafts. Bands or tablets running along the walls, often run round the buttresses. Norma?i Tablets. In treating of tablets, that which is usually called the comice is of the first consideration ; this is frequently only a plain face of parapet, of the same projection as the buttresses ; but under it there is often placed a row of blocks, sometimes plain, sometimes carved in grotesque heads, and in some in- stances the grotesque heads support small arches, in w’hich case it is called a corbel table. A plain string is also sometimes used as a cornice. The next most important tablet is the dripstone, or outer moulding of windows and doors; this is sometimes undistin- guished, but oftener a plain round or square string, frequently continued horizontally from one window -to another round the buttresses. The other tablets under windows, &c. are generally plain slopes above or below a flat string. In tlie interior, and in some instances in the exterior, these are much carved in the various or- naments described hereafter. 'Norman Niches, These, if so they may be called, are a series of small arches with round and often with intersecting arches, sometimes without, but oftener with shafts. Some of these arches have their mould- ings much ornamented ; but very few, if any, appear to have been intended for statues. Norman Ornaments. The ornaments of this style consist principally of the different kinds of carved mouldings surrounding doors and windows, and used as tablets. The first and most frequent of these is the e.—VoL.i. T 138 ARCHITECTURE. Norman steeples. zigzag or chevron moulding, which is generally used in great profusion. The next most common on door mouldings, is the beak-head moulding, consisting of a hollow and a large round ; in the hollow are placed heads of beasts or birds, whose tongues or beaks encircle the round. After these come many varieties, almost every specimen having some difference of composition; a good collection of these may be seen in the Archaeologia, and King’s Munimenta Antiqua. The capitals of piers and shafts are often very rudely carved jn various grotesque devices of animals and leaves ; but in all, the design is rude, and the plants are unnatural, Norman Steeples, The Norman steeple was mostly a massive tower, seldom rising more than a square in height above the roof, and often not so much. They are sometimes plain, but often ornamented by plain or intersecting arches, and have generally the flat buttress, but that of St. Alban’s runs into a round turret at each corner of the upper stage ; and at St. Peter’s, Northampton, there is a sin- j»ular buttress of three parts of circles, but there is some doubt if it is not an addition. It does not seem likely we have any Nor- man spires, but there are some turrets crowned with large pinna- cles, which may be Norman— such is one at Cleve in Gloucester- shire, and one of the towers at the side of the west front of Ro- chester cathedral. Having gone through the parts, it remains to speak of the general appearance of the Norman buildings, of which we have very few, if any, remaining unaltered. Almost all the west fronts, and many transept ends, have had new windows, but some small churches remain nearly entire. These present ap» pearances of great solidity, but not much beauty; the exterioi doors being generally the best portion. But though heavy and dark, from the smallness of the windows, some of the large Nor- man edifices, when complete, were very magnificent. Amply to show this, enough remains at Durham, Southwell, Gloucester, Rochester, 8cc. In imitating or restoring buildings of this style, the work should not be polished too highly, as all the Norman work remaining, is, however difficult of execution, still rude, and not finely polished. ARCHITECTURE. 139 Early English doors. Of the Second, or Eaely English Style; Early English Doors, As the Norman doors may be said to be all of semi-circular arches, these may be said to be all pointed, at least all the exterior ornamented ones; for there are small interior doors of this style with flat tops, and the sides of the top as it were supported by a quarter circle from each side. The large doors of this style are mostly double, the two being divided by either one shaft or several clustered,, and a quatrefoil or other ornament over them. These doors are often as finely recessed as the Nor- man, but the bands and shafts are more numerous, being smaller; and in the hollow mouldings they are frequently enriched W'ith the peculiar ornament of this style,, a singular toothed projection, which, when well executed, has a fine eifect. But although this ornament is often used, (and sometimes a still higher enriched moulding or band of open-work flowers,) there are many doors of this style perfectly plain. Of this kind the door of Christchurch, Hants, is a fine specimen.. The dripstone is generally clearly marked, and often small, and supported by a head. In many doors, a trefoil and even cinquefoil feathering is used, the points of which generally finish with balls, roses, or some projecting ornament. The principal moulding of these doors has generally an equilateral arch, but from the depth and number of the mouldings, the exterior becomes often nearly a semi-circle. In interiors, and perhaps sometimes too in the exterior, there are instances of doors with a trefoil-headed arch. The shafts attached to these doors are generally round, but sometimes filleted, and they generally, but not always, stand quite free in a hollow moulding. They have a variety of capitals, many plain, but many with delicate leaves running up and curling round under the cap moulding, often looking like Ionic volutes. The bases are various, but a plain round and fillet is often used, and the reversed ogee sometimes introduced. All these mouldings are cut with great boldness, the hollows form fine deep shadows, and the rich bands of open- work leaves are as beautiful as at any subsequent period, being sometimes entirely hollow, and having no support but the attach- ment at the sides, and the connexion of the leaves themselves. Of these doors, though they are not so numerous as the Norman, many still remain in perfect preservation; York, Lincoln, Chi- chester, and Salisbury, have extremely fine ones ; and Beverley minster one, of w'hich the mouldings are bolder than most of them. The door of the transept at York, and those of the choix 140 ARCHITECTURE. Early English windows. screen at Lincoln, have bands of tlie richest execution — and there is a fine double door at St. Cross. There are many wooden doors, both of this style and the Nor- man, which seem to be of the same age as the stone work, and some very curiously ornamented with ramifications of iron-work from the hinges, &c. Earli/ English Windows. These are, almost universally, long, narrow, and lancet-headed, generally w ithout feathering, but in some instances trefoiled. From this single shape of windows, a variety of appearance results from their combination. At Salisbury, one of the earliest complete buildings remaining, there are combinations of two, three, five, and seven. Where there are two, there is often a trefoil, quatrefoil, &c. between the heads ; and in large buildings, where there are three or more, they are often divided by so small a division as to seem the lights of a large w indow, but they are really separate windows, having their heads formed from indivi- dual centres, and in general separate dripstones. This is the case even at Westminster, where they approach nearer to a division by mullions, from having a small triangle pierced beside the quatre- foil, and a general dripstone over all. In small buildings, these are generally plain, with the slope of the opening considerable, and in some small chapels the windows are very narrow and long. In larger buildings they are often ornamented with very long and slender shafts, which are frequently banded. Most of our cathe- drals contain traces of wdndow s of this character, but some, as at Durham, have tracery added since their original erection. Salis- bury, Chichester, Lincoln, Beverley, and York, still remain pure and beautiful ; at York north transept are windows nearly fifty feet high, and about six or eight w ide, which have a very fine effect. Although the architects of this style worked their ordi- nary w indows thus plain, they bestowed much care on their cir- cles. Beverley minster, York, Durham, and Lincoln, have all circles of this style peculiarly fine, and there may be many others ; that of the south transept at York, usually called the marygold window', is extremely rich, but the tracery of the circles at West- minster is of a much later date. There is in all the long windows of this style, one almost universal distinction ; from the straight side of the window open- ing, if a shaft is added, it is mostly insular, and has seldom any connection with this side, so as to break it into faces, though the shafts are inserted into the sides of the doors, so as to give great variety to the opening. ARCHITECTURE 141 Early English arches — piers. At Westminster abbey, there are a series of windows above those of the aisles, which are formed in spherical equilateral triangles. Early English Arches, The window arch of this style being generally a lancet arch, and some persons having considered the shape of the arch to be a very distinguishing feature of the differeiU styles, it may be necessary in this place to say a few words on arches generally. If we examine with care the various remains of the different styles, we shall see no such constancy of arch as has been ap- prehended; for there are composition lancet arches, used both at Henry the Vll.’s chapel, Westminster, and at Bath; and there are dat segmental arches in the early English part of York ; and upon the whole it will appear, that the architect was not confined to any particular description of arch. The only arch precisely attached to one period, is the four-centered arch which does not appear in windows, &c. if it does in the composi- tion of groins, before the perpendicular style. In large buildings, the nave arches of the early English style were often lancet, but in some large and many small ones, they are flatter, some of one-third drop, and perhaps even more, and sometimes pointed segmental. At Canterbury, in the choir, are some curious pointed horse- shoe arches, and perhaps, though not common, they may be found in other places. The architraves of the large arches of rich buildings are now beautifully moulded like the doors, with rich, deep, hollow^ mould- ings, often enriched with the toothed ornament. Of this descrip- tion, York transepts, and the nave and transepts of Lincoln, are beautiful specimens ; Salisbury is worked plainer, but not less really beautiful, and Westminster abbey is (the nave at least) nearly plain, but with great boldness of moulding. The arches of the gallery in this style, are often with tre- foiled heads, and the mouldings running round the trefoil, even to the dripstone; Chester choir is a fine specimen, and there are some beautiful plain arches of this description in Winchester cathedral. Early English Piers, Of the piers of large buildings of this style, there are two distinguishing marks; first, the almost constant division of the shafts which compose them, by one or more bands in their length, and secondly their being ranged circularly round the centre, In geiieral they are few, sometimes only four, some* 142 ARCHITECTURE. Early English buttresses. times eight, set round a large circular one ; such are the piers of Salisbury and of Westminster abbey; there aie sometimes so many as nearly to hide the centre shaft, as at Lincoln and York ; but the circular arrangement is still preserved, and there are some few, as at the choir at Chester, which come so near the appear- ance of decorated piers, as to be almost alone distinguishable by this circular arrangement. The capitals of these shafts are various; in many, perhaps the greater number of buildings, they are plain, consisting of a bell with a single or double annulet under it, and a sort of coping, with more annulets above, and these mouldings are continued round the centre pier, so as to form a general capital. The dividing bands are also formed of annulets, and fillets, and are often continued under windows, &c. as tablets, and are, like the capitals, continued round the centre shaft. Another and richer capital is sometimes used, which has leaves like those in the capitals of the door shafts. This kind of capital is gene- rally used where the shafts entirely encompass the centre one, as at York and Lincoln, and has a very fine effect, the leaves being generally extremely well executed. The bases used are fre- quently near approaches in contour to the Grecian attic base, but the reversed ogee is sometimes used. There is another sort of pier, in buildings that appear to be of this style, w'hich is at times very confusing, as the same kind of pier seems to be used in small churches even to a very late date ; this is the plain mul- tangular (generally octagonal) pier with a plain capital, of a few very simple mouldings, and w'ith a plain sloped arch. Piers of* i; this description are very frequent, and it requires great nicety of | observation and discrimination to refer them to their proper date; ^ but a minute examination will often, by some small matter, detect theii' age, though it is im-possible to describe the minutiae without many figures. JLarly English Buttresses. These are of four descriptions. 1st, The old Norman flat buttress is often used, but it is not always as broad, and its tablets, &c. are more delicate 2nd, A buttress not so broad as the flat one, but nearly of the same projection as breadth, and carried up, sometimes wdth only one set-off, and sometimes without any, and these have often their edges chamfered from the window tablet. They sometimes have a shaft at the corner, and in large rich buildings are occasion- ally pannelled. 3d, A long slender buttress, of narrow face, and great projec- tion in few stages, is used in some towers, but is not very common. ARCHITECTURE. 143 Early English tablets — niches. 4th, Towards the latter part of this style, the buttress in stages was used, but it is not very common, and is sufficiently distin- guished by its triangular head, the usual finish of this style, which can hardly be called a piimacle, though sometimes it slopes off from the front to a point. Karly English Tablets^ The cornice is now become sometimes rich in mouldings, and often with an upper slope, making the face of the parapet per- pendicular to the wall below ; there are cornices of this style still resembling the Norman projecting parapet, but they consist of several mouldings. The hollow moulding of the cornice is gene- rally plain, seldom containing flowers or carvings, but under the mouldings there is often a series of small arches resembling the corbel table. The dripstone of this style is various, sometimes of several mouldings, sometimes only a round with a small hollow. It is, in the interior, occasionally ornamented with the toothed orna- ment, and in a few late instances, as the interior of the choir at Westminster, with flowers. In a few buildings, the dripstone is returned, and runs as a tablet along the walls. It is in general narrow', and generally supported by a corbel, either of a head or a flower, &c. There are frequently, in large buildings, in the or- namented parts, bauds of trefoils, quatrefoils, &c. some of them very rich. Although a sort of straight canopy is used over some of the niches of this style, yet it does not appear to have been used over w'indow's or doors. In some few' buildings where they are found, they appear to be additions. The tablets forming the base mouldings are sometimes a mere slope, at others, in large build- ings, are of several sets of mouldings, each face projecting farther than the one above it ; but the reversed ogee is very seldom used, at least at large and singly. Early English Niches, The most important niches are those found in chancels, in the walls of the south side, and of which the uses do not yet appear to be decided. Of these there are many of all stages of Early English ; there are sometimes tw^o, but oftener three, and they are generally sunk in the wall, and adapted for a seat, the easternmost one often higher in the seat than the others. They are sometimes a plain trefoil head, and sometimes ornamented W'ith shafts, Scc. ; they are generally straight-sided. The statuary niches, and ornamental interior niches, mostly consist of a series of arches, some of them slope-sided, and some with a small but not very visible pedestal for ffie statue. They are often grouped 144 ARCHITECTURE. Early English ornaments — steeples. two under one arch, with an ornamental opening between the small arches, and the large one like the double doors ; a straight- sided canopy is sometimes used, and a plain tinial. These niches, except the chancel stalls, and the stoup and piscina, are seldom single^ except in buttresses, but mostly in ranges. Early English Ornaments. The first ornament to be described, is that already noticed as the peculiar distinction of this style, to which it seems nearly, if not exclusively confined; it is the regular progression from the Norman zigzag to the delicate four- leaved flowers so common in Decorated English buildings. Like the zigzag it is generally straight-sided, and not round like the leaves of a flower, though, at a distance in front, it looks much like a small flower. It is very difficult to describe it, and still more so to draw it accu- rately; it may perhaps be understood by considering it a succes- sion of small open pyramids of four legs, which are formed of half a cube, and set on the edges of a hollow^ moulding. This ornament is used very profusely in the buildings of this style, in Yorkshire and Lincolnshire, and frequently ' in those of otlier counties. Another ornament, which, though not peculiar, in small works, to this style, was seldom but during its continuance practised to so large an extent ; this is the filling of the spaces above the choir arches with squares, enclosing fom-leaved flowers. This is done at Westminster and at Chichester, in both of which the workmanship is extremely good, and it has a very rich effect. In many parts, as in the spandrells of door arches, and other plain spaces, circles filled with tiefoils and quatrefoils, with flowered points, are often introduced. In the early part of the style, crockets were not used, and the finial was a plain bunch of three or more leaves, or sometimes only a sort of knob ; but in small rich works, towards t’he end of the style, the beautiful fiiiials and crockets of the next sVyle were used. Earh/ English Steeples. The Norman towers were short and thick, the Early English rose to a much greater height, and on the tower they placed that beautiful addition the spire. Some of our finest spires are of this age, and the proportions observed between the tower and spiie, are generally very good. Salisbuiw, which stands unrivalled in height and beauty, and Chichester, are of this ag;e, as are the towers of Lincoln minster. Wakefield has a fine steeple, as to proportion, though plain, and ARCHITECTURE. 145 Early English steeples. — Decorated English doors. it is singular for its machicolations, in the top of the tower. The towers are flanked by octagonal turrets, square flat buttresses, or, in a few instances, with small long buttresses, and generally there is one large octagonal pinnacle at the corners, or a collection of smaller niches, &c. There often is no parapet, but the slope of the spire runs down to the edge of the wall of the tower, and flnishes there with a tablet ; and there is a double slope to con- nect the corners with the intermediate faces. The spire is often ornamented by ribs at the angles, sometimes with crockets on the ribs, and bands of squares, filled with qiiatrefoils, 8cc. surrounding the spire at different heights. There are many good spires of this style in country churches. Of this style we have the great advantage of one building, re- maining, worked in its best manner, of great size and in excellent preservation ; this is Salisbury, and it gives a very high idea of the great improvement of this style on the Norman. Magnificent without rudeness, and rich though simple, it is one uniform whole. The west front is ornamented, but by no means loaded, and the appearance of the north side is perhaps equal to the side of any cathedral in England. The west front of Lincoln is fine, but the old Norman space is too visible not to break it into parts. Peter- borough and Ely have perhaps the most ornamented fronts of this style. Westminster is spoiled by additions, but its north transept end is fine, as are both the transepts of York. Interiorly, after the simple Salisbury, the transepts of York are perhaps the best specimens, though there are parts of many other buildings deserving much attention. Not much has been done in either restoring or imitating this style ; it is certainly not easy to do either well, but it deserves attention, as in many places it would be peculiarly appropriate, and perhaps is better fitted than any for small country churches. It may be worked almost entirely plain, yet if ornament is used, it should be well executed ; for the ornaments of this style are in general as well executed as any of later date, and the toothed ornament and hollow bands equal, in difficulty of execution, the most elaborate perpendicular ornaments. Of the Third, or Decorated English Style. Decorated English Doors. The large doors of the last style are mostly double, and there are some fine ones of this, but they are not so common, there being more single doors, which are often nearly as large as the early English double ones, and indeed but for the orna- ments they are much alike, having shafts and fine hollo\v 7.— Vol.L U 146 ARCHITECTURE. Decorated English doors. mouldings; in small doors there are often no shafts at all, but the arch mouldings run down the side, and often almost to the ground without a base. The shafts do not in this style generally stand free, but are parts of the sweep of mouldings, and instead of being cut and set up lengthways, all the mouldings and shafts are cut on the arch stone, thus combining great strength with all the appearance of lightness. The capitals of these shafts differ from the early English, in being formed of a woven foliage, and not upright leaves': this, in small shafts, generally has an apparent neck, but in larger ones often appears like a round ball of open foliage. The bases to these shafts mostly consist of the reversed ogee, but other mouldings are often added, and the ogee often made in faces. Although the doors in general are not so deeply recessed, as the Norman and early English, yet in many large buildings they are very deep. The west doors of York, and the later west doors of Beverley, are of the richest execution, and very deep. To the open work bands of the last style, succeeds an ornament equally beautiful, and not so fragile ; this is the flowery hollow moulding ; there are often three or four in one door-way, and to the toothed orna- ment succeeds a flower of four leaves, in a deep moulding, with considerable intervals between. This flower, in some build- ings, is used in great profusion to good effect, and a perforated ball in other buildings in equal abundance. Over these doors, there are several sorts of canopies ; the dripstone is generally supported by a corbel, which is commonly a head ; in some instances a plain return is used, but that return seldom runs horizontally. The canopy is sometimes connected with the dripstone, and sometimes distinct. The common canopy is a triangle, the space betw'een it and the dripstone is filled with tracery, and the exterior ornamented with crockets, and crowmed with a finial. On the side of the doors, small buttresses or niches are sometimes placed. The second canopy is the ogee, which runs about half up the dripstone, and then is turned the contrary way, and is finished in a straight line running up into a finial. This has its intermediate space filled with tracery, &c. and is sometimes crocketed, and sometimes not. Another sort of canopy is an arch running over tlie door, and unconnected w ith it, which is doubly foliated ; it has a good effect, but is not common. In small churches, there are often nearly plain doprs, having only a dripstone and a round moulding on the interior edge, and the rest of the wall a straight line or bold hollow, and in some instances a straight slope side only. In some doors of this style, a series of niches witli statues are carried up like ARCHITECTURE. 147 Decorated English windows, — Two descriptions of tracery. a hollow moulding ; - and in others, doubly foliated tracery hanging free from one of the outer mouldings, give a richness superior to any other decoration. The south door of the choir at Lincoln is perhaps hardly any where equalled of the first kind ; and the west doors at Beverley are good illustrations of the other. Decorated English Windows, In these, the clearest marks of the style are to be found, and they are very various, yet all on one principle : an arch is divided by one or more mullions, into two or more lights, and these mullions branch into tracery of various figures, but do not run in perpendicular lines through the head. In small churches, win- dows of two or three lights are common, but in larger four and five lights for the aisles and clerestory windows, five or six for transepts and the end of aisles, and in the east and west windows seven, eight, and even nine lights, are used. Nine lights seem to be the extent, but there may be windows of this style containing more. The west window of York, and the east window of Lin- coln cathedrals, are of eight lights each; the west window of Exeter cathedral is of nine, and these are nearly, if riot quite, the largest windows remaining. There may be observed two descriptions of tracery, and although, in different parts, they may have been worked at the same time, yet the first is generally the oldest. In this first division, the figures, such as circles, trefoils, quatrefoils, &c. are all worked with the same moulding, and sometimes do not regularly join each other, but touch only at points. This may be called geometrical tracery ; of this description are the windows of the nave of York, the eastern choir of Lincoln, and some of the tracery in the cloisters at Westminster abbey, as well as most of the windows at Exeter, which contains, perhaps, the richest variety of windows of any cathedral in England, and some of them are of such admirable workmanship as to almost belong to the second division. The second division consists of what may be truly called flowing tracery. Of this description, York minster, the minster, and St. Mary’s, at Beverley, Newark church, and many northern churches, as well as some southern churches, contain most beautiful specimens. The one engraved is from the west end of the south aisle of Newark, and is perhaps one of the most beautiful in its composition. The great west window at York is, perhaps, the most elaborate. In these windows, various wheels are sometimes introduced. In the richer windows of this style, and in both divisions, the princi- 148 ARCHITECTURE. Decorated English windows. pal moulding of the mullion has sometimes a capital and base, and thus becomes a shaft. One great cause of the beauty of fine flowing tracery, is the intricacy and delicacy of the mouldings ; the principal moulding often running up only one or two mullions, and forming only a part of the larger design, and all the small figures being formed in mouldings, which spring from the sides of the principal. This is a distinction the plate was too small to admit, which takes much from the beauty of the window. The architraves of ^windows of this style are now much ornamented with mouldings, which are sometimes made into shafts. The dripstones and canopies of windows are the same as in the doors, and have been described under that head. Wherever windows of this st^le remain, an artist should copy them ; the varieties are much greater than might be supposed, for it is very difficult to find two alike in difterent buildings. It does not appear that the straight horizontal transom was much if at all used in window's of this style ; wherever it is found there is generally some mark of the window originating after the introduction of the perpendicular style ; but it may have been used in some places, and there are a very few instances of a light being divided in height by a kind of canopy, or a qua- trefoil breaking the mullion ; the church of Dorchester, in Ox- fordshire, has some very curious windows of this kind. In some counties, where flint and chalk are used, the dripstone is some- times omitted. The heads of the windows of this style are most commonly the equilateral arch ; though there are many examples both of lancet and drop arches ; but the lancet arches are not very sharp, perhaps never exceeding one-third of the equilateral. There are a few windows of this style with square heads ; but they are not very common. The circles of this style are some of them very fine ; there are some very good ones in composition at Exeter and Chichester, and the east window of old St. Paul’s was a very fine one ; but perhaps the richest remaining is that of the south transept at Lincoln, which is completely flowing. ' Tow'ards the end of this style, and perhaps after the com- mencement of the next, we find windows of most beautiful com- position, with parts like the perpendicular windows, and some- times a building has one end decorated, the other perpendicular ; such is Melrose abbey, whose windows have been extremely fine, and, indeed, the great east window of York, which is the finest perpendicular window in England, has still some traces of flowing lines in its head. ARCHITECTURE. 149 Decorated English arches — piers — buttresses. Decorated English Arches. Though the arch most commonly used for general purposes in this style is the equilateral one, yet this is by no means con- stant. At York this arch is used, but at Ely a drop arch. The architrave mouldings of interior arches do not differ much from those of the last style, except that they are, perhaps, more fre- quently continued down the pier w ithout being stopt at the line of capitals. The dripstones are of delicate mouldings, generally supported by heads. The arches of the galleries are often beau- tifully ornamented with foliated heads, and often fine canopies ; and in these arches the ogee arch is sometimes used, as it is freely in composition in the heads of windows. Of this style, or perhaps of the next, is that singular yet beau- tiful reversed arch in the nave of Wells’ cathedral. Decorated English Piers. A new disposition of shafts marks very decidedly this style in large buildings, they being arranged diainondwise, with straight sides, often containing as many shafts as wull stand close to each other at the capital, and only a fillet or small hollow between them. The shaft which runs up to support the roof, often springs from a rich corbel between the outer architrave mouldings of the arches ; Exeter is a fine example. The capitals and bases of these shafts are much the same as those described in the sec- tion on doors. Another pier of the richest effect, but seldom exe- cuted, is that at York minster, where the centre shaft is larger than those 'on each side, and the three all run through the spring of the roof. Three also support the side of the arch ; these shafts are larger in proportion than those of Exeter, &c. and stand close without any moulding betw^een. Another pier, common towards the end of this style, and the beginning of the next, is composed of four shafts, about two-fifths engaged, and a fillet and bold hollow half as large as the shafts between each ; this makes a very light and beautiful pier, and is much used in smaller churches. All these kinds of piers have their shafts sometimes filleted, as are also often some of the archi- trave mouldings. In small country churches, the multangular fiat-faced pier seems to have been used. Decorated English Buttresses. These, though very various, are all more or less worked in stages, and the set-off’s variously ornamented, some plain, some moulded slopes, some with triangular heads, and some with pannels ; some with niches in them, and with all the various 150 ARCHITECTURE. Decorated English tablets — niches. degrees of ornament. The comer buttresses of this style are often set diagonally. In some few instances small turrets are used as buttresses. The buttresses are variously finished, some slope under the comice, some just through it; some run up through the battlement, and are finished with pinnacles of va- rious kinds. Decorated English Tablets, The comice is very regular, and though in some large buildings it has several mouldings, it principally consists of a slope above, and a deep sunk hollow, with an astragal under it ; in these hollows, flowers at regular distances are often placed, and in some large buildings, and in towers, &c. there are frequently heads, and the comice almost filled with them. The dripstone is of the same description of mouldings, but smaller, and this too is sometimes enriched with flowers. The small tablet running under the window has nearly the same mouldings, but mostly without the astragal, and this sometimes runs round the buttress also. The dripstone very seldom, if ever, runs horizontally, though in a few instances a return is used instead of the more common corbel head or shield. The basement tablets are sometimes numerous, and often have the reversed ogee repeated. Decorated English Niches. These form one of the greatest beauties of the style, and are very various, but may be divided into tw'O grand divisions, which, if necessary, might be again variously divided, such is their diver- sity, but these tw’O may be sufficient. The first are pannelled niches, the fronts of whose canopies are even with the face of the wall or buttress they are set in. These have their interiors either square with a sloping side, or are regular semi-hexagons, &c. In the first case, if not very deep, the roof is a plain arch, but in the latter case the roof is often most delicately groined, and some- times a little shaft is set in the angles or the ribs of the roof, sup- ported by small corbels. The pedestals are often high and much ornamented. The other division of niches have projecting canopies ; these are of various shapes, some conical like a spire, some like several triangular canopies joined at the edges, and some with ogee heads ; and in some very rich buildings are niches with the canopy bending forsvards in a slight ogee, as well as its contour being ogee ; these are generally crowned with very large rich finials, and very highly enriched. There were also, at the latter part of this style, some instances of the niche with a flat- ARCHITECTURE. 151 Decorated English ornaments — steeples. headed canopy, which became so common in the next style. These projecting niches have all some projecting base, either a large corbel, or a basement pedestal carried up from the next nrojecting face below. All these niches are occasionally flanked by small buttresses, and their pinnacles ; those of the first kind have very often beautiful shafts. The chancel stalls of this style, are many of them uncom- monly rich, their whole faces being often covered with ornamental carving. Decorated English Ornaments, As the word decorated is used to designate this style, and particularly as the next is often called florid, as if it were richer in ornament than this, it will be necessary to state, that though ornament is often profusely used in this style, yet these orna- ments are like Grecian enrichments, and may be left out without destroying the grand design of the building, while the orna- ments of the next are more often a minute division of parts of the building, as pannels, buttresses, &c. rather than the carved ornaments used in this style. In some of the more magnificent works, a variety of flowered carvings are used all over, and yet the building does not appear overloaded ; while some of the later perpendicular buildings have much less flowered carvings, yet look overloaded with ornaments, from the fatiguing recurrence of minute parts, which prevent the general design being compre- hended. The tomb of tlie Percys at Beverley, and one or two at York, are as rich as can well be conceived in ornamental carvings, yet the general design is noble, and may be clearly understood, while the design of Henry the VII.’s chapel can hardly be com- prehended, from the constant repetition of the same ornaments, which, if worked singly, are not very rich. The flower of four leaves in a hollow moulding, has already been spoken of, and in these hollow mouldings various other flowers are introduced, as well as heads and figures, some of them very grotesque ; and as to capitals there are very seldom found two alike. The foliage forming the crockets and finials is also extremely rich, and the pinnacle, in its various forms, is almost constantly used. The spandrells of ornamental arches are sometimes filled with beautiful foliage, perhaps few superior to some in the church at Ely, which was the lady chapel of the cathedral. Decorated English Steeples. Of this style are many of these beautiful ornaments of the 152 ARCHITECTURE. Decorated English steeples. country ; at the commencement of it, several fine spires were added to towers then existing, and in after times many very line towers and spires were erected. Grantham and several other Lincolnshire spires are very line, and there are many good towers. These are generally Hanked with buttresses, many of which are diagonal, and are generally crowned with fine pinnacles. Per- haps the church of St. Michael, at Coventry, is as elegant a spire and tower as any of this age, and is curious, from the spire stand- ing on a lantern above the tower. In Lincolnshire and some of * the adjoining counties, there are many village churches with line spires, and some- of this style; of these, perhaps few, if any, ex- ceed in beauty of proportion and delicacy of composition that of Norton, a village in Leicestershire, a few miles to the left of the road from Uppingham to Leicester. The singular crowned steeple of St. Nicholas, at Newcastle upon Tyne, is either of this style or early in the next. There are many of the towers of this age whose windows, or at least the mullions, seem to have been renewed in the per- pendicular style, and indeed, in small churches, it is not always easy precisely to fix the style of the tower because of these alterations. Although they have some appearances of the window s which belong to the next style, yet to this age should be referred the towers of York minster, which possess uncommon beauty. Though we have not the advantage of any one large building of this style in its pure state, like Salisbury, yet we have the ad- vantage of four most beautiful models, which are in the highest preservation, besides many detached parts. These are at Lin- coln, Exeter, York, and Ely, and though differently w'orked, are all of excellent execution. Of these, Exeter and York are far the largest, and York, from the uncommon grandeur and simplicity of the design, is certainly the finest ; ornament is no where spared, yet there is a simplicity which is peculiarly pleasing. Amongst the many smaller churches, Trinity church at Hull deserves pecu- liar notice, as its decorated part is of a character which could better than any be imitated in modern w'ork, from the great height of its piers, and the smallness of their size. The remains of IM el- rose abbey are extremely rich, and, though in ruins, its parts are yet very distinguishable. In imitations of this style, great deli- cacy is required to prevent its running into the next, which, from its straight perpendicular and horizontal lines, is so much easier wotked; whatever ornaments are used, should be very cleanly executed, and highly finished. ARCHITECTURE. 153 Perpendicular English doors — windows. Of the Fourth, or Perpendicular Style. Perpendicular English Doors, An impression from an engraving of a perpendicular door having been given on the cover of several numbers of this work, our readers must, by this time, be well acquainted with it. A copy is annexed, for the purpose of permanent reference, with the other plates. It has been drawn to convey as distinct an idea as possible of the character of the generality of these doors, the great distinction of w'hich, from those of the last style, is the almost constant square head over the arch, which is sur- rounded by the outer moulding of the architrave, and the span- drell filled with some ornament, and over all a dripstone is gene- rally placed. This ornamented spandrell in a square head, occurs in the porch to Westminster Hall, one of the earliest perpendi- cular buildings, and is continued to the latest period of good exe- cution, and in a rough way much later. In large very rich doors, a canopy is sometimes included in this square head, and some- times niches are added at the sides, as at King’s college chapel, Cambridge. This square head is not always used interiorly, for an ogee canopy is sometimes used, or panne! s down to the arch, as at St. George’s, Windsor; and there may be some small exterior side doors, without the square head, but they are not common. The shafts used in these doors, are small, and have plain capitals, which are often octagonal, and the bases made so below the first astragal. It is also very common for the architrave to consist of ogee mouldings, as well as the rounds and hollows which have been before used. Perpendicular English Windozvs. These are easily distinguished by their miillions running in perpendicular lines, and the transoms, which are now general. The varieties of the last style were in the disposition of the prin- cipal lines of the tracery ; in this, they are rather in the disposi- tion of the minute parts, a window of four or more lights is gene- rally divided into two or three parts by stronger mullions running quite up, and the portion of arch between them doubled, from the centre of the side division. In large windows, the centre one is again sometimes made an arch, and often in window's of seven or nine lights, the arches spring across, making two of four of fi\'e lights, and the centre belonging to each. The heads of win- dows, instead of being filled with flowing ramifications, have slender mullions running from the heads of the lights, between each principal miillion, and -4hese have small transoms till tlie 7— VoL. I. X 154 ARCHITECTURE. Perpendicular English windows. window is divided into a series of small pannels ; and the heads being arched, are trefoil ed or cinquefoiled ; sometimes these small mullions are crossed over each other in small arches, leaving minute quatrefoils, and these are carried across in straight lines. Under the transom is generally an arch of some kind, but in York- shire, Lincolnshire, and Nottinghamshire, and perhaps in some other parts, there is a different mode of foliating the straight line without an arch, which has a singular appearance, (see plate I.) In the later windows of this style, the transoms are often orna- mented with small battlements, which, when well executed, have a very fine effect. Amidst so great a variety of windows, (for perhaps full half the windows in English edifices over the king- dom are of this style,) it is difficult w hich to notice ; but Windsor, St. George’s, for four lights, and the clerestory w indow s of Henry the Vll.’s chapel for five, are some of the best executed; for a large window, the east window of York has no equal, and by tak- ing its parts, almost any sized window may be formed. There are some good windows, of which the heads have the mullions alter- nate, that is, the perpendicular line rises from the top of the arch of the pannel below it. The windows of the Abbey church, at Bath, are of this description. It is necessary here to say a little of a wdndow' which may be mistaken for a decorated window : this is one of three lights, used in many country churches, the mullions simply cross each other, and are cinquefoiled in the heads, and quatrefoiled in the three upper spaces ; but to distinguish this from a decorated window, it will generally be necessary to examine its arch, its mullion mouldings, and its dripstone, as w'ell as its being (as it often is) accompanied by a clearly perpendicular window at the end, or connected with it so as to be evidently of that time. Its arch is very often four-centred, which at once decides its date ; its mul- lion mouldings are often small, and very delicately worked ; its dripstone often has some clear mark, and when the decorated tra- cery is become familiar, it will be distinguished by its being a mere foliation of a space, and not a fiowing quatrefoil with the mould- ings carried round it. Large circular windows do not appear to have been in use in this style; but the tracery of the circles in the transepts of Westminster abbey appear to have been renewed during this period. At Henry the VII.’s chapel, a wdndow is used in the aisles, which seems to have led the w^ay to that wretched sub- stitute for fine tracery, the square-headed windows of queen Elizabeth and king James the First’s time. This window is a series of small pannels forming a square head, and it is not fiat, but in projections, and these, with the octagonal towers used ARCHITECTURE. 1.55 Perpendicular English arches — piers. I] for buttresses, throw the exterior of the building into fritter, ill- b; assorting with the richness of the clerestory windows. In most ; of the later buildings of this style, the window and its architrave completely tills up the space between the buttresses, and the east 1 and west windows are often very large ; the west window of St. : George’s, Windsor, has fifteen lights in three divisions, and is a grand series of pannels, from the floor to the roof ; the door is amongst the lower ones, and all above the next to the door is pierced for the window. The east window at Gloucester is also f very large, but that is of three distinct parts, not in the same line J of plan. [ When canopies are used, which is not so often as in the t last style, they are generally of the ogee character, beautifully crocheted. Perpendicular English Arches, Although the four-centred arch is much used, particularly irr I the latter part of the style, yet, as in all the other styles, we have I in this also arches of almost all sorts amongst the ornamental parts of niches, Scc. and in the composition lines of pannels, are arches i from a very fine thin lancet to an almost flat segment. Yet, wkh i all this variety, the four-centred arch is the one most used in large ' buildings, and the arches of other characters, used in the division of the aisles, begin to have what is one of the great distinctions of this style, — the almost constant use of mouldings running from the base all round the arch, w ithout any stop horizontally, by way of capital, sometimes with one shaft and capital, and the rest of the lines running. The shafts in front running up without stop to the roof, and from their capitals springing the groins. ln« win- dow arches, shafts are now very seldom used, the architrave run- ning all round, and both w'indow arches and the arches of the in- terior are often enclosed in squares, with ornamented spandrells, either like the doors, or of pannelling. Interior arches have now seldom any dripstone when the square is used, but at Bath there is a clear dripstone distinct from the arch mouldings. Another great distinction of these arches, in large buildings, is the absence of the triforium or gallery, between the arches of the nave and the clerestory window^s ; their place is now supplied by pannels, as at St. George’s, Windsor, or statuary niches, as at Henry the VII. ’s chapel ; or they are entirely removed, as at Bath, and Manchester Old church, &c. Perpendicular English Piers. The massive Norman round pier, lessened in size and ex- tended in length, with shafts set round it, became the early Ei> 156 AECHITECTrRE. Perpendicular English piers — buttresses. glisli pier; the shafts were multiplied and set into the face of tlie pier,'Mhich became, mils plan, lozenge, and formed the decorated piei ; we now tind the pier again altering in shape, becoming mucli tl inner between the arches, and its proportion the other wa>, fi om the nave to the aisle, increased, having those shafts which 1 un to the roof, to support the springings of the groins, added in front, and not forming a part of the mouldings of the arch, but having a bold hollow between them : this^ is particularly apparent at King’s college chapel, Cambridge, St. George’s, Windsor, and Henry the Vil.’s chapel, the three great models of enriched peipeudicular style; but it is observable in a less degree ill many otliers. In small churches, the pier mentioned in the last st}ie, of four shafts and four hollows, is still much used; but many small churches have humble imitations of the magnificent arrangement of shafts and mouldings spoken of above. There are still some plain octagonal, &c. piers, in small churches, which may belong to this age. Though filleted shafts are not so much used as in the last style, the exterior moulding of the architrave of interior arches is sometimes a filleted round, which has a good eifect ; and in gene^ ral the mouldings and paits of piers, architraves, &c. are much siiiaiier than those used in the last stjle. Perpendicular English Buttresses. These differ very little from those of the last style, except tliat triangular heads to the stages are much less used, the set-ofi's being much more often bold projections of plain slopes ; yet many fine buildings have the triangular heads. In the upper stor\, the buttresses are often very thin, and of diagonal faces. 'I here are few large buildings of this style without fl}ing but- tresses, and these are often pierced; at Henry the VH.’s chapel they are of rich tracery, and the buttresses are octagonal turrets. At King’s college chapel, Cambiidge, which has only one height within, the projection of the buttresses is so great as to allow chapels between the wail of the nave and another level with the front of the buttresses. At Gloucester, ,aiid perhaps at some other places, an arch or half arch is pierced in the lower part of the buttress. There are a few' buildings of this style without any buttresses. All the kinds are occasionally ornamented with sta- tuary niches, and canopies of various descriptions, and the dia- gonal corner buttress is not so common as in the last style; but the two buttresses often leave a square, which runs up, and some- times, as at the tower of the Old church at Manchester, is crowmed with a third pinnacle. Although pinnacles are used very fireely in tliis style, yet ARCHITECTCRK.' 157 Pupendicular Eiialish rablets — niches there are some buildings whose buttresses run up and finish square witiioiit any ; erf this description is St. George’s, .Windsor. The buttresses of the small eastern addition at Petei borough cathedral are curious, having statues ot saints for pinnacles. In interior oinaments, the buttresses used are sometimes small octagons, sometimes panneiled, sometimes plain, and tlien, as well as the small buttresses ot niches, are often banded with a band different from the Early English, and much broader. Such are the buttresses between the doors of Henry the Vll.’s chapel. Perpendicular English Tablets. ' The cornice is now, in large buildings, often composed of many small mouldings, sometimes divided by one or two consi- derable hollow s, not very deep ; yet still, in plain buildings, the old cornice mouldings are much adhered to ; but it is more often ornamented in the hollow with fiowers, &c. and sometimes with grotesque animals; of this the churches of Gresford and Mold, in Flintshire, are curious examples, being a complete chase of cats, rats, mice, dogs, and a variety of imaginary figures, amongst which various grotesque monkeys are very con- spicuous. In-the latter end of the style, something very analo- gous to an ornamented frieze is perceived, of w hich the canopies to the niches, in various w orks, are examples ; and the angels so profusely introduced, in the later rich w orks, are a sort of cor- nice ornaments. Ihese are very conspicuous at St. George's, Windsor, and Henry the VI l.’s chapel. At Bath, is a cornice of two hollows, and a round between with fillets, both upper and under surface alike I'he dripstone of this style is, in the heads of doors and some windows, much the same as in the last style, and it most generally finishes b' a plain return ; though corbels are sometimes used, this return is frequently continued horizontally. Sometimes a much smaller dripstone is used, of only a round and holiow^ Tablets under the window's are like this last or other drip- stone, and sometimes fine bands are carried round as tablets. Of these there are some fine remains at the cathedral, and at the tower of St. John’s, Chester. The basement mouldings ordinarily used are not materially different from the last style ; reversed ogees and hollows, vari- ously disposed, being the principal mouldings. Perpendicular English Niches. These are very numerous, as amongst them w e must include nearly all the stall, tabernacle, and screen w ork, in the English 158 ARCHITECTURE. Perpendicular English niches — ornaments. churches ; for there appears little if any wood-work of an older date, and it is probable that much screen work was defaced at the reformation, and restored in queen Mary’s time, and not again destroyed, at least the execution of much of it woidd lead to such a supposition, being very full of minute tracery, and much attempt at stiffly ornamented friezes. Many niches are simple recesses, with rich ogee canopies, and others have over- hanging square-headed canopies, with many minute buttresses and pinnacles, crowned with battlements ; or, in the latter part of the style, with what has been called the Tudor flower, an ornament used instead of battlement, as an upper finish, and profusely strewed over the roofs, &c. of the richer later buildings. Of these niches, those in Henry the VII.’s chapel, bet\veen the arches and clerestory windows, are perhaps as good a specimen as any. Of the plain recesses, with ogee canopies, there are some fine ones at Windsor. The whole interior of the richer buildings of this style, is more or less a series of pannels, and therefore, as every pannel may, on occasion, become a niche, we find great variety of shape and size ; but like those of the last style, they may generally be reduced to one or other of these divisions. Perpendicular English Ornaments. The grand source of ornament, in this style, is pannelling ; indeed, the interior of most rich buildings is only a general series of it; for example. King’s college chapel, Cambridge, is all pannel except the floor ; for the doors and windows are no- thing but pierced pannels included in the general design, and the very roof is a series of them of different shapes. The same may be said of the interior of St. George’s, Windsor, and still fur- ther, Henry the VII.’s chapel is so both within and withoiU, there being no plain wall all over the chapel, except just the exterior below the base moulding, all above is ornamental pannel. All the small chapels of late erection, in this style, such as those of Bishop Fox at Winchester, and several in Windsor, are thus all pierced pannel. Exclusive of this general- source of ornament, there are a few peculiar to it : one, the battlement to transoms of windows, has already been mentioned ; this, in works of late date, is very frequent, sometimes extend- ing to small transoms in the head of the window’, as well as the general division of the lights. Another, the Tudor flow^er, is, in rich work, equally common, and forms a most beautiful enriched battlement, and is also sometimes used on the transoms of windows in small w'ork. Another peculiar ornament of this style, is the angel cornice, used at Windsor fuid Henry the ARCHITECTURE. 159 Perpendicular English steeples. — Miscellaneous rei^iarks. Vll.’s chapel; but though according with the character of those buildings, it is by no means fit for general use. These angels have been much diffused, as supporters of shields, and as corbels to support roof beams, &.C. Plain as the Abbey-church at Bath i. is in its general execution, it has a variety of angels as corbels, for different purposes. Flowers of various kinds continue to ornament cornices, &c. ; and crockets were variously formed towards the end of the style, those of pinnacles were often very much projected, which has a disagreeable effect ; there are many of these pinnacles at Oxford, principally worked in the decline of the style. Perpendicular English Steeples. Of these there remain specimens of almost every description, from the plain short tower of a country church, to the elaborate and gorgeous towers of Gloucester and Wrexham. There are various fine spires of this style, which have little distinction from those of the last, but their age may be generally known by their ornaments, or the tow^ers supporting them. Alnjost every conceiveable variation of buttress, battlement, and pinnacle, is used, and the appearance of many of the towers combines, in a very eminent degree, extraordinary richness of execution and grandeur of design. Few counties in England are without some good examples; besides the two already mentioned, Boston in Lincolnshire, All-Saints in Derby, St. Mary’s at Taunton, St. George’s, Doncaster, are celebrated ; and the plain, but excel- lently proportioned, tower of Magdalen college, Oxford, deserves much attention. Amongst the smaller churches, there are many tow^ers of un- common beauty, but few exceed Gresford, between Chester and Wrexham ; indeed, the whole of this church, both interior and exterior, is worth attentive examination. Paunton, near Grant- ham, has also a tower curious for its excellent masonry. There are of this style some small churches with fine octagonal lanterns, of which description are two in the city of Y ork. Miscellaneous Remarks on Perpendicular Buildings. Of this style are so many buildings in the finest preserva- tion, that it is dilficult to select ; but, on various accounts, several claim particular mention. The choir at York is one of the earliest buildings; indeed it is, in general arrangements, like the nave, but its ornamental parts, the gallery under the windows, the windows themselves, and much of its panneiilng in ihe interior, are completely of perpendicular character, though the simple nobility of the piers is the same as the nave. The 160 ARCHITECTURE. Battlements in "eneral. choir of Gloucester, is also of this style, and most comphtely so, for the wliole interior is one series of ojien-work panneis laid on the Norman work, parts of which are cut away to receive them; it forms a very ornamental whole, but by no means a model for imitation. Of the later character, are three most beau'iful specimens, King’s college chapel, Cambridge, Henry the \ 11. ’s chapel, and St. George’s, Windsor; in these, richness of ornament is lavished on every part, and they are particularly valuable for being extremely different from each other, though in many re- spects alike. Of these, undoubtedly St. George’s, Windsor, is the most valuable, from the great variety of composition arising from its plan ; but the roof and single line of w all of King’s col- lege chapel, Cambridge, deserves great attention, and the details of Henry the VH.’s chapel will always command it, from the great delicacy of their execution. Of small churches, there are many excellent models for imita- tion, so that in this style, with some care and examination, nothing hardly need be executed but from absolute authority. The monu- mental chapels of this style are peculiarly deserving attention, and often of the most elaborate w orkmanship. Of Battlements. Having now gone through the styles in detail, w’e come to those sections which, as before mentioned, it is necessary to give in a connected series. From exposure to w'eather and various accidents, we find very few^ roofs in their original state, and from the vicinity of the battlement, &c. we find these also are very often not origi- nal. It seems difficult to ascertain what the Norman battlement was, and there seems much reason to suppose it was only a plain parapet; many Norman structures have either battlements evi- dently of later date, or parapets as evidently mutilated, and in the larger buildings of the early English style, tlie parapet continues mostly to be used. Perliaps some of the earliest battlement is that at the west end of Salisbury cathedral, plain, of nearly equal intervals, and with a plain capping moulding ; but it may be doubted if even tliis is original. An or- namented parapet continued to be used through the next style, but with the very frequent use of battlements of several sorts, both plain and pierced ; and as these continued with less altera- tion than many other parts, through the perpendicular style, it will be better to describe them altogether, just observing that a considerable degree of perpendicular pannelling prevails in the battlements of tjie later edifices. The most frequent early AUCttlTFXTURfe. 161 English battlements — roofs. pierced parapet, is a series of interchanged trefoils with a fine serpentine , line separating them; this has a tine eftect, and is mostly used in Decorated English buildings ; for in the Per- pendicular, the dividing line is straight, making a series of interchanged triangles. Of pierced battlements there are many varieties, but the early ones have frequently quatrcfoils, either for the lower compartments, or on the top of the pannels of the lower, to form the higher ; the latter have often two heights of pannels, one range for the lower, and another over them forming the upper; and at Loughborough is a line battlement of rich pierced quatrefoils, in two heights, forming an indented battle- ment. These battlements have generally a running cap moulding carried round, and generally following the line of battlement. There are some few later buildings, which have pierced battle- ments, not with straight tops, but variously ornamented; such is the tomb house at Windsor, with pointed upper compart- ments, and such is the battlement of the eastern addition at Peter- borough, and the great battlement of King’s college chapel, Cam- bridge, and also that most delicate battlement over the lower side chapels ; this is perhaps the most elegant of the kind. Some- times exteriorly, and often interiorly, the Tudor flower is used as a battlement, and there are a few instances of the use of a battle- ment .analogous to it in small works long before; such is that at Waltham cross. Of plain battlements there are several descriptions : 1st, that of nearly equal intenals, with a plain round capping running round with the outline. 2nd, The castellated battle- ment, of nearly equal intervals, and sometimes with large bat- tlements and small intervals, with the cap moulding running only horizontal, and the sides cut plain ; this is perhaps the best in point of effect of any. 3d, A battlement like the last, with the addition of a moulding which runs round the outline, and has the horizontal capping set upon it. 4th, The most common later battlement, with the cap moulding broad, of several mouldings, and running round the outline, and thus often narrowing the intervals, and enlarging the battlement. To one or other of these varieties, most battlements may be reduced ; but they are never to be depended on alone, in determining the age of a building, from the very frequent alteration they are liable to. Of Roofs. Roofs may be conveniently divided into two principal divi- sions ; the first including those in whic-h the sloped framing, carry- 7.~Vol. I. Y 162 ARCHITECTURE. English roofs. ing the lead or other covering, is visible ; and the second those which have an inner roof of various materials. It is difficult to say what were the open Norman roofs, but it seems most likely they exposed the rafters and other framing of the roof, and probably had straight beams laid across the walls of the nave over each pier. If any original roofs of this kind remain, Rochester cathedral seems most likely to be one. The first attempt to ornament these roofs, seems to have been to make a timber arch over each pier, and to frame timbers in squares diagonally, and these are sometimes made into quatre- foils, and afterwards the arch framing became variously orna- mented, till it came to the gorgeous hall roof, of w hich there are many fine specimens, but perhaps few, if any, superior to that of Westminster hall. The roof of St. Stephen’s chapel was of pecu- liar beauty, and that of the chapter-house at Exeter, is much like it. From the piers, springs an arch which is pierced in the span- drells, and richly ornamented with pieroed featherings ; and the sloping roof is constructed in small squares, beautifully orna- mented with quatrefoils. There are buildings in which, though the upper roof is shown, there is a preparation for an inner roof ; such is Chester cathedral, where only the lady chapel, and the aisles of the choir, are groined, and the whole of the rest of the church is open ; but on the top of the shafts are the commencement springing of a stone groined roof. There is a chapel in a church in Cambridgeshire, W illiugham, between Ely and Cam- bridge, which has a very singular roof ; stone ribs rise like the timber ones, the intervals are pierced, and the slope of the roof is of stone ; it is high pitched, and the whole appears of decorated character. The second division, or inner roofs, are very various; from history it seems as if the most early inner roof was fiat over the beams, and these were planked and painted, as at St. Alban’s and Peterborough. The latter is, indeed, a singularly beautiful relic ; it has lately been repainted, as it w as originally, and now presents an appearance of rich mozaic, like a carpet full of stiff lines, and its general division is into lozenges, with fiowers of Norman character, and the whole according in design wdth the ornaments of tliat style. This kind of roof most likely contri- buted much, especially when the exterior roof was covered with shingles, to spread those destructive fires which we so frequently read of in the history of the early churches. There are some roofs of this construction, in country churches, but generally of a very late date, and sometimes painted with wretched attempt* at clouds. ARCHITECTURE. English roofs. There does not seem to be any wooden inner roofs, except plaster groining, now remaining, till we come to the perpendi- cular ordinary style of roofing, which was rich, though easily constructed ; a rib crossed above the pier, with a small fiat arch, and this M^as crossed by another in the centre of the nave, and the spaces thus formed were again divided by cross ribs, till re- duced to squares of two or three feet ; and at each intersection, a flower, shield, or other ornament, was placed. This roof was sometimes in the aisles made sloping, and occasionally coved. In a few instances, the squares were filled with fans, &c. of small tracery. The next and most important mode of interior roofing, is the regular groined roof ; and of this description w’e have a regular and valuable series, from the plain Norman round arched roof, to the elaborate pendanted roof of Henry the VII.^s chapel. The various Norman crypts, and some small churches, give very good specimens of the Norman roof, which has simply four cross springers, often without straight ribs from the opposite piers. The cross springers w ere ornamented in the usual man- ner with carvings of zigzag and other Norman ornaments. The first pointed roof added nothing to the Norman, in ribs, except the one from pier to pier. The ribs were often enriched by the toothed ornament, and generally a boss or knot at the centre in- tersections. Canterbury, some parts of Lincoln, but above all, Salisbury cathedral, are admirable specimens of these roofs, w hich were erected mostly in the time of the Early English style, or at- tached to buildings of that date. The next advance appears in the roof of the nave at Wells' cathedral ; in this a plain rib runs longitudinally at the top, crossing the rib from the piers, and also the intersection of the cross springers, and another rib runs crossways at the top of the window arches, crossing the centre intersection. To this soon succeeded the multiplication of the ribs, which meet the longi- tudinal straight cross rib, and at their intersections have bosses. To this is added, in the richer roofs, short ribs running from one of these bosses to another, and these are increased in the later roofs, till the whole is one series of net work, of which the roof of the choir at Gloucester, is one of the most complicated speci- mens. The later monumental chapels and statuary niches, mostly present in their roofs very complicated tracery.. Of the ribbed roofs, which aie rich without being gorgeous, perhaps York minster exhibits a specimen not inferior to any other. We now come to a new and most delicate description of 164 Hr ARCHITECTURE. English roofs. roof, that of fan tracery, of which probably the earliest, aud certainly one of the most elegant, is that of the chnsters at Glo-u- cester. In these roofs, from the top of the shaft springs a small fan of ribs, which doubling out from the points of the pannels, ramify on the roof, and a quarter or half circular rib forms the fan, aud the lozenge interval is formed by some of the ribs of the fan running through it, and dividing it into portions, which are filled With ornament. King’s college chapel, Cambridge, Henry the VIl.’s chapel, and the Abbey church at Bath, are the best specimens, after the Gloucester cloisters; and to these may be added the aisles of St. George’s, Windsor, and that of the eastern addition to Peterborough. To some of these roofs are attached pendants, which, in Henry the Vll.’s chapel, come down as low as the springing line of the fans. The roof of the nave and choir of St. George’s, Windsor, is very singular, and perhaps unique. The ordinary proportion of the arches and piers is half the breadth of the nave ; this makes the roof compartments two squares, but at Windsor the breadth of the nave is nearly three times that of the aisles, and this makes a figure of about three squares. The two exterior parts are such as, if joined, would make a very rich ribbed roof ; and the centre compartment, which runs as a flat arch, is filled with tracery pan- nels, of various shapes, ornamented with quatrefoils, and foiming tw o halves of a star ; in the choir the centre of the star is a pen- dant. d his roof is certainly the most singular, and perhaps the richest in effect of any w e have ; it is profusely adorned with bosses, containing shields, &c. There still remains one more description of roof, which is used in small chapels, but not common in large buildings; this is the arch roof; in a few' instances it is found plain, with a simple ornament at the spring and the point, and this is generally a hol- low moulding with flowers, &c, but it is mostly pannelled. Of this roof the nave of Bath is a most beautiful specimen. ’^I'he arch is very flat, and is composed of a series of small rich pannels, with a few large ones at the centre of the compartments formed by the piers. Another beautiful roof of this kind is the porch to Henry the VII.’s chapel ; but this is so hid, from the want of light, as to be seldom noticed. The ribbed roofs are often formed of timber and plaster, but are generally coloured to represent stone work. There may be some roofs of difterent arrangements from any of these ; but in general they may be referred to one or other of the above heads. ARCHITECTURE. 165 Ro.slyn chapel. — Alterations of ecclesiastical edifices. — Locality of style. Miscellaneous Remarks on Buildings of English Architecture, Having now given an outline of the details of the different styles, it remains to speak of a fe^v matters which could not so well be previously noticed. As one style passed gradually into another, there will be here and there buildings partaking of tM O, and there are many buildings of this description whose dates are not at all authenticated. Litchfield cathedral is a line insiance of the gradation from richer Early English into Deco- rated, as are some of those delicate monuments, the crosses of Edward the I. and many of the Lincolnshire spires. There are also many beautiful gradations from Decorated to Perpendicu- lar. Of these, the choir of York, and the upper part of the two towers at the west end, and the remains of Melrose abbey, may be mentioned. There is one building which deserves especial mention, from the singularity of its character, ornaments, and plan ; this is Rosiyn chapel. It is certainly unclassable as a whole, being unlike any other building in Great Britain of its age, (the latter part of the fifteenth century,) but if its details are mi- nutely examined, they will be found to accord most completely in the ornamental work with the style then prevalent, though debased by the clumsiness of the parts, and their w ant of propor- tion to each other. I’here seems little doubt that the designer was a foreigner, or at least. took some foreign buildings for his model. It will now be proper to add a few words on the alterations and additions which most ecclesiastical edifices have received ; and some practical remarks as to judging of their age. The general alteration is that of window s, w hich is very frequent ; very few' churches are without some Perpendicular window's. B e 11] ay therefore pretty safely conclude that a building is at least as old as its w indows, or at least that part is so which con- tains the windows. But we can by no means say so with respect to doors, which are often left much older than the rest of the building. A locality of style may be observed in almost every county, and in the districts where flint abounds, it is sometimes almost impossible to determine the date of the churches, from the absence of batlleinents, architraves, and buttresses ; but wherever stone is used, there is generally enough of indication to assign each part to Its proper style, and with due regard to do the same with plates of ordinary correctness, a little habitual attention would enable many persons to judge at once, at the sight of a plate or drawing, of its correctness, from its consistency, or the contrary, with the details of its apparent style. ARCHITECTURE. I6b Grecian and English architecture contrasted. 1 In a sketch like the present, where the Author is confined to a certain space, it is impossible to notice every variety ; hut at least he now presents the world, for the first time, with a ra- tional arrangement of the details of a mode of architecture on many accounts valuable, and certainly the most proper for ecclesiastical edifices. Still further to enable the reader to dis- tinguish the principles of Grecian and English architecture, he adds a few striking contrasts, which are formed by those princi- ples in buildings of real purity, and which will at once convince any unprejudiced mind of the impossibility of any thing like a good mixture. Grecian. The general running lines are horizontal. English. The general running lines ► are perpendicular. - 1 ^ Arches not necessary. An entablature absolutely necessary, consisting always of two, and mostly of three dis- tinct parts, having a close re- lation to, and its character and ornaments determined by the columns. The columns can support nothing but an entablature, and no arch can spring directly from a column. Arches a really fundamental principle, and no pure English building or ornament can beHl composed without them. JH No such thing as an entab- lature composed of parts, and what is called a cornice, bears no real relation to the shafts^ i which may be in the same building. \ The shafts can only sup- | port an arched moulding, and J in no case a horizontal line. 1 A flat column may be called a pilaster, which can be used as a column The arch must spring from a horizontal line. Columns the supporters of the entablature Nothing analagous to a pi- i laster ; every flat ornamented projecting surface, is either a j| series of pannels, or a buttress. No horizontal line necessa- | ry, and nevf^r any but the small | cap of a shaft. Shaft bears nothing, and is only ornamental, and the round pier stili a pier. Hdt ARCHITECTURE.^ 167 Grecian and English architecture contrasted. Grecian. No projections like but- tresses, and all projections stop- ped by horizontal lines. Arrangement of pediment fixed. Openings limited by the proportions of the column. Regularity of composition on each side of a centre neces- sary. Cannot form good steeples, because they must resemble un- connected buildings piled on each other. JEnglish. Buttresses essential parts, and stop all horizontal lines. Pediment only an orna- mented end wall, and may be of almost any pitch. Openings almost unlimited. Regularity of composition seldom found, and variety of ornament universal. From its perpendicular lines, may be carried to any practi- cable height, with almost in- creasing beauty. In the foregoing details we have said nothing of castellated or domestic architecture ; because there does not appear to be any remains of domestic buildings, so old as the latest period of the English style, which are unaltered; and because the cas- tellated remains are so uncertain in their dates, and so much dilapidated or altered, to adapt them to modern modes of life or defence, that little clear arrangement could be made, and a care- ful study of ecclesiastical architecture will lead any one, desirous to form some judgment of the character of these buildings, to the most accurate conclusions ou the subject which can well be obtained in their present state. Description of Plate I. In order that the plate may be kept free from figures, which would have taken olf greatly from its good effect, a description of what it contains is annexed without letters of reference. And It may be necessary to state, that in order to comprise as much as possible of the different styles, in a small space, there has been an unavoidable departure from the relative proportion of parts in several instances, but not to any very great extent. 168 ARCHITECTURE. Description of Plate first. The upper part of the plate contains sixteen detached speci- mens, whicli, beginning at the left hand at the top, are as follow : 1st, The plain semi-circular arch. <2nd, The segmental arch. 3rd, The equilateral arch. 4th, The drop arch. olh. The lancet arch. 6th, The horse-shoe arch. 7th, The ogee or contrasted arch. 8th, The four-centred or Tudor arch. 9th, A plain circular trefoil window, with ornamented ; points. 10th, A plain trefoil window head. lith, A triangular pannel feathered in three divisions, each of i which is again feathered. 12th, The straight-headed cinquefoil, so much used in small 1 tracery of windows, in the eastern part of the kingdom. 13th, A plain circular quatrefoil window. mL 14th, The usual mode of cinquefoiling an ogee head, and it^K insertion in a transom. ^ 15th, A very beautiful mode of double feathering a cinquefoil, ■ from the east window' at York. l6th, A plain circular cinquefoil w indow. The lower design is divided by buttresses into three com- • partments, of which the lovver part of the centre contains two Norman windows, one with shafts, the other with the zigzag : moulding, and having between them a Norman buttiess and a i Norman cornice over them. The upper part of this compart- ment is Early English, having three windows with shafts divided by bands, and resting, on a tablet. The pediment has a pro- ] jectiiig parapet with a cornice moulding under it, and^a cap \ moulding above. This parapet is ornamented with sunk qua- i trefoils. ^riie left hand compartment, and its two buttresses, are De- corated English. The window of flowing tracery is of the style of that in the west end of Newark, but much of its delicate small ornaments are obliged to be omitted, on account of its size. The canopy is executed at Chester cathedral. The cornice is tlie ordinary Decorated cornice with flowers. The battlement is that of the nave of York minster. The pinnacles are of the de- scription very common in the w'est of England, with square bases and small battlements. The right-hand compartment contains a perpendicular win- dow of flve lights in a four-centred arch, with a crocketed ogee AKClllTKf Tl’HE . rL.i /n- J’i'j/i.-r .t_Z>U',v/ '' jftjz. NiJj i *3 "i' •■ • -‘* -,_ .w. ■- vr->>T*; .- ) .i* K:; jf i ■’■ .'* ^ *• ^«r ■ICCL'f }•/«<* ^*> t., {. *^,“ ^ . »•-*.-•»** 3 •!’ •-. ■*^’ ••/ ■ "^ •' NSiil' », '••-.^ • -ty ! i-'^a 'i 'V'S .-Isi 'ir 1 •• - '^ ■■ # fmmM . ■ •< ’- • ■ titei JfiB. V - y jI VI •"% /-* - '^'-1 ^v* ^ ' v< ^ A t. ■: ..'>wt^: fK^o^tc^h .. -* • • N;t S f:; ■:?; VW i 'jpii® . ■!i'''filiiii|,,.:.litr‘’i •" 3Ti.:?-js-^.Tn:mA ' 'il'''•|iA! ’'ll*-'’ ‘ 'irinl'i ■%■•- - jrgS “ ■ V'-iV**' J.i'® ;>• 1 ARCHITECTURE. 169 # I Plate second. — References to delineations of English architecture. canopy. It is divided by a transom, and has the transom mould- ing battlemented. This window is of simple construction, and is executed with slight variations in various parts. The cornice is tliat of the upper roof of the Abbey-church at Bath, and the battlements are also taken frorh thence ; but frohi the small size of the plate, both are obliged to be much simpli- fied as to their mouldings. The pinnacles are the ordinaiy pin- nacles of this style. Plate II. affords an example of the square-headed door of the Perpendicular style ; it has a shaft supporting the inner moulding of the arch, and another supporting the exterior mould- ings, which forms also the square, and both are included in a hol- lovv moulding. The dripstone is nearly the most frequent plain dripstone, and the cornice shows the effect of the introduction of flowers. Plates of almost all the buildings mentioned in this sketch, may be found in one or other of the following works, which all contain plates of good character, though of course perhaps not ail of equal correctness in drawing the details : The Cathedrals, &c. published by the Society of Antiquaries, Carter’s Ancient Architecture, King’s Munimenta Antiqua, Halfpenny’s Engravings of York Minster, Buckler’s Views of the Cathedrals, Britton’s Architectural Antiquities, Storer and Greig’s Illustrations of Pennant’s London, Antiquarian and Topographical Cabinet, Ancient Relics, Lyson’s Magna Britannica, Britton and Bra\ ley’s Beauties of England, Archaeologia, Chalmer’s History of Oxford. 8.— VoL. I. Z 170 ARCHITEGTURE. Five orders of Grecian architecture distinguished. GRECIAN ARCHITECTURE. The many valuable treatises and excellent delineations of the Grecian and Roman buildings, and the details of their parts, will render unnecessary that minuteness in this dissertation which, from the total absence of a previous system, it became necessary to adopt in the description of the English styles. But in this sketch something of a similar plan’ will be followed, first giving the name and grand distinctions of the orders, then describing the terms and names of parts necessary for those who have not paid attention to the subject to understand, and a con- cise description of each order will follow ; but from the diver- sity of judgment prevailing, it will be most proper to leave the reader to select his own examples, as in this country we have not, as in the English architecture, the originals to study, but a variety of copies, adapted to the climate and the convenience of modern times. In dividing the Grecian and Roman architecture, the word order is used, and much more properly than style ; the English styles regarded not a few parts, but the composition of the whole building, but a Grecian building is denominated Doric or Ionic, merely from its ornaments ; and the number of columns, windows, &c. may be the same in either order, only varied in proportion. The orders are generally considered to be five, and are usually enumerated as follows : Tuscan, of which the usual height of the column is 7 diameters. Doric, - - - 8 Ionic, - - - 9 Corinthian, - - - 10 Composite, - - - 10 Their origin will be treated of hereafter. Their prominent distinctions are as follow : The Tuscan is quite plain, without any ornament whatever. The Doric is distinguished by the channels and projecting in- tervals in the frieze called triglyphs. The Ionic by the ornaments of its capital, which are spiral, and are called volutes. The Corinthian by the superior height of its capital, and its being ornamented with leaves, which support very small volutes. The Composite has also a tall capital with leaves, but is dis- tinguished from the Corinthian by having the large volutes of the Ionic capital. ARCHITECTURE. 171 Division of a complete order. A complete order is divisible into three grand divisions, which are occasionally executed separately, viz. The column, including its base and capital, The pedestal, which supports the column. The entablature, or part above and supported by the column. These are again each subdivided into three parts. The pedestal into base or lower mouldings ; dado or die, the plain central space ; and surbase, or upper mouldings. The column into base or lower mouldings, shaft or central plain space, and capital or upper mouldings. The entablature into architrave, or part immediately above the column ; frieze or central flat space ; and cornice or upper projecting mouldings. These parts may be again divided thus : the lower portions, viz. the base of pedestal, base of column, and architrave, divide each into two parts ; the first and second into plinth and mould- ings, the third into face or faces, and upper moulding or tenia. Each central portion, as dado of pedestal, shaft of column, and frieze, is undivided. Each upper portion, as surbase of pedestal, capital of column, cornice of entablature, divides into three parts : the first into bed- mould, or the part under the corona ; corona, or plain face j and cymatium, or upper moulding. The capital, into neck, or part below the ovolo ; ovolo or projecting round moulding ; and abacus or tile, the flat upper moulding, mostly nearly square. These divisions of the capital, however, are less distinct than those of the other parts. The cornice into bedmould, or part below the corona ; corona, or flat projecting face; cymatium, or moulding above the corona. Besides these general divisions, it will be proper to notice a few terms often made use of. The ornamental moulding run- ring round an arch, or round doors and windows, is called an architrave. An ornamental moulding for an arch to spring from, ig called an impost. The stone at the top of an arch, which often projects, is called a key-stone. The small brackets under the corona in the cornices, are called mutules or modiUions ; if they are square, or longer in front than in depth, they are called mutules, and are used in the Doric order. If they are less in front than their depth, they are called modiUions, and in the Corinthian order have carved leaves •pread under them. 172 ARCHITECTURE. Architectural mouldings. A truss is a modillion enlarged, and placed flat against a wall, often used to support the cornice of doors and w'indow'^s. A console is an ornament like a truss carved on a key-stone. Trusses, when used under modillions in the frieze, are called cantaiivers. 1 he space under the corona of the cornice, is called a soffit, as is also the under side of an arch. Dentils are ornaments used in the bed mould of cornices; they are parts of a small flat face, which is cut perpendicularly, and small intervals left between each. A flat column is called a pilaster ; and those w'hich are used with columns, and have a diflerent capital, are called ant&. A small height of panne! ling above the cornice, is called an attic, and in these pannels, and sometimes in other parts, are in- troduced small pillars, swelling towards the bottom, called balus- tres, and a series of them a balustrade. If the joints of the masonry are channelled, the w ork is called rustic, w hich is often used as a basement for an order. Columns are sometimes ornamented by channels, which are called Jhites. These channels are sometimes partly filled by a lesser round moulding ; this is called cabling the flutes. For the better understanding the description to be given of the orders, it will be proper first to notice the different moulding: which by different combinations form their parts. I he most simple mouldings are, 1st, the Ovolo, or quarter round, see pi. III. fig. 1. 2nd, The caveito, or hollow, fig. 2. 3rd, The torus, or round, fig. 3. From the composition of these are formed divers others, and from the arrangenieut of them, with plain flat spaces between, are formed cornices and other ornaments. A large flat space is called a corona if in the cornice ; a fascia in the architrave ; and the frieze itself is only a flat space. A small flat face is called a fillet, or listel, and is interposed between mouldings to divide them. A fillet is, in the bases of columns and some other parts, joined to a face, or to the column itself by a small hollow^, then called apophijges, fig. 4. The torus, when very small, becomes an astragal, w'hich projects, fig. 5 ; or a bead, which does not project, fig. 6, No. 1, 2. Compound mouldings are, the cyma recta, which has the hollow uppermost and projecting, fig. 7. The cyma reversa, or ogee, which has the round uppermost and projecting, fig. 8. ARc mTECTVltK . £