H Edite HOU£ Cor used t White Embel Boot Cot Re-W Stitch and S) How Co. writer Form; Ticke Woo IES. ' Glass ^ Book__ __Ji Work.' APERHANGING, shes, etc. Tools npera Painting, ipering a Room. Lasting, an oots and Shoes Sewing an g Riveted Boot 170 Engravings The Sign- The Simpler V ng a Signboard. > and Polishing. Co Frenc Off. ( and Reviving, .tiara stopping ui u«u. Processes of Varnishing Wood Varnishes. Dynamos and Electric Motors. Staining Wood. In and Spiriting g. Re-polishing j.i^g,^ ^. bf Floors Stains. Re-polishing Shop Fronts. With T42 Engravings and Diagrams Contents— Introduction. Siemens Dynamo. Gramme Dynamo. Manchester Dynamo. Simplex Dynamo. Calculating the Size and Amount of Wire for Small Dynamos. Ailments of Small Dynamo Electric Machines : their Causes and Cures. Small Electro-motors without Castings. How to Determine the Direction of Rotation of a Motor. How to Make a Shuttle-Armature Motor. Undertype 50- Watt Dynamo. Manchester Type 440- Watt Dynamo. Cycle Building: and Repairing;. With 142 Engravings and Diagrams. Contents. — Introductory, and Tools Used. How to Build a Front Driver. Building a Rear-driving Safety. Building Tandem Safeties. Building Front- driver Tricycle. Building a Hand Tricycle. Brazing. How to Make and Fit Gear Cases. Fittings and Accessories. Wheel Making. Tyres and Methods of Fixing them. Enamelling. Repairing. Decorative Designs of All Ages for All Purposes. With 277 Engravings and Diagrams. Contents. — Savage Ornament. Egyptian Ornament. Assyrian Ornament. Greek Ornament. Roman Ornament. Early Christian Ornament. Arabic Ornament. Celtic and Scandinavian Ornaments. Mediaeval Ornament. Renascence and Modern Ornaments. Chinese Ornament. Persian Ornament. Indian Ornament. Japanese Ornament. Mounting- and Framing Pictures. With 240 Engravings, etc. Contents. — Making Picture Frames. Notes on Art Frames. Picture Frame Cramps. Making Oxford Frames. Gilding Picture Frames. Methods of Mounting Pictures. Making Photograph Frames. Frames covered with Plush and Cork. Hanging and Packing Pictures. Smiths' Work. With 211 Engravings and Diagrams. Conten ts.— Forges and Appliances. Hand Tools. Drawing Down and Up- setting. Welding and Punching. Conditions of Work : Principles of Forma- tion. Bending and Ring Making. Miscellaneous Examples of Forged Work. Cranks, Model Work, and Die Forging. Home-made Forges. The Manipula- tion of Steel at the Forge. (Continued on next page.) DAVID McKAY, Publisher, 1022 Market Street, Philadelphia. HANDICRAFT SERIES {continued). Glass Working by Heat and Abrasion. With 300 Engravings and Diagrams. Contents.— Appliances used in Glass Blowing. Manipulating Glass Tubing. Blowing Bulbs and Flasks. Jointing Tubes to Bulbs forming Thistle Funnels, etc. Blowing and Etching Glass Fancy Articles ; Embossing and Gilding Flat Surfaces. Utilising Broken Glass Apparatus ; Boring Holes in, and Riveting Glass. Hand-working of Telescope Specula. Turning, Chipping, and Grinding Glass. The Manufacture of Glass. Building Model Boats. With i63 Engravings and Diagrams. Contents. — Building Model Yachts. Rigging and Sailing Model Yachts. Making and Fitting Simple Model Boats. Building a Model Atlantic Liner. Vertical Engine for a Model Launch. Model Launch Engine with Reversing Gear. Making a Show Case for a Model Boat. Electric Bells, How to Make and Fit Them. With 162 En- gravings aad Diagrams. Contents. — The Electr c Current and the Laws that Govern it. Current Conductors used in Electric-Bell Work. Wiring for Electric Bells. Elaborated Systems of Wiring; Burglar Alarms. Batteries for Electric Bells. The Con- struction of Electric Bells, Pushes, and Switches. Indicators for Electric-Bell Systems. Bamboo Work. With 177 Engravings and Diagrams. Contents. — Bamboo : Its Sources and Uses. How to Work Bamboo. Bamboo Tables. Bamboo Chairs and Seats. Bamboo Bedroom Furniture. Bamboo Hall Racks and Stands. Bamboo Music Racks. Bamboo Cabinets and Book- cases. Bambco Window Blinds. Miscellaneous Articles of Bamboo. Bamboo Mail Cart. Taxidermy. With 108 Engravings and Diagrams. Contents. — Skinning Birds. Stuffing and Mounting Birds. Skinning and Stuffing Mammals. Mounting Animals' Horned Heads : Polishing and Mount- ing Horns. Skinning, Stuffing, and Casting Fish. Preserving, Cleaning, and Dyeing Skins. Preserving Insects, and Birds' Eggs. Cases for Mounting Specimens. Tailoring. With 180 Engravings and Diagrams. Contents. — Tailors' Requisites and Methods of Stitching. Simple Repairs and Pressing. Relining, Repocketing, and Recollaring. How to Cut and Make Trousers. How to Cut and Make Vests. Cutting and Making Lounge and Reefer Jackets. Cutting and Making Morning and Frock Coats. Photographic Cameras and Accessories. Comprising How to Make Cameras, Dark: Slil.es, Shutters, and Stands. With 160 Illustrations. Contents. — Photographic Lenses and How to Test them. Modern Half-plate Cameras. Hand and Pocket Cameras. Ferrotype Cameras. Stereoscopic Cameras. Enlarging Cameras. Dark Slides. Cinematograph Management. Optical Lanterns. Comprising The Construction and Management of Optical Lanterns and the Making of Slides. With 160 Illustrations. Contents. — Single Lanterns. Dissolving View lanterns. Illuminant for Optical Lanterns. Optical Lantern Accessories. Conducting a Limelight Lantern Exhibition. Experiments with Optical Lanterns. Painting Lantern Slides. Photographic Lantern Slides. Mechanical Lantern Slides. Cinemato- graph Management. Engraving Metals. With Numerous Illustrations. Contents. — Introduction and Terms used. Engravers' Tools and their Uses. Elementary Exercises in Engraving. Engraving Plate and Precious Metals. Engraving Monograms. Transfer Processes of Engraving Metals. Engraving Name Plates. Engraving Coffin Plates. Engraving Steel Plates. Chasing and Embossing Metals. Etching Metals. Basket Work. With 189 Illustrations. Contents. — Tools and Materials. Simple Baskets. Grocer's Square Baskets. Round Baskets. Oval Baskets. Flat Fruit Baskets. Wicker Elbow Chairs. Basket Bottle-casings. Doctors' and Chemists' Baskets. Fancy Basket Work. Sussex Trug Basket. Miscellaneous Basket Work. Index DAVID McKAY, Publisher, 1022 Market Street, Philadelphia. HANDICRAFT SERIES {continued). Bookbinding. With 125 Engravings and Diagrams. Contents. — Bookbinders' Appliances. Folding Printed Book Sheets. Beat- ing and Sewing. Rounding, Backing, and Cover Cutting. Cutting Book Edges. Covering Books. Cloth-bound Books, Pamphlets, etc. Account Books, Ledgers, etc. Coloring, Sprinkling, and Marbling Book Edges. Marbling Book Papers. Gilding Book Edges. Sprinkling and Tree Marbling Book Covers. Lettering, Gilding, and Finishing Book Covers. Index. Bent Iron Work. Including Elementary Art Metal Work. With 269 Engravings and Diagrams. Contents. — Tools and Materials. Bending and Working Strip Iron. Simple Exercises in Bent Iron. Floral Ornaments for Bent Iron Work. Candlesticks. Hall Lanterns. Screens, Grilles, etc. Table Lamps. Suspended Lamps and Flower Bowls. Photograph Frames. Newspaper Rack. Floor Lamps. Miscellaneous Examples. Index. Photography. With 70 Engravings and Diagrams. Contents. — The Camera and its Accessories. The Studio and Darkroom. Plates. Exposure. Developing and Fixing Negatives. Intensification and Reduction of Negatives. Portraiture and Picture Composition. Flashlight Photography. Retouching Negatives. Processes of Printing from Negatives. Mounting and Finishing Prints. Copying and Enlarging. Stereoscopic Photography. Ferrotype Photography. Index. Upholstery. With 162 Engravings and Diagrams. Contents.— Upholsterers' Materials. Upholsterers' Tools and Appliances. Webbing, Springing, Stuffing, and Tufting. Making Seat Cushions and Squabs. Upholstering an Easy Chair. Upholstering Couches and Sofas. Upholstering Footstools, Fenderettes, etc. Miscellaneous Upholstery. Mattress Making and Repairing. Fancy Upholstery. Renovating and Repairing Upholstered Furniture. Planning and Laying Carpets and Linoleum. Index. Leather Working. With 152 Engravings and Diagrams. Contents. — Qualities and Varieties of Leather. Strap Cutting and Making. Letter Cases and Writing Pads. Hair Brush and Collar Cases. Hat Cases. Banjo and Mandoline Cases. Bags. Portmanteaux and Travelling Trunks. Knapsacks and Satchels. Leather Ornamentation. Footballs. Dyeing Leather. Miscellaneous Examples of Leather Work. Index. Harness Making. With 197 Engravings and Diagrams. Contents. — Harness Makers' Tools. Harness Makers' Materials. Simple Exercises in Stitching. Looping. Cart Harness. Cart Collars. Cart Saddles. Fore Gear and Leader Harness. Plough Harness. Bits, Spurs, Stirrups, and Harness Furniture. Van and Cab Harness. Index. Saddlery. With 99 Engravings and Diagrams. Contents. — Gentleman's Riding Saddle. Panel for Gentleman's Saddle. Ladies' Side Saddles. Children's Saddles or Pilches. Saddle Cruppers, Breast- plates, and other Accessories. Riding Bridles. Breaking-down Tackle Head Collars. Horse Clothing. Knee-caps and Miscellaneous Articles. Repairing Harness and Saddlery. Re-lining Collars and Saddles. Riding and Driving Whips. Superior Set of Gig Harness. Index. Other Volumes in Preparation. DAVID McKAY, Publisher, 1022 Market Street, Philadelphia. WORK" HANDBOOKS \ LEATHER WORKING LEATHER WORKING WITH NUMEROUS ENGRAVINGS AND DIAGRAMS EDITED BY PAUL 1ST. HAS LUCK EDITOR OF "WORK" AND "BUILDING WORLD." AUTHOR OF " HANDY BOOKS FOR HANDICRAFTS.'' ETC. ETC. PHILADELPHIA DAVID McKAY, Publisher 1022 MARKET STREET 1901 TSfOtO ,H 35 1 C Q 0- PREFACE. / — '— i\ This Handbook contains, in a form convenient for 1 everyday use, a comprehensive digest of the informa- tion on Leather Working, scattered over more than twenty thousand columns of Work — one of the weekly journals it is my fortune to edit — and supplies concise information on the details of the subjects on which it treats. In preparing for publication in book form the mass of relevant matter contained in the volumes of Work, much had to be arranged anew, altered, and largely re-written. From these causes the contributions of many are so blended that the writings of individuals cannot be distinguished for acknowledgment. Readers who may desire additional information respecting special details of the matters dealt with in this Handbook, or instructions on kindred subjects, should address a question to Work, so that it may be answered in the^columns of that journal. P. N. HASLUCK. La Belle Sanvage, London. Man, 1901. CONTENTS. CHAP. PAGE I. — Qualities and Varieties of Leather . . 9 II.— Strap Cutting and Making ... 17 III.— Letter Cases and Writing Pads . . 31 IV. — Hair Brush and Collar Cases ... 40 V.— Hat Cases • . .49 VI. — Banjo and Mandoline Cases . . .55 VII.— Bags .65 VIIL— Portmanteaux and Travelling Trunks . 90 IX. — Knapsacks and Satchels . . . . 100 X. — Leather Ornamentation . . . .112 XT.— Footballs 116 XII. — Dyeing Leather 125 XIIL— Miscellaneous Examples of Leather Work 129 Index 157 LIST OF ILLUSTRATIONS. FIG. 1.— Method of Cutting Hide . 2.— Marking Garter 3. — Garter Bits 4.— Garter Complete 5.— Strap Bit . 6.— Skate Strap 7.— Hand-punch Riveter 8.— Hollow Studs . 9.— Dog Lead . . . . 10.— Dog Lead with Swivel . 11.— Dog Lead with Studs and Ring 12.— Chain-end Fitting . 13.— Wrist Strap 14. — Pattern for Wrist Strap 15.— Pattern for Wrist Strap Bit 16.— Folded Bit 17.— Bit Complete . 18.— Double End Brace . 19.— Double End Brace joined at Back 20.— Strap Cutting Appliance 21.— Plate of Strap Cutting Appliance 22.— Another Plate of Strap Cutting Appliance 23. — Letter Case 24.— Back of Letter Case 25, 26.— Side Pockets 27.— Card Pocket . 28.— Stamp Pocket . 29.— Writing Pad Folded up. 30.— Writing Pad Open . 31.— Base of Writing Pad . 32, 33.— Writing Pad Pockets 34.— Writing Pad Pockets . 35.— Blotting Pad . 36.— Hair Brush Case . 37.— Horse-shoe Collar Box . 38. — Forming Drawers in Collar Box 39.— Collar Box Drawer and Lid 40.— Round Collar Box . 41.— Block for Making Collar Box 42.— Catch Strap 43.— Hinge Strap PAGE up . 15 . 19 . 19 . 19 . 21 . 21 . 22 . 22 23 23 23 24 24 24 24 24 24 23 23 29 29 30 31 52 33 53 35 54 35 56 37 oS 58 41 42 43 44 45 45 46 46 FIG. PAGE 44.— Back of Round Collar Box 48 45.— Bucket - shaped Hat Case . . . .49 46.— Hat Case shown Dia- grammatically . . 50 47 —Hat Case Handle . . 51 48.— Half Side of Hat Case . 51 49.— Sewn Seam ... 51 50.— Corner Seam . . . 53 51.— Bracket for Handle and Strap Strides . . 53 52.— Inner Hat Case . . 53 53.— Patterns for Parts of Banjo Case with Whole Lid . . . 57 54.— Patterns for Parts of Banjo Case with End Lid 57 55.— Bottom of Banjo Case . 58 56. — Corner of Banjo Case . 58 57.— Banjo Case with End Lid 59 58.— Corner Split and Butted 59 59.— Mitred Corner . . 59 60.— Mandoline in Case . 60 61.— Elevation of Mandoline Case .... 61 62.— Top of Mandoline Case 62 63. — Bottom of Mandoline Case .... 62 64.— Mandoline Case End Piece . . . .63 65. — Binding Corner of Case 63 66.— Stitching Corner of Case .... 63 67.— Brief Bag .... 65 68.— Narrower Brief Bag . 66 69.— Brief Bag Frame . . 66 70.— Pattern for Side of Bag 67 71.— Gusset Pattern . . 67 72— Gusset Stiffening Pat- tern .... 67 73.— Bag Bottom Pattern . 68 74.— Bag Lining and Pocket 68 75.— Gladstone Bag . . 74 76.— Another Gladstone Bag 74 77.— Rubbing Bone or Stick 75 73.— Stiffening for Bag Divi- sion . . . .75 Lea ther Working. FIG. PAGE 79.— Leather Pocket . . 76 80.— Pocket Flap . 31— Chape .... 82.— Folding Paper for Small Pattern 83.— Part of Bag Handle . 84.-Tab 85— Half of Bottom Stiffen- ing 86— Bottom of Brief Bag . 87.— Tennis Racket Case . 88.— Case for Tennis Bat, Balls, etc. 89.— Tennis Bag in Cricket Bag Style 90.— Tennis Bag Frame. 91— Studded Bottom of Tennis Bag . 92.— Turn-clip 93.— Tennis Bag in Glad- stone Style . 94.— Tennis Bag in Half- Gladstone Style . 95.— Imperial Trunk . 96.— Railway Trunk . 97.— Trunk .... 98.— Trunk Division Board. 99.— Knapsack 100.— Body of Knapsack. 101.— Ring and Holder . 102.— Section of Buckle Leather and Sheath . 103.— Brass Stud . 104.— D-ring .... 105— Stiffened Part of Knap- 106— Section of Stiffened Part .... 107— Strap End with Key- hole Slit 108.— Part Back View of Knapsack 109.— Piped Corner of Stif- Eened Part . 110.— Satchel or Cartridge Bag .... 111.— Buckle Piece . . .108 112.— Back and Flap of Sat- chel . . . .108 113.— Front of Satchel . . 108 114.— Gusset of Satchel . . 109 115.— Satchel Shoulder Strap 110 116.— Short Strap of Satchel . Ill 91 93 95 98 100 101 102 102 102 102 103 103 105 106 107 107 FIG. PAGE 117.— Tracer . . . .113 118.— Liner . . . .113 119, 120.— Modeller . . .114 121.— Another View of Mm Idler 122.— Ground Punch 123.— Association Football . 124.— Rugby Football . 125.— Segment of Associa- tion Football Case 126.— Football Pattern Set 115 115 116 117 118 119 127.—: 128.- 129.- 130.- 131.- 132.- 133.- 134.- 135.- 136.- 137.- 138.- 139.- 140.- 141.- 142. 143.- 144.- 145.- 146.- 147.- 148. 149. 150. 151. 152. out on Hide Making Lace-holes on Football Case Football Inflator . Portsea Purse or Sad- dler's Purse . . . Patterns for Parts of Opera Glass Case Music Carrier Closed Music Carrier Open Pattern for Music Carrier . Hand Roller Camera Case Front Flap, Top, and Back of Camera Case . 139 Gusset and Flaps of Camera Case Dee and Buckle Chape. •Humane Dog Muzzle . •Cycle Valise . Tat! em of Cycle Valise 145 Pattern for Leather Covering of Workbox . 146 Luggage Label . . 147 Another Luggage Label 148 •Segment of Cricket Ball Cover In t ■Sewing Cricket Covering Sewing Halves of Covering of Cricket Ball ■Section of Sewn Edges of Ball Covering Holding Cricket Ball during Sewing . . 151 Bottom Piece of Suit Case . 153 Lid of Suit Case ! ! 154 Section of Suit Case Side . . . .155 121 122 129 133 134 135 136 137 138 139 143 143 144 148 149 150 151 LEATHER WORKING. . CHAPTER I. QUALITIES AND VARIETIES OF LEATHER. This handbook will describe how to make a large number of useful articles in leather. Naturally, some mention of tools must come first, but it is not thought necessary to give space to their description here, as they have already been dealt with so fully and illustrated so clearly in companion volumes, " Boot Making and Mending," and " Harness Mak- ing." They will be indicated sufficiently in later chapters as the need for their use arises. This chapter will discuss leather, its qualities and varie- ties. Commercial skins are classified in Watt's " Art of Leather Manufacture " under three heads, namely : 1. Hides— or the skins of the large and full- grown animals, as the ox, cow, buffalo, horse, and hippopotamus ; 2. Kips— or the skins of the younger animals of the same class ; and 3. Skins — as those of the smaller animals, such as the calf, sheep, goat, deer, etc. The skins most extensively used in leather manufacture are those of the ox, cow, horse, calf, sheep, goat, kid, pig, deer, seal, and kips, but recently the skins of crocodiles, alligators, and serpents have been employed for making certain kinds of fancy leather. Particulars of the many varieties of leather may now be given. > Pate nt Calf. — In making this leather, the skin, having received its preliminary preparation, is 1 o Lea ther Working. stretched upon a smooth board, and every particle of grease extracted from it with fuller' s-earth and water. It is then given four coats of varnish con- taining drying oil, vegetable black, and Prussian blue. As each coat is applied, the leather is stoved and afterwards polished with powdered pumice- stone. The final coat has an addition of darker Prussian blue, and sometimes a little copal or amber varnish. The stove heat varies from 120° to 180° F., according to the leather under treat- ment. Waxed Calf.— After depilation and tanning, the skin has to pass through a variety of processes, namely soaking, fleshing and skiving, graining, finishing, stretching, stuffing, compo-ing, drying, whitening, blacking, sizing, polishing, etc. This will give some idea of the amount of handling a calf-skin goes through before it is converted to leather. French calf skins, especially " females," are the best, and softest in wear, although those of English production are, in some cases, very fine ; the latter, not being so soft, are more suitable for stronger and heavier work than French. Memcl Calf. — With few exceptions this is treated in the same way as waxed calf. In some cases the whole skin is treated ; but in a great many instances it is only the shoulders, or perhaps the necks, that are made into memel. It should be well tanned. The compo-ing is done on the grain side, and the stuffing on the flesh side, and not so much of either is needed as for wax calf. It is grained with a roller according to the sort of grain required, whether pebble, long, etc. After oiling, sizing, and drying, the graining is finished, the leather is finely oiled, and is then ready for use. Busset Calf is used either dry or with a little oil dressing ; in the former case it is very pale, the oil making it a little darker. Horse and other animal belly rounding is now often dressed in a like manner. Qualities and Varieties of Leather, ii Its preparation is similar in some respects to that of other dry-dressed leathers, and, among other processes, it passes through a solution of borax, weak sulphuric acid, and a warm bath of Sicily sumach and alum, which forms a mordant when further dyeing is needed. Tan Calf has been produced to imitate Russia leather at less cost, and there now is a greater quantity used for the best class of work than of real Russia. Each season brings its varied and improved shades. The calf skin is such a ready recipient of dyes, that by manipulating with various mordants the expert leather dyer can produce some very delicate tints. Ooze Calf is a very soft leather in wear, and most durable if kept well cleaned. It has a nice pebble grain, which generally forms the face. The flesh side is a velvet pile, and when first produced was considered the right side, and it was so made up and advertised as "velvet calf." But the grain is the side now generally preferred. Calf Kid is a most useful leather made by tawing, not tanning. It has to pass through the following routine : Soaking, cleaning, liming, unhairing, flesh- ing, paring, scudding, drenching, alum and salt dressing, drying, seasoning, staking, shaving, egg- ing, dyeing, and finishing. The difference between tanning and tawing is briefly this — When tanned, the greatest component part of a skin, namely gelatine, is, by the action of tannic acid, formed into leather, of which these two ingredients are the chief factors. The acid arrests decomposition, and the two ingredients cannot return to their former state ; whereas, in tawing, alum, salt, and gelatine form the leather, and although the two former prevent decomposition of the gelatine, each ingredient can be brought back to its original state. Glace or French Kid is a very delicate and fine sur- faced leather. It is subjected to a process of tawing 1 2 Lea ther Working. which imparts to it great suppleness. It is dyed upon the grain side, except when bath dyed, which is rarely the case, and is then glazed and polished. Glove Kid is made into leather by tawing in the same way as calf kid, but its character and uses are quite different. Cordovan is made in many places other than its supposed place of origin — Cordova. It is tanned and curried on the grain side, and passes through some special processes, such as a bran bath and a fig bath. It is made a good deal from horse, goat, and even dog skin. An inferior leather, much like it, called "grain/' is used a good deal for cheaper work, and a much newer production, called " satin- hide/' is a similar leather, but possesses a smoother face. Cordovan stands easily first for durability, satin-hide being next. Morocco, Levant, is a beautifully grained and tanned goat-skin, dyed on the grain side, and finished with a bright pebble grain. A cheaper and somewhat greasy kind is not nearly so good-looking or durable in wear as the dry-dressed morocco levant, which has a beautiful soft brightness. Skins are produced in imitation of moroccos of various colours. These are called roans, and are made from sheep-skins, as " Cream Roans. " Brown Levant Morocco is the same as morocco levant, except that it is made from younger and smaller skins, and is more finely grained. Long-grain Morocco is, like the two last-named, made from the skin of goats, but has a long grain running across the skin. These leathers are tanned with sumach, provided by leaves and twigs. The better kinds are the Strasbourg moroccos. White Sheep is a tawed leather, and forms a very soft material. Among the many processes it under- goes is the application of paste composed of flour and yolks of eggs, in addition to the alum bath which it has previously received. Qualities and Varieties of Leather. 13 Cream Boan is made generally from good (medium weight) sheep-skins, sumach tanned, and is similar in structure to morocco, though, like all sheep-skin, it is less durable. Brown Persian is obtained as a rule from Cape sheep. It make a fine, soft, tough leather ; when dyed it resembles morocco, but is left with a smooth grain. Skivers, Brown, etc. — This is the grain of sheep- skin split by machinery (the flesh side being pre- pared for chamois or wash-leather). In appearance it is much like brown persian, except that it is ex- tremely thin. This is really bookbinders' skiver, and is used for covering fancy articles. Cowhide Patent, or enamel hide, is made from the hide of the cow. The process of enamelling is the same as that for patent calf, though in this instance the enamelling is done upon the grain side after the grain has been printed or otherwise prepared. It is now produced with a smaller grain than in former years, when it had a longer grain like the leather now used for bags, etc. It is now known more by the name Diamond hide. Black Grain (Cow) Hide. — This is treated some- what as wax calf, but the dyeing is done on the grain side, and as much stuffing is put in as it will possibly hold. Brown Cowhide is made into leather by some of the preceding methods ; it is worked in the same way as black grain cowhide, but it is very slightly stuffed in cases where the natural colour is not needed and dyeing has to be resorted to. Porpoise-hide is tanned and very greasily dressed, and makes a very soft and waterproof leather. It is expensive, but is exceedingly durable. Crup or Horse is taken generally from the butt of the horseskin. It is practically the middle part of the skin that is dressed for this leather, as the grain and a good quantity of flesh are taken off. 14 Leather Working. When gooG^ft* wears well and is waterproof, and polishes more easily and better than calf. Its uses are the same as tho's.e of waxed calf. Pigskin generally is. dressed brown. It is a tanned leather, light in weight, porous, very dur- able, and soft and cool to wear. Bussia Leather is one of the best of brown leathers. According to Andrew Ure the process of dressing this leather is as follows : It is freed from hair, rinsed, fulled for a longer or shorter time according to the nature of the skin, and fermented in a proper steep (for a week at least) after a hot-water wash- ing ; it is then worked on the beam after soaking for forty-eight hours in a bath containing a fermented paste of rye flour ; it is rinsed for fifteen days, then worked in the river, and subjected to the stringent juices of willow bark, etc. After a deal of working in this, it is set to dry and curried with empyreu- matic oil of the bark of birch tree. To this sub- stance the Russia leather owes its peculiarities. If the oil passes through it stains the grain side. The red colour is supposed to be from sandalwood or basil wood. Kangaroo. — The skin of the kangaroo, when pro- perly tanned, does not crack. It is one of the softest and prettiest leathers, and has been im- proved largely in recent years. Buckskin. — To prepare this leather for use, the whole of the grain is cut away and oil is hammered into it, any excess of oil being removed afterwards. A vast amount of working is necessary to give it suppleness Doe is similar, but not so good. Brown Glace Kid.- — This and the two following are believed to be produced by chrome tanning. Brown glace kid is an American production, and seems to vary much as regards retaining its colour in wear, according to the shade given it, the bright browns lasting well, while the dull or subdued tints some- times change under the influence of cream dressings. " Qualities and Varieties of Leather. 15 Box Calf. — The grain side is the face of this leather. It is somewhat like firm ooze calf, only- black, but resists moisture better. Many leathers are being made of this and a similar — green calf, for instance ;. also iron calf or kid, which is much like calf kid, but, from being dressed to resemble kid, is very useful, and an extremely strong leather. Willow Calf is similar to box calf, but it is of a brown colour. It is made in good colours and re- tains them longer, perhaps, than any other sort of 1 F \^ 1 F J v i G G D \ : b F ;' / J A f B i h «ie 1 A ^ c r^> Fig". 1. — Method of Catting up Hide. brown leather, and is easy to clean and repolish. It is used for all purposes for which box calf is em- ployed. Foreign B^tt (Bend) and Belly. — These, for the most part, are similar to the English butt, except that the processes of manufacture are different. Basil is made by tanning the large and stouter kinds of sheepskins with oak and larch bark. This leather is generally used in the best class shoe trade only for pump inner : soles. Welting is generally made from English shoul- 1 6 Lea thbr Working. ders. These are converted into welting by being stuffed well with grease. They are used for the welts of hand-sewn boots and shoes. V^ It is now necessary to give a description of the different parts of a hide of leather. Fig. 1 gives a diagram of a hide, fully showing the various parts. a a are the best parts of the butt ; b b, top end ; c c, edge, or hitch pieces. The whole of above, combined, are commercially called butt ends, while with d d (the first cut) the whole would be a butt ; e e, part known as bellies ; f f, odd pieces, with others, are flanks, shanks, cheeks, and faces ; G g, shoulders ;abcd and G, folded at h h, are sides and bends. i7 CHAPTER II. STKAP CUTTING AND MAKING. In making a gross (144 pairs) of common garters \ in. or | in. wide, the following tools will be re- quired : — One hollow-ground knife ; one plain knife, not hollow-ground ; a punch (see p. 15 of " Harness Making"), with nipples from T Vin. to | in. in dia- meter ; a pair or two of pliers ; a screw-crease or two (see p. 19 of " Harness Making ") ; and a mark- ing board of dry mahogany or any hard wood ^ in. to 1 in. thick, about 3 ft. long by 9 in. wide. For the cutting board, use a piece of planed deal or pine free from knots ; mark from the end along one edge distances of 12^ in., 13^ in., 14^ in., and 15^ in. A hardwood measuring-off stick about 2 in. wide, 2 ft. long, and ^ in. thick should have the fol- lowing lengths marked — 12 in., 13 in., 14 in., and 15 in. An emery stick about 1 in. square, of any length, with emery paper glued round, a few wire nails l£ in. long, and some leather and buckles, will be wanted. Glue a leather shaving on the back of each knife blade to 2 in. from the point, as a pro- tection for the fingers gripping the blade when cut- ting the leather, which should be from T l j in. to ^ in. thick. Begin to make the garters by placing the leather on the cutting board, and with the hollow-ground knife cut an edge of the leather straight. Then cut them out, using the thumbnail as a guide. An easy way is to set a pair of compasses or points to the required width of the strap (bare § in.), to cut an edge of the leather straight, and to run the points down the leather, which can then be cut to the mark made. Do not cut any shorter than the B 1 8 Lea ther Working. 12^-in. mark on the cutting board, and always examine the leather to see that there will not be much waste. Then point the lengths as in Fig. 2 with the other knife. To mark the straps on the board, use the screw- crease set to x 2 in. The marking does not show up if not near the edge. Heat the point of the screw- crease in the gas or fire ; when it is at the proper heat it will move easily along the strap, leaving a bright glossy mark if a little force is exerted. The top of the strap is not marked. A small can con- taining water in which to dip the crease when too hot should be at hand. In heating by gas, mount on the pipe a tin can about 1^ in. in diameter. If the outside diameter of the gaspipe is \ in., cut down from the top with a pair of scissors two nicks about 1 in. long on opposite sides of the can ; then bend up the tin, push the can on the gaspipe, bend the strips down, and tie them securely with band or wire. The screw-crease, when being heated, rests on the bottom of the can. Of course, a small gas stove will do as well, and probably better. Now punch a hole A (Fig. 2) for the tongue of the buckle in each strap about f in. from the top, and on the centre line ; three or four straps can be punched at a time. Then cut the bits. In Fig. 3 two kinds are illustrated ; A makes a better job, but is more difficult to cut than b. The edges can be marked to improve the appearance. To buckle the garters, press the tongue of a buckle open and thread a strap through, putting the tongue in the hole A (Fig. 2) and bending back the | in. threaded through, as in Fig. 4. Hold the garter in the left hand, pressing down the |-in. length with the thumbnail, and put one edge of a bit just under the thumbnail, holding it firm. Then with a punch in the right hand make a hole through the bit, the ^-in. length, and the front of the strap. Lap the point of the bit from the back round the Strap Cutting and Making. 19 front, and thread it through the hole. Put the buckle on a nail in the table and pull the bit A (Fig. 4) with the pliers. Cut the bit, leaving it about \ in. long. Then fasten the measuring off board to the table with a couple of springs, and measure the garters one at a time, putting together those measuring to 12^ in. long, then those measur- Fiff. 3.— Garter Bits. Fig. 2. — Marking Garter. Fig. 4.— Garter Complete. ing to 13| in., those measuring to 14| in., and those measuring to 15^ in., calling them 12s, 13s, 14s, and 15s. For pairing, take a measured pile, then place two of the garters side by side and see whether they are of equal widths, and whether one is, say, \ in. to \ in. longer than the other. Then push the point of the longer garter through the bit marked b 20 Leather Working. (Fig. 4) of the other ; pull it through, when the points of the two garters should come fair. Thus the top garter of a pair is slightly the longer, the width of the bit on the shorter garter making the difference. Next punch the garters down the leg, doing a pair together at first, until with practice two pairs can be done at once. Make six holes in the 12s and 13s, and seven in the 14s and 15s, the rule being half as many holes as the strap is inches long. The holes should just let the buckle tongues pass through. Packing may be done by the round way or the length way. By the first method, place three of the 12s, one at a time, on the table with the flesh side facing the worker ; then pack three 13s as before, putting them at the back of the 12s, then pick three 14s, putting them at the back of the 13s, then three 15s at the back of the 14s. Twist the straps round, and it will be seen that the longer ones wrap round the shorter garters. Then tie the ends with band. For the length way, half a dozen garters are placed lengthwise one way and the other half dozen the other way, the shorter garters being packed in the middle. Three bands are tied across, one at each of the ends and one at the middle. The garters are packed in dozens and in half or whole grosses. Leg straps are like garters, but generally have a roller buckle, and are 18 in. to 21 in. long ; rather stronger leather is used, and the straps are f in. wide. Skate straps are generally % in. wide, and from 18 in. to 36 in. long, and can be made as above described, but for a stronger job the buckle tongue hole should be about 1 in. from the top. Then the point of the bit can be threaded through a hole punched on the centre line of the strap. They can also be made with double buckles, one part serving as the bit. They are either riveted or sewn. Strap Cutting and Making. 21 Skate straps are also made with roller buckles. The strap is prepared as described, except that the bit is cut to Fig. 5 to go round the strap and meet at the back ; then punch a hole in the centre of each end, and with twine thread through both holes, pull the ends together, and tie. Then press the bits so that the knots are at the back, and slip one on each strap to the buckle. A rivet is put in just below the bit and goes through the portion which is lapped over ; or the pieces can be sewn by hand or machine. 00 DQ Fig. 5.— Strap Bit. iii Fig. 6.— Skate Strap: In another form of skate strap (shown in Fig. 6), the part A is set out with a zinc template, and the two small garters b, which are riveted on, are about 3 in. long. The strap for these should be 6 in. long, and the hole for the buckle tongue should be punched in the centre, so that when they are fast- ened the rivets go through the back part as well as through the front. Sometimes this skate strap is curved a little, one strap being curved one way for one foot, and the other the other way. They are from 12 in. to 20 in. long and from 2 in. to 3 in. broad, and hold the front part of the skate, a strap from 18 in. to 21 in. holding the back part. 22 Leather Working. Parcel straps, 30 in. to 40 in. long, are made as described above, and are threaded through a nickel- plated, brass, or leather handle. Dog-leads are handier for general use than are chains, being much lighter and more easily carried in the pocket. A necessary tool for making dog- leads is the hand punch, which is shown by Fig. 19, p. 16 of the companion volume " Harness Making " ; for use with this a few nipples of different sizes should be obtained. For hollow-studding the dog-leads, the hand- punch riveter, shown by Fig. 7, is required, the top piece being countersunk so that the stud top a just fits in. Fig. S illustrates a number of hollow studs. For riveting studs of different shape, obtain a few Fig. 7.— Hand-punch Riveter. of the top pieces A (Fig. 7) bored out exactly to fit the studs. Solid buttonhead rivets look extremely well, and can be hammered into the leather without previously making holes for their reception ; for the latter reason they weaken the leather much less than do hollow studs A screw-crease, as shown by Fig. 37, p. 19, of "Harness Making," is necessary for giving a gloss to the edges of the straps, etc. ; the width of the mark made by it is regulated by the small screw, and the tool is heated slightly on the working part when required for use. Xote that the working part alone requires heating; avoid heating the screw and thus making it useless. Practise with the tool on scrap leather before using it on good work. Strap Cutting and Making. 23 The simplest kind of dog-lead will be described first, and this is illustrated by Fig. 9. To make it, first cut out a good leather strap from 36 in. to 50 in. long and about \ in. or | in. wide. Run the hot crease along the edges of the strap so as to make a bright mark ; rub over and over again until the Fig. 9.— Dog: Lead. Fig. 10. — Dog Lead Fig. 11.— Dog Lead with Swivel. with Studs and Ring. required gloss is obtained. The hotter the crease, the smaller will be the pressure required, but care must be taken that it is not so hot as to burn and stick in the leather ; a good plan is to heat the tool well, dip the working part in water, and use at once. Loop, and then rivet or sew one end of the strap to 24 Leather Working. form a handle. Cut a \ on the other end of the strap, punch a few holes as shown, and rivet on a buckle strap ; together with the buckle, this is 4^ in. long, and is creased or marked before riveting. This simple lead is now complete, and for use is buckled through the ring of the dog's collar. In Fig. 10 is shown a better kind of lead, as the swivel G prevents it from twisting when the dog moves its head round. In making this dog-lead, proceed as before as far as the handle ; in the event of the leather not being long enough to allow of this, cut a strap 12 in. to 18 in. long, loop it, and rivet it on to form the handle. Put the other end of the strap for about 1 in. through the swivel G, and rivet as shown. The lead is then complete. A still better dog-lead is shown by Fig. 11 ; it differs from the last one in having, instead of a leather handle, a l£-in. or 1^-in. martingale ring passed through a loop at the end and secured by a rivet. The lead is then given a more finished ap- pearance. Instead of the martingale ring alone, the chain-end fitting illustrated by Fig. 12 may be used. It is attached in the same manner as the plain ring. The dog-lead shown at Fig. 11 can be ornamented by any of the hollow brass studs shown by Fig. 8. In putting in the studs, first with the punch make a number of holes at an equal distance apart. The necks b (Fig. 8) of these studs should fit tightly in the holes ; when the studs are in the holes, with the rivet punch (Fig. 7) clinch their necks fast into the leather, the neck part being pressed outwards as in the section c (Fig. 8). D illustrates a stud having a rounded instead of a conical top. Either brass or nickel-plated swivels will be suitable ; the latter, perhaps, look the neater when new, but are more quickly tarnished than brass, and thus require more frequent cleaning. These re- marks apply also to the martingale ring and chain- end fitting. Strap Cutting and Making. A 25 Fig. 12.— Chain-end Fitting. J Fisr. 15.— Pattern for Wrist Strap Bit. Fig. 16.— Folded Bit. Fig. 17.— Bit Complete. Fig. 13.— Wrist Strap. Fig. 14.— Pattern for Wrist Strap. 26 Leather Working. The bifurcated rivets, used in fastening the dif- ferent parts together, can be obtained nickel-plated, japanned, brassed, or coppered, as required, and are inserted and clinched with the aid of a hammer. Full instructions for doing this are given by the makers when sending out the rivets. A strap for strengthening the wrist is shown in Fig. 13. First with a sharp knife cut a cardboard pattern to Fig. 14, and place it on a piece of thin, pliable leather, which may be of any colour required, though brown, stained, or enamelled looks the neatest. Mark carefully round the pattern with a lead pencil, and cut out just inside the pencil marks. Next, to cut out the slit a (Fig. 14), place the pat- tern on the leather, punch a small hole at each end of the slit, and cut out the piece between with the knife. The strap will be neater when finished if it is marked all round the edges (see Fig. 13) with a screw-crease. Cut a piece of leather \ in. wide and 2 in. long, and on the centre line, near each end, with awl or punch make a small hole (Fig. 15) ; thread a piece of band through the two holes and tie it or sew the end. Cut the ends of the band close to the leather to Fig. 16, and bend the leather over, so that the jointed part is at the centre (Fig. 17). Put this bit on the end c (Fig. 13), then put the buckle tongue through the hole d (Fig. 14), bring the end B through the buckle and over the jointed part of the bit and sew down, or rivet with a bifurcated nickeled rivet. To finish, punch seven holes down the fastening part of the wrist strap. A nickel-plated buckle looks neatest. In fixing, place the strap on the wrist ; put the point through the slit A (Fig. 14) and pull until tight enough, then carry the end round again and buckle up, passing the point through the bit. The advantage of this wrist strap is that no buckle presses against the skin. Strap Cutting and Making. 27 To make a pair of braces, first cut the web to a length of from 18 in. to 22 in., and, in the absence of brace-end punches, cut the pattern of the front strap to go to the buckle, and the hind piece to the button, and another to which the front buckle fastens. The front strap should be from 5 in. to 6 in. long. The back piece is about 3 in. long. Leave both pieces of the same width as the web in one end, and round it at the top, and mark a cross line as far as the webbing is to come ; taper the other end of the strap, and round off the point. Cut the back piece to shape from the points of the cross line, and taper it towrds the bottom, leaving it full opposite the intended buttonhole ; cut the front buckle piece to the same shape at the bottom as the back piece, but narrow it towards the top to the width of the buckle. Turn in 1 in. at the top and cut a hole for the buckle ; shave the point, crease, and finish all the straps, and stitch in the buckles with a loop close up to them. Have a piece of thin basil leather of the same size as, or a little larger than, the wide part in the strap end, and have back pieces from the cross line upwards. Stitch along the cross line with single thread, and then put the web in as far as the stitches, and tack down. Having pricked the leather all round, stitch it in along the marks, trim the basil pieces, and cut them close round the stitches ; punch the strap and a hole in the buckle-piece and in the back- piece about \ in. from the point, and slit the holes up for about 1 in. ; the single end brace is now ready. If the braces are to have cross straps in front (see Fig. 18) to fasten on two buttons, put a piece in the buckle of the same width all along and about l\ in. long. When doubled, stitch a loop near the buckle, leaving space below for the cross strap to go through ; cut the cross-piece about 1 in. wide and 9 in. long and stitch it together in the centre 28 Lea ther Working. with double thread ; narrow the other part a little, and taper to a point, letting it be a bit full opposite the hole. Rub and crease it, and put the holes as directed in the other brace end, in the two ends of the cross strap, and then put them in the open space left at the bottom of the buckle-piece ; or this part may be made first and stitched in place while making the buckle part. Others, besides being double in front, join at the back (Fig. 19). Put both ends of the web together so as to cross, and insert a stitch or two \ Fig. : 9.— Double End Brace Joined at Back. Fig. 18.— Double End Brace. to hold them in their place ; bend a piece of leather, not too thick, and cut it neatly into the shape of an egg, pointed at the top to cover the joint, and narrow at the bottom where the bend is so as to take in a 1-in. dee or ring ; stitch it into the ring. Cut the back straps about | in. wide, and narrow them gradually towards one end and round off the other. Turn down the narrow end for about 1 in., shave the point, and stitch to the dee previously stitched on. Finish by punching holes for the buckles. Stxap Cutting and Making. 29 In concluding this chapter the construction of a leather strap cutting appliance may be described. This will cut leather straps, belts, etc., of any thick- ness and length and up to 3 in. wide. To make the Fig. 20. — Strap Cutting Appliance. appliances, first obtain a block (a, Fig. 20) about 10 in. long by 4\ in. wide and l£ in. thick, of beech or any other hard wood, and round off the top edges as shown. Bore a hole about f in. deep in the block from the underside to receive the head of a bolt \ in. by 2 in. long ; then bore the smaller part of the hole for the shank so that the block may lie flat on the table and the threaded part of the bolt come through A. A sheet-iron plate (Fig. 21), 6 in. long by \\ in. 71 o Fig. 21. — Plate of Strap Cutting Appliance. wide and ^ m - thick, will be required, with a slot about I in. long in the centre to fit the bolt b (Fig. 20). A hole is bored and countersunk at each end for a small screw. Another piece of sheet iron d $o Lea ther Working* (Fig. 20), 6 in. long by 2 in. wide and of any thick- ness, with a slot 3 in. long and \ in. wide, will be required to go on the bolt thread. Six slits or saw- kerfs, \ in. apart, \ in. deep, and wide enough for a knife blade to go through, are made in one edge as shown in Figs. 20 and 22. To put the parts together, first take the sheet iron plate c (Fig. 20), put it on the bolt, and fasten to the block with a screw at each end. Then put the piece of sheet iron d on the bolt, leaving exactly the Fig-. 22. —Another Plate of Strap Catting Appliance. width of the strap required to be cut between the edge of the plate c and a selected slit as e (Fig. 20). Screw the block to the table, and the apparatus is ready for cutting straps not thicker than the plate c (Fig. 20). For cutting the straps, get a sharp knife, put the blade through the slit e (Fig. 20), and fix firmly in the wood block. Then take a piece of leather and press the edge against the knife until the cut end, f, comes through to the other side of the iron. Then pull the leather through with the right hand, keep- ing the edge of the leather firmly against the sheet- iron plate c with the left hand. The leather should come through easily, otherwise packing must be placed between the plates c and D. A nut and washer should be put on the sheet-iron plate d for tightening up, as shown in Fig. 20. 3i CHAPTER III. LETTER CASES AND WRITING PADS. This chapter will be devoted to instructions on making letter cases and writing pads, which have much in common. The first point to consider in making the leather letter case illustrated by Fig. 23 is the accurate cutting of patterns ; these, as shown in Figs. 24 to 28, would suit a case which, when open, is 8 in. by 6 in., and which, when closed, measures 6 in. by 4 in. Set out the patterns to the dimensions on thin cardboard or stout paper, and cut them out. Fisr. 23.— Letter Case. After cutting the pattern for the back (Fig. 24), round the corner at A and fold the pattern in the centre, bringing a to b, and cut the same to it ; then fold again, bringing a and b to c and d ; this enables the worker to cut all corners to the same shape, the pattern being kept true and square. The side pockets (Figs. 25 and 28) can be cut in a similar way, rounding the corners at E and G to suit A and c 32 Leather Working. (Fig. 24), and J and l (Fig. 26) to suit B and D (Fig. 24). Prick the four holes in Fig. 25 in the position shown, and four similar holes in Fig. 26 ; these holes can be used as guides in fixing the card and stamp pockets. On Fig. 25 is stitched Fig. 27 to form a pocket for cards, Fig. 28 being stitched on Fig. 26 to form stamp pockets. Figs. 25 and 26 are stitched on the back (Fig. 24). The most durable and suitable leather for mak- ing the case would be pigskin of medium substance, a firm piece being selected for the back. In cutting out, the pattern should be kept in position on the 24.— Back of Letter disc. leather by a metal weight ; then with a blunt awl clearly mark the leather to the patterns, and with a shoemaker's knife or a pair of sharp scissors care- fully cut the leather to the lines traced, endeavour- ing to keep clean edges. These should next be dyed to a shade similar to the leather, and this can best be done by using a sponge bound to a stick with string. After dyeing the edges, with a small quantity of grease on a rag rub them to a finish. The stamp pockets (Fig. 28) must now be secured to Fig. 26, and to mark the position of the stitching a line should be made about \ in. from the outer edge of Fig. 28. This can be done best by running Letter Cases and Writing Pads. 33 race compasses set to \ in. around the edges from o to p (see Fig. 23). Divide the pattern into three parts, and mark two lines inside for stitching. Take a small quantity of glue on the finger and Fisr. 2o. Fig. 26. Fig?. 25 and 26.— Patterns for Side Pockets. smear it on the back of the leather from o to P about £ in. from the outer edge ; then stick the piece to Fig. 26, bringing the points o and p on to the holes marked on Fig. 26. The holes are made by placing iz ■ft-* Fig. 27.— Card Pocket p Pattern. Fig. 28— Stamp Pocket Pattern. the paper pattern on the leather and pricking through with an awl. Proceed in exactly the same way with the fixing of Fig. 27 to Fig. 26. A piece of linen or twill lining should be pasted at the back of Figs. 25 and 26 to C 34 Lea ther Working. strengthen the stitching and prevent it breaking ; this must, of course, be done before stitching. Aft'er the patterns shown by Figs. 27 and 28 have been stitched to Figs. 25 and 26 all the stitching must be carefully tied and fastened off strongly. Then glue around the back of Fig. 25 about \ in. from the edge, from f to h, and stick it on Fig. 24, bringing the points E and G over the points A and c. Do the same with Fig. 26, bringing the points J and l over the points b and d (Fig. 24). Next mark the back of the case for the stitching, making a line about \ in. from the outer edge with compasses, and Pad Folded Up. running the line all round the back of Fig. 24. Then stitch and fasten off strongly at the corners of all pockets where marked with x (Fig. 23). If the outer edges overlap after the case is stitched, trim them with a sharp knife and dye and polish as before. A piece of narrow elastic can now be stitched across the case in the centre at the points M and n (Fig. 25) ; this will be useful for keeping a diary or notebook in position. If the leather used is pigskin or cowhide, and it becomes soiled, the best way to cleanse it is by wiping with a weak solution of oxalic acid, and then, when dry, polishing with a soft rag. Letter Cases and Writing Pads. 35 The stitching can be done on a light Singer's, Thomas's, or vertical-feed sewing machine, using a No. 18 Pearsall's silk or a 60 in. thread. The stitch set should not be small, about twelve stitches to the inch being suitable. It is advisable to set and try the stitch on a waste piece of leather. The writing pad illustrated by Figs. 29 and 30 has spaces for envelopes, notepaper, postcards, stamps, address book or diary, pen, pencil, scissors, eraser, and knife, and when open as shown in Fig. 30, the centre forms a blotting pad. First cut a piece of leather 28 in. by 14 in., pare Fig-. 30.— Writing Pad Open. the edges all round, and mark the leather as shown at a, e, and d (Fig. 31). Then cut a piece of 1^-lb. strawboard 12 in. by 12 in., and with thin glue fix as shown at E, leaving 1 in.* of leather to turn over at the top and bottom. Cut two pieces of strawboard 12 in. by 6 in., and glue at A and d, leaving 1 in. of leather between the boards and 1 in. at the sides to turn over on to the board. Then glue the 1-in. margins of leather to the board. This will form the groundwork for the pad. Pieces of twill lining, \\\ in. by 2^ in., should be cut and fixed at the bends at A E and e d (Fig. 31) to strengthen them. Now cut a piece of leather 16 in. by Q\ in., and 36 Lea tiier Working. mark it as shown in Fig. 32 ; then cut pieces of cart- ridge paper and fix them as shown at x, and cut the top of the leather the same shape as the paper, leaving \ in. of leather to turn over on to the board. A piece of twill lining should be pasted at the back within | in. of the edge. Next turn the edge of the leather to the lining and board ; fold the leather to form gussets for the pockets, and, with the face of the leather upwards, mark 1 in. from the edge at b, next at 8^ in., 9| in., 13| in., and 14§ in. from the edge. Glue together pieces of strawboard or soft wood to form a mould for the paper pocket, *l\ in. by A A E f E D D ! 1 ' o"— - V -6' > A A E . E D D Fig-. 31. — Base of Writing Pad. 4^ in., and for envelopes, 4 in. by 4£ in., and about | in. thick, and round off the edges of the blocks. In the next place cut a piece of cartridge paper 5 in. by 3 in., and shape as shown at o (Fig. 32). Back this with lining, and fasten it on the leather, leaving § in. to turn over all round. Pare the edge and turn over to the lining and the paper, then cut the paper and lining, 2-| in. by 1 in., to shape for stamp pockets, and fix on the leather, leaving about £ in. to turn over all round. Pare the edge and turn as before, lightly gluing the pockets at the edge, and fix as shown in Fig. 32. These pockets should be stitched at the three sides, as shown in Fig. 33. Letter Cases and Writing Pads. 37 Next cut a piece of \-Vo. strawboard 12 in. by 6 in., cover with linen, and fix on a piece of leather 12^ in. by 8 1 in., leaving about \ in. of leather all round, which should be turned over and stuck on the board, except where marked at A. 2 in. of leather is left to form the bend (see Fig. 33). Fig. 32.— Writing Pad Pockets. The paper and envelope pockets, with the stamp and postcard pockets stitched on, should be sewn as shown in Fig. 33. The ends and centre of the pockets should then be stitched, but not the bot- toms. Cut the bottoms of the pockets as shown at p (Fig. 32), turn the two ears inside, and glue them to the bottoms. The piece of linen should next be cut Fig. 33.— Writing Pad Packets. 11 in. by 2 in., and glued at each bend at ae and ed in Fig. 31. The pieces of leather with card and stamp, en- velope and pockets for papers, should be glued and fixed at A (Fig. 31), across the bend and to the part that is to form the blotting pad. Care should be 3« Lea ther Working. taken to fix the leather well in the bends and round each side, and also at the edges. Next cut a piece of board or thin cartridge paper about 9 in. by 1 in. ; back this with linen, and glue and fix it on a piece of leather 9| in. by 2 in., leaving \ in. margin of leather at each side and | in. at the ends. Glue these margins and turn over to form loops. Cut pieces of paper 2^ in. by 1^ in., and leather 3| in. by 3 in., and fasten in the same way for the diary. Next cut a piece of cartridge paper with linen at the back 4 in. by 2f in., and remove from the t To '-2;'- \ iLii II '\ ft i Li Fig. 3-4.— Writing Pad Pookets. Fig. 35.— Blotting Pad. centre a piece 3| in. by 2^ in. Fix this piece in the centre of a piece of leather 4^ in. by 3^ in., and cut from the centre a piece 2| in. by If in. Pare the .edges, turn over, and fix on the back of the frame. When this is fixed on the pad calendars can be slid in the spaces. Now cut a piece of leather 12^ in. by 8} in., and on it fix a piece of cartridge paper with linen at the back, 12 in. by 6 in., leaving \ in. of leather at the sides and one end. Loops for pens, scissors, etc., also diary and calendars, should be fixed and stitched as shown in Fig. 34. This should now be glued and fixed on in the position shown in Fig. 30 r Letter Cases and Writing Pads. 39 A piece of strawboard 12 in. by 12 in. now is cut, and on it is pasted a piece of white watered paper, leaving \ in. to turn over all round. This will form the foundation for the blotting pad. To make the four corners as shown in Fig. 35, cut four pieces of stiff paper 4 in. by 3 in., and four pieces of leather 4£ in. by 3 in. Pare the edges of the leather and stick it on the paper, turning \ in. of the leather over on one side. Take a piece of wood about 3 in. square and \ in. thick, place it at the corner of the foundation for the pad as shown at the top left-hand corner in Fig. 35, then lay one of the pieces to form the corners on top of the wood at the distance given, the edge where the leather is turned over being on top. Glue the parts that overlap and fix them a3 shown, the wood acting as a mould for the corners. Fix the three other corners in the same manner, and cut away the parts that pucker, so as to form a flat surface under the pad. Next glue the foundation all over at the back and fix it firmly, as shown in Fig. 30. If leather has been used the appearance can be improved if some fancy lines on the edges of the pockets and the fronts and back of the pad are made with a crease that has been slightly heated. Next take a small brush, and, with a small quantity of dye, black the edges of the leather where it may be snowing white. If a polished leather has been used, coat it lightly with leather varnish. This should be applied with a fine hair brush or sponge. The leather most suitable to work would be a paste grain skiver. 40 CHAPTER IV. HAIR BRUSH AND COLLAR CASES. A gentleman's hair brush case is a very useful requisite. It is easy to cut and make, and costs but very little. The brushes can be bought either singly or in pairs, and the case made accordingly. Whatever kind of case is to be made, take a brush, lay it back downwards on a sheet of paper, hold it firmly, and mark it all round with a pencil ; this will give the form a b d c in the diagram (Fig. 36). This can be doubled and quartered after it is roughly cut out, so as to get a good ellipse. Then take the thickness of the brush — or of the two, hair to hair, if the case is for a pair. Measure their cir- cumference, and, whatever the length, cut the pat- tern about 1 in. longer and about 5 in. wider. This is for the side and to form the lid, as e f g (Fig. 36). With regard to the making there are only three pieces needed, without the buckle and straps, and these are described below. The pattern must be folded across B c (Fig. 36) to get the half ; two pieces should be cut to this pattern, and two holes pricked to indicate where the halves end. When they are faced together prick another hole at h. Round the portion at bah run an iron (after damping the edge a little) to give it a finish. This may be a narrow, grooved iron, or the guard of a shoemaker's forepart or waist-iron will do, and after deducting the length of B d H (Fig. 36) from the side piece efg, mark with this iron round the remainder, from H, passing f. A strap containing a few holes can be stitched on f, and a strap and buckle to match in a correspond- ing place on e, or the one at e can be left till after the case is made. Hair Brush and Collar Cases. 41 The leather may be lined, if desired, with brown or any coloured paper, and the edge of one of the ellipses may be placed against the end of the side at e and stitched, asBDCH, H being about 1 in. beyond the half at the back ; and then the other side can be treated in a like manner. Fi£. 36.— Hair Brush Case. The brush case may be made of almost anything that is stiff and not too stout, as pieces from jockey tops, etc. ; or where a fancy case is wanted, the pieces may be cut out in cardboard and then lined up with any thin leather, as Persian skiver, or any bookbinder's skivers, as morocco, roans, etc. ; similar pieces are then cut out of whatever material is used for the outside. This may be some fancy 42 Leather Working. embossed leather, about f in. larger all round than the case is going to be. This, if not very thin in itself, must be skived all round for a little more than this distance, and then pasted and turned over the edge of the cardboard on to the other leather. If this is done nicely by skiving the edge very thin and taking small V pieces out all round previous to pasting, the edge will not need stitching. If it be Figf. 37.— Horse-shoe Collar Box. stitched use bookbinder's glue instead of paste. When these are thus fitted, all that is necessary is to proceed as above. The threads may be of either white or yellow flax or hemp, and should be made wet and twisted, the tapers only being waxed to receive the bristles or needles ; or they can be made from stout carpet thread of any colour. Tapers to this can be made by untwisting the ends after taking off the length wanted, and scraping each strand until it is tapered ; then, when the whole are in this condition, wax and Hair Brush and Collar Cases. 43 twist them, and put on the bristles or needles, ac- cording to the method of stitching to be adopted. A horseshoe collar-box with drawer is shown by Fig. 37. The drawer can be used for handkerchiefs or ties, and for razor and tooth-brush also, if a parti- tion is made along the side. The form for the pattern is not difficult to obtain if the instructions given below are followed. First describe a circle as A b c d (Fig. 37) ; this, for a good- sized box, should be about 6 in. in diameter. Draw &0 rji3 Fig. 33. — Forming Drawers in Collar Box. a line as a b (Fig. 38), 4 in. long, touching the bottom of the circle at c ; mark the points a and b 2 in. on each side of c. The curves a d and e b can then be drawn, thus forming the horseshoe. A curved piece can be taken away to save stuff, as f, and to give a little more play to the drawer. Two of these patterns can be cut. A line is now drawn across the bottom as e f (Fig. 37), to form the lid— that is to say, if a piece of paper with a straight edge is put along this line and then cut round to the other parts of the pattern (except that 44 Lea ther Working. it must be \ in. longer), the pattern for the lid is produced. The height of the box should be from 3 in. to 3^ in. The pattern for it will, of course, be this height, and as long as the distance from A, past D and E to b (Fig. 38) ; two sides will be needed and a top for the lid. When a strap has been made as long as the distance from d to e, past a and b, the whole of the outside is complete. As regards the drawer, it is best to draw two per- Fijr. E F 59. — Collar Box Drawer and Lid. pendicular lines, as G I and h k, each at right angles with c. These should be carried up as high as pos- sible, say within about f in. of any part of the out- side circle, and they should be joined together either by the curved line u k or the straight line ilk, the former for preference, as it gives more room to the drawer, for which there will be only one piece needed, either tocoiH, ortoCDJ h. There must then be cut two sides and an end the length of i K. These are to form the portions shown in A, b, and c, in Fig. 39, the top of the lid forming the other end at d. The piece for the sides of the drawer must be the Hair Brush and Collar Cases. 45 exact width of the inside of the box ; it is therefore best to leave this portion until the box is made. The lid being larger than the outside of the box, and the drawer having to go inside, the side of the drawer at A and b will not, of course, fit the lid at the dotted lines shown on top. It is not necessary, as a few stitches at e and f and along the bottom at D will hold it. As regards the manufacture or the material used, these are explained in connection with the hair-brush case already described in this chapter. Fig-. 41.— Block for Making Collar Box. Fig. 40.— Round Collar Box. The strap which is to fasten either side may be put on merely from lid to box, just long enough to buckle, or it may be in one piece, as shown by the handle in Fig. 37, with holes in each end for the buckle to go through, and then secured in each of the places marked at H and 1 (Fig. 37), so as to form it into a handle, as J. In making the drawer, it is as well to put the grain side of the leather inside and to cover the out- side with nice paper ; the inside of the box should also be covered in a like manner to keep the collars clean. The drawer can, if desired, be made of wood. No lid will be needed, as the side of the box when the drawer is in forms this. At a and c (Fig. 37) 46 Lea ther Working. on the outside of the drawer are two elastic loops to hold the collars in their place while the drawer is being inserted. Fig. 40 illustrates a round^moulded collar case 6$ in. in diameter by 3^ in. high ; it is covered and lined with leather. To make it, begin by cutting a circular wood block (Fig. 41) 6| in. in diameter and 3| in. deep, the surface of which should be smooth with rounded corners. Cut a strip of moulding paper about 22 in. by 4^ in. and cut also two circular pieces 65 in. in diameter. Glue the two ends of the long strip on reverse sides for about 1^ in. from the ends, and then wind it tightly round the block, bringing the glued edges over each other and joining them to form the band of the case. Next place the band so -4 ! di 3 31 6. u .i -Catch Strap. Fig. 43.— 11 ag Fig. 4 2. —Catch Strap. Fig. 43.— Hinge Strap. that about § in. overlaps at each side of the block. Place one of the circular pieces on top of the block and glue the |-in. of overlap to the circular pieces, cuting out V -shaped pieces to get rid of puckers. Carry out the same operation with the other cir- cular piece at the bottom. The whole of the block should now have been covered and a foundation formed. Cut and add another piece of paper on the top, bottom, and band as before, except that the strip for the band should not be turned over on top and bottom, and that the pieces should be glued all over. Pieces of strawboard should be glued all over and stuck on top and bottom and around the mould, but the strip used for the bands should be pared at the ends where they come together, so as to make a neat finish. The whole should be left to dry. Then with a Hair Brush and Collar Cases. 47 piece of glasspaper bound on wood, round off all the sharp corners, and roughen the surfaces so that the material will adhere better. The moulded part should now be cut. With a pair of compasses mark round the band about 1 in. from the top, and to this line with a sharp-pointed knife cut through to the block. The shallow part is for the lid and the other part for the case. The leather or other material to be used for the case should next be cut as follows — One piece for the top of the lid 7^ in. in diameter, one piece \ in. longer than the circumference and 2\ in. wide, and one piece of the same length but 3 in. wide. If leather is used, pare or thin all the edges, and also the back and front of the ends of the long pieces to ensure a neat finish. The circular piece (7j in. in diameter) should be fixed to the top of the lid with thin glue, leaving about \ in. of leather overlapping the edge to be turned over on to the band. Glue the strip 2^ in. wide and fix the edge to the edge of the lid, neatly overlapping the two ends about \ in. The I5 in. of material left should be turned inside the lid. The piece 3i in. wide should be fixed, like the lid, on the band of the case, leaving \ in. of material to turn over to the bottom and top inside the case. Next cut a piece the exact size of the bottom, pare its edge, and fix it on the outside of the case. The fastening should be fixed before lining the case, and a piece should be stitched at the back to form a hinge. First glue a piece of linen on some brown paper and cut two pieces to the dimensions given in Figs. 42 and 43. Then cut pieces of leather large enough to cover these, turning the leather over \ in. at each end and on the left side, and lastly £ in. on the right side, this making a neat finish. An oblong catch or purse fastening about 1 in. by I in. wide should be used. The hasp part of the catch should be fixed to Fig. 42, and the catch 4 8 Lea ther Working. should be fixed to the body of the case so that the hasp falls in easily when the lid is closed. The piece of leather shown by Fig. 43 should be fixed at the Lack of the case (Fig. 44), directly opposite the catch in front, and secured at the bottom with another row of stitching about 1 in. above this, with one row at the top edge of the lid, and again | in. below this. The case should be lined. For this, cut two cir- cular pieces of strawboard to fit inside, and one Fiff. 44.— Sack of Round Collar Box. strip of the same length as the circumference of the case inside and \ in. wider than the depth. Cut the material for the circular pieces about \ in. greater in diameter than the board, glue the same and fix on the board, turning \ in. over to the back of the board. Cover the strip of board and turn about \ in. of material over the edge. Pare the edge of the strip at the ends and glue the whole and fix it inside the case, bringing the edge where the material is turned over about \ in. above the top of the box, this forming a ridge to keep the lid in position. Next fix the two circular pieces in the lid and bottom of the case. If a polished leather has been used, lightly coat with leather varnish. For leather varnish, place 2| oz. of powdered resin and 3 oz. of shellac in 1 pt. of methylated spirit ; stir occasionally until dissolved, allow to settle, strain through canvas, and leave for twelve hours. The clear part should be used. Keep it corked up in a dry place. 49 CHAPTER V. HAT CASES. Solid leather hat cases are made of good stout shoulders and first cuts, or, rather, the portions of a butt that take these names for other purposes ; though, when they are going to be used for hat cases, they are specially dressed. Fig-. 45. — Bucket-shaped Hat Case. Basil hat cases cannot be of solid leather, as basil is so thin that it has to be backed by stout mill- boards. The diagrams given are for a bucket hat case. This is the most general shape, and it will take collars and ties, etc., as well. Fig. 45 gives a back view of the hat case closed, D 5° Lea ther Working. while Fig. 46 shows the front open, with portion taken away to show how and where the inner case, which is to hold the hat, is to go. The case must be oval, not round, and the top may be flat or curved (as abc, Fig. 46). Directions for lining will be given, but this is done, of course, to taste. Cut out the shape of all the pieces first in paper ; then cut the leather to them, with as little waste as possible. For a curved top the dimensions of the Fig - . 46. — Hat Case shown Diagrammatically. patterns are as follows : Top, cut oval (as a c b d, Fig. 45), VZ\ in. by 13^ in. The bottom must be 8^ in. from d to E (Fig. 46), and 9^ in. from f to G. A strap is sewn at e (Fig. 45), and is 25 in. long from E, and goes past f and c, to lock on the front, and is \\ in. wide. The sides of the case can be cut so that the seam comes under this strap, back and front. There will have to be two pieces cut to this pattern. The shape will be as Fig. 47, and the dimensions 15iin., A to B ; 19^ in., c to D ; 8f in., E to f ; and 7 in. Hat Cases. 5 1 from a to c and b to d. To form g h in Fig. 45, cut four straight or slightly curved strips, 20| in. by 2 in. For the handle cut two pieces as Fig. 48, 10^ in. long, 1| in. wide in the centre, the ends being of any shape and width desired. A band for I and J (Fig. 45) may be cut as G h, only narrower ; this band is not necessary, but if made, the width of it must be taken off the sides at c f d (Fig. 47) to make up for it. Three strips about 3 in. by 1 in. are needed for loops K L (Fig. 45) and b (Fig. 46). Take the two sides (Fig. 47), and fasten them together at a c and b d, letting the stitches (q >aj j£ g ~^|P:B o) Fia:. 48. — Hat-case Handle. A Fig. 47.— Half Side of Hat Case. Fig. 49.— Sewn Seam. be as the curved line at a (Fig. 49) ; this will give the wall, or side of the case. Then shave off an angular piece from all round the flesh side of the bottom, and a corresponding piece from the inside of the bottom of the pieces, which should be just seamed together. Then turn upside down, and fit the bottom in, as A on b (Fig. 50), and stitch it all round, as shown by the line at c. Now cut a piece of light millboard to fit the bottom inside, and another piece to fit round the side, twice the size of Fig. 47. Glue these together at the side, at A c. The millboard should just nicely fit in the case, and should be skived and allowed to lap to make a smooth seam. Line this with red glazed lining, 1 in. of which should be left at top and bottom to turn over. Glue a piece of lining on 5 2 Leather Working. to the bottom board, leaving 1 in. over all round. Notch it all round about \ in. apart, lay it on the bottom of the side lining, and glue it down. Then glue a strip 2 in. wide all round over this, letting half be on the bottom and half on the side. While the lining is drying, take a strip of the board, 2 in. wide and curved to fit outside the top of the lining and inside the edge of the case, as h h h h (Fig. 46). Cover it with the lining, bringing the two edges to the bottom. Next damp the inside of the case, slightly glue it and the outside of the lining, and put it in its place in the case ; it will stand up about \ in. above the case. Now put the board rim between the two, letting it stand a good inch above the case, as shown by h h h h, and then stitch right through the lot. Sometimes the top edge of the case is bound with a narrow strip of thin leather, but it may be prepared and finished off without. The lid is made in the same way, only the lining of the rim G H (Fig. 45), is not so thick, and the edge of the lining and edge of the rim must be flush with each other, and the top can be lined with quilted satin. Before the lining is inserted the handle must be put on. To make the handle, take the two pieces (Fig. 48), put them together, and place two other pieces of the same material between them, letting one come from a to b, and the other from c to D, skiving or tapering them off at ends to nothing, and also skiving a litle off the edges at e f. Only the top piece need be cut out to the shape desired, as the others can be trimmed to it after it has been stitched all round. After it is stitched and shaped, punch a hole in each end at m and N (Fig. 45), and put a brass-headed rivet in each. Do the same with two short, narrow straps which are to go across to stay the handle atop; or instead of using rivets all may be stitched down. This is for a fixed handle ; for a loose one, m and n will not want Hat Cases. 53 punching, and must be a good deal wider, o and p must then be well secured at each end to prevent m and N slipping through ; or pieces of brass, raised in the centre just to admit of the thin part of the handle passing backwards and forwards, may be used, k and l may also be of brass, if desired ; but leather is more in keeping with the character of the case, and is therefore worth the extra trouble. The shape of these small leather or brass brackets is shown at Fig. 51. Fig 1 . 51. — Bracket for Handle and Strap Strides. Inner Hat Case. The lock is put on the front, opposite to l (Fig. 46), and its catch is riveted to the ends of the strap. The lid does not come right off ; and the strap, between K and L, forms a loose sort of hinge. The inner case (Fig. 52) is very simple, but should be made to take a hat of any size. This is cut from cardboard, and covered with the lining. Take a piece of cardboard, 12| in. by 13^ in. at least, and from the centre cut a piece out, 8^ in. by 7^ in. ; this piece will form the bottom at Fig. 52, and the piece that is left can be cut across the centre to form the two half -rims, as A b. 54 Leather Working. The length of cd can now be ascertained by measuring round the piece which is to be the bot- tom. Only 1 in. can be left to form the seam, and the width of the inner case will have to be 1\ in. This will be at a b ; but, after it is seamed up, it can be gradually cut down from these points at each side to a width of 6-| in. The inside of this inner case may be covered with the lining, which should be turned over to the out- side, top and bottom. The bottom piece, covered on one side, as explained above, for the inside lining of the leather case, c d (Fig. 52), may now be covered outside. The lining should be turned round the top and over at the bottom, and a piece put over the bottom for a finish, and just stood in the case ; A and b should be trimmed at the sides to allow the inner case to fit inside the outer one. The top of the sides may be covered with quilted satin, puffed a little with wadding, and finished off on the under side with lining. The quilted satin is only just secured on each side, which can be done by folding a piece of the lining and stitching it to the satin underneath f and the opposite side (let- ting a and b be \ in. apart), and about f in. wider. This should be left on towards the centre, so that it may be stitched along the top of c d at G and h. This must be done so as to leave A and b quite free to be lifted up, as shown at I J, so that when in the case collars, etc., can be put in the spaces be- tween the inner and outer cases shown at I and J (Fig. 46). A piece of ^-in. elastic, with an old-fashioned garter-fastener in the centre, must be put across from K to L (Fig. 46) to hold the inner case contain- ing the hat in its place. 55 CHAPTER VI. BANJO AND MANDOLINE CASES. A banjo case, or a case for any similar instrument, can scarcely be made too well, as it often undergoes a lot of rough usage ; it fits so close to the instru- ment it is designed to protect, that, if badly made, or made of common or unsuitable leather, it forms a covering only, and is not really a protection. This chapter will therefore explain how to make a good, strong, solid leather case, such as, in fact, it would not be possible to buy at any shop, unless made specially to order. It will be seen that in giving the patterns for the various parts of two different shaped cases, they are so placed together in Figs. 53 and 54 as to enable them to be cut from a strip of leather with the least possible waste — an important consideration in cut- ting up leather. First measure the banjo, or lay it on a sheet of paper, and cut the bottom pattern to it, as A, in Fig. 53, leaving, of course, a margin all round ; and then cut the other parts, as there shown, placing them together in a like manner. It will now be seen how much stuff will be required. The height of the banjo must be ascertained to determine the thickness of the case ; the smaller all parts can be got, the better will be the fit and the cheaper the case. As a good illustration of the shapes and their positions given in the diagrams, only a few hints will be needed as to the method of making it. Suppose the work is done from measurements. Take the exact length of the banjo, the width of rim including brackets, height of highest portion as it lies upon a flat surface, and the width of the key- 56 Leather Working. board. Letting the rim measure be the diameter, describe a circle to it ; take from a portion of this circumference the width of the keyboard, then draw two lines the length of the handle, asMN; the length of these can be ascertained by drawing the length of the banjo as o l, and making the M and n meet the line l. This clone, allow \ in. all round, and cut out this, the bottom pattern ; then cut another to it, but \ in. longer, for the lid. Cut B the width of the measurement previously alluded to as the height, and the length can be found as follows : Suppose the width of rim to be 12 in., the circumference would be about 36 in. ; b would therefore be this length less the distance between m and n. And the same rule will apply to F for the rim of the lid, but it will be longer, as the circumference is larger. The length of the two sides can be obtained by measuring from P, past N and q, to L, where these two (c and d) may join ; and this rule will again apply to G and h for the lid ; or they need only be cut the length of p to Q, and a piece joined on the end (at each corner) as I. The handle J can be cut to any shape desired, and can easily be cut from the spare corner shown. This completes all the outer pieces for the case shown in Fig. 55. The whole of the inside of the banjo case may be covered with any coloured baize or flannel, the edges of which should be turned in so that it is just a shade smaller than the above patterns. This lining should be glued into its place after the case is made. The stitches in nearly the whole of these cases are made as shown in Fig. 56. This is not at all diffi- cult, and can be done either with harness-makers' needles or with a thread as used by shoemakers ; the latter is the stronger, as only a very small hole is needed. The small box for strings, etc., may be made from stout cardboard, and covered with the lining ; Banjo and Mandoline Cases. 57 f y lu ^\ i *£ /"*/ h3 /><^~" " "^>^ ! 3 UJ IL h Whole 1 15 ! ^ , -1-3 +3 X / K > ^^ / ¥ X > -3 d jO- CO CO c3 f-i Ph U. Ph O O o m /\ CO . 00 f ) rt d /"" ~\ <*> 2 Z u 1 Ot < i 1 1 ° 1 * o. 1 ^ \ s - . ' / \~ Tii it is put in in the same way, and can, of course, be fastened with buckles and straps, clasps, or lock and key, though if properly fitted it may be left 58 Lea ther Working. without. The piece taken out between a b (Fig. 55) is to receive the finger when the box is being opened. The handle may be stitched on or fastened by two copper rivets at c and d. Two straps and buckles, one at e and another at f, will hold on the lid, which may be fastened with lock and key, clasp, or another strap and buckle. The banjo case shown in Fig. 57, of which Fig. 54 gives the parts in section, is a very handy shape, and is a little cheaper to cut. In this case the top and bottom are the same size and shape, as shown by a and b. The pattern should be obtained in the same way as before, but it will _7 a A Q °B i F/ Fig. 55. — Bottom of Banjo Case. A Fig. 56. — Corner of Banjo Case. not need to be quite so long — that is to say, only from i to J (Fig. 54). It will be seen, by reference to Fig. 57, that the lid should cover only about 2 in. of case as at A. It will be found that about 2 in. or more in the sides of the lid can be saved by cutting, as here shown, some of the one out of the other, as F and E (Fig. 54). The other sectional parts of this illustration are the two sides c and d, and e and f, the top and bottom of the lid ; G, the side of the lid, and h the handle. The dotted lines in A and b show how a pattern of the lid can be obtained, the outer one being cut to the portion of the circle it is to cover, and the inner ones to any shape you wish, but the narrower it is Banjo and Mandoline Cases. 59 at e and I the more economical the cutting, c and d should be cut long enough to form the whole of the sides and the end, as each shown here will come from b to c (Fig. 57). g, in Fig. 54, is for the rim of the lid, and is cut about 2 in. or 3 in. longer than the lid , this end is left on one side, to be stitched to the case at d (Fig. 57), and forms a good hinge. h, in Fig. 54, is the handle, and should be attached to the case as shown above. The remaining pieces will be needed for buckle-straps and loops. w- Fig. 58. — Corner Split and Butted. Banjo Case with End Lid. Where the leather is required to be turned to an angle, as at e (Fig. 57), a piece must be taken out of the leather about halfway through on the wrong side ; and when one is required as at f, give one straight cut halfway through ; they can then be tapped down on an angular piece of wood. Another very good way of making the seams at the corners is to take the top and bottom, or all the sides, and draw a line all round with a pair of com passes about y«y in. in from the edge, and from this line make holes all round ; put the point in at this 6o Lea ther Working. line, and bring it out at the edge of the leather about two-thirds of the way through, as shown by A in Fig. 58. It will now be seen that B is the other piece of leather, and that when the two are put together to form a corner, as a and B, and while A is butted against B, the awl is put in at A and pushed through till it comes out at b. This makes a very solid corner. In putting this banjo case together, it must be lined up first, care being taken to line it firmly, as it cannot be done afterwards without undoing the Fi£. 60. — Mandoline in Case. stitches. Strings, etc., should be kept in a small box covered with baize, which should be placed in- side the banjo prior to putting it in the case. For the above the leather is cut and enough stuff allowed to admit of an angular piece being taken off all the corners, so that the portions which are to be stitched can be laid together as in Fig. 59. The method of making a mandoline case in American cloth, with bound and turned-in edges, will now be explained ; the method to be adopted when leather is used will be self-suggestive. In Fig. 60 at A is given a portion of the body of the mandoline standing out of the case, to show how it is put into the case and the way the case is made. Looking at a case of this shape it might be Banjo and Mandoline Cases. 61 thought that the mandoline is put in so that the strings come next to the lid, whereas it is laid in on its side, one side being at the bottom, as shown by the dotted lines b. The method of cutting the pattern will depend on the size and exact construction of the mandoline ; but by way of example the sizes in inches of various parts at different points of a case for an ordinary mandoline are given. These dimensions will re- quire slightly modifying for instruments of other shapes and sizes. Take a piece of paper, the left-hand top corner of which must be a right angle, as A (Fig. 61). Mark a point at c along the top 24^ in. from A ; draw c D 1. Fig. 61. — Elevation of Mandoline Case. at right angles to a c, and e f parallel to c d at a distance of about one-fifth of the distance from A to c. Make f e 8^ in. long. A line is drawn from A to B, which should be 3f in. long, and another drawn from b to G — that is about a quarter of the length, and parallel with A c. From this point draw the curve g h e j. From H to I the distance will be about 5^ in. The point J, where the curve ends, is about 4 in. from c, on the line c d. The line k l should be about 2 in. long, and indicates the edge of the rim of the lid. The next pattern is the top of the lid, 24| in. long from A to B (Fig. 62), 6| in. from c to d, and 3^ in. from e to f. The next is for the bottom. This is cut in the same way as for the lid, only, as it has to go round the curves, it will need to be 32^ in. long 62 Lea ther Working. from a to b (Fig. 63). c d must be 6f in., and e f 3j in. long. The end piece is next cut ; this should be 3| in. by 3 in., as shown in Fig. 64, while the handle should be cut as shown in Fig. 62 at G. Two Fig. 62.— Top of Mandoline Case. pieces the same width as a c k l (Fig. 61), one the length of c d, the other of e f (Fig. 62), are required, and the whole of the patterns are cut. To each of these patterns cut pieces of stout strawboard — one to each piece — excepting Fig. 61, to which two pieces must be cut. These, when the whole are cut, may be temporarily fastened together in their proper places by strips of gummed paper, in order to test their correctness, and the mandoline should be tried to see if it fits before finishing the making of the case. If everything is satisfactory, put a mark on the outside of each piece so that they may not get mixed. It is best to line the insides first. This can be done with baize, striped union, or any material or colour preferred, and this may be stuck on with Fig. 63.— Bottom of Mandoline Case. bookbinders' paste. Take one side, as Fig. 61, and the lid (Fig. 62), and lay them with their widest sides together, so that they are about \ in. apart, not more. Paste the lining on to these and let it dry ; Banjo and Mandoline Cases. 63 serve the inside of each piece the same, doing these one at a time ; then pare the edges of the lining off to the edge of the board, except in the first instance, where the lid and side are joined together. Now the outside is covered in the same way with American cloth, and trimmed off at the edges, if the edges and corners are to be bound, as will be ex- plained later. If they are only to be stitched through (a very nice, neat way), the American cloth is left on \ in. all round, pasted, and turned over on to the lining. When done in this way, the corner seams should be made as Fig. 65 at A, letting B and c be the stitch, which is set right through to catch the edges of everything. This would also mean Fig. 64. Fig. 65. Fig. 66. Fig. 64.— Mandoline Case End Piece. Fig. 65.— Binding Corner of Case. Fig. 66. — Stitching Corner of Case. stitching or felling all the other edges down, as on the lid, at c, d, e (Fig. 60), and also the three edges of the body at f, g, and h. The lid and one side may be covered at the same time, and if the lining and the outer covering are pasted well together, they form a good solid hinge for the lid, which is much better than having a movable lid. The corners that will have to be stitched through are 1, J, k, l, m, n, and (Fig. 60). If the lining and covering has been done with a raw edge, a long strip of basil or persian, about I in. wide, must be damped and folded down the centre, grain side out. Lay this on the corners, as A (Fig. 66), put the awl in at b, and bring it out at c, so that it catches all the edges in the stitching. 64 Lea ther Working. Another long strip will then be needed for the binding of the plain edges. This will need to be only \ in. wide, but it may be wider if desired. It must be lapped over the edges c, d, e (Fig. 60), and also f, g, h, and the awl put in at one edge of the binding and brought out at the other, near each edge, but the stitching must catch both edges. It is best to put these on so that there is no join at the corners, as for instance at F and H, as it will help to keep the body and lid in shape and thus make it more durable. If it is wished to make a better or prettier cover, instead of using American cloth, use thin leather, as patent seal, etc., or a fancy stamped roan. The handle .is put on at h and 1 (Fig. 62) with leather or brass slides. The case may be fastened with a spring or ordinary lock, letting the lock be on the case, as n (Fig. 61), and the hasp on the lid as m. On the back, under the lid, inside at o (Fig. 60), there will be a space at the back of the neck or handle of the mandoline. This can be made use of, as a little box could be fitted here to carry string, etc. ; or two narrow straps, some little distance apart, may be affixed to take a small pocket-book ; and just above the same place, on the lid, a narrow strip may be stitched on, well fastened at each end with a stitch here and there, about \ in. apart, to put the plectrums in. If the case is made of American leather cloth, the stitches need not be very short — say three to the inch — and the thread may be made from stout carpet thread, with tapers made as has been ex- plained and fastened on to harness-makers' needles, and the holes made with a fiat, diamond-shaped awl. See that the case is quite dry before the man- doline is put into it, or the steel strings will be injured. 65 CHAPTER VII. BAGS. This chapter will deal with the methods of making leather bags of five chief kinds— brief, lady's hand, Gladstone, and tennis. This by no means exhausts the subject, but the bags chosen are representative, and, following the instructions given, it should not be difficult to make a bag of any other shape after thoroughly examining it. The two most useful sizes for brief bags are un- doubtedly 12-in. and 14-in. Like Gladstone bags and some other kinds, the difference in length be- Fig-. 67.— Brief Bag. tween any two consecutive sizes of brief bags is generally 2 in. The sizes usually kept in stock are 10 in., 12 in., 14 in., and 16 in., but any size under, above, or between these can be obtained to order. In width and depth brief bags differ consider- ably. In those 12 in. long the width of the bottoms varies from 3i in. to 5i in., and in 14-in. bags i in. excess over these measures is allowed, the differ- ence in depth being in proportion ; the sides of the smallest size measure anything between 7 in. and 10 in., and in the other 7$ in. to lOf in. It being always easier to reduce than to enlarge a pattern, E 66 Lea ther Working. and more convenient generally to have a bag slightly too small, the dimensions given in this article will be the largest, in proportion to the length, and may be reduced as desired. Fig-. 68.— Narrower Brief Bag-. Fig. 67 shows a bag well proportioned ; Fig. 68 is much narrower at the bottom, and not so deep. The way to cut out the patterns for either of these bags is to open the frame as in Fig. 69, and lay it perfectly flat on the bench, and with a rule measure it carefully between the corners A A and b b. The frame will be found to be slightly less at B b, owing to this part closing into the other half, and the difference must be allowed for in cutting out the leather. In both bags the distance between G G (Fig. 70) and d d (Fig. 71) is the same. Fig. 69.— Brief Bag- Frame. The dimensions in the diagrams are given for a 12-in. bag, and will measure 12 in. by 10 in. by 5 in. when finished. A bag is always measured at the frame, and the length of the bottom should always Bags. 67 be 1 in. more than this. Get a sheet of thin brown paper, and fold it in the middle. Mark it correctly the exact depth and half the distances between G G and h h, and cut through the double paper. This F r.R hi I3T-- Fig. 70.— Pattern for Side of Bag-. ensures both sides of the pattern taking the same curve at the swelled part. The pattern in Fig. 70 is for the sides, and should measure along the top llf in., and at the bottom 13| in. Next measure the frame from A to B for the gusset (Fig. 71). The distance will be found to be 8 in. ; but if closed it will be quite 8^ in., "the hinge of the frame making this difference. Therefore cut the gusset 8| in. from d to D, 10 in. from E to E, and 5j in. at the bottom, f f. The depth of the gusset will be 10 in. only. Then, when the seams d f and Gusset Pattern. Fig-. 72.— Gusset Stiffen- ing Pattern. g h are made, all ends will be level. The pattern for the bottom will measure 13J in. by 5^ in. All seams are allowed for. To cut out the bag, lay the leather on the bench, 68 Leather Working. grain side down, and see that the patterns are placed on it so that the grain marks will all run in the same direction when the bag is made up. Cut out the sides first, and, as they are more exposed than any other part, they should be taken from the best part of the leather. Take the gussets next, then the bottom ; the welt pieces may be cut from the thinnest part of what is left. Begin sewing the bag by taking one of the sides and one gusset. Place them face to face, so that d and g and f and h meet respectively, placing a welt piece between the edges, and stitching with a good waxed thread made of four-cord No. 9 patent o 1 o o en i o iei-- o Fig. 73.— Bag Bottom Pattern. Fig. 74. — Bag Lining and Pocket. hemp. When the four seams joining together the sides and gussets are finished, sew in the bottom, putting a welt piece in these seams also. The bag will now be ready for turning, and the corners must be well worked out and tapped down with a hammer previous to putting in the stiffenings. For the side stiffenings take an 8-oz. strawboard, and cut two pieces \ in. less all round than the pattern used in cutting out the leather. The bottom stiffening will be about 12f in. long by 4| in. wide, and must be cut from a 2-lb. strawboard. Fig. 72 shows the pattern for stiffening the gussets. Cut this from a 16-oz. strawboard. The bottom stiffen- ing must be glued in first, and the studs put through and fastened down as in Fig. 73. See that the Bags. 69 stiffening fits firmly every part within the seams, and rub it well down with the rubbing bone before the glue sets. In cutting out the gusset stiffenings, the distance from a to c when they are in position as shown by dotted lines (Fig. 71) must be rather more than the distance from A to c on the frame (Fig. 69). If the glue should show signs of setting too rapidly, a tea- spoonful of treacle added to \ lb. of glue will be found effectual. Use a large brush, hot glue, and get the stiffenings into position quickly. For covering the frame, take a nice thin piece of hide (persian works better), cut a strip 20 in. long by 4 in. wide for covering the largest half, and another strip 19 in. long by 2j in. wide for the other half. The frame in this case will be covered all over, as shown in Fig. 68, and the edges of the covering must be brought to that side of the frame which will be out of sight when the bag is finished. Use good paste, and fix the key-plate and handle-plates in position before pasting the covering to the under side of frame. The method of making the handle and fixing the plates to the frame, besides much other useful information, is given when describing how to make a Gladstone bag (see pp. 73 to 83). Any kind of lining— roan, skiver, or linen twill — may be chosen, and in cutting it out of the same pat- terns used for the outside will do. A pocket must be formed on one of the sides, as shown in Fig. 74. To do this, cut the lining as shown by dotted lines K k, and finish at each end in the form of the letter V The edges thus produced are pasted down inside ; this makes a good opening to the pocket. A piece of material like the lining is put on to the back, cut large enough to receive the stitching, and the pocket is formed by stitching the three sides and above the opening for the same. When the lining is finished, place it inside the bag, pocket side opposite the lock, and glue to the 7° Leather Working. bottom and round the top of the bag. Trim off any- excess of lining here, and prepare to sew the bag to the frame. Start at one of the corners, either a or b, and fix on a tab when sewing b side, to open it by. See that all seams meet before starting to stitch, and use black flax in making threads for this part. At x (Fig. 68) a fulness of the gusset is shown, which must be made in framing this part ; this allows the bag to close easily, as before mentioned, and causes no strain to the hinges. The frames, as well as the material, for making ladies' bags are very different from those used in making brief bags, and there is a much greater variety of each. For instance, ladies' bags are made in russia, roan, morocco, pressed grains, and leather cloth, besides many special kinds of fancy leathers and other materials. There is also quite a variety of frames used, from the plain japanned to the elaborate nickel or gilt, with mounts to corre- spond. In buying a frame it will be advisable to get a few pins with it for riveting the parts together. If an old bag is at hand the same size and style as the one it is desired to make, take patterns of all the parts, then lay them in order on a large sheet of paper, to serve as a guide in selecting a skin of suitable size. Take care not to buy too small a skin, or one which would leave a lot of surplus on hand. Morocco, roan, or russia bags are usually lined with leather. This may be either persian or a good skiver, either of which may be obtained in fancy colours. For a single bag, a small persian would perhaps be the most economical to buy. The largest pieces for the bag should be cut out first, and from the best part of the skin. The sizes of pieces required for a 10-in. square pattern bag are as follow : One piece, 17 in. by 10 in., forming one side, bottom, and pocket on the other Bags. 71 side. The flap which completes this side is cut 6 in. by 10 in. Four pieces for the stiffened portion of the ends must be cut 6 in. by 2 in. each, and the flexible portions forming the gussets 6^ in. on each side, 5^ in. at the top, and 1-in. only at the bottom. The shape of these two pieces is almost triangular. One 2-in. by 6-in. piece is laid on each 6^-in. side, and the parts are stitched together, leaving the 5^ in. to be riveted to the frame, and the 1-in. part for seaming to the bottom of the bag. A piece of American cloth is generally used for that side of the bag covered by the flap and pocket. Narrow strips of leather of the same kind as that used for the bag are stitched on each side of this to prevent the cloth being seen beneath each end of the flap. These must be cut 1 in. wide by 5 in. long, and must be stitched to the cloth before the side seams are made. The flap is made up quite separ- ately from the bag. The lower corners of this are sligntly rounded, and a piece of American cloth is cut the same size for the back and to provide the casing for the springs to slide in. The spring pieces are cut \ in. wide by 3 in. long, and good black elastic, | in. wide, is stitched to one end of each, the other end of the leather being rounded and the fastener riveted on to it. The counterpart of this fastener — or stud — is riveted on to the pocket. The flap must be neatly bound with thin leather cut f in. wide, which provides a good surplus for the underside, and ensures the stitching taking a good hold of the bottom edge. All the stitching may be done by any domestic sewing machine, as the material is in no case very heavy. The lines on the flap are creased with a tool, re- ferred to in previous chapters, heated and worked along in a straight line. In seaming the body and ends of the bag together, place a narrow welt piece between them, 2? Fig. 101.— Ring and Fig. 102.— Section of Buckle Holder. Leather and Sheath. Four buckles will be wanted for the f-in. straps ; two brass studs (Fig. 103), like shirt studs, but stronger ; and a ring If in. diameter (Fig. 104) of £-in. round brass or galvanised iron, flattened for about one-third of its circumference. Six pieces of cane will be needed, 8 in. long and about | in. diameter. Get also 4 yds. of grey binding-tape £ in. wide, some sewing-thread and needles, and some twist and a piercing-awl for sewing through the leather portions. The binding 2, Fig. 103.— Brass Stud. Fig. 104.— D-ring. can be sewn on by machine, but the rest of the stitching is done by hand. From the waterproof cloth and the lining cut out pieces of the following dimensions : — One piece Knapsacks and Satchels. 103 measuring 36 in. by \2\ in. (outline of Fig. 100). One piece measuring 12^ in. by 9| in. Two pieces measuring 12^ in. by 4-|- in. (outline of Fig. 105). The lining is pasted to the waterproof cloth and is left to dry flat under pressure. From some cardboard i in. thick cut out two pieces, each 9 in. by 3^ in., for stiffening the ends of the knapsack. Paste them between the 12^ in. by 4|-in. pieces (t, Fig. 105). The card must be central, so that there is a margin of f in. round * y Fig. 106. — Section of Stiffened Part. Fig. 105.— Stiffened Part of Knapsack. three sides and a margin of 2| in. to the fourth side. Where the stuffs overlap the card they can be pasted together, but the whole must be kept flat. Draw a straight line with lead pencil round the edges that have the |-in. margin, making the line I in. from the edge ; then draw a similar line j\ in. further in — that is, a 7 . F in. from the edge. These lines (not shown in Fig. 105) are to act as guides for the seaming, and should be marked on the lining side. Ib4 Leather Working. Round off the corners of the parts shown in Figs. 100 and 105 where indicated, at one end only. A teacup inverted can be used to guide a pencil in marking the part-circle on the lining ; a pair of scissors will then cut it out true. Fig. 106 is an enlarged section of part of Fig. 105, and shows the arrangement of the stiffening card, the waterproof covering, and the calico lining. Next the binding has to be sewn on. The parts where it goes are indicated in Figs. 100 and 105 by a dotted line outside the outlines. At some places binding is not necessary. The leather and straps now have to be sewn on. The two pieces 12^ in. by \\ in. are to be sewn on the 12-in. by 36-in. pieces with twist and the awl, the stitches being T \ in. apart. Fig. 100 shows where the leather goes, and to ensure the correct position it is best to draw two pencil lines across at A b, 14 in. from the round-cornered end, and at c d, 23 in. from the round-cornered end. The seams are to be not quite J in. from the edge, and the holes through the leather should be made first, before beginning to sew it to the stuff. These pieces are sewn to the outside of the stuff, and the seamed edges are shown by the dotted lines in Fig. 100. Only one long edge is stitched ; the other is made into six pockets that receive the ends of the 8-in. canes. To form the pockets, eight rows of stitches are made, three stitches in each row, across the width of the leather strip and near its free long edge ; the stitches pass through, and further secure the leather to the stuff. The awl- holes should be made for these in the leather at the same time as those for the edge seams. The seam, a b (Fig. 100), besides securing the leather to the 12-in. by 36-in. piece of stuff, also sews the 12-in. by 9-in. piece to it. The lined side of the 12-in. by Knapsacks and Satchels. 105 36-in. piece goes against the unlined side of the 12-in. by 9-irt. piece, and the edge opposite the rounded corners of the 12-in. by 9-in. piece goes along the line A b. For making the buckle straps skive or bevel the ends of the 7-in. by f-in. pieces of leather, and, 1| in. from either end of each, make a hole shaped like an elongated 0, | in. long and barely \ in. wide. The ends of this hole and the holes for the buckle tongues will have to be made by punching out a circular piece with a cutting punch that takes it out clean. The punch can be bought cheaply, but a short piece of steel or brass tubing with the edges at one end ground sharp will make an efficient substitute. 1 VJ Fig'. 107.— Strap End with Keyhole Slit. Put the buckles on with their tongues through these holes, and bend the skived ends back, as shown in Fig. 102. Put two or three stitches in the skived overlapping ends to hold them together, and with the same stitches sew on a sheath (s, Fig. 102) for the ends of the straps that are to pass through the buckles. The sheath is simply the piece of leather, f in. wide and 3 in. long, wrapped once round the middle of the looped strap. It must not be wrapped tightly, or there will not be room for the strap ends to go in ; so insert one of these to keep it at the right distance whilst sew- ing it on. Then sew the looped straps to the out- side of the stuff, as shown at e and f (Fig. 100), so that their outer edges are If in. from the edges of the 12-in. by 36-in. piece and their centres are 11 in. from the end that has square corners. 106 Leather Working. Punch eight buckle-holes in the f-in. part of the tapering pieces, spacing them equally. In the 1-in.- wide part make keyhole slits (Fig. 107) for the studs to go in. One hole of each pair should be \ in. from the extremity of the leather, and the other hole Z\ in. from it. The studs passed through these two holes keep the end of the strap wrapped round the lf-in. ring. Fig. 108.— Part Back View of Knapsack. This ring is held to the knapsack by a leather holder made by doubling the 4-in. by l|-in. piece, and so forming a loop for the flat part of the ring to rest in (see Figs. 100, 101, and 108). The holder is stitched to the middle of the 12-in. by l^-in. piece, a b (Fig. 100). To the round-cornered end of the 12-in. by 36-in. piece, on the outside, near the end, at g and h (Fig. 100), the two 4-in. by f-in. pieces of the leather are stitched. They are placed If in. from the 36-in. edge, as in the case of the 7-in. by f-in. pieces, e and f, for into these they buckle, and so keep the flap of the knapsack down. Knapsacks and Satchels. io- Cut the piping leather into two pieces and fold each lengthwise along its centre. Cut a notch 9^ in. from each end so that the folded piping can be bent at right angles there more easily (Fig. 109). Take one of the stiffened pieces (Fig. 105) and to it sew the piping leather in the following manner : — The edges of the leather are to be close to the edges of the stuff, and the 3^-in. portion between the two notches is to be sewn along the 4^-in. side of Fig. 105, occupying its middle part and leaving Fig - . 109. — Piped Corner of Stiffened Part. Fig-. 110.— Satchel or Cartridge Ba°r. a margin of \ in. at either corner. The other parts of the piping leather — the two 9|-in. ends — are sewn to the two 9-in. sides of the stiffened pieces. Fig. 109 shows a corner of Fig. 105 enlarged, with the piping sewn to it ; the side to which the piping is sewn is the waterproofing, not the lining. The stitches must be f\ in. apart, and along the guide- lines already made g in. from the edges. There is no piping between A and J (Fig. 105). When both pieces have been piped, they are to be sewn to the 36-in. by 12-in. piece (Fig. 100), with a second seam along the second guide-line ^ in. from the first. The relative positions of the 36-in. by 12-in. piece and the two 12^-in. by 4-|-in. pieces io8 Lea ther Working. are shown by Figs. 100 and 105, where J k c a in one have to coincide with the same letters in the other, due allowance being made for the facts that Fig. 100 is drawn to half the scale of Fig. 105, and that FL>. 111.— Buckle Piece. on the other side of Fig. 100, J k d b take the place of J k c A The seams must be continuous all round the three sides, and must be made whilst the pieces are held together, lining outwards. When finished, the bag must be turned inside out and four fasten- ing-off stitchings made at the corners A, J, b, and J (Fig. 100), where these points are sewn to Fig. 105 and its fellow-piece, to prevent tearing. The ends of the canes must be inserted in their pockets. Tapes may be sewn to the ends of the unstiffened Fio-. 113. --Front of Satchel. Fig. 112.— Back and Flap of Satchel. parts of the 12i-in. by 4^-in. pieces. Sometimes one of the straps, p or s, Fig. 100 (whose ends go into the buckles, e and f), is fitted with a hook-and- eye attachment to make putting on and taking off Knapsacks and Satchels. 109 easier than when a buckle has to be undone. In that case the strap p or s is cut in two about the middle of the f-in. part, and a brass wire hook is made and fastened to one end and a brass wire eye to the other. The buckle is still wanted for adjust- ment. This chapter will conclude with a description of how to make a cartridge bag or satchel. Such a bag is shown by Fig. 110. To make it, begin by cutting patterns in paper or cardboard to the dimensions shown in Figs. Ill to 116. The bag can be made in cowhide, pigskin, or any other leather of the same substance and quality, or of canvas bound with leather. The straps (Figs. 115 and 116), buckle piece (Fig. Ill), and loops, should be made of brown middling, or solid leather. After this Fig. 114.— Gusset of Satchel. has been cut to pattern, colour the edges of the pieces just mentioned with dye to match the leather, and polish the edges with a greasy rag ; then punch the holes shown in Figs. 115 and 116. Take the shoulder strap (Fig. 115) and bend the leather 2 in. from the end and punch or cut a hole in the centre of the fold for the tongue of the buckle, which may then be fixed in position. Next cut a piece of leather, 1| in. by ^ in., and stitch the two ends together to form a loop ; slide this along the strap to the buckle and sew through the two thicknesses of strap, starting from l (Fig. 115) on the one side round to M on the other side. Two pieces of leather, 1^ in. by f in., may then be sewn on the gusset or band (Fig. 114) as shown. The buckle piece (Fig. Ill) is made similarly, and after- wards sewn as in Fig. 113, which shows the front- no Lea ther I For king. The short strap (Fig. 116) should be sewn on the flap (see Fig. 112), the stitching being commenced \ in. from the edge and continued for 1^ in. along each side. The parts shown by Figs. 112, 113, and 114 should have strong twill lining fixed over the back of each piece, this being pasted about 1 in. from the edge. The front (Fig. 113) should now be bound with soft leather from J to k, a piece of leather f in. wide being pasted on and marked for stitching if this is to be done by machine, and pricked with a pricking iron if hand work is employed. The gusset or band (Fig. 114) should now be welted on the back, a strip of leather £■ in. wide being folded over and oversewn or tacked about \ in. from the edge from H to I (Fig. 114), keeping | o o o o o i Fig-. 115.— Satchel Shoulder Strap. the two edges of the welting and the edge of the gusset together. The back should be folded and marked at f (Fig. 113); similarly mark Fig. 114 at G, and bring the two centres F and G together and tack them strongly. Also tack together in a similar way h (Fig. 114) and d (Fig. 113), also i (Fig. 114) and e (Fig. 113). The whole should now be welted together from point E to d (Fig. 113), and in doing this, work on the gusset, having it on top when stitching. The piece should next be turned inside out, the face of the leather being brought outside and the welt- ing being forced out and rubbed with the handle of a hammer to give it the shape shown at x (Fig. 110). Next fix the front on the back, joining f (Fig. 113) to point A (Fig. 112). Tack the parts strongly together and bring D (Fig. 113) to B (Fig. Knapsacks and Satchels. hi 112), and e (Fig. 113) to c (Fig. 112), and tack them. Next oversew or whip the whole together from c (Fig. 112) to b. The back should next be bound all round with leather from a point under the strap between N and o, overlapping at this point by about \ in. The binding should be about f in. wide. Next fold the flap and fasten the short strap to the buckle in front. Run the point of the long strap (Fig. 115) through the loop at x (Fig. 110), passing it round the band or gusset and through the loop on the opposite side. L2 Fig. 110.— Short Strap of Satchel. The strap should be long enough to pass over the shoulder and buckle, leaving about 6 in. of spare strapping. The parts from D to J (Fig. 113) and K to E should then be turned inward and fastened with six stitches from the inside to the back of Fig. 112. This should be done with an awl and needle, a coarse thread being used. If brown leather has been employed and has become soiled in handling, wash it with a weak solution of oxalic acid. 112 CHAPTER X. LEATHER ORNAMENTATION. The method of leather ornamentation described in this chapter can be applied to a variety of articles, such as book-covers, blotters, boxes, panels, finger- plates for doors, etc., with fine effect. The tools required are few and can be easily made. The tracer (Fig. 117) can be made by inserting two pieces of steel knitting-needle in a wooden handle, and filing them to points as shown, one fine and the other blunt. The points should be finished on an oilstone, making them slightly round, so that they do not scratch. The liner (Fig. 118) is a tool with wheels of different thicknesses, and may be filed up from hard brass, iron, or steel. The edges must be perfectly flat and square, a hole being drilled in the centre for the pin. The shanks to carry the wheels may be of either of the metals mentioned above. A tang is filed at one end for inserting in the handle, the other end being drilled and slotted to receive the wheel and pin. The slot must be just large enough to take the wheel without allow- ing it to wobble. The modellers (Figs. 119 and 120) are the shape of the tools used in clay-modelling, and may be of the same material, namely, wood. Box is gener- ally used for the purpose, but any hard wood of close and even grain is suitable. They are easily made with a chisel or knife, file, and sandpaper, the ends being shaped similar to the thumb. Fig. 121 is a view of Fig. 120 from above, showing the ends pointed for working into corners and points of scrolls. The ends of 'the tool, shown by Fig. 119, Leather Ornamentation. 113 are round, and, as seen from above, the larger end is as broad as the middle of the tool ; the other end is slightly smaller. The above tools are all larger at one end than the other, so that the end found most suitable to the line, or work in hand, can be used. All are about 6 in. long. The grounding-punch (Fig. 122) may be formed Fig. 117.— Tracer. from a large French nail, cutting off the head and filing the other or working end to a long blunt point, as shown. It is about 4 in. long. A light hammer completes the list of tools. The following materials are required : — A slab of slate or marble, about 1 in. thick, to work on — perhaps hard wood would do as well if the surface were planed smooth, sandpapered, and made non- absorbent with a coat or two of varnish ; a bag of sand or sawdust on which to place the marble or wood slab to deaden the noise when grounding ; drawing pins for fixing the design ; a sponge and water for damping the leather ; some bran or fine sawdust and ryeflour for filling the raised parts ; a Fig. 118. — Liner. flat ruler, paper, pencil, and compasses. The leather must be thin calf or basil without flaws. The design has now to be obtained. The com- panion handbook, " Decorative Designs of All Ages for All Purposes," is invaluable to those who wish to draw their own designs. For transferring the design, with compasses and pencil carefully mark off and draw a number of squares over the H H Leather Working. original. Then draw a rectangle the full size of the paper pattern, and divide it into an equal number of squares. There are now a number of fixed points, and by noting where the lines of the design cross the squares, a fair enlarged or reduced copy can be made. Fi . 119.— Modeller. The pattern should be of such a size that a mar- gin will be left all round, say from % in. to f in. according to size. This gives the finished article a good appearance. The leather, if for a book- cover, should be cut \ in. larger all round than this to allow of skiving and turning over the edge. Place the leather on the slab, and with the sponge and clean water damp it carefully and equally all over. If the leather is w^etter at one spot than another a stain will show ; it must be kept damp throughout the working. The paper pattern must now be pinned to the leather, and with the tracer go over all the lines, using con- siderable pressure, or the pattern will not be trans- ferred. The ruler should be used, to guide the tools along straight lines. Fig. 120.— Modeller. Remove the pattern and go over the lines with the liner, w T ell pressing it. Any parts to be raised will now be pressed up from behind, using the modellers, the depressions thus made being filled (just filled and no more) with a paste made by mixing equal parts of fine sawdust or bran and rye- Leather Ornamentation. 115 flour with water. Over these place paper to pre- vent them sticking where not needed. The leather is now turned right side up, and the raised parts carefully modelled to shape with the Fig-. 121. — Another View of Modeller. modellers while the paste is still workable. Then go over the lines again with the liner until they are clear and sharp, and let the leather dry. When quite dry, place the slab on the sand-bag, and, taking the hammer and punch, proceed to stipple Fig - . 122.— Grounding-punch. or dot in the ground, making the impressions sharp and clear. Much depends on the evenness of the ground. The work is now finished and ready for mounting. n6 CHAPTER XI. FOOTBALLS. Footballs are composed of two parts — the case, or cover, and the bladder. The case always should be made of leather, and bladders are made from vulcanised sheet rubber of good quality. The shapes most used are the Association (Fig. 123) and the Rugby (Fig. 124). First of all, it is necessary to decide what kind of leather will be required. The cases are made 123. — As80ciation Football. from quite a variety of leathers, and many of the cheaper ones are not worth the labour of making up. Much of this leather is manufactured specially for football makers, but good, serviceable cases may be made from leather prepared in the usual way, especially cowhide. Whole hides vary slightly in size, and cut on the average from twelve to thirteen No. 5 cases ; pieces Footballs. 117 in various sizes may be bought, and some leather cutters will cut any required size at so much per square foot. The standard sizes of footballs are as follow: — Association: No. 1, 20 in. circumference; No. 2, 22 in. ; No. 3, 24 in. ; No. 4, 26 in. ; No. 5, 28 in. ; No. 6, 30 in. ; and an ordinary match Rugby measures 29| in. by 25 in. Other sizes are seldom made except for use in Australia, where they prefer a slightly larger ball, the dimensions of their Rugby match balls being 30| in. by 26 in. The case for an ordinary match ball, either Rugby or Association, contains two square feet Fig. 124.— Rugby Football. of leather ; but it must not be understood that a case could be cut out of a piece of leather that size. In cutting from small pieces there is more waste than in cutting from a hide. Association cases are mostly made in seven or eight pieces, but some have nine or ten segments, although there is no advantage to be gained in the greater numbers. The easiest to begin upon will be a seven-segment case ; the others can be worked out by anyone, as they are all the same size when made up. For an eight-segment case reduce the width of pattern proportionately, and so with the nine- or n8 Leather Working. ten-segment case. For a No. 5 Association case, made in seven segments, make a pattern 13 in. long by 3| in. across the middle, as shown in Fig. 125. Take a piece of stout cardboard, and draw on it a straight line 13 in. long ; bisect this by a line at right angles, as shown in the diagram. On this line mark off \\ in. from the centre on each side, and draw segments of a circle through the four points thus obtained. Ordinary compasses or dividers are much too small for this purpose, but there are several methods by which it can be done. One of the easiest is to tie a piece of fine string to a blacklead pencil, hold this in one hand and the string a given distance from it, and draw a line from point to point. Fix the cardboard with a few Fig-. 125. — Segment of Association Football Case. drawing-pins or fine nails to the table before mark- ing to prevent it shifting. When the pattern has been cut out, lay it on a large sheet of paper and mark round the pattern seven times on it ; this will show how much leather will be required. In buying the leather, see that the pieces when cut will run in the same direction of the hide as shown in Fig. 126, which shows a hide with pattern laid on, and how it should be cut. Having cut out the case, mark and cut off each end, if inserted ends are to be put in. These look much neater, and are also stronger, than outside end pieces. Select two segments and place them face to face, then mark one edge of each 2j in. from the centre ; this will leave 4| in. for the mouth. See that the marks on each are exactly opposite Footballs. 119 one another. A small piece to line each of these for lace-holes must be cut ; this will strengthen them. Mark them as in Fig. 127. The case is now ready for sewing. The few tools necessary for making footballs are not expensive, and can be bought at any leather- seller's. A knife, a few sewing awls, a No. 3 punch, a ball of fine brown hemp, wax, packet of harness needles, and the usual clamp to hold work whilst Fiff. 126. — Football Pattern Set out on Hide. being sewn, are all that will be necessary. In- flators may be bought at prices according to pattern and size. Fig. 128 shows the most useful kind ; this costs between five and six shillings, its size being 9 in. by 1^ in. Before beginning to sew the segments together, it will be necessary to make the threads (wax-ends). These may have four strands. The method of forming a wax-end is as follows : Take the ball of hemp and push the end out from 120 Leather Working. the centre. The hemp runs out more freely this way, and the ball will stand perfectly still. A hook or strong nail must be fixed in some convenient place, and all being ready, begin by breaking the end of the hemp to a fine tapering point. This is done by holding the hemp firmly between the thumb and forefinger of the left hand, leaving a few inches hanging down ; lay this over the thigh of the right leg, and with the right hand rub it in a downward direction, which will cause the twisted strand to loosen. Then take the end with the right hand and give it a jerk ; the fibres will break, and the ends of the strands formed in this way, placed a little distance above one another, will, when twisted together, give a smooth tapering point. Stand at a distance of 3 ft. from the hook and begin to make a thread by holding the end just formed in the left hand ; pass the hemp round the hook and bring it down with the right hand, and break off as before. Four strands will make a good strong thread ; carefully examine the points to see that they taper properly and have no lumps. Rub the wax up and down quickly a few times, then lay one point over the right thigh and roll it with the hand down the leg a few times until it is well twisted, then repeat with the other point ; rub wax up and down and it is ready for use. Give an ad- ditional coat of wax to the points, take a needle, pass the point of thread through the eye, turn point of thread back, and twist needle round a few times to secure it. Fix a needle to the other point in the same way ; select an awl of suitable size, which should not make a hole larger than necessary, and all is now ready for sewing. Begin by stitching on the linings for lace-holes, which should be large enough to take the sewing all round the mark. This lining may be held in place either by being pasted or tacked with two or three small nails. Place the segment within the mouth Footballs. 121 of the clamp, drive the awl through at one of the points of the pattern marked on it, pass the needle up through the hole, and draw the thread through until the middle is reached. This will give a thread of equal length on each side. Make another hole with the awl, pass up the bottom needle as before into the right hand, send the top needle through to the bottom, and with a needle in each hand pull through the threads simultane- ously until they lie on each side of the leather and form a stitch top and bottom. Sew round until the place started from is reached, then cut off and sew the other segment to match. It is assumed that the case is to have inserted ends, so the ends must be cut off the seven segments. Fig-. 127. — Marking Lace-holes on Football Case. Punch seven holes in each of the two lined segments for the lace-holes, as shown in Fig. 127. The case is now ready for seaming. Take two segments and place them grain upon grain, taking care that the edges of each are perfectly true. Place these in the mouth of the clamp, and com- mence sewing at one end. Be careful to drive the awl straight through, and as near the edges as may be without weakening the strong seam ; pull both threads in at the same time and with equal ten- sion ; this will give, when finished, a ball of good shape if the leather has been properly cut. Sew all the segments together, leaving only the last seam, where the lace-holes are, unsewn. Be care- ful to fasten the threads at the ends of each seam by tying them in a firm knot, or when the case is 12 2 Lea ther Wor king. turned and inflated the seams will gape open. The last seam should have about two stitches at each end just sufficient to hold them together while the end pieces are being sewn in. The seams must now be lightly hammered down. The best substitute for a proper iron for this purpose is a small iron foot, such as is used for repairing children's boots on. The smallest size will be large enough, and should be fixed in an iron stand or the usual wooden leg sold for that Fig. 128.— Football Inflator. purpose. Damp the seams well with a wet sponge and push the foot inside the case, taking care that it is always solid where the hammer blows fall. Too much force must not be used with the hammer or the grain may be broken. When all the seams have been treated in this way, prepare to sew in the end pieces. Take two circular pieces of leather, \\ in. in diameter, to form the ends ; place the case, one end uppermost, between the knees. The hole at each end of the case should be not more than \\ in. across. Make holes with the awl round the edges before sewing, so as better to guide the worker when sewing the Footballs. 123 end pieces in ; when sewn hammer down the two seams. The case is now ready for turning. This will be found rather an awkward job, especially if the leather is stout. The case is the right side out, but this last seam must be sewn inside like all the others ; to do this, drive one end of the case down until it rests upon the other. This will give it the appearance of a large bowl or the half of a huge cocoanut shell. By pulling further apart the half of the open seam which is outside it will be found that the inner- most one can be got at. Begin sewing this from the top, and gradually work down towards the lace- holes, finishing at the mark showing space to be left for insertion of bladder. Fasten the threads well, as a great strain is on this seam. Place the iron foot inside and hammer the seam ; then push out the case again to its natural shape and drive down the other end, but not so equal as before. The inserted end piece must rest about half-way along the seam just sewn, and this will bring the unsewn part in the right position for commencing to sew it. About 1^ in. may be sewn, then it will be necessary to shift it a little, and so on until the seam is finished. Lightly hammer the seam while sewing, or it will not shape properly when blown out. Cut a piece of leather 4^ in. by 3 in. and pare the edges all round to form the tongue-piece. This is stitched on to one of the sides of the opening by half a dozen stitches near the middle hole, and is used as a protecton to the bladder. A hole should be cut in the middle of tongue-piece to allow the pipe attached to the bladder to pass through it. Now insert the bladder, draw the tube through hole in tongue-piece, lay the tongue evenly inside the mouth, and the ball is ready for inflating. Put the nozzle of inflator into the bladder, and when sufficient air has been pumped in, draw the tube 124 Leather Working. off nozzle, hold tightly with thumb and finger, fold tube over, and tie down firmly with wax-end, taking great care there is no escape of air. Push the tube under the side which is not attached to the tongue, draw the mouth together with a good lace, and the ball is finished. If the instructions have been carefully followed, a ball, perfect in shape and equal to the roughest wear it may have to endure, will have been pro- duced. With the knowledge already gained, it will be an easy matter to make a ball of any other shape and size. The process is the same, and it only requires some care in calculating for the pattern. 125 CHAPTER XII. DYEING LEATHER. Broadly speaking, there are two methods of leather dyeing — by dipping, and by brushing. In the first method, the tanned leather is soaked for a short time in the liquid dye contained in a vat, or it is revolved with the liquor in a closed cylinder. The leather by this means is largely impregnated with the colour. Light-coloured leathers, especi- ally tan colours, are as a rule produced without dyeing ; the tannin liquors are made from materials which yield the required tints, and tanning and dyeing become one operation. In the second method, a solution of the dye is applied to the surface of the leather whilst spread on a board. This gives a superficial colouring only, the under side of the leather not being coloured. This method is used for applying coal-tar dyes. If the colour is to be applied by dipping, the preliminary treatment of the leather consists in soaking it in warm water to open the pores and soften the leather, thus allowing it to take up the dye quicker and more evenly. As the skins are often greasy, especially in patches, it may be neces- sary to dip them in a dilute solution of ammonia or washing soda, but this treatment tends to harden the leather and render it harsh, therefore only weak liquors should be employed. Black colours are produced on leather with salts of iron and galls, etc., or by means of aniline blacks, such as naphthylamine black, indulines, sloelines, etc. For an iron black, the leather is either tanned with gall extract, or, after tanning, it may be steeped for a short time in a bath made of 2 lb. of 126 Leather Working. powdered galls and 1 lb. of logwood chips to 8 gal. of water. This should be rendered slightly alkaline with carbonate of soda or ammonia before use. After steeping in the gall bath, steep it in a solu- tion of ferrous sulphate (green vitriol), 1 lb. to 8 gal. of water, till the black has fully developed. Aniline blacks soluble in water are not dead- black colours, but have a more or less pronounced violet shade. In order to counteract the effect of this, it is usual to add a yellow dye, such as aniline yellow or orange, or naphthol yellow, in the pro- portion of, say, one-tenth of the black employed. By using the two dyes combined, it is possible to obtain on leather blacks that are nearly free from violet tint. The blacks mentioned are known as " acid " dyes, and they are readily taken up by leather, especially from a slightly acid solution. Sulphuric acid, however, must not be used, as it causes the leather to rot ; it is better to add a little acetic acid or bisulphate of soda. The amount of dye required varies, but as a rule, 1 lb. to 2 lb. may be taken for 10 gal. of the liquid. The same blacks may be applied to leather by brushing, which is best done after soaking the leather in water for a short time ; then sponge it with the dye solution, and, after partial drying, another coat may be applied. To get a good black it may be necessary to give several coats, but two coats should suffice if a stronger solution is used. Other aniline dyes may be applied to leather by dipping or brushing, all that is required being a solution of the dye in water. The amount of dye to be used is best found by experiment on leather scraps, as their staining powers vary. The aniline dyes may be divided into two classes, "acid" dyes and "basic" dyes. Leather has the greatest affinity for the " basic " dyes, these colours being fixed by the excess of tannin in the hides as tannin-lakes, and if too much tannin is present the Dyeing Leather. 127 leather takes too much colour and becomes over- stained ; or it may dye too deeply in patches ; thus basic dyes are best employed in rather dilute solu- tions. Another reason for the use of weak solu- tions is that basic dyes give a bronze colour if the solution is too strong. Acid dyes are more suitable for dyeing by im- mersion than the basic ones, but strong solutions may be applied with a sponge, and will be taken quite readily. Basic dyes are not so suitable for dyeing by immersion unless the excess of tannin is previously removed from the leather by soaking in water. Alkalies must not be used for this purpose, unless afterwards neutralised by dilute acid, as they injure the colour of the dye. The following is a list of some of the aniline dyes suitable for dyeing leather ; it is not, however, a complete list. Compound colours may be made by mixing two dyes Acid Dyes. Naphthylamine black. Naphthol blue-black. Sloelines. Nigrosine ; water soluble. Acid browns. Acid green. Naphthol green. Fast yellow. Basic Dyes. Chrysoidine. Phosphine. Bismarck brown. Aniline orange. Alkali blue. Hofmann violet. Methyl violet. Malachite green. Magenta. For dyeing leather black by brushing, the leather is stretched and brushed with a strong decoction of logwood. It is then allowed to dry partially, and again treated once or twice with the logwood solution, after which it is brushed or dipped in a solution of sulphate of iron or nitrate of iron. If the black is not fully developed by this treatment the leather is again treated with log- wood, or with a solution of quercitron or sumach. 128 Leather Working. To intensify the black, one of the aniline blacks may be added to the logwood solution. The leather is usually treated with oil during the drying to prevent it getting hard and stiff ; it is also worked about for the same purpose. A solution of shellac in borax is often used to fix the black dye, as that on the surface tends to rub off. Leather is stained a red colour with one of the aniline dyes, or by first treating it with cochineal extract and tin salts (chloride of tin) ; the latter, however, is a fugitive colour. The various shades of yellow, orange, tan, red, etc., are also obtained by using solutions of aniline dyes, or by the use of saffron, anatto, fustic, and Brazil wood. A solu- tion of picric acid gives a very pale yellow colour ; aniline yellow and phosphine are now largely used for yellow stains. A red dye may be made by heat- ing \ lb. of Brazil wood (in shavings) with 16 oz. of white vinegar, and then adding a solution of \ oz. of alum in 4 oz. of water. This is brushed on the leather. A purple dye is obtained from \ lb. of Brazil wood, 1 oz. of scarlet berries, 16 oz. of water, and \ oz. of sulphate or chloride of zinc. Adding a little sulphate of copper modifies the colour. The leather intended for dyeing in bright colours should be as nearly white as possible. Leather that has been tanned, that is, alum-tanned or tanned with pale tan liquors, will be most suitable for the purpose. After dyeing, the leathers are usually finished by smoothing with a " slicker/' and dry- ing very slowly, stretching them and working them about from time to time to prevent wrinkling and stiffening. As a finish they may be rubbed with a strong soap solution made with curd or Castile soap. A dull polish may be obtained by using a polishing rag and a little French chalk. In some cases oils and yolk of eggs arc employed to aid in softening the leather. 129 CHAPTER XIII. MISCELLANEOUS EXAMPLES OF LEATHER WORK. A number of miscellaneous articles in leather will have their construction described in this chapter. Cash bags may be made of soft leather, such as wash-leather or basil. Cut them from 8 in. to 9 in. long and from 4^ in. to 6^ in. wide ; have a centre piece to reach to within 2 in. of the top, of the same width as the bag ; put the three edges together and tack them, and either backstitch or double-hand them with a fine awl and needles, with linen thread of any colour. Then turn the bag Fig-. 129. — Portsea Purse or Saddler's Purse. inside out and turn in \ in. about the mouth, stitch- ing all round the bottom of the turned-down piece. Punch holes | in. apart all round the mouth be- tween the stitches and the top, and run a string in and out from each end through these holes so that the string crosses in the holes ; knot the ends so that the mouth is closed on pulling the string. The Portsea purse (Fig. 129) is commonly called a saddler's purse, and may be made easily. The material may be hogskin, light calf, or other light leather of any colour. Cut the back part 5^ in. I 130 Leather Working. long, round it at one end for the bottom, leaving the sides straight ; then round the top, cut the front piece 3| in. long, and round it at one end to the same shape as the back part ; let it be quite square and straight at the top. Cut the centre piece to the same shape, and round it at the top. There are now three pieces ; put these together and tack them. Having marked the stitches on the front part, stitch double with beeswaxed linen thread where the front part begins, and stitch all round to the opposite side. Then glasspaper the edges, wet them, and rub with a rag so as to polish them. Turn down the back part a little above the line of the front piece, and give the bend a few light taps with a hammer. A small button, such as a small front stud, may be put through the front piece, with a hole opposite in the overlap to fasten it down ; but this is not really necessary. If the pocket is made with a gusset — that is, a piece let in to open it to increase the capacity — a button will be required to keep it closed. For the gusset, cut a thin piece of soft and pliable hogskin ; it must be long enough to go round the stitched part of the purse and 1^ in. wide. Double it down all along the middle, and mark it along the bent edge with the screw-crease and prick along the mark ; put in the centre piece of the purse from the point of the straight end be- tween the two folds of the gusset right up to the leather at the bend, and turn the gusset so all round the centre piece, and stitch along the marks made all round, taking care that with every stitch the centre piece is caught up. Cut square with the top of the centre piece on both sides, and tack the edge of the gusset right opposite on the back and all round, and stitch the gusset and back together all the way. Tack the front piece to the other side of the MlSCELLANEO US EXA MPL ES. 1 3 I gusset and stitch it round ; then damp the gusset well, and draw a piece of string tightly against the middle of the gusset between the back and centre pieces ; also draw it between the centre and the front piece to pull in the gusset. Put the purse on a flat surface and weight it to keep it flat ; leave it so till the gusset dries, and it will then stand and keep its form. Trim and rub the edges, turn down, overlap, and put in the button. Other purses may be made on the principles just described. It frequently happens — even when a good price is paid for a pair of opera glasses — that the case sold with them soon shows signs of becoming dilapi- dated. This is owing to the trumpery material these cases are made of, and the slip-shod style of putting them together. The instructions given here are for making a case in solid leather, which, if well-made, will keep in good shape and sound condition for many years. There is no difficulty in making it, the details of construction being soon mastered ; and its cost will be but trifling. Brown and patent leathers look and wear well, and both kinds are made up in the same manner. Fig. 130 gives the three necessary patterns for cutting out an opera-glass case. The body is made of two pieces marked a, which are joined together on each side where the strap goes round. b shows the pattern for the top. A strip of leather \ in. wide is joined to this and forms the flange. This may be cut in one length and carried right round, or made in two pieces and joined even with the seams on the body, c is the bottom pattern. Make tracings of the three patterns on suitable paper and paste these to thin cardboard, or sheet zinc. of fine gauge. Cut them out correctly, lay the patterns on the leather, and either cut it with a fine-pointed knife round the edge of the pattern, or mark the shape first with a round point and cut out after the pattern is removed. 132 Lea ther Working. For colouring the edges of brown leather use a very weak solution of " size " — 1 oz. is enough to ^ pt. of water ; and a few drops of oxalic acid in solution added to it produces a more brilliant polish. If black, or patent, leather is used, colour the size with a little lampblack or similar pigment. The edging must be applied hot with a sponge, and the polish produced by rubbing with a moderately coarse cloth. The sling-strap should be 6 ft. long by f in. wide. The strap to hold down the lid is 3 in. long by | in., and the four loops to keep the sling-strap in posi- tion round the case must be cut If in. long by | in. A number of holes will have to be made in the straps. Colour and rub up the edges of straps and loops, and one edge only on the flange pieces. Those edges to be sewn must be finished after the stitch- ing is done. The buckle chape should be stitched on to the middle of one half which is to form the body before the side seams are closed ; it is so much easier to fix this on to the flat surface. Mark all parts for the stitching £ in. from the edges— that is one edge of each flange piece, the four edges of the body, and also the top and bottom pieces. The flange pieces for the body are laid inside and fixed to the broadest part of each body half. Secure these in position with a few small nails and stitch them straight through. See that the inside edge is well taken hold of by each stitch, and that a uniform portion of the flange is in sight. Having sewn these on, the sides arc now ready for closing together. In doing this, the awl must be driven, not straight through as in the case of stitching on the flange, but in a slanting direction from the mark along the surface towards the extreme edge at the bottom, and then through the other part in a corresponding manner, bringing the awl out at Miscellaneous Examples. 133 the opposite mark. In this manner one edge is made to butt close against the other, and the stitch- ing securely holds them together. The guide loops for the sling-strap must be stitched on next. Place these evenly across the seams, so that an equal proportion of loop is on either side, and stitch them on, leaving sufficient " slack " to allow the sling-strap to be drawn through. Two small pieces of leather — to form hinges — must also be attached to the body. Stitch the bottom in next. This is put inside the lower A 1 - / y \ ! / ""*••< --- B *-•"" ~~\\ / •' / N \ ! ' \ ■ / \> a ' V^_. •»• « •»» // **--. «. m — - x ^*~^» — - ^ Fig 1 . 130. — Patterns for Parts of Opera Glass Case. part of the body, the cut edge of this latter being brought flush with the outside of the bottom. Pass the awl through from the mark on the body to that on the bottom — not vice versa. The flange piece is next sewn to the lid in a like manner, the cut edge of flange being flush with the outside of the top. Sew this to the two hinge pieces at the back and stitch the small strap to the front. Cut and fit in the baize or velvet lining, using some good paste for fixing it. The case is completed by sewing a buckle and loop into the 134 Leather Working. sling-strap, and passing it through the four guide loops. Cases for any size of glasses — opera, field, or marine — may be made from these instructions. To get the size of the top and bottom leather, place the glasses on a sheet of paper and take the out- side measurement at each end. Then take the length of the glasses, first turning the screw to bring the glasses to the shortest focus, and make some allowance over this measurement for the thickness of leather, etc. In making a music carrier, such as is illustrated by Fig. 131 below, great skill is not required, Fig. 131. — Music Carrier Closed. especially if the instructions about to be given are followed with care. The shape is of the ordinary round bottom pattern (Fig. 131) so generally used, which pos- sesses the advantage of holding the folded music without any perceptible crease. Fig. 132 shows the lid raised and the front flap dropped ready for receiving the sheets of music as well as for with- drawing them. With this drop flap it is easier to insert and remove the music than would be possible if this portion were united to the ends in the same manner as the back. The dimensions given will be found suitable for all ordinary sheet music measuring 14 in. by 10 in., Miscellaneous Examples. 135 the case when made up being 15 in. long by 5| in. deep. The diagram (Fig. 133) shows how the various parts are divided, 3^ in. being the drop flap, 9 in. the bottom and back, If in. the top of lid, and 2| in. the lid flap. Of course, there is no necessity to keep precisely to these dimensions, but they will be found to be very suitable for the purpose. Whatever material is used it is essential that it should be cut in one piece, allowing a sufficient margin beyond the four edges for turning over — at least half an inch. Many kinds of material are Fig. 132. — Music Carrier Open. used, from the commonest bookbinders' cloth to the expensive French moroccos and scented Russia leather. Common bookbinders' cloth is the cheapest and the least troublesome to use, but it is the least durable. Dull-grained American duck wears better, but is not so easy to work. Lay the cloth or leather, as the case may be, face downwards on a level table and proceed to line out the various parts as in Fig. 133 ; allow \ in. to I in. beyond when cutting to provide the neces- sary surplus for folding over the edges. The cor- ners of this surplus must be removed as shown, so that the edges when folded over the board neatly butt together. A piece of thin millboard is next 136 Lea ther Working. cut 15 in. by 16^ in., the two corners are taken off, and the cross lines scored — that is, cut about half-way through with a pointed knife travelling along a straight edge. This permits the board being folded into divisions without separating the parts. The two lines on each side of the lf-in. space are scored, then the board must be turned over and the line for the drop flap (3^-in. space) scored on the other side. ml* -v- -16- Fig. 133. — Pattern for Music Carrier. Good bookbinders' paste is next applied to the inside of the material, and the millboard surface is double scored ; then lay the board in position on the cloth and press the two firmly together by using the roller (Fig. 134). The pasted edges are next brought over the boa'rd and rolled. The inside lining is cut rather less than the size of the millboard, so that it does not quite reach the extreme edges, but proves sufficient to make a good lap over the turned-in surplus. The rounded ends Miscellaneous Examples. i37 seen in Figs. 131 and 132 are usually cut from a piece of \-m. good deal or mahogany board, and covered to correspond. Place one of these ends in position and fix with an escutcheon pin at the ex- treme point forming the back, and again just below the drop flap ; then at intervals insert small gimp pins and fix in the other end to match. The lock and catch are fixed by three pins being riveted through each, and metal handles with bosses and clamps may be bought and easily fixed. When leather handles are used it is a much stronger method to insert the ends through openings made in the top of the case, and then stitch or rivet them ; and it will give a neater appearance if the Fig. 134.— Hand Roller handle and lock are fixed before the inside lining at this part is pasted down. A leather camera case must be of simple shape, strong, thoroughly waterproof, of a smooth in- terior, so that it does not scratch the camera, and it should not be heavier than is consistent with durability. The leather for a camera case is not a very ex- pensive item, and there is little else to add to its cost except the lining and a few buckles and dees, or rings. The patterns may be cut from thin card- board or brown paper. For a ^-plate camera case as illustrated by Fig. 135, cut the widest pattern first (see Fig. 136). This forms the outside flap, top, and back of case. 138 Leather Working. Round the corners well at one end and slightly at the other, and draw two lines across the pattern, using a square for this purpose. One line is drawi. across 3| in. from the end with large rounded corners — this gives the size of the flap ; and another Fig-. 135.— Camera Case. line is drawn 7 in. from this, giving the size of top and leaving 11 in. for the depth of case, and a total length of 21| in. The width throughout is 8j in. Next cut a pattern 36 in. long by 7 in. wide for the gusset (see Fig. 137). The four corners must be rounded oft' and lines drawn across the pattern, one M ISC EL L A NEO US EXA MPL ES. 139 3 in. from each end and two more 11 in. from these. This leaves a space of 8 in. for the bottom. The pattern for the front is a simple rectangle 11 in. long by 8{ in. wide, two of the corners being slightly rounded. Black enamelled or brown cowhide is the best v J Fig. 136. — Front Flap, Top, and Back of Camera Case. leather for this purpose, and a camera case this size will take about 3| square feet. Some pieces of leather for binding the flaps will be wanted ; these must be thin and pliable, and cut into strips I in. wide and long enough to reach ^ in. beyond the marks showing the parts to form the flaps. In Fig. 136 the binding starts at a and is continued round to b, as this part forms the top of the case as well as the flap. 1 I c ■"" ^ <_ 8 , < -11- --s <--3'--J J V. p D > Fig. 137. — Gusset and Flaps of Camera Case. Leather for the straps and chapes will also be required. For the sling a piece 42 in. long by 1 in., and another piece 14 in. long, same width, for the buckle part. These will be long enough to go twice round the case so that it may be carried in the hand, if desired, the double width of the strap forming a 140 Leather Working. good handle. Chapes for the dees to be fixed to the case must be 3^ in. long and 2 in. wide, cut to the shape of Fig. 138. Those for the buckles are cut the same shape, but only 3 in. long by 1^ in. wide. A hole at x must be cut in these for the buckle. A strap 7 in. long by f in. wide for the outside flap, and another 5^ in. long by f in. wide for the gusset flaps, and two \-m. loop pieces, two |-in. buckles, one 1-in. buckle, and two 1-in. dees or rings, will be all that is required except the lining. This may be either plush, velvet, green baize, cloth, or even thin leather. With the patterns and materials ready, begin cutting out. Lay the patterns on the leather and see which is the best and most economical way of cutting out the parts, using the stoutest parts for the front and back, as these are subjected to the hardest wear. Cut evenly round the patterns with a sharp knife, running the second finger of the hand holding the knife along the edge of the pat- tern as a guide, and holding the pattern down firmly with the other hand. Then cut out the lining, one piece to each pattern. In order that there may be nothing rough inside when the bag is finished, the dee chapes, buckle pieces, and short straps must be sewn on before lining the case. The long straps can be sewn on the dees after the bag is made up. Put the straight part of the dees into their chapes and tack them on to the gussets with two or three small nails to keep them in p'osition whilst being sewn. About \\ in. from each end will be about the right distance for these, and the shortest narrow strap is sewn on one flap nearer the end and a chape with buckle and loop-piece in on the other. See that these are far enough from the edge to give room for the bind- ing. The chape with buckle and loop must be sewn on the front piece, in about the middle of it, and the other narrow strap sewn on the front flar> The Miscellaneous Examples. 141 sewing thread should be a four- or five-cord thread of No. 22 hemp. The leather should now be placed bottom up- wards and the lining joined to it by a thin streak of glue or paste round the edges, pressing them well together. If a stiffened case is required, pieces of cardboard cut to the size of the various parts, except the flaps, may be glued between the leather and lining. Trim the lining off level with the leather and paste on the bindings. Before apply- ing the paste to these, fold them over and tap them down with a hammer; this will cause them to go round more evenly and help the paste to unite them to the leather and lining. A three-cord thread of fine closing flax is stout enough for sewing the bindings, and the stitches should be six or eight to the inch. Before sewing the sides together, place the patterns on the leather and make ink marks on the brown edges of the latter where the lines run across the patterns ; this will serve as a guide in fitting the parts together. All the unbound edges must be marked \ in. from the edge with a pair of com- passes to give the lines for straight stitching, and if a saddler's pricking iron can be obtained these lines may be stamped with it and a perfectly even stitch obtained. These pricking irons cost, new, l£d. a tooth, and are made with teeth ranging from six to the inch to sixteen to the inch, and from three or four teeth to twenty in number. For sew- ing these seams use a four -cord hemp thread. If the case is a stiffened one, it will be found rather difficult to sew these side scams in the clamp, but if a box 10 in. by 1\ in. by 6^ in. is made, the case can be tacked on to this and held between the knees whilst being sewn. Stitch the front piece and one edge of the gusset first, and then fix on and sew the back part to the other gusset edge. Shave the edges even with a spokeshave, rub on 142 Leather Working. some dye, and polish them with a soft cloth. It only remains to sew the long straps on to the dees and the case is completed. The regulations for dog muzzles specify the use of a cage muzzle which shall prevent any possi- bility of the animal biting, and shall also give per- fect freedom in breathing and not hinder the dog from lapping water. The muzzles sold in shops are generally made to standard sizes, and are only suitable for the dog with an average-shaped head. The sizes given below correspond to those articles, but the method of altering the various parts will be pointed out, so that there will be no difficulty in making a muzzle for any head. On referring to Fig. 139, the muzzle will be found to consist of four pieces of narrow leather, namely, a nose-piece, the front, the cage proper, and the strap and buckle-piece. The nose-piece runs from a round the nose and under the buckle at the other end, and has seven slits pierced through it sideways — at A, b, c, d, e, f, and G. Similar slits are cut in the front piece at h, 1, and J. In the muzzle or cage-piece, m, o, p, q, s, there are only two slits at l and N, and in the strap- piece slits are cut at x, e, k, and t. To make a No. 2 size muzzle — which fits a small fox-terrier dog — cut four strips of leather, each barely f in. wide, trim off the sharp edges and rub them up with a rough cloth, first sponging on some warm-coloured size diluted. Make the nose-piece 11 in., front piece 6 in., cage-piece 22 in., and strap- piece 20 in. long. Mark one edge of the nose- piece with a blue lead for the slits, marking first at I in. from one end, then at 2 in., 3^ in., and 4f in. Fold the strap exactly in the middle and mark the edge opposite these, so that the spaces on each side are uniform. There is no necessity to mark one at the other end, as this enters the buckle chape. Miscellaneous Examples. 143 Use a sharp, narrow chisel or a penknife for dividing the leather, and be careful to cut it clean through the middle. A gauge, made by nailing some odd pieces of leather on a board, is very use- ful in firmly holding the leather edgeways for this operation. Having cut the slits, take the front piece and cut a slit | in. from each end and one 25 in. from one end, leaving 3| in. for the forehead. The cage- piece has two slits only, the first \\ in. and the other 4^ in., these distances being measured from one end only. In marking the slits in the Fig. 138.- Dee and Buckle Chape. Fig. 139. — Humane Dog Muzzle. strap-piece 1 to 6, start from the buckle end and mark the edge at 2^ in., 4 in., 7 in., 8 in., and 10^ in., and cut the slits. The strap-piece crosses under- neath the throat at x. For fitting the muzzle together, take the front piece, open the slit 1, and pass one end of the cage- piece through ; fold it to get the slit over the middle, make a hole with a small awl, and drive the nail through to keep it in position. Put a washer over the nail, cut off, and rivet with a small hammer, using a lead piece as a support. 144 Leather Working. The cage-piece is next passed through the nose-~ piece at B and G (Fig. 139), and the strap-piece is passed successively through J, a, x, f, h, and c. With the front of the muzzle towards the worker, continue the cage-strip from G through E, d, and K. Then take the other end, and pass it through R, n, e, l, and T. See that all the parts correspond before nailing and riveting. If possible, try the muzzle on the dog to ensure the various spaces being well apportioned. On small muzzles it is usual to cut a strap 4 in. long by \ in. wide, and rivet or stitch it to that end of the strap-piece which slides through J. Punch Cycle Valise. four or five holes in it for adjusting to the size of the dog's neck. . A chape with double buckle is riveted to the other end. The lengths of the various parts for muzzles numbered in lists as No. 4, No. 6, or No. 8 size are as follow, the spaces being in proportion to the one illustrated here : No. 4. No. 6. No. 8 in. in. in. Nose-piece ... ... m 15* 2U Front... 7 Si 9* Cage-piece ... ... 26 32 40 Strap-piece ... ... 23 27 32 For a pug dog, the front and nose-pieces must Miscellaneous Examples. US be shorter, and the other two parts longer ; the dis- tance H to J (Fig. 139) is extremely short, and the cross at the throat is close to n. For a dog with a long thin head the opposite treatment is necessary. These muzzles have the appearance of being very complicated, but, by following the instructions, it will be an easy matter to make them. A cycle valise should be light, strong, rainproof, and as commodious as the frame of the machine will permit. Leather or waterproof canvas will answer well for the purpose, and, by making the valise as shown by Fig. 140, it will have sufficient capacity, without being too large or cumbersome. The sizes given will be suitable for nearly all Fig". 141.— Pattern for Cycle Valise. frames, but where this is not the case the necessary alterations can be made before cutting out the material. To get the correct size of valise, place a sheet of strawboard on one side of the cycle frame, and mark it by running a lead pencil round the inside of the frame. Another plan is to cut out a pattern of the small half from the dimensions given in Fig. 141. Half a yard of material will be required to make the valise ; the gusset, however, will not be all in one piece, but must be cut from the surplus and joined. If it is desired to have the gusset without a join, | yd. must be bought. This would be most economical if two carriers are to be made, and as the material is suitable for cutting either crosswise or lengthwise, the patterns may be reversed and j 146 L EA THER IV O R K 1 NG. there will be less waste. Be careful to mark the patterns a or b distinctly, and, in cutting the material, see that the letters are uppermost, or the parts will not be in pairs. In Fig. 141, a denotes the small half, and b the large half with flap. The gusset is cut 3 in. wide by 40 in. long. Strips of soft hide bellies must be cut 1 in. wide, the ends pared down and spliced together with good paste : about 12 ft. will be wanted. Bind the flap first, then the top of the small half which is to go under it, and each end of the gusset-piece. The parts Fig. 112. — Pattern for Leather Covering of Workbox are then pasted together and bound with leather. The straps for the flap are cut 6 in. long by f in. wide, and those for fastening to the frame 10 in. by | in. The buckle is sewn into one end of these, and they are stitched on the carrier close to this stitching. To make the sides very firm, stiffen them with pieces of cardboard ; the gusset should be kept flexible. A lady's workbox can be covered with leather in the following way. For the lid or top, measure from the front opening at the lock to the hinge line, and again over the top from each side open- M ISC EL LA NEO US EXA MPL ES. I 47 ing. The inner row of dotted lines in Fig. 142 shows the plan of top of lid ; the outer row shows where it turns over the lower edge ; the part be- yond this is brought to the under part of frame resting on the other half of the box. Make a brown paper pattern and put this on first, to see if it is correct. The corners, as shown in Fig. 142, allow for lapping over, which is much stronger and neater than butt joints. They must be pared down, so r iD \ , 1 — i i A CO B '•\ *~x ~*" -> ' L . -Jj Fig. 143. — Luggage Label. that the thickness of the lap is not greater than any other part. To cover the lower half of the box, take the outside measurement of the four sides, and cut a strip of leather 1 in. wider and \ in. longer ; this allows for turning over the upper and lower edges, and making a lap joint, which should be at one of the back corners. Pare down all edges which are made to lap over and form joints. For the workbox bottom, cut a piece £ in. less than the bottom of the box, and fix this on to cover evenly the turned edges. Apply a thin coat of glue 148 Lea ther Working. to both leather and wood, and press them together. Do the work in sections, thus — the top of the lid first, then the four sides, and, lastly, the turned F,g. 144. — Another Lug-gage Label. edges at the bottom. The metal hinges should be removed, so that the lid is quite detached from tne lower half of the workbox. If the box is veneered, Fig. 145. — Segment of Cricket Ball Covering. the veneer will have to be well sand-papered, in order to get the glue to adhere properly. Luggage labels can easily be made from leather, Miscellaneous Examples. 149 which should be stiff rather than soft and oily. To make one of the shape illustrated by Fig. 143, cut two pieces of leather about 4 in. by 2| in. and round them off on the top edges. With the back of a knife-blade and straightedge, mark and cut out the pieces a and b, and place them together, with the flesh sides touching ; sew them together Fig. 146. — Sewing Cricket Ball Covering. on the three edges, as shown. Cut the slit d through both, about T V m - to \ in. wide by f in. or I in. long. A strap about 3 in. long, to be fastened to the parcel, is put through the slit. Thin card- boards (plain postcards are just the thing) are cut to size to slip in the label, when the required name and address, etc., have been written on. Fig. 144 shows another label, the only difference i5o Lea ther Working. being that the front part has a larger space for a full address. The edges of the label can be made gloss}' and smooth simply by rubbing with a piece of hard wood, bone, or other hard substance, the edges of the leather being wetted. A cricket ball that will withstand a lot of hard wear may be made from some old corks and some leather. Cut the corks square and glue them to- Fig. 147. —Sewing- Halves of Covering- on Cricket Ball. gether, and, when they are dry, trim them to an approximately spherical shape. Bind the cork ball round and round with twine until it is of the desired size minus the leather cover. The finished ball should be 2| in. in diameter. The leather used for the covering must be strong but not thick. Four pieces to the shape shown by Fig. 145 must be cut, each being half the circumference long and a quarter the circumference wide, and allowing \ in. all round for the seam. AT ISC EL LA NEC US EXA MPLES. 151 Soften the leather by soaking it in water for a short time, and then put two pieces together and hold them in the jaws of a vice between two pieces of wood shaped to correspond with the leather (see Fig-. 148.— Section of Sewn Edges of Ball Covering. Fig. 146). The actual inside of the leather should be made the outside. The sewing is commenced with a waxed thread having a harness-maker's needle on each end ; holes for the needles to pass through are made with a fine stabbing awl. The two halves of the cover are made separately, and when opened the seams are hammered flat. Then the covers are placed over" the twine-and- Fig. 149. — Holding Cricket Ball during Sewing. cork ball and the edges sewn together. One way of doing this is to use a straight awl, cut the edges off close, and then hammer well to shape. Another method, more difficult but producing a stronger 152 Lea ther Working. job, is to use a slightly bent awl, have the seam bent over, and then stitch through the four thicknesses of leather. The latter method is illus- trated by Figs. 147 and 148, the latter figure being a section of the doubled-over leather. Pull the stitches up tight ; as the leather dries, it will shrink and become tighter. Having trimmed the seam with a sharp knife, taking care not to cut the stitches, flatten the seam by hammering. The ball may be held whilst sewing by the ap- pliance shown by Fig. 149. A board about 4 in. wide and from 12 in. to 18 in. long is fixed to the bench or table with a bent screw. In the board is a hole not quite so large as the diameter of the ball, which is kept in place partly under and partly within the hole by foot pressure exerted on a strap or string passing over the outer end of the board as illustrated. To alter the position of the ball, the foot pressure is released. The above instructions will be of help also in repairing cricket balls whose seams have come undone. The leather for a suit case should be such as is used for straps of portmanteaus, etc. ; it is smooth-grained and polished, and is made from stout sides, small butts, etc. Cowhide can be used, but will want a better backing. When making the suit case, first cut a pattern of stiff paper to the dimensions given below. Then a case 6 in. high will need only 2 ft. of stitching, while if the pattern were cut in separate pieces there would be 13 ft. of stitching and less, strength. Fig. 150 shows the bottom, the centre of which must measure within the dotted lines 20 in. by 13 in. Each of the four side-pieces A, b, c, and d is 4 in. wide from the dotted line. The pattern (Fig. 151) for the lid can be cut in the same way, but the four pieces e, f, g, and H must be only 2 in. wide. Or the top and bottom sides may measure 4^ in. and \\ in. respectively, or the Miscellaneous Examples. 153 bottom 6 in. and the lid (say) 1^ in., if the lid is to overlap the case ; in such an instance the centre of the lid will need to be larger, in pro- portion to the substance of the material and its backing, but the first system is best and neatest. For the backing and lining, patterns are cut for the two centres, and one of the sides (Fig. 150) is used as pattern for the four sides. Cut off one side (again to the dotted line) for the four sides of the lid. This will be better if done after the case is sewn. The pieces must be well fitted for each side and top and bottom, and they will want cover- J 1 A K L B 1 4* c D Fig-. 150. — Bottom Piece of Suit Case. ing with the lining, such as thin leather, drill, or sateen. Mark across the two pieces of leather at the back just the same as the dotted lines in Figs. 150 and 151, and on these eight lines with a very small gouge a small groove must be made about half-way through the material. When cowhide is used a heavy mark will be sufficient, if one part is turned over flat on the other and gently tapped down on the right side. To form true right-angles at the corners, squares should be cut out, as at 1 J and k l (Fig. 150), at both ends of the bottom piece. 154 Lea ther Wor king . The sewing can be done with about six or seven strands of yellow flax, made into a thread as for shoe-making ; or the thread may be made in the same way, and a harness-maker's needle used with a diamond awl, each seam finishing firm and well at the top and bottom. Then fit the ten pieces of backing, which may be pasteboard or stout cardboard, but thin leather- board or wood pulpboard would be lightest. Cut a small angular piece off all sides, or round up the edges with fine sandpaper, covering one side of each piece with lining material and leaving a Fio-. 151.— Lid of Suit Case. margin all round to turn over to the other side. This can be done to all four sides of the top and bottom pieces, and the three sides of the four end- pieces, as A, d, E, and h. Thus J, m, k (Fig. 150) would have three smooth sides, while the bottom part at n would hang loose with the four long sides b, c, f, and g. Only the top of each need be turned over, and these four sides can be glued in first by applying a coat to the back and on the rough ends of the lining that hang over. As each is fixed (bookbinder's paste will do), glue the side to which it is to be stuck, and fit it so that the rough edge of the linen sticks on each end and at the bottom. Putting in b first, then c, it will be seen that each seam has a piece of this lining Miscellaneous Examples. 155 to strengthen it and help to keep the case square. Also when a and d are glued in, all four corners are neat, and additional strength is also given all round the edge of the bottom. The bottom can now be stuck in, but in applying the glue, take care not to bring it quite to the edge, stopping, say, within \ in. at least, or while fixing it in the sides will be smeared. A 46-in. strip of firm leather, 1^ in. wide, of the material used for the outside can be either cov- ered with thin brown Persian or left as it is. In the latter case it will be well to sandpaper and finish off the edge with a little brown cream. This piece forms a sort of flange all round the front and two ends, letting \ in. be, as it were, inside the bottom of the case, and 1 in. projecting above, A Fig-. 152.— Section of Suit Case Side. as shown by Q (Fig. 152), o being the bottom of the case and p the side. This keeps the lid firmly in its place, and prevents any wet getting in while the case is carried. It can be stitched all round to the top edge of the case, as shown at R. If the lid is made to overlap, this piece is dispensed with, and either the top can be stitched as a finish or a copper rivet may be put through here and there. The handle can be made by cutting two pieces of leather to shape and skiving them at the edge to about half their thickness, and then stitching the two together. If it is wanted thicker in the middle, paste a long oval piece down the centre before putting the two flesh sides together. This can be secured on the front of the bottom of the case by two copper rivets, or, better still, buy, 156 Leather Working, or make from a piece of strip brass, two square sockets for the handle. Each must be secured to the case by two small copper rivets, and each before fastening must have the handle put under, so that it crosses the handle. This will then have some play, and will lie flat while not in use, and lift sufficiently for the hand to go under; or one handle can be put at each end. To finish the box, cut a strip of leather 2 in. wide and 1 ft. 8 in. long, put the lid on the case, and put the strip along the back, so that 1 in. of the width lies on the lid and the other inch on the case. Mark it right along on each side, take the lid off, and secure the piece to it by a row of small copper rivets or a row of stitching, and then repeat for fastening to the case. A lock is easily added by cutting a portion of the front of the case away, inserting the lock, and riveting it on. Then close the case, fitting the hasp portion of the lock in position and riveting it in its place. INDEX. Acid Dyes for Leather, 127 Alligator Skins, 9 American Cloth, Mandoline Case in, 60—64 Aniline Dyes for Leather, 126 Association Footballs, 117 Bags, 65—69 , Brief, 65—70 , Cartridge, 109—111 , Cash, 129 , Cricketing, 89 Frames, Riveting, 72 , Gladstone, 73—83 , Tennis, 89 , Half Gladstone Tennis, 89 , Ladies', 70 , Tennis, 84—89 Ball, Cricket, 150 , , Covering, 150 , , Holding on Bench, 151 , , Sewing, 151 Band for Hat Case, Cutting, 51 Banjo Case, 55—60 Bottom, 56 Handle, 58 Lining, 56 Pattern, Cutting, 55 Basic Dyes for Leather, 127 Basil Leather, 15 Belly Leather, Foreign, 15 Bifurcated Rivets, 26 Binding Corner of Mandoline Case, 63 Black Dyes, Aniline, 126 Grain Hide, 13 Blackening Leather, 127 Block for Making Collar Box, 46 Blotting Pad, 39 Board. Cutting, 17 Bone, Rubbing, 75 Bookbinders' Skiver, 13 Box (see also Case) — -, Horseshoe Collar, 43 — 46 , Round Collar. 46—48 Box-calf Leather, 15 Braces, 27 Brief Bag. Cutting Out. 67 , Gussets for, 67 , Lining, 69 , Narrow, 66 , Sewing, 68 Brown Cowhide, 13 Brown Glace Kid, 14 Leather, Cleaning. Ill Levant Morocco, 12 Persian, 13 Brush Case, 40 , Lining. 41 Bucket-shaped Hat Case, 49 Buckle, 18 Chape, 140 Strap, 105 Buckles, Roller, 21 Buckling Garters, 18 Buckskin, 14 Butt, Foreign, 15 Calf Kid, 11 Leather, Box, 15 , Memel, 10 , Ooze, 11 , Patent, 9 , Russet, 10 Tan, 11 ,' Waxed, 10 , Willow, 15 Camera Case, 137 Carrier, Music, 134 Cartridge Bag, 109—111 I Case Banjo, 55 — 60 , Brush, 40 , Camera, 137 , Field-glass. 134 Football, 117 Hair Brush, 40 I Hat, 49 I , Letter, 31—35 | , Mandoline, 60—64 , Opera-glass, 131 , Suit, 152 Tennis. 83—89 Cash Bags, 129 Catch Strap for Collar Box, 47 Cleaning Brown Leather, 111 Pigskin and Cowhide, 34 Collar Box, Cutting Leather for, 47 Drawer. 44 , Horseshoe, 43 Lid, 45 , Lining, 43 , Round, 46 Cordovan, 12 Covering Mandoline Case, 63 Workbox, 146 Cowhide and Black Grain, 13 158 Leather Workixg. Cowhide, Brown, 13 , Cleaning, 34 , Patent, 13 Cream Roan, 13 Crease, Screw, 22 Cricket Bag, 89 Ball, 150 , Covering, 150 , Holding, whilst Sew- ing, 151 , Sewing, 151 Crocodile Skins, 9 Crup or Horse Leather, 13 Cutting Band for Hat Case, 51 -, Board for, 17 Leather for Collar Box. 47 Hat Cases, 50 Straps, 17—30 — , Appliance for, 29, 30 Cycle Valise, 145 Dee and Buckle Chape, 140 Dee-ring, 102 Diamond Hide, 13 Dipping Leather for Dyeing, 125 Division Board, Trunk, 98 Dog Leads, 22 , Fixing Studs in, 24 , Hollow-studding, 22 , Simple, 23 with Studs and Ring, 24 Swivel, 24 Muzzle, 142 Double-end Brace, 27 Drawer, Collar Box, 44 D-ring, 102 Dyeing Leather, 125—128 Dves, Acid, 127 — -, Aniline, 126 , Basic, 127 Emery Stick, 17 Enamelling Patent Calf Leather, 10 Envelope. Pocket in Writing Pad, 37 Field glass Cases. 134 Folding Trunk, 90 Football, 116 , Association, 117 Cases, 117 , Lace Holes in, 119 , Inflating, 123 , Inflator for, 119 , Seaming, 121, 122 , Rugbv, 117 Frames, Brief Bag, 67 for Ladies' Bags, 70 Tennis Bags, 86 French Kid {see Glace) Garters, Buckling, 18 , Making, 17 , Packing, 20 , Pairing, 19 , Tools for Making, 17 Glace Kid, 11 , Brown, 14 Gladstone Bag, 73—83 with Broken Frame, 73 Handle, 79 Patterns, 76 with Seams Un- stitched, 73 , Tools for Making, 75 — - Tennis Bag, 89 Glossing Strap Edges, 22 Glove Kid, 12 Grounding Punch, 113 Gusset Pattern for Brief Bag, 67 Stiffenings, Brief Bag, 68 Hair Brush Case, 40 , Lining, 41 Half-Gladstone Tennis Bag, 89 Hand Punch for Dog Leads, 22 Riveter, 22 Roller, 136 Handle, Banjo Case, 58 , Gladstone Bag, 76, 79 , Hat Case, 52 — , Ladies* Bag, 73 , Mandoline Case, 64 , Suit Case, 155 Tennis Bag, 85 , Trunk, 93 Hat Case, 49 , Basil, 49 , Bucket-shaped, 49 , Cutting Band for, 51 , Leather for, 50 - Handle, 52 , Inner, 53 Lid, 52 Lining, 51 Hide, Black Grain, 13 , Cutting up, 16 , Enamel, 13 , Different Parts of, 16 , Porpoise, 13 Hides, 9 Hinge Strap for Collar Box, 47 Hollow Studs, 22 Hollow-studding Dog Leads, 22 Horse or Crup Leather, 13 Horseshoe Collar Box, 43 Imperial Trunk, 90 Inflating Football Bladder, 123 Inflators, Football, 119 Kangaroo Leather, 14 Kid, Brown Glace, 14 , Calf, 11 , Glace, 11 , Glove, 12 Kips, 9 Knapsack, 100—109 Brass Stud, 102 Buckle Straps, 105 Piping Leather, 107 Ring and Holder, 102 I.XDEX. 159 Labels, Luggage, 148 Lace Holes in Football Case, 119 Ladies' Bags, 70 , Handles for, 73 Leather, Qualities and Varie- ties of, 9—16 Leg Straps, 20 L ttei Case, 31 — 35 , Pigskin, 32 ■ Stamp Pockets, 32 Stitching, 35 Levant Morocco, Brown, 12 Leather, 12 Liner for Ornamenting Leather, 112 Lining Banjo Case, 56 Brief Bag, 69 Collar Box, 48 Gladstone Bag, 82 Hair Brush Case, 41 Hat Case, 51 Mandoline Case, 62 Writing Pad, 36 Lock, Hat Case, 53 , Suit Case, 156 Luggage Labels, 148 Mandoline Case in American Cloth, 60—64 , Covering, 63 Handle, 64 , Lining, 62 Pattern, Cutting, 61 , Stitching, 64 Marine Glass Cases, 134 Measuring-off Stick, 17 Memel Calf, 10 Mitred Corner for Banjo Case, 59 Modellers for Ornamenting Leather, 112 Morocco Leather, 12 , Long Grain, 12 Music Carrier, 134 Muzzle, Dog, 142 Ooze Calf, 11 Opera-glass Case, 131 Ornamentation of Leather, 112— 115 Packing Garters, 20 Pad, Blotting, 39 , Writing 35—39 , , Lining, 36 Pairing Garters, 19 Parcel Straps, 22 Patent Calf, 9 Persian, Brown, 13 Pigskin, 14 , Cleaning, 34 Letter Case, 32 Piping Leather for Knapsacks 107 Pocket for Gladstone Bae, 76 Flap for Gladstone Bag, 76 Pockets in Writing Pad, 36—37 Porpoise Hide, 13 Portmanteaux, 90 Portsea Purse, 129 Punch for Dog Leads, 22 , Grounding, for Ornament- ing Leather, 113 Riveter, Hand, 22 Punching Hole in Strap, 18 Purse, Portsea, 129 , Saddler's, 129 Racket Cases {see Tennis) Railway Trunk, 90 Ring, D., 102 Riveter, Hand-punch, 22 Riveting Frame to Ladies' Bag, 72 Rivets, Bifurcated, 26 i Roans, 12 i , Cream, 13 Roller Buckles, 21 , Hand, 136 Round Collar Box, 46 Rubbing Bone or Stick, 75 Rugby Footballs, 117 Russet Calf, 10 B *-.sia Leather, 14 .Saddler's Purse, 1?9 Satchels, 109—111 Seams for Footbal^ 121, Hat Case, 51 Serpent Skins, 9 Sewing Brief Bag, 68 Cricket Ball Cover. Gladstone Bag, 81 Hat Case, 51 Letter Case, 35 Mandoline Case, 64 Skate Straps, 20, 21 Skins, 9 , Alligator, 9 , Commercial, b , Crocodile, 9 , Pig, 14 , Serpent, 9 Skiver, Bookbinders', 13 -. Brown, 13 Staining Leather, 128 Stamp Pockets of Letter Case, 32 Stick, Rubbing. 75 Stiffening for Gladstone Bag, 78 Stitching (see Sewing) Strap Buckle, 18 Crease, 22 Cutting Appliance. 29, 30 and Making, 17—30 Edges, Glossing, 22 , Leg, 20 , Marking, 18 , Parcel, 22 , Punching Hole in, 18 , Satchel. 109 — , Skate. 20. 21 , Wrist, 26 122 151 i6o Lea ther Working. Studding Tennis Bag, 87 Studs, Brass, 102 , Fixing, in Dog Lead, 24 , Hollow, 22 Suit Case, 152—156 Handle, 155 , Leather, 152 Lock, 156 Swivels, Dog Lead, 24 Tab for Gladstone Bag, 77 Tan Calf, 11 Tawed Leathers, 11, 12 Tennis Bag, 84—89 Frame, 86 , Gladstone, 89 , Half-Gladstone, 89 Handle, 85 , Studding, 87 Racket Case, 83 Tools, 9 for Making Garters, 17 Gladstone Bags, 75 Tracer, 112 Trunk Division Board, 98 , Folding, 90 Handle, 93 , Imperial, 90 , Railway, 90 Turn-clip, 88 Valise, Cycle, 145 Varnish for Leather, 48 Welting, 15 White Sheep Leather, 12 Willow Calf, 15 Wood Block for making Collar Box, 46 Workbox, Covering, with Leather, 146 Wrist Strap, 26 Bit, 26 Writing Pad, 35—39 , Lining, 36 Pockets, 36 Printed by Cassell & Company, Limited. La Belle Sauvage, E.G. ENGINEER'S HANDY-BOOK CONTAINING FACTS, FORMULA, TABLES AND QUESTIONS ON POWER, ITS GENERATION, TRANSMISSION AND MEASUREMENT; HEAT, FUEL AND STEAM; THE STEAM-BOILER AND ACCESSORIES; STEAM-ENGINES AND THEIR PARTS ; THE STEAM-ENGINE IN- DICATOR; GAS AND GASOLINE ENGINES; MATERIALS, THEIR PROPERTIES AND STRENGTH: TOGETHER WITH A DISCUSSION OF THE FUNDAMENTAL EXPEEIMENTS IN ELECTRICITY, AND AN EXPLANATION OF DYNAMOS, MOTORS, BATTERIES, SWITCHBOARDS, TELI PHONES, BELLS, ANNUNCIATORS, ALARMS, Etc., AND ALSO RULES FOR CALCULATING SIZES OF WIRES. BY STEPHEN ROPER, Engineer, AUTHOR OF " Roper's Catechism of High-Pressure or Non-Condensing Steam-Engines," "Roper's Hand-Book of the Locomotive," "Roper's Hand-Book of Land and Marine Engines," " Roper's Hand-Book of Modern Steam-Fire Engines," "Young Engineer's Own Book," "Use and Abuse of the Steam-Boiler," "Ques- tions and Answers for Engineers," etc. FIFTEENTH EDITION. REVISED AND GREATLY ENLARGED BY EDWIN R. KELLER, M. E., AND CLAYTON W. PIKE, B. S., Ex-President of the Electrical Section of the Franklin Institute. PHILADELPHIA : DAVID McKAY, 1022 Market Street. DEC 7 1904 ROPERS Practical Hand -Books For Engineers and Firemen, NEW REVISED AND ENLARGED EDITION. HANDY-BOOK FOR STEAM ENGINEERS AND ELECTRICIANS. PRICE, $3.50. PRICE. Ropers Catechism for Steam Engineers and Electric- ians, $2.00 Roper's Questions and Answers for Steam Engineers and Electricians, 2.00 Roper's Hand-Book of Land and Marine Engines, ■ 3.50 Roper's Care and Management of the Steam Boiler, 2.00 Roper's Use and Abuse of the Steam Boiler, .... 2.00 Roper's Young Engineers' Own Book, 2,50 Roper's Hand-Book of the Locomotive, 2.50 Roper's Instructions and Suggestions for Engineers and Firemen, 2.00 Roper's Hand-Book of Modern Steam Fire Engines, • 3.50 DAVID MCKAY, Publisher, J022 Market Street, Philadelphia, Pa. TECHNICAL INSTRUCTION. Important New Series of Practical Volumes. Edited by PAUL N. HASLUCK. With numerous Illustrations in the Text. Each book contains about 1 60 pages, crown 8vo. Cloth, $1.00 each, postpaid. Practical Draughtsmen's Work. With 226 Illustrations. Contents. — Drawing Boards. Paper and Mounting. Draughtsmen's Instru- ments. Drawing Straight Lines. Drawing Circular Lines. Elliptical Curves. Projection. Back Lining Drawings. Scale Drawings and Maps. Colouring Drawings. Making a Drawing. Index. Practical Gasfitting. With 120 Illustrations. Contents — How Coal Gas is Made. Coal Gas from the Retort to the Gas Holder. Gas Supply from Gas Holder to Meter. Laying the Gas Pipe in the House. Gas Meters. Gas Burners. Incandescent Lights. Gas Fittings in Workshops and Theatres. Gas Fittings for Festival Illuminations. Gas Fires and Cooking Stoves. Index. Practical Staircase Joinery. With 215 illustrations. Contents. — Introduction : Explanation of Terms. Simple Form of Staircase — Housed String Stair : Measuring, Planning, and Setting Out. Two-flight Staircase. Staircase with Winders at Bottom. Staircase with Winders at Top and Bottom. Staircase with Half-space of Winders. Staircase over an Oblique Plan. Staircase with Open or Cut Strings. Cut String Staircase with Brackets. Open String Staircase with Bull nose Step. Geometrical Staircases. Winding Staircases. Ships' Staircases. Index. Practical Metal Plate Work. With 247 Illustrations. Contents. — Materials used in Metal Plate Work. Geometrical Construction of Plane Figures. Geometrical Construction and Development of Solid Figures. Tools and Appliances used in Metal Plate Work. Soldering and Brazing. Tinning. Re-tinning and Galvanising. Examples of Practical Metal Plate Work. Examples of Practical Pattern Drawing. Index. Practical Graining and Marbling. With 79 illustrations. Contents. — Graining: Introduction, Tools, and Mechanical Aids. Graining Grounds and Graining Colors. Oak Graining in Oil. Oak Graining in Spirit and Water Colours. Pollard Oak and Knotted Oak Graining. Maple Graining Mahogany and Pitch-pine Graining. Walnut Graining. Fancy Wood Grain- ing. Furniture Graining Imitating Woods by Staining. Imitating Inlaid Woods. Marbling: Introduction, Tools, and Materials. Imitating Varieties of Marble. Index. Ready Shortly : Practical Plumbing Work. Other New Volumes in Preparation. DAVID McKAY, Publisher, 1022 Market Street, Philadelphia.