^ C E N T ^ AS Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/lampsshadesinmetOOadam LAMPS AND SHADES IN METAL AND ART GLASS Eighteen Complete Designs with Working Drawings and Full Directions for Their Making By JOHN D. ADAMS AUTHOR OF “ARTS-CRAFTS LAMPS—HOW TO MAKE THEM” CHICAGO POPULAR MECHANICS COMPANY PUBLISHERS Copyright, igii Bv H. H. WINDSOR THE-GETT'/' CtNTER LIBRARY T his book is one of the series of handbooks on industrial subjects being published by the Popular Mechanics Company. Like the Magazine, these books are “written so you can understand it,” and are intended to furnish information on mechanical subjects at a price within the reach of all. I'he texts and illustrations have been prepared expressly for this Handbook Series, by experts; are up-to-date, and have been revised by the editor of Popular Mechanics. CONTENTS Page Introduction . 9 PART ONE : BUILT-UP SHADES Chapter I—Droplights . 15 Chapter II—Reading Lamp No. 1.... . 22 Chapter III—Reading Lamp No. 2 . 28 Chapter IV—Square Dining-Room Dome. 36 Chapter V—Mission Chandelier . 40 PART TWO: SOLDERED SHADES Chapter I—Desk Light . 47 Chapter H—Droplight No. 3. 54 Chapter HI—Chandelier . 57 Chapter IV—Hexagonal Library Lamp.... . 61 Chapter V—Hexagonal Dome . 68 PART THREE: ETCHED SHADES Chapter I—Lamp No. 1. 75 Chapter H—Lamp No. 2 . 81 Chapter HI—Lamp No. 3. 87 Chapter IV—Lamp No. 4. 94 PART POUR: SAWN SHADES Chapter I—Conventional Patterns . 99 Chapter H—The Butterfly Design .106 Chapter HI—The Pyramid Design.Ill LAMPS AND SHADES IN METAL AND ART GLASS INTRODUCTION TN one of the Popular Mechanics Handbooks (“Arts- Crafts Lamps—How to Make Them”) the writer has described the method of constructing substantial and at¬ tractive Arts-and-Crafts lamps from such simple ma¬ terials as colored paper and cardboard. In this book are presented a series of articles on home-made lamps in the construction of which metal and glass are utilized. The subject of lamps appeals to the amateur craftsman for four reasons:—the importance of a good and conven¬ iently arranged light; the pleasing decorative effects that are possible; the variety and number of lamps that may be used to advantage in the home; and the small cost of equipment and necessary materials. In the handbook referred to above are given designs for a wide diversity of lamps. In the chapters which fol¬ low the intent is to thoroughly acquaint the reader with the several methods of construction that come within the scope of the amateur’s modest workbench, so that, having learned these and the subsequent possibilities, no difficulty will be found in executing in glass and metal, instead of paper and cardboard, the designs of my first book as well as those elaborated in these pages. “It is easy when you know how,” is a saying that is as true as it is trite when applied to our subject; and the 9 10 LAMPS AND SHADES writer has never yet in his experience with the manual arts seen disappointment reward the amateur’s efforts in this line of work. Of course, one must have that enthu¬ siasm and interest that begets patience; for with haste there is nothing but failure. One must be willing to take a block of wood and trim it up squarely, smooth the end grain, bevel off the upper corners, all with mathematical accuracy, or the base of the lamp will not have the true finished effect. This means patience and the steel square —but that is all. Besides a little simple carpentry, the reader should be able to soft-solder, use a small breast drill, and properly set small rivets. The use of the lathe or other machine tool, forge or furnace, is not required. A good bench, a vise, a small assortment of drills, a hacksaw, a fretsaw, a hammer, a soldering-iron, are about all that are required. There are four distinct methods of making lamp shades that are available for home construction : 1. Built-up Shades —Those having their frames built up from strips and angles of brass and copper. 2 . Soldered Shades —Those in which each section or piece of glass is bound around its edges with thin metal, so that the whole may be soldered together. 3 . Etched Shades —Those in which the openings in the metal are eaten or etched out by acid. 4 . Sazvn Shades —Those in which the metal design is sawn out with a small fretsaw. Such is the general method of subdividing our subject, and no attempt will be made at any classification based INTRODUCTION 11 on the type of lamp. Our object is primarily to set forth the different constructive methods available. In regard to the construction of the bases and stand¬ ards, the method to be presented is particularly adapted to home construction. Metal casting.?, stampings, spun metal and forgings are all avoided. Wood, used in con¬ nection with such simple pieces of brass and copper as may be easily shaped, forms the basis of construction. Let the wood be accurately and smoothly finished, stained with some reference to the general color scheme of the room in which it is to be used, polished so as to develop the graining, and finally trimmed with the necessary pieces of brass or copper; and we have a combination of materials of pleasing contrast and susceptible of very artistic treatment. 'A’s there are so many beautiful kinds of glass to be had, no attempt will be made to refer to each variety by its trade name, so that the general expression “art glass” will be used throughout. Frosted, mottled, iridescent, watered, opalescent and butterfly effects may all be seen in any large fixture store. If your local dealer can not supply you, or direct you to the proper source, send a paper pattern to some dealer in manual training supplies. T^OTE: Throughout this book all measurements are stated in inches, and for that reason the conven¬ tional sign has been omitted. n - ^ ■ o i 'L r7 * )... . :.i <} ■ -r' 1 \ / / r •* -J Detail of Droplight No. 2 13 Droplight No. 1 (For detail working drawing see preceding page) Hampg anb ^tjabesj PART ONE—BUILT-UP SHADES CHAPTER I DROrLIGHTS T^HE simplest form of built-up shade is that used for droplights and may be made with either parallel or slanting sides, as shown in the illustration. Let us consider the parallel form. First procure a small supply of sheet brass not over one-fiftieth of an inch in thickness, and even less for the narrow crossbars. Mark out on this the strips that will be necessary to form the various angles—twelve in all— and then accurately cut them. If a tinshop is in the vicinity, take the brass there and cut it on the foot trimmer, as there will then be no curling or twisting of the strips. Get clearly in the mind the relative positions of the one vertical and two horizontal members at each corner where they make a triple connection; and then trim off the strips to the exact lengths. Two or three dressed strips of hardwood should now be obtained, so that the strips may be properly held in the vise and with¬ out marring them. Draw a line accurately down the cen¬ ter of each strip to be bent, and then clamp them between the hardwood strips as shown in Fig. i. The bending should then be done with the edge of a third strip of 15 16 LAMPS AND SHADES wcx)d, the lower edge of which must be kept well down toward the vise so as to make a sharp bend. A uniform strip of angular section can be produced only when the bending has been done uniformly along the entire length at the same time. If it is necessary to use a hammer in finishing apply it to the block, hitting rather lightly, and never twice in the same place in succession. Should a vise not be available, the next best plan is to fasten two strips of hardwood to a piece of board, leaving a very small slit between them, into which the strip of metal may be placed for bending, as shown in the lower part of Fig. I. 18 LAMPS AND SHADES In connecting up, the four angle strips of any one side are first joined, after which the vertical and horizontal crossbars are inserted. The four members of the side directly opposite are then to be connected in the same manner, after which the two complete sides so formed are connected by the four remaining angle strips—one at the top and bottom of each of the other two sides. It will usually be found advisable to use small rivets at the top connections, which hold the pieces together in a man¬ ner that permits their being adjusted squarely as the bot¬ tom pieces are placed and soldered. To hang the shade, either one of two methods may be adopted. The simplest way is to provide two strips of rather heavier brass and bend their ends so that they will arch across the top as shown. At the place of crossing a hole is bored for the cord to pass through, and the four ends are riveted or soldered to the top angle strips. The shade will then hang directly on the top of the socket. In the second and more substantial method, a cross¬ piece is provided with a hole large enough to allow the nipple in the top of the socket to pass, as shown in Fig. 2 . These nipples, when of metal, are usually double- ended, in which case the upper portion must be sawn off with the hacksaw. In the tapering form of drop shade the general method of construction is identical, except that there are prac¬ tically no right angles. One should first lay out the shade full size and with sufficient accuracy to enable all angles being measured direct from the plat. The upper corner angles are quite a little larger than 90 °, and the lower DROPLIGHTS 19 ones naturally as much less. Before proceeding with the bending, place the two strips of hardwood in the vise and plane off the upper edges at the proper angle. The upper angle strips may then be bent up the Fig. 2 Method of Hanging; a Shade slope, and the lower ones down. In this way we get one angle as much more as the other is less than 90 °. When the entire frame has been assembled, brighten up the outer surfaces with some old emery cloth, after which apply a coat of lacquer. Even ordinary frosted glass makes an excellent appearance with a finish of this character. CHAPTER II READING LAMP NUMBER ONE T ET us now carry out on a somewhat more extensive scale the method described in the previous chapter for making a brass lamp-shade frame, and as a reward we shall have the attractive reading lamp that forms the subject of the accompanying illustration. It should be remembered, however, that without color our illustra¬ tion does poor justice to this lamp, much less giving any adequate idea of the appearance when illuminated. The glass is of a milky white streaked with blue, and when lit up is very suggestive of sky and water. The scenic effect is made from thin brass, hammer-marked and somewhat oxidized, which appears a dead black at night. The first step will be to make a plat of one side of the shade, noting that the slant distance is 7 in. and not 6 in. From a consideration of this determine the amount of material necessary, and get clearly in mind the method of making the triple connection at each corner. If any doubt exists on these points, it would be well to cut and bend into angles some strips of light cardboard or tbin tin, so that a preliminary frame may be constructed. The various pieces of the temporary structure may then be taken apart and flattened out to serve as patterns in work¬ ing up the brass or copper. Having bent the twelve angle strips between wood, as described in the preceding chapter, the four members of 22 READING LAMPS 23 one side should be soldered or sweated together. The opposite side is next formed, and then connected to the first by means of the four remaining angle strips. Dur¬ ing the setting up, keep the plat constantly at hand so that all angles will be correct and uniform. Fig. 3 Securing the Glass in Place Some simple scenes should be decided upon and then drawn out on paper full size. Procure the necessary amount of thin (say, one-sixty-fourth) brass or copper, and transfer the designs thereto by means of carbon transfer paper. Cut out with the tin-snips, and then beat up the design with the ball end of the hammer over a block of hardwood. Foliage, tree trunks, etc., should be accentuated. The metal should then be thoroughly cleaned with soap and water, after which it may be dark- 24 LAMPS AND SHADES ened by a solution of potassium sulphide and water. Copper may be colored by simply heating to the proper degree. A little fine emery or pumice is then used to rub up the highlights, after which the pieces are attached to the frame by tacking them with solder to the inside of Attaching Socket to Standard the corner angle strips. A paper pattern is now to be made so that the glass may be properly ordered. To se¬ cure this in place we may solder into the corner angles some small pieces of brass, as at A in Fig. 3, which are bent over when the glass is placed. Where a little more space is available, adopt the method shown at B, bending the two ends over onto the glass, as at C. If the glass is heavy and accurately fitted, as at D, only two of the four READING LAMPS 25 pieces need be secured, and these only at the top and bottom. The base of the lamp is composed of a single block of wood, which is completely beveled off on top, with the exception of a space 2 in. square, in the center of which a %-in. square hole is mortised to receive the end of the standard, which is now to be gotten out and tenoned to match. The upper end of the standard is built out so as to form a cap, and is then drilled out for the socket to fit in, as shown in Fig. 4. See that the nipple is securely screwed into the socket and fits tightly into the wood. When ready to screw it down, apply a little glue to harden the fibers and fill all interstices. Drill a ^-in. hole lengthwise clear through the standard, and then cut a groove in the under side of the base—all for holding the electric cord. Attach the base and standard togethei* with glue on the mortise-and-tenon joint. When dry, apply the necessary stain and filler, and polish with wax when dry. Prepare the four brass or copper brackets and attach them with round-head screws. The four thin bracket arms that support the shade are now to be made and attached, after which the placing of the shade in posi¬ tion completes the lamp. statics! CHAPTER III READING LAMP NUMBER TWO JN offering a second lamp with a scenic shade it is not our intention to go over the ground of the preced¬ ing chapter, but rather to point out some of the modifica¬ tions possible with this interesting type of lamp. In the first place it will be noted that the shade has a greater spread and less of a slope than reading lamp No. r, thus making it better adapted to a 32-candlepower or even a strong tungsten light. The socket should be oper¬ ated by a drop pull. If desired, the entire framework of the shade may be made of copper and thorougbly hammered, in which case it will be found best to do the hammering before forming tbe strips into angles. Should the strips become hardened during the process, soften them by heating over the gas flame. On account of the sharp angle of the shade the reader will do well to visit the local tinshop and secure some thin, flat strips of tin, from which he can make and fit a preliminary frame, thus avoiding all danger of spoiling the copper. In this manner all angles involved may be made plain and the entire task greatly simplified. The metal is now to be colored by oxidizing it with some solution such as potassium sulphide and water, after which rub up the highlights and apply a coat of lacquer to make the effect permanent. A new feature in the metal work of this lamp is the 2& 29 Metal Standard for Reading Lamp No. 2 30 READING LAMPS 31 lengthened brackets that support the shade. These should be made of stock measuring % in. by Yz in., and may be trimmed up on their lower ends in any attractive form. Attach them with round-head brass screws. And by the way, let not the reader imagine that there is any¬ thing inherently inartistic in screwheads, or that there is any great reason why we should go out of our way to conceal them. Carefully finished metal on well finished wood has the peculiar attractiveness of a scientific instru¬ ment. But the effect is entirely lost if the screwheads are rough or burred. Place each screw in the breast drill, which is then clamped in the vise so that one hand will be free to polish the head with old emery cloth. The woodwork of this lamp will require some little care on the part of those whose experience in carpentry is just beginning. After trimming up squarely and to the exact size, the base block should first be marked as in Fig. 5. Saw off first the two slices that run across the grain. Plane down to line before cutting off the other two slices. Use sandpaper only when placed on a small block, so that all surfaces will be flat, and all angles and corners sharp. The four small feet are now to be glued and tacked on with small brads, allowing them to project a trifle beyond the base, so that when the glue has set they can be trimmed off exactly flush. Mortise a i-in. hole in the center. The standard will also present some opportunity for accurate work, on account of the widened base and the attached tenon that fits into the base. Trim up the piece of timber accurately, and then mark it off with guide 32 LAMPS AND SHADES lines, as in Fig. 5. First saw out two sides directly op¬ posite and finish these down to line before cutting into a third side. Of course, this job might be delegated to the neighboring carpenter, but in that case our lamp would not be strictly home-made. Work slowly and without - y Fig. 7 Attaching: Socket to Metal Standard hurry, keeping the try-square at hand, and all will go well. The central hole for the cord should be about the size of a lead-pencil, and on account of its length will have to be drilled from both ends. Set up the mortise-and-tenon joint with glue and clamp firmly until dry. The stain must be evenly applied. When dry, put on a coat of filler, rubbing off all the surplus from the sur- READING LAMPS 33 face. When this has dried well, the piece is to be lightly sandpapered, and then rubbed up with wax. Attach the socket to the standard as shown in Fig. 4, and run the cord down the central hole and out to one side. The bottoms of the four feet should be covered with felt. For the benefit of those who have done some Vene¬ tian iron work or forging, we append Fig. 6, showing how a standard may be made by suitably bending four strips of metal and fitting them around a central brass tube, to the upper end of which the socket is attached, as shown in Fig. 7. The cord runs down this tube and then out to one side through a groove in the base. CHAPTER IV SQUARE DINING-ROOM DOME TN selecting' the glass for a dining-room dome every consideration should be given to the general color scheme of the room. With any of the better forms of art glass, such as the mottled effects in green, amber or pink, no further decorative features need be added, beyond that afforded by the metal framing. It may be that nothing but the ordinary rough frosted glass is avail¬ able, in which case a few added lines, suggestive of leaded glass, will not be inappropriate. Of the various angle strips composing the frame, only the four lower ones and the, short corner vertical mem¬ bers are exact right angles. If the reader has access to a machinery supply house, it would be well to procure a sufficient length of thin square brass tubing and form the angle pieces therefrom by filing off two diametrically opposite corners. In this manner perfect angles will be obtained which will form a very accurate foundation upon which the remainder of the structure may be built. In constructing this piece some small clamps, or even spring clothespins, will be found convenient. Arrange the bottom angles squarely on the bench, or any con¬ venient surface that is perfectly flat, and set in a few wire brads to keep them from shifting. Trim up the four vertical corner angles to the exact length and per¬ fectly square on their ends. Set these in position with 36 Section through Top of Dome 38 LAMPS AND SHADES clamps, and then attach their lower ends to the horizontal angles with solder. From the drawing determine the angle of the four angle strips that connect the top to the side panels, and, after the method illustrated in Fig. i (page i6), proceed to bend them from strips of brass about a fortieth of an inch thick. Cut these to length and trim their ends to the proper angle, after which they may be set up and clamped in place ready for soldering. The larger square block at the top is now to be made ready, and, after bending the four small top angle pieces, secure them to this block with small woodscrews. The block is now to be supported above the bench in its proper posi¬ tion relative to the framework thus far made, in which position the four slanting ridge angles may be fitted in place. When everything is correctly adjusted, proceed with the final soldering. Often a small alcohol lamp and blowpipe will be found much more convenient than a sol¬ dering-iron. as there is then no danger of disturbing the work. After soldering in some small clips to hold the glass (Fig. 3, page 23), the frame should be trimmed up with the file where necessary, any extra solder removed, and the whole rubbed bright with old emery cloth. The small top block is now to be made ready and applied, after which the electric fixture, for two, three or four lights as desired, must be placed. In Fig. 8 is a sectional view through the top of the dome, showing a four-light cluster improvised from ordinary sockets. A piece of brass about a sixteenth of an inch thick, in the form of a cross, has a large hole near each end, through which the nipple in the end of the socket may pass. By screwing the nip- SQUARE DINING-ROOM DOME 39 pies up tightly the sockets are all held firmly in place, and may be arranged at the proper angle by bending the ends of the brass cross upward. A small block serves to main¬ tain the lights at the proper distance from the roof of the dome. The supporting chain may be of metal or wood. If of the latter material, the reader will find an easy way of constructing it described in Popular Mechanics handbook on “Arts-Crafts Lamps.” The wires are run out through a hole in the top and follow up the chain to the ceiling. italics! CHAPTER V MISSION CHANDELIER TN the construction of the four lanterns of this Mis¬ sion chandelier a dull black finish in connection with plain frosted glass would be quite appropriate. The cost of the material will be insignificant if this arrangement is decided on, as all the metal frames may be of heavy tin painted a dull black. Procure the four pieces to form the tops and a supply of I-in. strips for the corner and bottom angles. Cut the top pieces to the pattern shown in the accompanying working drawing, and bend it along the dotted lines. Make the connection between the first and last sections with a few small rivets. Shape up the supporting loops from some heavy copper wire, flattening the ends so that they may be riveted to the top. Mark the positions of the corner angles and drill small holes for the rivets. The forming of the angles may now be undertaken as heretofore set forth in Fig. i, that is, between wooden strips. In determining the proper lengths, allow about a half inch for bending over and riveting to the top, which operation may be attended to as soon as the angle strips are ready. The bottom angles are next to be gotten out and soldered in place, due care being taken that the frame is perfectly true and square. Into the inside angle of each corner piece solder a pair of small tin clips, to be bent over later to hold the glass. See Fig. 3, page 23. 40 44 LAMPS AND SHADES We now come to the lattice work, and here several methods present themselves. Sixteen in all are required. A very neat way is to get the necessary material in brass or copper and saw them out all at once with a small fret¬ saw. Another method is to etch them out with nitric acid. With very thin tin and a hardwood or lead block, they may be cut one at a time with a sharp knife. And lastly they may be cut, several at a time, from heavy black paper, and cemented to the glass panes. All the metal should be thorougbly washed with soap and water, and dried, so as to remove any trace of the soldering fluid. Paint with drop black, and while this is drying proceed with the ceiling plate. This may be in the form of a cross, from each arm of which a lamp is sus¬ pended, or in the rectangular form shown. The four pieces are first to be trimmed up to the exact length, and then beveled off on their ends as shown. The joints are all crosslapped, that is, each piece of wood is re¬ duced to one-half its thickness at the point of crossing, so that the two will fit together perfectly flush. Mark these connections out with pencil and square, and with all possible accuracy. Saw carefully and not too deep, after which the intervening wood should be slowly re¬ moved with a sharp chisel. The cutting and fitting com¬ pleted, apply fresh carpenter’s glue, and clamp until dry, taking due care that the assembled frame lies perfectly flat. When set, the edges are to be beveled ofif, and grooves cut in the upper side for the wiring. Sandpaper and apply the necessary stain. When dry, sand again, and if the wood is of an open texture, such as oak, apply MISSION CHANDELIER 45 a filler, thoroughly wiping ofif the surplus. This having dried, sand lightly and finish with a vigorous application of wax. It now only remains to set in four screweyes, connect the chains and lamps, and our chandelier is ready for hanging. Desk Lamp with Soldered Shade 46 Hamps; anb ^fjabcsi PART TWO —SOLDERED SHADES CHAPTER I DESK LIGHT T N this chapter the reader is introduced to an entirely different method of constructing lamp shades. This method, briefly stated, consists in binding all the edges of each piece of glass with thin metal, so that the sev¬ eral sections can then be soldered together. In this man¬ ner shades of almost any form may be built up, and in a truly substantial manner. Let us accept as our initial problem with this mode of construction the making of the plain desk lamp illustrated. First procure the four pieces of art glass and some strips of thin tin about seven-eighths of an inch wide. These strips must now be bent into deep, narrow channels to fit over the edge of the glass. A very simple jig for ac¬ complishing this is shown in Fig. 9. A strip of triangular section is nailed to a board, say about a foot in length. Adjoining this are two parallel strips, firmly secured to the board, but with narrow spaces between. Insert the strip of tin in the first narrow slit, as at A. Bend over with the edge of a piece of board to position B. Place the tin as at C, and then with a narrow strip of hardwood or iron force it clear down, so that when it is taken out 47 48 DESK LAMP 49 it will have the shape indicated at D. This latter slot should be slightly adjustable, so as to suit the thickness of glass. Be sure that between positions A and B the bending goes on uniformly along the entire length of the strip. Having formed the necessary channels, proceed to fit Simple Jig for Bending Strips them around the edge of the glass, cutting off any surplus with the file, as the tin-snips will crush the piece out of shape. When ail four panes have been thus bound all the way round, heat the soldering-iron and fasten the over¬ lapping pieces of tin at the corners. The four sections are now to be set up in their proper relative positions and held there while the soldering-iron connects the four corner seams. A cross section through a corner of the shade v/ill be as in Fig. lo. The tin is now to be washed and gone over with drop 50 LAMPS AND SHADES black, which dries to a dull finish. With the second and following attempts the reader may use thin brass and cop¬ per in place of the blackened tin, although the latter is never out of place in a Mission interior. The base should be treated in the usual manner— trimmed up true and square, and carefully marked with ^o/c/er Fig. 10 Cross Section of Corner guide lines prior to sawing off the beveled sections. Hav¬ ing worked the piece down to line, thoroughly sandpaper and then glue on the four small foot blocks. The half¬ inch block is now to be squared up and mortised in the center for an inch tenon. The standard will require some little care in working down to the proper taper and in forming the cap on top. After squaring up the piece of timber, mark out the guide lines (see Fig. 5, page 29) before cutting. Finish any two opposite sides down to line before starting a third. The socket is now to be fitted to the top, and a ^-in. hole drilled down the cen- DESK LIGHT 51 ter for the electric cord, which passes out to one side underneath the base. The three pieces of wood are now to be glued together, and while the glue is setting, make ready the four small arms that support the shade. These may be of blackened iron, brass or copper. When the standard has been stained and waxed, attach these with screws, screw in the globe, place the shade, and turn on the current. Detail of Droplight No. 3, with a Suggested Variation in the Design 52 Droplight No. 3 53 ^olberett ^fjabesi CHAPTER II DROPLIGHT NUMBER THREE T N the initial chapter of this book are shown two forms of droplight shades having built-up frames. The accompanying illustration shows a third and somewhat larger form, and depicts a different mode of suspension. The reader will understand, of course, that many of these designs may be executed by some other method than the one that they are used to illustrate, and that such de¬ tails as the suspending of the socket may be interchanged. The tapering shade, however, is particularly well adapted to the soldering method of construction introduced in the first chapter. In the one next following will be shown five of these shades used in connection with a chandelier. The art glass should first be obtained, and a stock of thin metal strips—tin, brass or copper—laid in. The only practical way to get a good flat strip of tin without any twist is on the foot-actuated trimmer at the tinshop. A hundred strips may be cut in a few minutes with this device. The width of the strips will ordinarily be from in. to I in., depending somewhat on the size of the shade and the thickness of the glass. Always bend be¬ tween wood, using some such jig as that illustrated in Fig. 9, page 49. In order to have the bend occur in the exact center of the strips, make a preliminary trial chan¬ nel from a short piece about an inch or two in length. It 54 DROP LIGHT 55 will almost always be found best to place the top and bot¬ tom channels on each piece of glass before placing the side channels. The former should never come quite to the edge, whereas the latter should be full length. The horizontal and vertical crossbars are straight, flat strips Fig. 11 Holding the Panels in Position of metal, cut to such a length that their ends will fit a trifle under the edges of the border strips. In perform¬ ing this operation take care not to bend the bars so much as to put a permanent kink in them, as they would not then lie flat against the glass. Before placing these they are interlaced through a hollow square—generally of the same metal, although copper is used in connection with brass with pleasing contrast. Having soldered the metal bindings at the four corners, and also tacked the cross¬ bars, the assembling should be commenced. A good 56 LAMPS AND SHADES method of holding the four panels in position for solder¬ ing is shown in Fig. ii. The box in the center should be adjusted in height to the correct position and then tacked down. Accurately space off eight nails around so that the bottom edges of the panels will not slip outward. The illustration shows only three of the four glass panes in position. The socket is supported by a plain piece of brass soldered across the top as shown in the working drawing. To this strip the socket is held by means of tbe nipple, as previously set forth in Fig. 2, page 19. A second strip bridges across the top about a half inch above the first and at right angles to it, and to this latter strip a j4-in. brass tube is soldered. This tube is the main support and conceals the wiring. It may, of course, be entirely omitted, and the shade hung directly on the socket. Its presence is simply a matter of appropriateness with the conditions under which it is to be used. It will be noted that a variation in this shade is suggested in the working drawing. ^olbereb ^fiabeis CHAPTER III CHANDELIER gLABORATE though this chandelier may at first glance appear, its making in reality involves no con¬ structive features other than those presented in the two preceding chapters. The shades are identical with the one shown in the last working drawing. If the interior is in the Mission style, or on the bun¬ galow order, a very good combination, and one that is quite inexpensive, is plain frosted glass used in connec¬ tion with tin painted a dull black. In this case the brass hanging-tubes will be replaced with wrought-iron chains, also painted black. The exchange of the tubes for chains may be made when the shades are worked up in brass, in vTich case the chains will, of course, be of brass also. With the better grades of art glass, the mottled pink and amber effects go well with the plain brass finish, and the green tones with copper or blackened tin. When brass or copper is used, the soldering should, if possible, be done from the inside, and then rather neatly. The dimensions of the ceiling plate are all given in the working drawing. If desired, the rectangular form of plate described in Chapter V of Part One may be used, in which case four instead of five lights will be used. In the present form, however, only one cross-lapped joint is necessary, and the carpentry in general is much 57 59 60 LAMPS AND SHADES simpler. Each tube should be fitted clear through the wood and secured by a small plate or washer soldered on. Liberal grooves are to be cut along the upper face of the two members of the cross to receive the wiring, which may be tapped through the ceiling at any suitable point. Even when the lights are to be controlled by a wall switch, it is often best to provide each shade with a drop pull, so that one or more of the shades may bt darkened as desired. ^olbereb CHAPTER IV HEXAGONAL LIBRARY LAMP P^OR home construction there is but one practical method of making a large hexagonal shade, and that is the method, previously described, of binding all the edges of each piece of glass with thiij metal and then soldering the bound sections together. The six pieces of glass must be cut with all possible accuracy, because the final shape of the shade is entirely dependent on them. In Fig. 12 are given the dimensions of one section. As there are some rather sharp angles, fit four strips of paper around the glass, so that when they are flattened out again they will form correct patterns. Having procured the necessary number of strips of tin from the tinsmith, cut them up to agree with the paper patterns, accurately shaping the ends, so as to avoid sub¬ sequent filing. The strips are now to be bent into nar¬ row channels that will closely fit over the edges of the glass. Fit on the top and bottom strips first. These pieces should not come quite to the edge of the glass. The side strips are then placed and soldered at their ends to the two strips previously placed. Any roughness or surplus solder should now be removed, and the six sec¬ tions of glass set up ready for soldering together. A convenient method of holding them in place is illustrated in Fig. II, page 55. The best soldering solution is that made by dissolving as much zinc as possible in muriatic 61 64 LAMPS AND SHADES acid. The shade is now to he carefully washed with soap and water, and, when dry, painted with drop black, which dries with a dull finish. Fig. 12 Pattern Dimensions In this lamp the woodwork will prove rather more exacting than usual, so that if the reader does not fancy this part of the task it might be well to substitute one of the standards previously described. The base block is first to be trimmed up to a true hexagon, after which carefully mark out all the necessary guide lines to aid in the sawing. The remainder of the task is simply one of patient application of the plane and sandpaper. The standard should first be planed up to a hexagonal HEXAGONAL LIBRARY LAMP 65 section large enough to accommodate the 3-in. cap and base. The intervening column will then be worked down. In doing this choose the second face to be cut directly opposite the first. With two diametrically opposing faces smoothed down to line and parallel, additional guide lines may be drawn on them to facilitate the remainder of the cutting. The socket will next be fitted to the upper end, which should be hollowed out so as to let it set in for about three-eighths of an inch. Bore a hole down the cen¬ ter about the size of a lead pencil, so that the wires may be run down from the socket and out to one side through a groove in the base. Coat the lower end of the standard with glue to fill the pores, and when this is dry apply a second coat, after which the standard is to be attached to the base block with two or three screws set in from below. When dry, remove the surplus glue, sandpaper well and stain if desired. Filler should be applied to open-grained woods, such as oak. Finish with a thorough application of wax. It now remains to provide three or six projecting arms to support the shade. These may be of brass strips screwed directly to the top of the standard, or soldered to a brass ring encircling the socket, which ring may then be fastened with screws to the top of the standard. 66 ^olbercJj CHAPTER V HEXAGONAL DOME FOR LIBRARY LAMP TJEFORE proceeding to the third division of our sub- ject we present herewith an attractive hexagonal din¬ ing-room dome—a lighting fixture which fully exemplifies the possibilities of “soldered” shades. This method of shade constructing has been fully described in the preced¬ ing chapters, and merely consists of binding all the edges of each piece of glass with tin or other thin metal, which is soldered at the corners. The various sections of glass thus bound may then be soldered together. Reference is again made to Fig. 9, page 49, which rep¬ resents a jig designed to bend the thin metal strips into channels without bends or kinks. Hammers, pincers and the like will not produce uniform section, as the bending must proceed uniformly along the entire length of the strip at the same time. The six vertical side sections are first to be bound and soldered at their corners where the strips of tin overlap. Set these up on some convenient and perfectly flat sur¬ face, bracing them by means of triangular blocks. This method of bracing, but applied to a shade with only four sides, is shown in Fig. 14. Test with the square, and then solder the vertical seams. Fig. 13 gives the dimensions for the slanting panels. Cut this shape out of cardboard, and then apply it to the vertical sections to make sure that it is correct, allowing; of course, for the metal binding to 68 HEXAGONAL DOME G9 be placed around the edges. When the glass for the six slanting sections has been cut, bind each section at the top and bottom first and then at the sides. Solder the overlapping corners of the tin strips and then remove any roughness. Next find some block or box to assist in the Fig. 13 Dimensions of Slanting Panels setting up, and after adjusting it to the proper height, tack it down to keep it from shifting. The remaining sections may then be placed as in Fig. 14, and the four slanting corner seams soldered tight. With soap and water thoroughly remove all soldering acid, and then dry. Paint with a dull black paint. If brass or copper is used, simply tack the sections together at the top and bottom. VO LAMPS AND SHADES after which the remainder of the seams may be soldered from the inside. In Fig. 15 is shown the method of supporting the as¬ sembled shade. A hexagonal block somewhat larger than the opening in the top of the shade is provided, and Fig. 14 Method of Holding Sections in Position the shade placed upside down upon it, after which a thin¬ ner hexagonal block with beveled edges is dropped in and securely fastened down with screws. A smaller block is finally placed on top, and a large screweye set in to con¬ nect with the chain. In locating the point for this screw, make a preliminary test to be certain that the shade is perfectly balanced. Fig. 15 also gives a very simple method of improvising a three-, four- or six-light cluster for the dome. A piece of sheet metal about a sixteenth of an inch thick is cut Fig. 15 Method of Supporting the Assembled Shade J Y2 LAMPS AND SHADES with as many arms as there are lights. Drill a hole in each arm so that the nipple that screws into the top of the socket may be slipped through and set up tight. These nipples may be had for a few cents at any electrical sup¬ ply store, and are usually two-ended, in which case one end must be removed with the hacksaw. In this manner ordinary sockets may be arranged in any form and at almost any desired angle by bending the ends of the pro¬ jecting arms of the central piece. A square block at¬ tached in the roof of the dome affords a means of fas¬ tening the cluster in place. The wires are let out through a small hole in the top near the center and should then closely follow up the chain. A simple method of making a wooden chain is clearly set forth on page 26 of my book on “Arts-Crafts Lamps,” in the Popular Mechanics Handbook Series. Eampsi anb PART THREE —ETCHED SHADES CHAPTER I LAMP NUMBER ONE /^NE of the most interesting methods of making a lamp shade is that involving the process of etching. A piece of brass or copper is cut to the proper shape to form the shade, and is then painted with some acid-proof paint all over except those portions of the design that are to be eaten out. When dry, the metal is immersed in a solution of one part nitric acid to two parts water until the unpainted portions are eaten away. {Caution: Always pour the acid into the water, not the water into t'he acid. Pouring the water into the acid causes violent boiling and is extremely dangerous to hands and clothing). The sheet is then cleaned and bent in the form of the shade. The advantages of this method are that designs of almost any degree of complexity may be worked out, and all without kinking or dinting the original surface of the metal. In fact, etching is the only method of handling real thin brass or copper for our purpose. This process will be set forth by drawings and descriptions of four portable lamps, which, for convenience, we will simply re¬ fer to by number, as the shade, the material for the lin- 75 76 LAMPS AND SHADES ing, the base and standard, etc., are all subject to consid¬ erable variation. In lamp No. i we make use of the square form of shade, having a cherry design etched through the metal, which should be about a fiftieth of an inch thick. Ac- Fig. 16 Further Detail of Lamp No. 1 curately cut out the form of the side of the shade on paper, draw out the design, and then mark off the pattern four times on the metal, transferring the design by means of ordinary carbon transfer paper. Cut away the sur¬ plus metal with the tin-snips. Go over the lines with some sharp-pointed instrument, so that they will not be obliterated when the piece is washed and dried, which operation it must now undergo. Procure about ten cents’ worth of black asphaltum paint or varnish, and paint the entire sheet of metal with the exception of the cherry design, which is to be eaten through. ETCHED SHADES 11 If a large, fiat tray for holding the etching solution is not at hand, one' that will withstand the acid may be made of wood by lining it with pitch or tar. Melt the pitch in a can and pour it into the wooden tray, which Fig. 17 Another Style of Shade Support should then be tipped about in all directions until it is coated all over. The etching solution is composed of one part nitric acid to two parts water. When the asphaltum is quite dry, im¬ merse the piece, allowing it to remain until eaten through. Kerosene or turpentine will then be found convenient in removing the asphaltum, after which the piece is to be thoroughly washed and rubbed up bright with pumice or old emery cloth. The piece is now bent along the radial 7b LAMPS AND SHADES doited lines in Fig. i6, which operation may be best done over the sharp edge of the table. The first and last sec¬ tions are then connected by means of the extra strip pro¬ vided for that purpose. The connection may be made by solder, small rivets or paper fasteners, as desired. The shade is now ready for the glass, which is held in place by bending over the extra strips at the top and bottom. The base and standard of this little lamp are so simple as to require but little explanation. All corners must be kept sharp and square, and the lower end of the standard accurately mortised into the base block. Glue will be used on this connection and also to hold the four small bracket blocks in place. A three-eighths hole runs down the center to carry the cord from the rocket. The four foot blocks are covered with felt attached with glue. The supports for the shade may be of strips of brass or heavy copper wire flattened out on the ends so that they may be screwed to the upper end of the standard. In Fig. 17 is suggested a second method of supporting a shade, in which the four supporting arms run well up into ihe shade and there engage some small clips pro¬ vided for that purpose. Lamp No. 2 — Conical Form 79 Detail of Lamp No. 2 80 Ctcfieb CHAPTER II LAMP NUMBER TWO T N lamp No. 2 we make use of the conical form of shade and avoid the use of glass altogether, unless, of course, we happen to have on hand a suitable shade for which we wish to provide a brass or copper covering. The present design contemplates the use of colored paper, or some appropriate fabric, such as silk, for the lining of the etched metal frame. This fact, together with the gentle process of etching, which avoids practically all hammering, soldering and riveting, renders this process of lamp-shade construction especially adapted to amateur handicrafters of the gentler sex. The process of laying out and etching will all be car¬ ried out as in the preceding article. Fig. 19 gives the necessary dimensions for drawing the pattern, but as the reader may desire a shade of different angle and diameter, a brief explanation will be given of the method of developing conical shades in general—a form of shade for which the etching process is particularly well suited. Fig. 18 is a diagram intended to make this clear. Imagine the sides of the shade continued up to a point. If the cone thus formed is now rolled on a flat surface it will travel within a circle having a radius R, this radius being equal to the length of the slanting side of the cone. In the same manner the peak added to the shade, to com¬ plete the cone, will travel in a circle of radius r. There- 81 Method of Developing Conical Shades ETCHED SHADES 83 fore the desired pattern will lie between the two circles of radii R and r. If the base of the shade is divided, for example, into eight parts, then the points i, 2, 3, etc. on the shade will occupy positions i, 2, 3, etc., on the circle R. It will therefore only be necessary to measure off Dimensions for Pattern of Lamp No. 2, with Suggested Variation in the Design along the circle R a distance equal to the larger circum¬ ference of the shade. In this manner a shade of any angle or diameter may be drawn. In rolling or bending an open-work shade, such as the one illustrated, some little care must be exercised to ob¬ tain the true conical form. The very rigid pattern shown was chosen for its simplicity, but any conventional flower or fruit design may be worked out in the same manner. If the metal is brass, it may be oxidized or simply rubbed up bright, but in either case a coat of lacquer 84 LAMPS AND SHADES should be applied to preserve the effect. Copper may be given an old effect by simply heating to the proper de¬ gree, and finished with lacquer or an application of wax and turpentine in equal parts. With the latter metal, a lining of sheer or raw silk of a rich green tone is par¬ ticularly effective. The most exacting feature in the construction of the wooden standard is the forming of the top and bottom projections. The piece of wood must first be squared up and marked with guide lines, as in Fig. 5, page 29, after which any two sides directly opposite may be worked down to line. These sides are then marked and the two remaining sides cut down, after which the hole through the center for the cord is to be bored. When the base has been beveled off and accurately finished, cut a mortise in the center for the standard and set up the joint with glue. After staining and waxing, screw on the four pieces of heavy copper wire to support the shade, which may then be placed. Lamp No. 3 —An Effect in Copper 85 Detail of Lamp No. 3 H6 CtcfjeiJ ^Ijaires! CHAPTER III LAMP NUMBER THREE T N shades such as that on the lamp shown in the accom¬ panying illustration, where the space occupied by the design is small in comparison with the total surface, some very artistic effects may be had by using copper, which colors so beautifully. The “waxed” finish has a soft satin sheen and is easily accomplished. The copper may be colored by heating or by an application of potassium sulphide and water, after which the highlights are rubbed up bright. Melt some beeswax and add an equal amount of turpentine. Heat the metal over a clean flame to such an extent that the wax will run. When cool, the surface is vigorously polished with a soft cloth. If the shade is of brass it may be colored by a solution of butter of antimony. With lamp No. 3 we introduce the reader to the bead fringe, which may be purchased by the yard at a very reasonable price and in several colors. The lining of the shade may be of colored paper or silk, tbe effect of which can only be judged at night by holding it before a light. Fig. 20 gives the dimensions necessary for the shade pattern, which, it will be noted, is divided into six parts. The number of these divisions will, of course, depend on the design chosen, but the dividing must be accurately done, else the irregularity will prove quite noticeable. 87 88 LAMPS AND SHADES Such motifs as the grape and butterfly work up very well, and, when backed by the proper colors and illu¬ minated, they are very pleasing indeed. Fig. 20 Pattern Dimensions of Lamp No. 3 Having drawn out the large circles on the sheet brass, draw out the design on paper, and then transfer it to the metal, as many times as required, by means of carbon paper. Make the lines permanent by scratching with a sharp-pointed instrument, and then wash with soap and Fig. 21 Metal Standard for Lamp No« 3 89 90 LAMPS AND SHADES water, prior to painting with the asphaltum varnish, which is applied to all parts except the design. When thoroughly dry, immerse in the two-to-one nitric acid solution, and allow to remain until etched clear through. Remove the varnish with kerosene, wash again, and polish with pumice or old emery cloth. Carefully bend into the conical form, fasten the ends with soft solder, small rivets or paper fasteners, as desired, and proceed to color as heretofore directed. The shade is now ready for the lining. The base and standard of this lamp are rather attract¬ ive, considering their simplicity. The base will first be beveled ofif in the usual fashion and mortised for the standard, which is then to be tenoned to match. Drill the central hole for the wires, and arrange the upper end for the socket as previously illustrated in Fig. 4, page 24. Set up with glue and test for squareness. Stain as desired, and when it is dry apply filler if the wood is open-grained. Finish with a good wax rub. Get out some strips of the same metal as the shade, and shape them up into the four slender brackets. These are then finished like the shade and are attached with round-head screws, or else large-headed upholstering nails. Draw the cord through, screw the socket in place, make and at¬ tach the four small arms that support the shade, which is next to be applied, and our lamp is complete. Fig. 2 T will serve as a suggestion for a metal in place of a wood standard. The curved strips should not be less than in. wide, and, if of brass or copper, may be 91 ETCHED SHADES readily bent as shown. The wires run up a central tube to which the socket is attached as shown in Fig. 7, page 32. If desired, the base may be of hammered brass or copper. Detail of Lamp No. 4 92 diEtcIb^ti CHAPTER IV LAMP NUMBER FOUR F> EFORE taking up the lamp that is the subject of the accompanying illustration and the last one to be described having an etched shade, let us sum up the prin¬ cipal points of this method of shade-making. In the first place it should be remembered that art glass can only be used to advantage with the square and hexagonal forms. Colored paper and silk fabrics may be utilized in place of glass in a very attractive manner with the conical form of shade. Soldering, riveting and hammering are all unnecessary. The very thin metal used makes for lightness. The process of etching permits of designs of almost any degree of complexity to be worked out. The surface of the metal is always smooth and free from dints. The present design makes use of a very simple conven¬ tional pattern on the shade. In these later days of so much stenciling the reader will not lack for suggestions along this line, and if complete and conspicuous harmony is desired in a room the same motif that is used on the walls and draperies may be worked into the shade. Fig. 22 gives all necessary dimensions. The larger circles and the radial lines of the eight divisions may all be drawn directly on the metal, after which the design is to be drawn out full size on paper, from which it may 94 Pattern Dimensions of Lamp No. 4 96 LAMPS AND SHADES then be transferred to the metal eight times by means of carbon paper. Remove the surplus material from the edges and form the three projecting lugs, which will be used later in joining the two ends of the shade. The metal is now to be painted with asphaltum at all points except those that are to be etched clear through. Wax from an ordinary candle may be sometimes used to ad¬ vantage on small pieces, which are heated so that the wax will run. The places to be etched are then scraped clean. When the asphaltum has dried, immerse in the two-to- one nitric acid solution. A moderate bubbling after a few minutes indicates that the solution is of the proper strength. The fumes should not be inhaled, nor the acid allowed to touch the clothing or person. The etching completed, remove the paint with kerosene or turpentine, wash, dry, and polish with old emery. The metal is now ready for coloring and finishing by any of the methods previously described. The simplest finish of all is a plain emery rub, followed by lacquer. The three slits into which the lugs, shown in Fig. 22, fit are now to be cut. Slowly and uniformly bend the shade into conical form, insert the three lugs into their respective slits and bend them over. The shade is now ready for the silk or paper lining and the bead fringe. Any small holes that may be necessary should be pierced with a fine point used over a block of lead or hardwood. The woodwork is a trifle more elaborate for this than for the preceding lamps, as the octagonal form of the base will necessitate all possible accuracy. If, however, a true ETCHED SHADES 97 eight-sided block is first made and all possible guide lines are first drawn on it, the sawing and subsequent plane work will be greatly facilitated. The standard is first to be planed up square and to full size. The taper and cap will then be formed, and finally the four edges will be beveled off. Particular care should be taken to have the lower end perfectly square so as to leave no seam around the base block. The central hole for the cord is now in order, and then the four small brackets should be fitted and the whole made secure with glue. The socket is yet to be fitted (see Fig. 4, page 24), and a groove is to be made across the bottom to permit the cord to pass out, after which the wood finishing may be attended to. Ar¬ range for the bracket arms that support the shade, and when these are attached and the electric bulb screwed in, nothing remains but the placing of the shade. Sawn Shade of Conventional Design 1lamp£i ani) states: PART FOUR—SAWN SHADES CHAPTER I CONVENTIONAL PATTERNS have now come to the fourth and last division of our subject, viz.: lamps with sawn shades. It is appropriate that this type should come last, because its construction is possibly the most exacting of all, which fact, however, is more than compensated for by the special attractiveness of this form of shade. There is no set rule for the thickness of the brass or copper, except that, other things being equal, the larger the shade and the more open the design, the stouter should be the metal. Be sure that the metal lies perfectly flat. Cut out the pattern shown in Fig. 22 ]^ on a piece of flat paper. Mark off the outline on the metal and then transfer the design by means of carbon transfer paper. Accurately retrace the lines with a sharp-pointed instru¬ ment so that they will not be obliterated while handling. In order that the material may remain flat, try to have it cut to size on the foot trimmer, otherwise the surplus must be sawn off. The tin-snips will have very little use in this work. Drill a small hole with the breast drill in each piece that is to be sawn out, so that the saw blade may be inserted. Fasten an overhanging block to the 99 100 LAMPS AND SHADES bench and cut a V slot in the end, as in Fig. 23. Insert- the saw blade through one of the holes, place the sheet of metal on this block with the saw handle below, and proceed to saw with a slow uniform stroke. Always have the saw teeth pointing toward the handle, so that k— »3 —^ Fig. 22>^ Pattern of Conventional Sawn Shade the saw will cut on the pull stroke. Without a sawing- block such as this, very little will be accomplished. When all the pieces have been removed, the edges should be gone over with a small file, several shapes of which should be provided so that access may be had to all angles and corners. In Fig. 24 are shown several methods of connecting the sawn sheets together at the corner angles. Method Detail of Conventional Sawn Shade 101 \3k- 102 LAMPS AND SHADES A is best used on heavy and accurate work and necessi¬ tates the use of solder, as does also method B. Methods C and D are two of the easiest, as ample space is pro¬ vided for riveting. Having joined the sections, the four pieces of glass should he ordered and some small clips fastened inside to hold them securely in place. Several ways of doing this are shown in Fig. 3, page 23. Before placing the glass, however, the metal should be brightened, and ox¬ idized if desired, and then coated with lacquer or finished with wax, as previously described. For the conventional pattern illustrated the glass having a green effect is un¬ doubtedly the most appropriate. In the working drawing will be found all necessary di¬ mensions for the woodwork, which is about as simple CONVENTIONAL PATTERNS 103 as possible. The socket should be of the pull-actuated variety and securely set into the top of the standard, through the center of which a ^-in. hole is to be drilled for the cord. The four shade brackets are to be made rather heavy Fig. 24 Methods of Joining Sawn Sheets —about ys in. by T2 in.—neatly finished on their lower ends and drilled for wood-screws. If the ordinary round- head brass screws are used to attach these brackets to the standard, place each one in the breast drill and polish by rapidly rotating against a piece of old emery cloth. Before attaching these, the treatment of the wood should be attended to. If the surroundings will permit, a bog- green stain, followed by a coat of filler, well wiped off and sandpapered when dry, and then waxed, will be very appropriate. Detail of the Butterfly Design 104 featun ^Ijabes! CHAPTER II THE BUTTERFLY DESIGN get the full effect of the accompanying design one should use art glass of an opalescent or pink shade, rather than any of the green or amber tones. There are also some decidedly iridescent varieties of glass that are very attractive with an oxidized copper finish. The butterfly design is a rather delicate one to saw, and may, if desired, be somewhat reduced and etched out to advantage on thinner metal. Having decided whether the corner edges are to be bent out or in, soldered or riveted, as set forth in Fig. 24 of the previous article, the pattern should be drawn out in accordance with Fig. 25, and due allowance made for the corner joints. Any bending that is necessary should be done before soldering and while the plate is firmly clamped between stout hardwood strips, beyond which just the proper amount projects. The protruding strip may then be bent over with the edge of a straight piece of wood. Remember, however, that the angle may be considerably more or less than 90°, according to the na¬ ture of the corner connection and the angle of the sides. The sawing will proceed as heretofore directed, after which each of the four sheets should be closely inspected and gone over with a fine file to remove any imperfections and to work the pattern exactly down to line. Attach some small clips to the inner corners of the assembled 106 THE BUTTERFLY DESIGN 10*7 shade, so that when the glass is inserted they may be bent over to retain it. The base block is absolutely plain in this lamp and has four small blocks glued on the under side. Extending around each comer as far as these blocks are brass or U- IZ -J Fig. 25 Pattern Dimensions of the Butterfly Design copper angles, fastened on with round-head screws or fancy upholstering nails. A square hole is mortised in the center to receive the tenon on the end of the stand¬ ard, which is now to be taken up. Dress the piece up full 3 in. square and trim off the ends squarely. Mark out the various lines to guide the saw, as previously shown in Fig. 5, page 29. After cutting down one side, proceed with the one directly opposite. When the two 108 LAMPS AND SHADES are worked down to line, guide lines may then be drawn on them to assist in cutting the other two sides. While the lines are all quite simple, the two pieces must be worked up with considerable accuracy and with good sharp corners; otherwise the efifect will be entirely lost. The plainness of the top is relieved somewhat by cutting a small groove around it, after which the socket should be fitted in place. (See Fig. 4, page 24.) Before set¬ ting it, however, do not forget the central hole for the cord, which passes out under the base. The four brackets that support the shade are now to be made ready, and in working out their lower ends to the sinuous point, see that the edges are kept sharp so as to fully bring out the shape. When these are drilled and attached, it only requires the placing of the bulb and the shade to complete the lamp. Detail of the Pyramid Lamp no ^atpn states: CHAPTER III THE PYRAMID DESIGN '"T^HERE are only two practical methods of making a pyramid shade—either etch it all from one large piece of metal and bend it into shape, or saw the four triangular sections from heavy brass or copper with such accuracy as to permit the forming of the sharp point. Let us confine ourselves to the latter method. The four slanting corner connections will be made by beveling off the edges of the sheet metal with the file so that they may be soldered together as in Fig. 24 at A, page 103. After the sheets are all sawn they can be temporarily clamped in some improvised angle so as to hold them securely while soldering. Remember, however, that these angles are not right angles. While the solder¬ ing is in progress the clips to hold the glass in place should also be attached. Fig. 26 gives the dimensions of the triangle; and as for the design, the reader has surely gone far enough in this series to devise something of his own, or at least adapt some other design in an attractive manner. Orig¬ inal work carries with it the true fascination. The sawing completed, the edges of the pattern cleaned up with a small file, and the whole put together, the glass should be ordered, which is not to be left with any very sharp points, as a slight accident is apt to break them off and in so doing start a crack. Before inserting the 111 THE PYRAMID DESIGN 113 glass, brush up the shade with emery, and if an oxidized effect is not desired, the finish may be completed with a coat of lacquer. Brass can be oxidized with butter of Suggestion for Two Lights antimony solution, and copper by one of potassium sul¬ phide. Solutions may also be purchased for producing a verdigris effect that is particularly attractive on brass. The base and standard are quite similar to several of those shown in the preceding chapters. Some little care 114 LAMPS AND SHADES v/ill be necessary to get the end wood perfectly smooth and scpiare, and also to form the quarter-round groove across the grain. Finish this groove with sandpaper wrapped on a round stick of the proper diameter. Mor¬ tise and tenon the standard and base together, and set up the joint with glue. Fit the socket to the top in the usual manner, and drill the central hole for the wires. Stain and finish the wood as desired, after which prepare the four metal brackets that support the shade and attach them with round-head brass screws. The bulb may now be screwed in, and the shade placed on and illuminated. In Fig. 27 is a suggestion for providing such a lamp with two lights, and for supporting the shade without the use of the four bracket arms. The standard runs clear to the top of the shade, where it is pointed to the proper angle to fit the shade, which is then attached with small screws. If suitable fixtures are not at hand, solder a flat strip to the side of each socket, so that it may be fastened to the side of the standard. If the soldering is incon¬ venient, provide suitable strips bent so as to pass around the sockets and clamp them firmly to the standard. .■■•5 »' \ V [ r i I, t ► f \ I I Metal Spinning By PROF. F. D. CRAWSHAW Assistant Dean, College of Engineering University of Illinois METAL SPINNING is one of the Popular Mechanics Handbook Series and has 8 o pages, 33 illustrations, is bound in attractive cloth covers and printed on a fine quality of paper. This handbook is unique in that it is the only book pub¬ lished on this interesting art, instructions regarding which have previously been handed down by word of mouth from generation to generation of expert metal spinners. It is “Written so you can understand it” by a man well qualified because he has made a thorough study of all obtain¬ able information on the subject. He has tried out the different methods himself and herein he sets forth the best practice. Concise, yet complete, this book is adapted to use as a text in manual training and industrial schools and will be found a practical working manual both by those who desire to spin metal as an art recreation and those who wish to follow this work as a trade. Explicit instructions are accompanied by figures to illus¬ trate the meaning. It tells not only what tools are required, but how to make each kind. Definite forms to be spun are treated, and finally the unclassified and more difficult work is dealt with. —Chapter i, The Lathe and Its Uses; 2, Tools; 3, The ^ ■ Preparation of Metal for Spinning; 4, How to Spin a Shallow Dish; 5, How to Spin a Deep Dish; 6, How to Spin a Vase; 7, How to Spin Some Unclassified Forms. Price SO Cents, Postpaid Popular Mechanics Book Dept. CHICAGO 50c Art-Crafts Lamps How to Make Them By JOHN D. ADAMS 16 Beautiy Designs As Follows: Two Light Portable— Portable Reading — Four Light Chandelier—Read¬ ing Lamp—Dining Room Dome — Porch or Den Lantern — Four Light Chain Hung Chandelier- One Light Portable—Lan¬ tern— Drop Light—One Light Bracket—Piano Lamp—Wall Lamp—Elec¬ tric Candle Sconce — Newel Post Lamp—Chain Hung One Light Bracket. PRICE SO CENTS Plain Instructions—Dimensioned Detail Draw¬ ings and Illustrations of Each Finished Design A handy little working manual of 96 pages, printed on the best quality of book paper and handsomely bound in cloth. Supplied by your newsdealer or may be ordered direct from the publisher Popular Mechanics Book Department CHICAGO, ILL. PART ONE Mission Furniture How to Make It 21 Excellent Designs T his book consists of a number of articles telling how to make a large assortment of pieces of mission furniture. It is fully illustrated and the directions are accompanied by dimensioned working drawings. Like POPULAR MECHANICS, it is in plain, simple language and “Written so you can understand it,” so that anyone possessing a slight knowledge of how to use tools can easily make the various pieces described. Complete List of Contents: Forty Styles of Chairs, An Easily Made Book-Shelf, How to Make a Porch Chair, A Portable Table, A Pyrographer’s Table, How to Make a Mission Library Table, How to Make a Lamp Stand and Shade, How to Make a Roman Chair, A Home-made Mission Chair, A Home-made Mission Book- Rack, How to Make a Tabouret, Another Mission Chair, How to Make a Roll Top Desk, Home-made Lawn Swing, A Mission Candlestick, How to Make a Magazine Stand, How to Make a Blacking Case, How to Make a Mission Shaving Stand, How to Make a Piano Bench, A Dresser for a Child’s Play-room. It has 96 pages; is attractively bound in cloth covers, and can be ordered of any book dealer in the U. S. or will be sent to any address upon receipt of the price, 50 cents, by the publishers. Popular Mechanics Book Dept. 318 W. Washington St. CHICAGO 50c 50c PART TWO Mission Furniture How to Make It 32 New and Approved Designs Complete dimensioned working drawings, ex¬ plicit instructions how to make, and half-tone illustrations of the fin¬ ished pieces. Special Features Are: Articles describing how to produce the different finishes and showing methods of making joints and bending wood. “Written So You Can Understand It” May be ordered of any news¬ dealer in the U. S. or will be sent to any address postpaid upon receipt of the price, 50 cents, by the publishers. Cloth Cover POPULAR MECHANICS COMPANY CHICAGO A Large and Varied Selection of Immensely Popular Pieces, Among Which Are: Two China Closets—Two Arm Chairs —■ Rocker — Side Chair—Mantel Clock —Lamp Stand—^Two Foot Stools —Bookcase—Maga¬ zine Table — Smoking Stand—Wall Case—Waste Paper Basket — Music Stand—Hall Clock—Cedar Chest — Child’s Dresser — Couch — Oil Lamp — Grill—Two Writing Desks — Library Set — Buffet — Bedstead — Dining Table — Medicine Cabinet — Telephone Stand — Plate Rack — Dining Room Shade. 128 Pages, 50c 50c 50c Part Three 50c Mis! iion Fumit urc How to Make It 36 NEW DESIGNS A 128 page collection of excellent new designs that are entirely different from those in the books Parts One and Two previously issued. Those already in possession of Parts One and Two will find this an even greater value in variety and excellence of the plans. A feature of the new book is a Complete Set of Dining-Room Furniture Designed to Harmonize Perfectly Here is the complete list of pieces: Arm Chair—Arm Dining Chair—Hall Bench—Piano Bench—Book Rack- Book Stand and Music Rack—Book Trough—Chafing Dish Buffet—Folding Card Table—Side Chair— Writing Desk—Dictionary and Magazine Stand- Round Dining Table—Princess Dresser—Fern Stand—Foot Warmer—Hall Tree—Library Table—Magazine Rack—Magazine Stand—Pedestal - Plate Rack — Porch Swing — Screen — Serving Table—Settee—Sewing Table — Sewing Box—Wall Shelf—Sideboard—Umbrella Stand—Den Table—Oak Table — Tabouret— Wardrobe— Window Seat. Price 50c Postpaid 128 Pages Handsome Cloth Binding If you are at all handy with tools, you will find that the plainly written directions, dimension drawings and half-tone illustrations will enable you to Make Your Own Furniture and Save Two-Thirds The many who use tools for pleasure will find this book a working guide which will furnish many moments of delightful and profitable occupation while several of our readers have been able to devote their entire time to this work by disposing of what they have made at a nice profit. One man made and sold $400 worth of one piece alone. ASK YOUR BOOK DEALER or address the publishers POPULAR MECHANICS BOOK DEPT., A GOOD, USEFUL BOOK Wood-Working for Amateur Craftsmen “WRITTEN SO YOU CAN UNDERSTAND IT” By IRA S. GRIFFITH, A. B. 128 Pages, 125 Illustrations Cloth Cover, Size 5x7 inches Price 50 Cents Postpaid One of the latest of Popular Mechanics Series of Industrial Handbooks This book was especially designed to cover every essential step from the A B C to the X Y Z of wood¬ working. The chapters dealing with making special articles bring out every cut, joint and process used in this important trade, and the proper use and care of tools, working up of materials, etc., are treated thoroughly and plainly. CONTENTS: Making Out a Stock Bill—Laying Out Rough Stock—Hand Saws—Sawing with Hand Saws—Planes: How to Set and Adjust the Irons—Squaring Up Mill Planed Stock—Squar¬ ing Up Rough Stock—Whetting Plane Irons and Chisels— Grinding Plane Irons and Chisels — Making a Bird Box — Making a Tabouret—How to Make an Umbrella Stand—Mak¬ ing a Magazine Stand—Making a Table—Making a Cabinet. A valuable book for either self instruction or use in manual training courses Order of your Newsdealer, Bookseller or direct from Popular Mechanics Book Dept., Publishers CHICAGO, ILLINOIS Metal Work and Etching “WRITTEN SO YOU CAN UNDERSTAND IT” By JOHN D. ADAMS O NE of the latest of the POPULAR MECHANICS series of industrial handbooks. A complete manual for art metal workers giving every detail for making a great variety of useful and orna¬ mental objects such as book ends, desk sets, pad corners, paper knives and letter openers, stationery racks, rocking blotter, desk calen¬ dars, match boxes, tie and pipe racks, whisk broom holders, candle sconce, arts and crafts jewelry, hinges, drawer pulls, etc. g6 Pages^ Richly Illustrated^ Cloth^ Size Inches Price, 50 Cents, Postpaid ORDER OF TOUR NESTSDEJLER, BOOKSELLER, OR Popular Mechanics Book Dept., Publishers CHICAGO NOW READY Elrrtroplattng “WRITTEN SO YOU CAN UNDERSTAND IT” By henry C. REETZ One of the latest of Popular Mechanics Series of Industrial Handbooks T^HIS handbook gives brief and practical direc- ^ tions calculated to be of benefit to those already engaged, as well as to those about to engage, in the electroplating business, with no more technical detail than is necessary for practical work, and yet with such explicit directions concerning the actual operations as an old hand at the business thinks may be useful to the beginner. CONTENTS: Introduction — Electrical Equipment — Shop Equipment Cleaning Goods before Plating—Copperplating—Nickelplating — Silverplatirig—Goldplating — Miscellaneous — First Aid to the Injured — Business Suggestions. ' ' ' Order of your Newsdealer, Bookseller or POPULAR MECHANICS BOOK DEPT. PUBUSHERS CHICAGO READ THIS WONDERFUL STORY HEAT By J. GORDON OGDEN, Ph.D. PROF. OF PHYSICS. FIFTH AVENUE HIGH SCHOOL, PITTSBURG Price Postpaid, SO Cents 128 Pages Bound in Cloth Illustrated Thoroughly Understandable-Instructive Immensely Interesting This book consists of a series of articles, each complete in itself, yet all pertaining to heat and its relation to modem mechanics. F ew people realize that fire is the most remarkable and valuable discovery ever made by man. Prior to this, man was brother to the brute, but with the coming of fire, came all the wonderful development that has enabled man to assert and defend his claim as lord of creation. We are only in the infancy of high temperature development, yet read of the harnessing of intense heat to the wheels of progress; the contrivances whereby we are able to emulate the vol¬ cano in our laboratories so far as heat is concerned and weld steel rails in the street where they lie; the discovery of uses of rare metals in industrial lines by aid of heat. Investigation of the realm of low temperatures also discloses some wonderful facts. All these, and many other phases of this interesting subject are treated as shown by the following list of chapters: 1—Nature of Heat and How It Is Measured. 2—How Low Temperatures Are Produced. 3—Some Effects of Low Temperature Upon Matter. 4—The Production and Uses of High Temperature. 5—High Tempera¬ tures and the Rare Metals. 6—How Heat Travels. 7—How Heat is Measured. 8—Expansion and Con¬ traction. 9—Energy and Fuels. 10—The Manufacture of Artificial Ice. 11—Steam Boilers and Engines. POPULAR MECHANICS BOOK DEPT. CHICAGO, ILL. How to Make a Wireless Set By ARTHUR MOORE A book of 96 pages, bound in cloth, explaining in an under¬ standable manner the construc¬ tion of an outfit suitable for transmitting four or five miles. This set can be easily con¬ structed at a small cost by any boy of ordinary ability. Complete details with illustrations Price 50 Cents Postpaid Order of your newsdealer or send direct to the publishers Popular Mechanics Book Dept. CHICAGO, ILL. 3 3125 00012 675