\ 
 
 LIBRARY OF CONGRESS 
 
 jiillllliillli'llliiilliiiilii'"''''''-' 
 013 971 882 3 •' 
 
TT 197 
 .G5 
 Copy 1 
 
 HANDMADE 
 FURNITURE 
 
 AND 
 
 HOW TO MAKE IT 
 
 Designed for the use of those seeking either 
 a pleasant and profitable occupation or snch 
 furniture for their homes as shall express 
 their own artistic taste, and stand for sturdy 
 • lonesty of purpose, simple beauty, comfort 
 .iiul dural)ility. 
 
 All)ert G. Glidden 
 
 HAND MADE FURNITURE SHOP, 
 Spokane, Wash. 
 
^ 
 
 ^ \ 
 
 ^ 
 
 Copy writed 1910 
 
 by 
 A. G. Glidden. 
 
 ©CI.A265327 
 
GENERAL. 
 
 There is probably no home in which the comfort, con- 
 venience or artistic appearance conld not be improved by th'^ 
 addition or replacing of some pieces of furniture. The reason 
 is simple. They are furnished with store furniture, and store 
 furniture is made to sell; the designs limited by the capabilities 
 of the machines which make it ; made of the cheapest materials; 
 put together in the quickest, rather than the best way. and then 
 finished up with the crudest varnish and stain to make a fine 
 appearance. It is a depressino' sight to see this furniture on 
 moving day. piled on the sidewalk, scratched, broken, dingy, 
 all its fine pretense of beauty gone forever. On the other hand, 
 the chairs, tables, sideboards and other pieces that have como 
 down to us through generations Avere all made by hand, put 
 together by hand and finished by hand in the days when there 
 was no machinery and the workman was an artist. The result 
 is that instead of finding its way to the scrap l^eap this old 
 furniture is as good today as ever, after two or three hundred 
 years of wear and tear and removal from place to place half 
 round the world. Hampered by no limitations of machinery 
 these designers set the standard for the world for all times. 
 Such furniture is Avorth while, and is an everlasting inspiration 
 to the home-maker and worker. 
 
 Our new style, variously known as "Arts and Crafts," 
 "Mission." "Craftsman," etc., is especially adapted to hand 
 work, and \vhile differing from the rich old oak and mahoganv 
 of our fathers' in form and finish, is like them in all the quali- 
 ties of beauty and durability and is far more comfortable. A 
 home furnished in this style not only expresses the artistic 
 taste of its inmates but also exerts an influence of sturdv 
 honesty of purpose, simplicity and absence of all gaudy pre- 
 tense, which both its frank, straight lines and freedom from 
 anything to hide or mar the natural beauty of the wood so 
 forcibly express. It is a style of which we can never tire and 
 of which no other can take the place. It will last for gener- 
 ations, for ever}^ part is as strong as tlie wood of which it is 
 made. You can make it and make it better than you cnn buv 
 in any store, for it is*made in the most natural way, after tlie 
 most natural design, of the most natural material. 
 
 Of course, it cannot be hoped that the mere reading of 
 any book can make an expert cabinet maker of an inexperi- 
 enced workman, but the instructions contained in this book will 
 enable any one to make furniture. Handsome, comfortable, 
 durable furniture. The length of time recpiired on each of tlie 
 
exercises will, of course, vary with the individual workman 
 and his aptitude for the work. All that can he said as to the 
 mmiber of times the exercises should he performed is simply 
 to keep at each one until you are satisfied with the results. 
 Yon can judg'C as well as any one when your work is good. 
 Time spent in practice is time well spent, for you are learning 
 to make something which will be with you for years to come. 
 Most people knoM^ more or less about the use of tools and 
 to some it will seem that we are unnecessarily explicit about 
 things which to them are matters of course, but as w^e are 
 writing for those who have had no experience whatever m 
 the use of tools, as well as others, we have begun with the 
 rudiments and taken one after another in the order most likely 
 to assure rapid progress. For the same reason we have 
 avoided, in so far as possible, technical terms and trade names, 
 thougli in some cases it has been necessary to use the cus- 
 tomary terms, as no others will express the meaning. For 
 instance, the use of the word "sipiare," as applied to our work, 
 does not always mean rectangular but oftener means at right 
 angles to adjoining surfaces. Thus, when we say "saw square" 
 or "plane square" we mean to make your surface straight and 
 true and at right angles with some other surface. The term 
 "right angles" will ho easily understood by reference to Fig. 
 1. Whenever two lines meet thev form an angle, and leaving 
 
 llie direction of one line and the degree of the angle we know 
 llie direction of the other line. Tims iir Fig. 1 all the lines 
 meet at (a). Taking the line (a-b) as our base and wishing 
 to find any other line of which Ave have the degree of angle 
 w(» draw a circle around (a). The size of the circle does not 
 make any difference. A circle is divided into 360 degrees, 
 therefore, if we are given an angle of 90 degrees, we know 
 1hat it is a quarter of the circle and drawing a line from (a^l 
 
to the outer rim of the circle a quarter of the way around Ave 
 have the line (a-c) which forms an angle of 90 degrees with 
 the line (a-b). In the same way an angle of 30 degrees would 
 ])e formed by a line drawn from (a) to the outer rim of the 
 circle l-12th of the way round from (b) (a-d). Forty-five 
 degrees would be l-8th of the way round (a-e), oO degrees 
 l-6th of the way round (a-f), 180 degrees half way round, and 
 so on. The angle of 90 degrees is spoken of as a right angle 
 and in our work one line of the angle is said to be square to 
 the other. We also use the term in speaking of angles 1 in 6. 
 or 2 in 6, etc. You will understand this if you will take your 
 steel square and place your rule diagonally across it and when, 
 for instance, we say 1 in 6 we would- mean to place your rule 6 
 in. from the corner of the square on one arm and 1 in. from 
 the corner on the other arm of the square; 2 in 6 would mean 
 keep the rule at 6 in. on one arm and move the other end of 
 the rule 2 in. from the corner on the other arm. In other words, 
 an ansle may be said to give the degree of slant. 
 
 We have included in this book a few designs for pieces of 
 furniture in order to show the method of assembling the parts 
 and the most convenient way of laying out and beginning a 
 piece of work. In this connection we wish to impress upon 
 you the importance of laying out the Avhole of a piece of work 
 before you begin to cut it at all. You will appreciate this as 
 you proceed. 
 
 In our cuts we have made no attempt at fine drawing but 
 have used the fewest possible lines for the sake of plainness 
 and only so much shading as is necessary. Single lines usually 
 designate the outline of solid parts. Dotted lines show the 
 outlines of parts lying beneath the surface, or in other words, 
 as if seen through the object, and are used merely to show the 
 location of parts which would really be invisible. Wavy lines 
 are generally used where only a part of a piece is shown and 
 designate that the piece is really longer than drawn but the 
 part beyond the wavy line is not necessary in the illustration. 
 We have used shading to show end grain in some cases but 
 more often to show where a part is cut away, as in the side of 
 a tenon, etc. Dimensions are shown by arrow pointed lines. 
 Where these lines point in opposite directions with the figures 
 between them, or point toward each other with the figures at 
 the end of one arrow, they give the distance in both cases 
 between the arrow points. 
 
 The choice of wood depends largely on the purpose for 
 which it is to be used and personal taste. You will probably 
 have no occasion to use other woods than fir, oak and 
 
mahogany, with possibly some pine. Fir is soft and likely to 
 splinter if not carefully handled, bnt is easy to work, the grain 
 is wavy and beautiful and it can be finished to equal oak in 
 beauty. Oak is harder but m.)re durable and admits of a very 
 high polish. It is much stronger and therefore, except where 
 proportion requires size, the parts can be made much 'imaller 
 than when using fir. As, for instance, in chair and table legs, 
 braces, etc. Oak also bends l)etter than fir but it is necessary 
 to steam it for this purpose and unless you have proper steam 
 box and clamps to hold it until dry, we do not advise attempt- 
 ing to bend the parts. Mahogany has been the most liighly 
 prized of these three woods until recently, and is th(^ most 
 expensive, but oak has largely taken its place in fine furniture 
 of this style, as it is more in keeping with the straight lines. 
 Pine is soft, light and not so likely to splinter as fir, hut has 
 little grain and is not used extensively except in concealed 
 parts where strength is not essential. In most lumber, and 
 especially that with much flake or grain, you will find that 
 the grain does not lay flat on the surface, but comes up to the 
 surface at an angle and in planing it is important to cut in 
 the direction of this grain, not against it, as in the latter case 
 it will chip up and leave nicks in the surface instead of cutting 
 smooth. In using the scraper on fir you have to be careful 
 or it will cut deeper in the soft grain of the wood than on the 
 flake, and make a wavy surface instead of a fiat one. This, 
 however, can be avoided with a little care. 
 
 We trust that with these suggestions the following may 
 be quite clear to you. but if there is any point on which you 
 are not quite clear, or if there is any advice you would like 
 we would be very glad to hear from you and to assist you in 
 any way that our experience will permit. 
 
Chapter I. 
 
 TOOLS. 
 
 Kight here and now we want to say. keep your tools sharp. 
 Many beginners are discouraged with the residt of their Avork 
 when the fault is entirely with the dullness of their tools. A 
 dull tool cannot do good work no matter how skillful the 
 workman may be. Therefore, we say again, keep all tools 
 sharp all the time. With this in mind, let us see what tools 
 are necessary for our purpose and how to sharpen, use and 
 care for them. 
 
 THE SAW. 
 
 The saw comes first in use and perhaps in importance. 
 There are several kinds, but you will need only one 24-inch 
 rip saw, about 7 tooth (to an inch) for sawing with the grain; 
 one 20-inch cross-cut saw, 10 tooth, for sawing across the 
 grain; one 12-ineh back saw. 12 tooth, for sawing a perfectly 
 straight, narrow smooth cut (kerf) ; one 12-inch compass saw, 
 8 tooth, for sawing curves. 
 
 These saws are sharpened when you buy them and we do 
 not advise you to attempt to file your saws until you have 
 learned by practice how to do it properly. Have them sharp- 
 ened by an expert, for while it is very simple it requires skill, 
 acquired only from experience. Do not neglect it, however. 
 A dull saw leaves a ragged edge and take double effort. 
 
 If you desire to file your saws get an old one to practice on. 
 It is not a difficult thing to learn, and while opinions differ as to 
 just how the work should be done there are a few essentials 
 which must be observed. The following is the result of long 
 experience and careful study and will give satisfactory results : 
 
 You will need to purchase a saw vise (one with rubber in 
 the jaws will prevent noise), also a slim 7-inch taper file for 
 7 and 8 tooth saws, 5-inch slim taper file for 10 and 12 tooth, 
 and a fairly long, flat mill file for jointing; a saw set of any 
 of the standard patterns, and then proceed as follows: Fasten 
 the saw vise to something steady, clamp the saw in it, teeth up, 
 take the steel square, or other straight edge and hold it with 
 the edge along the teeth of the saw. If the teeth do not all 
 just touch the edge of the square they are not of equal length 
 and require what is called "jointing." To do this take the 
 
flat mill file and lay it flat along the points of the teeth, filing 
 as if to dull them until they are all equal in length, which you 
 test with the square as before. The next step is to "sot" the 
 saw. This consists in bending the points of alternate teeth to 
 right and left. This is done with the saw set. Have the sales- 
 man show you how to operate whatever kind you buy. The 
 teeth should he bent only just enough to clear, do not set too 
 deep, only the point should be bent, or half the tooth at most; 
 set the tooth toward the side on which the point is; this will be 
 every other tooth one way and alternate ones the othc^ way; 
 set one side first, then the other side. Your saw is now ready 
 for filing. Select the size of file given above for the particular 
 saw, commence at the butt (handh^ end) with the first tooth 
 set away from you and file every alternate tooth. Keep the 
 file level, that is, the handle and point at the same height 
 when the saw is straight up on edge. You will notice that the 
 teeth of your Cross-cut, Back and Compass saws are filed on 
 an angle. This angle is entirely at the discretion of the owner. 
 It is essential, however, that the bevel be filed on the front of 
 the tooth. It Avill give very satisfactory results if you make 
 it about 45 degrees. Keep the angle precisely the same on all 
 the teeth. When you have filed the teeth on one side turn 
 the saw arouiul and file those on the other side. As to the shape 
 of the teeth there is much difference of opinion, but until you 
 have some reason to change keep it the same as whr-n you 
 bought the saw. Now take the saw out of the vise, lay it on 
 a flat board and rub the sides of the teeth wnth the oil stone 
 until they are perfectly even. To file the Rip saw proceed 
 as above, except file straight across, not at an angle. File 
 e\cfy tooth exactly the same size and shape and your saw 
 will i-nn true and easy. 
 
 THE USE OF THE SAW. 
 
 The use of the saw is constant and important. Saw true 
 always, whether the results make any difference or not. 
 In this Avay you will train your eye and hand. Do not saw 
 without a mark. Use a hard pencil so as to make a narrow 
 line. In all cases when joining mark with a knife or markins 
 awl. Remember that nearly always the sa\ved edge will have 
 to be smoothed with the plane, and allow for this in such cases. 
 Start your saw by a few short strokes, as it is likely to "jump" 
 if you use too long a stroke before the cut is started. As soon 
 as it is started use a full stroke. Do not saw in little jerks, but 
 be careful not to pnll the saw all the way out of the cut. as this 
 will mar your work and may break the saw. Your Rip saw 
 
and your Cross-cut saw should be held at an angle of aI)out 
 45 degrees. With the Compass saw. you will generally have 
 to hold it straight through the board in order to foUow the 
 curve. The Back saw is used tiat down on the work, though 
 you may raise or lower the butt a little in starting. It will 
 take practice to learn to saw "square," that is. so the cut is 
 at right angles with the surface of the plank. Most beginners 
 are inclined to tip the butt of the saw away from them as the 
 cut gets nearer to them. Be careful about this. It is neces- 
 sary to bring the butt in as the cut gets nearer. Of course, 
 this does not apply to the Back saw, as that cuts straight 
 down. In this case be sure to start true to your mai'k and 
 hold the saw exactly at right angles to the surface of your work 
 so as to cut scjuare. 
 
 A sEAV properly set and filed does not require grease to 
 make it run smoothly but should be wiped off after using with 
 an oily cloth to prevent rust. 
 
 THE PLANE. 
 
 The plane may be of wood or iron or a combination of 
 the two. We recommend a No. 8 Bailey iron i)lane (block) 
 for smoothing; a No. 5 Bailey iron plane (jack) for heavier 
 cutting and jointing; a wooden plow 1-4 inch; a wooden plow 
 1-2 inch ; a wooden rabbet plane 1-4 to 7-8 inch. If you care to 
 spend the money a wood and iron jointer, not less than 24 
 inch long is also valuable, but with care you can do this work 
 with your No. 5 jack plane. The dealer will also show you 
 Stanley Nos. 45 and 55 planes. These are expensive, but very 
 convenient, as they will take the place of the rabbet and plow, 
 and will also cut mouldings, reeding, etc. Have the dealer 
 show you how to take apart and put together whatever jjlanes 
 you buy. 
 
 TO SHARPEN PLANES. 
 
 To sharpen planes use the oil stone, and oil that will 
 not gum. The jack and jointer have a cap iron on the blade; 
 remove this and rub the bevelled side of the blade on the stone 
 with either a spiral or figure eight motion. Some workmen 
 hold the bevel flat on the stone, others prefer to raise the blade 
 onto the edge a little so as to make a second bevel just at the 
 sharp edge. This gives a stronger cutting edge. We prefer 
 the latter method. Either way will turn up a feather edge on 
 the other side, and to remove this turn the blade over on the 
 flat or long side and rub it perfectly flat on the stone. Repeat 
 
the process until the edge is yovy sharp mikI perfectly smooth. 
 Do not scratch yonr stone with tlie corner of the blade. Put 
 your plane together again Ivceping the cap iron 1-32 to 1-16 
 of an inch back fi'oni the cutting edge. 
 
 TO USE THE PLANE. 
 
 To use the plane sight along the ])ottoni and set the 
 blade so it just shows. If you want to cut deeper you can set 
 it deeper after trying it. Stand back of your plane, rather than 
 over it, so you push it away from you instead of across in 
 front of you. In this way you will cut truer and with less 
 effort. Avoid a rocking motion. Hold the heel firmly down 
 Avith the right hand and the front with the left hand. At the 
 beginning of the stroke hold the front down squarely and at 
 the end of the stroke ease up on the front and hold the heel 
 down. When the plane runs off the end of the work at the end 
 of the stroke, as .you reach the end lift the front so that it 
 does not drop over the end and make it low. Always plane 
 square, whether it makes any difference or not, for the sake of 
 habit. 
 
 CHISELS. 
 
 Chisels are of several kinds and lengths. For our use 
 we prefer as most convenient one eaeii 1-8, 1-4 and 1-2 inch 
 butt chisels (short blade). You will have little or no use for 
 anything Avider than 1-2 inch. 
 
 TO SHARPEN CHISELS. 
 
 To shar|)cn chisels pi'oceed as with the plane )>la(le. 
 exe(q)t hokl 1he bevel flat on the stone. Do not rai>;e on th(> 
 edge at all. as this should be thin and very keen. 
 
 TO USE THE CHISEL. 
 
 To use Ihe chisel keep the flat side towards th(! 
 mark. For chisel work always mark with a knife. Always 
 leave a nuirgin next the line until the finishing cuts. If you cut 
 right to the line in the beginning you are likely to mar the 
 edge of your cut. and also in soft wood the bevel of the chisel 
 forces it a little towards the flat side. When cutting across 
 the grain hold Ihe chisel very flat on the work or it will 
 "dig in." 
 
 THE MARKING GAUGE. 
 
 The marking gauge is made in several patterns. The 
 simplest will do. In its use you need little instruction. Always 
 
tip it a litth^ in the dii-cction you are moving it. If lu:>ld 
 straight up it will try to follow the grain. Hold the guide 
 Hrnily <ind Hat against the Avork. 
 
 THE SCREW DRIVER. 
 
 The screw driver should be of the very best. For 
 our work we recommend one each 1-8 and 1-4 inch, fairly long. 
 
 Always bore holes for screws. The hole should be about 
 two-thirds the diameter of the screw. Put a little soap on the 
 screw and it will drive easier and be less likely to split your 
 work. When it is nearly all the way in and begins to go 
 Ii;irder loosen the screw driver after each turn by a little back 
 twist and it will be less likely to slip out or mar the screw head. 
 
 THE BIT BRACE. 
 
 The bit brace should be of the ratchet pattern and 
 rather small. Oil the working parts occasionally. 
 
 BITS. 
 
 Hits are of various patterns. For our work get one each 
 :U\2. 1-8 and ^-16 inch gimlet bits; one each 1-4, 3-8, 1-2, 5-S, 
 3-4 and 1 inch auger bits and one counter sink. 
 
 The gimlet bits you will use principally for screw holes. 
 Be careful not to bend them. The auger bits are for larger 
 holes. When using them it is a good plan, if you intend to 
 bore all the way through, to stop as soon as the worm is through 
 and bore in from the other side. You are less likely in this 
 way to raise the grain around the hole. 
 
 TO SHARPEN BITS. 
 
 To shar])en bits use a slip stone (a thin oil stone). Rub 
 the sharjK^ned edges on the inside keeping the angle the same 
 as when new. 
 
 THE NAIL SET. 
 
 The nail set is a small steel punch, hollowed a little 
 on the end. It is for sinking nail heads below the surface 
 of the work. Always incline the nail set in the same direction 
 as the nail so it will not slip off and mar your work. 
 
 THE HAMMER. 
 
 The hammer should be fairly light. Get one ball 
 pein (round face) claw hammer, rather small; one riveting 
 hammer (small). Use the claw hammer for all ordinary work 
 
and the I'ivctiiiu liammer for small hi'ads and welding. Always 
 1)()1(I a haminm' by the end of the handle. It is balanced to be 
 lichl so. ^lake the stroke from the elbow ratlier than the wrist. 
 Never drive a nail with one or two single blows. It holds 
 better when driven in several blows. 
 
 OIL STONES. 
 
 Oil stones ai'e made of composition and of natnral 
 st(^ne. The former is perhaps the l)etter of the tM^o. Clean 
 otf occasionally with kerosene to remove the steel and dried 
 oil. Be carefnl not to seratcli it. To trne an oil stone when 
 hollowed down in the middle fasten a piece of No. 1 sandpaper 
 on a flat board, moisten it slightly and rub the face of tlie 
 stone on it until true. 
 
 THE MALLET. 
 
 The m;dlet is for driving your chisel. Never use it 
 on metal. Use the same stroke as with the hammer and always 
 liold by the end of the handle. 
 
 THE TRY SQUARE. 
 
 The try square is extremely important. Have the dealer 
 test it in a steel square before you buy it. It is for marking 
 at right angles and for testing work. In use be sure to hold 
 the thick end snugly against the work that is squared. 
 
 THE STEEL SQUARE. 
 
 The steel square is for larger work than the try square. 
 It also has many uses which 3'ou will not require of it. 
 
 THE SLIDING T BEVEL. 
 
 The sliding T bevel is much like the try S(|uare except tliat 
 it can be set at any angle and clamped with a thumb screw. 
 You Avill use it for mitring, etc. 
 
 THE DIVIDERS. 
 
 The dividers are for marking circles or arcs and for divid 
 ing a given space into ecpial parts. Be careful not to make 
 deep holes with them. Just enough to show is sufficient. Do 
 not bend the points. 
 
 TWO-FOOT RULE. 
 
 Two-foot rule sliould be divided to sixteentlis at least. 
 Be careful not to mar it or your accuracy will suffer m con- 
 sequence. 
 
Chapter II. 
 
 WOOD WORKING AND JOINING. 
 
 In 5'our Avork-room you will need several appliances which 
 you can either bu}', have made or nial<e yourself. Among 
 these are two saw horses; a work bench with stop and vise; a 
 tool chest or closet ; a mitre box and a l)ench hook. These 
 may be more or less elaborate. We give lielow the easiest and 
 simplest that will do. You can improve on them if you desire. 
 
 THE SAW HORSE. 
 
 The saw horse is merely a straight bar with four legs 
 on which to rest material while working it. You will Avant 
 two. To make a saw horse get two pieces of dry fir or pine 
 2 in. X 4 in. by 12 ft. long sts common lumber will do so long 
 as it has no knots large enough to weaken it. The s4s means 
 sized on four sides and is the term used by the mills for planing 
 off the saw marks. 
 
 Using your try square, mark across one piece as near the 
 end as the wood is sound, with your cross-cut saw cut off the end 
 square at this mark. With your rule measure oft' four legs, 
 each 24 inches long, and one piece 3 feet long for the rail, 
 mark and saw as before. The legs must be bevelled at the tops 
 just like the bevels on your chisels. This will make them 
 spread properly at the bottom. To cut this bevel lean one of 
 tlie legs against the wall with the fiat .side to the wall and 
 the bottom end about 9 inches out from the base board. Now 
 ]dace your rule, folded up, ■\^ ith its edge against the Avail and 
 the flat side against the upper end of tVe leg and Avith your 
 pencil mark the side of the leg along the rule. T>e careful 
 to cut square. Bevel one end of each leg. Lay your rail on 
 the floor on its flat side, set the bevel of the leg against it 
 about 3 inches from the end, Avith the top of the leg even with 
 the top of the rail. Drive in one nail and Avith your steel 
 square see that the leg is at right angles Avith the rail, then 
 put in enough more nails to make it solid. Do likewise on 
 other end, then turn over and put the other tAvo legs on. Stand 
 the horse up on its legs, if it rocks a little put a small wedge 
 under the short leg and with your rule folded, its edge on the 
 floor and flat side against the edge of the leg, mark along the 
 rule. With your try square mark across the flat side of the 
 leg from this line and saAV the leg off here on the angle given 
 by the tAvo lines. If this is done carefully on all four legs your 
 horse will set firmly on the floor. 
 
WORK BENCH. 
 
 To nuilve a simple wofk l)eneli you will requii'c one 
 [nvL-v 2 ill. X 12 ill. x 12 f1. loiiy- s4s ; one piece 1 in. x 
 12 in. X 16 ft. s4s; one piece 2 in. x 4 in. x 10 ft. s4s; 
 one piece 2 in. x 6 in. x 5 ft. s4s. Common lumber will do if 
 knots are not too large. You will also need a 1-inch bench 
 screw. Saw the 2 in. x 12 in. into two pieces for the top. Saw 
 the 2 in. x 4 in. into four pieces each 30 inches long for legs. 
 From the 1 in. x 12 in. saw off two pieces each 22 inches long 
 and nail a leg firmly on each end of both of them, with the 2- 
 inch side of the leg next the board and keeping the top of the 
 leg even with the top edge of the board, and the ends of the 
 board even with the outside of the leg. Saw the remainder 
 
 1 in. X 12 in. into two pieces 5 1-2 feet long and nail the ends 
 to the fiat side of the legs with the tops even with the top of 
 the leg and the ends even with the outside of the short board 
 previously' nailed on the legs. This will make the frame of 
 your bench. Now stand it up and lay the top on it so that the 
 top projects about 3 inches beyond the frame at each end and 
 is flush Avith it in front. Nail the front top piece on first, being 
 careful to get the frame square at the corners, then holding 
 the back piece firmly against it nail that also. Set your nail 
 heads below the surface Avith the nail set. Now stand the 
 
 2 in. X 6 in. on the floor against the bench and mark it just 
 the height on the top of the bench. Saw it square across at 
 this mark for the inside jaw of your vise. Cut the outside jaw 
 
 3 inches shorter than this so it will not touch the fioor. About 
 C) inches below the top of both jaws, and exactly in the center, 
 bore an inch hole for the bench screw. Most bench screws 
 have a bulge on the inner face of the plate and you will prob- 
 ably liave to cut around the hole on the outside jaw as if for 
 a l)ig screw head so this plate will set down flat. Now fasten 
 the inside jaw to the bench near the left-hand end, one end 
 on the floor and the other flush with the top of the bench. 
 Putting your 1-inch bit through the hole in the jaw bore 
 through the apron, next unscrew the threaded collar from 
 the bench screw and set it in the center of a piece of wood 
 2 in. X 4 in. x 8 in. To do this bore a hole through the 2 in. x 
 
 4 in. and ream it out with your knife large enough to take the 
 collar, or else take it to a carpenter shop and have it bored 
 with a larger bit. Now, having fastened the bench screw to 
 the outside jaw, put it through the inside jaw and apron and 
 then screw on the 2 in. x 4 in. with the collar in it. Nail the 
 2 in. X 4 in. to the inside of the apron. There only remains 
 
the slide in the bottom of the vise. Three iuche.s above the 
 bottom end. in the center of the outside jaw, bore an inch 
 hole throiiirh both jaws. Get a piece of hard wood (broijm- 
 stiek) about IS inches long- that will run easilj' through this 
 hole. Put it through the hole till the end is flush with the 
 outside of the outside jaw. Then wedge it tight, or nail it 
 from the side so that it will run easily through the inside jaw, 
 but hold the outside one. Bore 1-4 inch holes through this 
 slide from side to side about 1 inch apart. Cut the head off a 
 20d nail and use this as a pin to hold the bottom of the jaws 
 as wide (»pen when in use as the thickness of the material you 
 have in the vise, or as nearly so as the holes in the slide will 
 permit. 
 
 BENCH STOP. 
 
 The bench stop is used to brace your work against Avhen 
 planing, etc. You can buy an adjustable iron one or make 
 a simple one as follows: Six inches from t'^e left-hand end of 
 the bench, and about 4 inches from the front, bore a hole 
 straight down through the top with a bit the size of your 
 broom-stick, before mentioned. Into this drive the broom-stick 
 tight and Avith the saw cut it off about 1-2 inch above the top 
 of the bench. This will answer temporarily. 
 
 You now have your bench and saw horses and can begin 
 work. They may appear a little crude but Avill answer every 
 purpose and you can buy or build finer ones Avhen you have 
 learned to use the tools easily. 
 
 AVe would advise postponing the tool chest until you 
 have had some experience in the use of tools. 
 
 The mitre box is described later in your Avork and you 
 will not need it for the present. 
 
 13 
 
Chapter III. 
 
 SQUARING AND JOINTING. 
 
 For this and other exercises we recommend 2 in. x 4 in. 
 kiln dried No. 1 pine s4s. This is less than 2 in. x 4 in., as 
 these are the dimensions in the rough and some surface is 
 taken off in dressing it. In speaking of lumber we give 
 dimensions in the rough, but in speaking of parts of a piece 
 of work actual measurements are always given. 
 
 /f-d 
 
 e: a. 
 
 r 
 
 Exercise No. I. 
 
 Saw off a piece of 2 in. x 4 in. 18 1-4 inches long. Tlic 
 object of this exercise is to learn to square this block, th;it 
 is, make every surface perfectly fiat and straight and exactly 
 at right angles to the adjoining surfaces. This operation is 
 nc-cessary on almost every piece of work you will do and its 
 accuracy is of the utmost importance. Place your piece on 
 the beneli with one of the wide sides up and the end against 
 the bench stop. Set your jack plane to cut a very thin shav- 
 ing. Plane the upper surface carefully, testing it from time 
 to time with the side of your plane to see that it is perfectly 
 straij^ht. This is called jointing. It must also be flat. Test 
 this wifli the side of your plane laid across it and in all 
 directions. Next turn it up on edge and joint and square m 
 tlie same maimer. To test the angle use the try square with 
 the l)road arm against the face of the side you have already 
 s(|uare(l. Plane the other two sides in like manner until ail 
 fop.i- sides are absolutely square with adjoining sides and per- 
 feclly siraight from end to end. IMeasure off 1-8 in. from 
 one end and mark witli try scpiare and knife across the top. 
 Turn it up and mark from this line down the side next you. 
 With the back saw cut s(|nare to these marks. Now measure 
 
18 in. from this and cut the other end off square in the same 
 manner. Put the piece in the vise end up and projecting 
 about an inch above the vise and with your smoothing plane 
 plane the ends true, testing from all four sides with the try 
 square. It is well in this operation to put a piece of waste 
 material back of your work in the vise, with its upper edge 
 even with the upper edge of your work. This will prevent 
 chipping off the further edge as you plane across it. Square 
 up other end in like manner. You will probably have to try 
 some little time before you can get this exercise perfectly, 
 but persist. Though simple it is perhaps as important as anv 
 you will have and you will be called upon to repeat this 
 process constantly. Do not slight it. therefore, and when yon 
 can square a block perfectly you have made a great stride 
 forward. 
 
 HALF TENON AND HALVING. 
 
 Saw off a piece of 2 in. x 4 in. 12 inches long. Square 
 it up as in Exercise I. Select the wide side with the best grain, 
 etc., for your working side and mark it "0." ^Measure otf 
 3 1-2 in. from the left-hand end as it lies on the bench before 
 you and Avith your knife and try square mark across the 
 
 9 
 
 Vvi^'' 
 
 >>^> 
 
 ? 
 
 
 
 
 , t 
 
 
 c 
 
 a 
 
 
 f 
 
 ! . If 
 
 
 1 
 
 
 b 
 
 = d. 
 
 
 '"^L 
 
 1^^ 
 
 
 Exercise No. II. 
 
 working face (a-a). Turn up on edge and mark across from 
 this line (b-b). Turn on other edge and do the same. Next 
 measure 3 in. farther from the end and mark across the work- 
 ing face and down the two edges in the same manner (c-c-c). 
 Then 3 1-2 inches farther from the end mark across face and 
 edges as before (d-d-d). Now take your marking gauge and 
 set it 7-8 in. deep. Turn work on its edge, with the workins 
 face to your right and with the gauge make a line along the 
 edge from (e-e-e), that is, a line 7-8 of an inch below the work- 
 ing face and parallel with it. Do likewise between {Q^ and 
 
(d) and (f-f). Turn the work over and mark the other side 
 in the same way and also carry your gauge mark across the 
 end (g-g). Place the work on the bench working face uj) with 
 the marked end to the right. With your back saw cut down 
 at (b) to the gauge mark (e), being careful that your saw cuts 
 just to the mark both on top and down the edge. Saw in the 
 same way at (c) to (f) and (d) to (f). being carefnl in all 
 cases that your saw cuts only to the middle of your mark, the 
 cut being in the wood to be removed, which in our case is 
 between (b) and the end and (c) and (d). Do not mar 
 corners in starting your saw. Place the work in the vise with 
 the gauge mark just above the jaws. With your widest chisel 
 cut out the parts to be removed, cutting across the grain, flat 
 side of the chisel down. Do not try to take out too much at 
 a time. Do not cut all the way across as the wood is likelv 
 to chip off the far side below your gauge line, so cut only half 
 way across, then turn the piece around and cut from the other 
 side. When you reach the bottom (the gauge line) be very 
 enrefnl to hold the chisel flat, that is, straight across, or you 
 will not have a flat, even bottom. Next turn the work up on 
 end in the vise and with your rip saw cut down the gange line 
 across the end (g-g) and down the edge (e-e). Repeat this 
 exercise until you can get it absolutely accurate. All sur- 
 faces should be "square" and smooth. These operations are 
 constantly necessary and must be accurate or your joints will 
 show unsightly cracks. While, on the other lumd. when you 
 have mastered this exercise, you have accomplished a great 
 deal, as you will appreciate a little later. 
 
 HALVED JOINT. 
 
 Ro far we have not required our matei"i;i] to be of any 
 l);ii'1icular dimensions when finished. W^e shoidd now be able 
 1() scjuare up to given dimensions, which is. of course, neces- 
 sary in most cases. It is in this exercise. 'J'herefore. remember 
 to get you I- iiialerial out a trifle larger than tlu^ dimensions 
 i:i\('n foi- Ihc finished Avork in order to leave room for squar- 
 ing. The purpose of this exercise is to join two pieces of 
 e(|ua] tliekncs-; which cross each other at right angles, and 
 luive them (hish lop and bottom; the pieces to be of the exact 
 diini'nsioiis L;i\t'n. titled closely on l)oth sides, each piece 
 ('.\;i('t]y in the eenler of the other, both sides to be perfectly 
 smooth and even when finished and the ends planed square. 
 To (h) this get out two [ieces which square iqi as in Ex. I to 3 1-2 
 iti. wide. 1 3-4 in. thick and 12 in. long eaeli. Choose ana 
 iiiifk- working- fnce of each. Find llie eentei' {(] in. from each 
 
end). Measure 15-8 in. each way from the center and mark 
 across the working face of one piece and bottom of the other 
 piece (a-a) and (a-a). Now set your marking gauge to halt 
 
 J^ 
 
 Exercise No. III. 
 
 the thickness of the piece (7-8 in.) and mark the bottom of 
 your cut as in Ex. II (b-b). Do not forget that the workinu- 
 face of both pieces must be up. Therefore, the cut is mad^ 
 on the working face of one piece and the bottom of the other. 
 Proceed to saw and chisel out as in Ex. II. when, if accurateh 
 done, the pieces will fit together perfectly making a cross 
 with all four arms exactly the same length. 
 
 You will use this joint often in furniture and can make 
 the pieces cross at any angle by using the sliding T bevel set 
 at the angle you desire for marking across the tops and 
 b(jttoms of the pieces and the try stjuare for the edges. 
 Accuracy is essential both as to dimensions and work. 
 
 MORTISE AND TENON. 
 
 The mortise and tenon are used more than any otlier kind 
 of joint in furniture. Therefore great patience and care are 
 justified in learning to make them nicely. When the end of 
 one piece is to be joined to the side of another, the mortis" 
 and tenon are almost always used. The mortise (No. 1) is 
 an opening, square or oblong, to receive the tenon and mav 
 go part way or all the way through. When part way it is 
 called a "blind" mortise; Avhen all the Avay a "through" mor- 
 tise. The tenon (No. 2). is a projection on the end of the other 
 ])ieee Avhieh lits into the mortise. It generally has two 
 shoulders, but may have three or four, made by cutting awav 
 the sides. It should be about one-third the thickness of t1u^ 
 piece. In furniture it is fastened with glue, and wher(^ 
 advisable with a Avooden pin also. The objects of this exercise 
 
are that the pieces be straight and accurately squared to the 
 measurements; that the tenon be exactly in the center of the 
 joint; that the pieces be square to each other when joined; 
 that the tenon fit the mortise exactly without squeezing; that 
 the shoulders fit up to the cross pieces nicely and that when 
 joined the two pieces be perfectly flush at the joint. The 
 method is as follows : Square up two pieces to 1 1-2 in. x 3 1-2 
 in. X 12 in. long each, take one piece for the mortise piece, turn 
 it on edge and find the middle. Measure 1 3-4 in. (^a-a i each 
 
 Exercise No. IV. 
 
 way from the middle and mark across Avith knife and tr\' 
 square. As the tenon is to be one-third the thickness of the 
 piece set your marking gauge 1-2 in. deep and mark a line 
 parallel with the side betM^een these two lines (b-b) and (b-b), 
 being careful not to run over the line. Turn around and mark 
 other side of the mortise in the same way. You now have 
 the mortise marked on one edge. To mark it exactly opposite 
 on the other side, mark across the flat side of the piece very 
 lightly at the end linos and across the other edge at these lines. 
 This will give you the end lines on the other side. Mark the 
 side lines with the gauge as before. Lay the piece aside and 
 lake the tenon piece. Now, as your mortise piece is 3 1-2 in. 
 wide, your tenon will have to be 3 1-2 in. long and you will 
 want a little exti-a to smooth off the end, so better measure a 
 Iritie over 3 1-2 in. from the end, the piece being on edge and 
 mark across (c-c). From this line mark square across top and 
 l)(»ttom sides. Also across the other edge. This gives tlie 
 shoulder line for the tenon. Take the gauge, which is set at 
 1-2 in., and mark parallel Avith the flat sides from these shoulder 
 lines to the end ''d-d) (d-d), and this will give the thickness 
 i)f the tenon. Lay aside the pieee and put the mortise piece 
 ill 1h(^ vise edge up. AVith yoiii- 1-4 in. chisel and mallet cut 
 
 20 
 
your mortise part way through, then turn the piece over arul 
 cut from the other side. Remember to keep the fiat side of 
 the chisel towards the edge of the hole and leave a slight 
 margin all the v.-ay round. When you have cut the mortise 
 clear through in this way, take your 1-2 in. chisel and true 
 up to the lines, the sides first and then the ends. See that all 
 four sides of the mortise are straight through from side to 
 side or the tenon will jam. Lay aside the piece and take 
 tenon piece. Lay it flat side down and cut tenon exactly the 
 same on both sides as you did the half tenon in Ex. II. Insert 
 tenon through the mortise and plane off the end flush with 
 the mortise piece. Now look carefully over your work and 
 see if it fulfills all the objects of this exercise. Do it over until 
 it does. Do not get discouraged. It is a mighty nice operation 
 and Avhen you can make this joint properly you may be proud 
 for it is a step beyond simple carpentering and Ix'longs to the 
 Joiners' and Cabinet IMakers' art. 
 
 PANELLING. 
 
 Panelling is used in doors, the ends and backs of furni- 
 ture, etc. It may be more or less ornamented with beading, 
 moulding and so on. but in the best modern furniture all orna- 
 ment is omitted and the panels absolutely plain. The objects 
 of this exercise are to make a frame 13 in. x 17 1-2 in. x 1 3-4 in. 
 thick with two sunken panels; that it shall lie perfectly flat 
 when put together; be smooth and true at all joints and exact 
 in dimensions. The method is as follows: Get out a piece 
 which will finish to 1 3-4 in. x 3 1-2 in. x 60 in. Joint and 
 sfiuare to required thickness, also square up one edge only. 
 Set in the vise with the squared edge up. Set your gauge 
 1-2 in. deep and mark along the top edge 1-2 in. from and 
 parallel with the side farthest from you. Then turn it around 
 and mark other side. This will give you the Avidth of the 
 rabbet (see end view No. 4). in Avhich the 3-4 in. sunken panel 
 will slide. To cut this rabbet use your 1-2 in. rabbet plane 
 and plow (cut) 1 in. deep. If you have a Stanley No. 45 or 
 No. 55 it has a fence to guide it, but if you have only a wooden 
 rabbet plane you must use a straight strip of wood to guide 
 the plane. There are several ways of fastening this strip. The 
 easiest way is to brad it on to your w^ork along the gauge 
 line, but this leaves the brad holes. The best way is to take 
 a strip a little longer than your work and fasten a block 
 on each end of it which Avill drop down over the ends of your 
 work, then wedge it tight at each end. In this case the strip 
 must b(' stout enough, of course, not to bend as you plaup 
 
against it. When you have plowed an inch deep, turn your 
 work around, move guide to other side, and with your 1-4 in- 
 rabbet plane plow the other 1-i in. to be taken out, making 
 the rabbet 3-4 in. wide. Be sure to plane square or the panel 
 will not lie fiat. When plowed eut this piece into two pieces 18 
 in. long for the sides of the frame and three pieces 8 in. long for 
 the top, bottom and middle. Plow one of these 8 in. pieces, 
 which you intend to use for the middle bar, on the side oppo- 
 site the one alreadj^ plowed, a?/ it will have a panel on each 
 side of it (see No. 6). Now cut a tenon 1 in. long by 3-4 
 
 ° 
 
 
 <X' 
 
 
 
 1 
 
 
 
 s5 -^ 
 
 4 
 
 i ■5' ; 
 
 s 1 
 
 Exercise No. V. 
 
 in. thick on each end of all three 8 in. pieces, just as you did in 
 Kx. ill (see Xos. 2 and 3). For the panels saw from an inch 
 board two pieces 5 1-2 in. x 8 in., dress them down to 3-4 in. 
 thick. Put one of the 18 in. frame pieces in the vise with the 
 rabbet u]). Insert the tenon of an 8 in. piece in the rabbet 
 1-4 in. from the end, with the rabbet in itself turned so as 
 to receive the panel. With your 1-4 in. auger bit bore a hole 
 straight through the frame and tenon 1-2 in. from the edue 
 of the frame in the center of the tenon, as at (a) No. 1. Make 
 a round plug to Ht this hole, sand paper it sraooth and drive 
 it in gently. This will hold the tenon in plac(!. Slide n panel 
 into this rabbet and down into the rabbet in the frame piece. 
 Next slide the center piece in so the rabbet fits over the panel 
 and the tenon in the ral)b<'t in the frame. Bore and pin like 
 the fir.st one, then insert the other panel and end piece in 
 like manner. Now take the remaining 18 in. frame piece and 
 
 22 
 
fit it down sniio: over the tenons and panels, leaving 1-4 in. 
 margin at each end. Pin each of the three tenons, being careful 
 to hold the shoulders snngiy against the frame and the piece 
 tight down on the panel. Cut the pins off flush and sand 
 paper smooth. Now put the whole frame in the vise and with 
 your plane trim to exact size. When you can do this exercise 
 so that all joints are perfect, all surfaces flat, smooth and even, 
 and all dimensions correct and have mastered the exercises 
 before it you can pretty nearly make furniture. There is 
 one thing more, however, which is important, a little difficult 
 and frequently required, and that is dowelling and joining. 
 
 DOWELLING AND JOININa. 
 
 For this exercise practice will do more for you than 
 instruction. The object of the exercise is to join two boards 
 at their edges so as to make a continuous surface with no 
 crack or unevenness at the joint, as in table tops, etc. You 
 will be called upon for this operation whenever you make 
 any piece of furniture with a plain surface more than 8 to 
 10 inches wide. The method is as follows: Take two pieces 
 7-8 in. x 6 in. X 36 in., select working face of each. Find 
 the center of each and with knife and try scjuare mark across 
 the edge to be joined as at (a). Measure 12 in. each way from 
 
 ± 
 
 a 
 
 -±k 
 
 Exercise No. VI. 
 
 center (b-b), and mark. Take your marking gauge, set it 
 half the thickness of the board (7-16 in.) and mark a fine 
 point 7-16 in. below the working face on the knife marks, as 
 at (c). With brace and 3-8 in. bit bore a hole 1 1-2 in. deep 
 exactly square into edge of the board at each point, as at (d). 
 Repeat the process in the other board. These holes are for 
 the dowels (e-e-e), which are pins that keep the boards from 
 wabbling at the joint and also hold them together. Yon will 
 appreciate, therefore, that if the holes are not exactly straight 
 in, the pins will lean and not fit into the holes on the other 
 
 23 
 
piece, or else tip it one way or the other. To make the dowels 
 square up a piece 1-2 in. square and 9 in. long, then round it 
 with your smoothing plane and sand paper to exactly 3 8 
 in. diameter, or, in other words, to fit the holes tight without 
 jainming. Cut into 3 in. lengths with back saw. Before insert- 
 ing the dowels the pieces must be jointed. To do this turn 
 one on edge in the vise and square up the top edge (f-f) with 
 your jack plane. Observe strictly directions given in Chap- 
 ter I for planing. When you have the edge precisely square 
 and straight lay aside and square one edge of the other piec<\ 
 When this is done, before taking it out of the vise, test it ])y 
 standing the other piece on it with the squared edges together 
 and working faces turned the same way. Test the surface of 
 the two boards by holding the back of your steel s piare across 
 the two, seeing that it touches at the two edges and at the 
 joint and that no least crack shows on either side. Now insert 
 your dowels and the joint will be true. 
 
 This is a difficult exercise and requires much practice, 
 but its accomplishment brings the keen delight of work well 
 done. 
 
 MITRING. 
 
 The mitre is used to foi-m a joint where two pieces come 
 together at right angles and make a corner. The end of each 
 piece is cut at an angle of 45 degrees (No. 1). To make this 
 joint you will want your mitre box wliicli you can now make 
 with comparative ease. It must be precise to be of use. It 
 is a box without ends or lid (No. 2), and made as follows: 
 Get out three pieces 7-8 in. x 4 in. x 18 in. Joint and square 
 them. Select working face of each. Firmly nail sides to 
 bottom, all faces inward; 3 in. from end mark with knife 
 and try square ncross top of both si(U^s (a-a). From tliis line 
 
 Exercise No. VII. 
 
 mark in same way straight down tlie outside of the side 
 towards you (b-b). With back saw cut down this line till 
 you strike tlie bottom of the box, starting your saw in tlie 
 
 24 
 
mark (a-a) ou top of the two sides. Now measure 4 in. farther 
 from same end and mark across the tops of sides (c-c). Then 
 ■4 in. farther and mark as before (d-d). Take your steel 
 square or other perfectly straight edge laid diagonally across 
 the tops of the sides from (e) to (d) and (d) to (e) just at 
 the points where these marks run off the insides of the edges 
 and mark the tops of the sides at this angle (45 degrees). 
 Now mark square down the outside nearest you (d) to (e), 
 and (c) to (f). With your back saw cut diagonally across 
 in the marks on top and straight down the mark ou the side 
 to the bottom of the box. The cut straight across is for a 
 guide for your saw in cutting square ends and you can use 
 it also for the shoulders of tenons. The 45-degree cut is for 
 guiding your saw when cutting mitres, like the corner of a 
 picture frame. You will realize, then, that the sides of the 
 bottom piece must be carefully squared or the sides of the 
 box will not be square to the bottom, and it must be exactly 
 4 in. wide or your angle will not be true and your mitres will 
 not fit. 
 
 If at any time you need a mitre box to take wider mate- 
 rial make the bottom wider and proceed otherwise as above, 
 except that the space on the inside face of the sides between 
 tlie diagonal cuts must always be exactly the same as the 
 Avidth of the bottom. In use. remember that if you plane any- 
 thing off the outside edge of a mitred end 3'ou make the piece 
 shorter and anything off the inside makes it longer, as you 
 will readily understand by experimenting a little. Therefore, 
 you must be careful to have your piece of the proper dimen- 
 sions before mitring or else allow for this in its length. 
 
 DOVETAILING. 
 
 To make an accurately fitted dovetailed corner is good 
 evidence of a workman's ability to use tools. There are three 
 kinds: First, common dovetailing (Fig. 1). where strength 
 is more important than appearance, as in box corners, etc. 
 The pins and tails should be of equal size and about as wide 
 as the material is thick. The pins are the parts widest on 
 the inside face of the piece (a-a-a) and the tails are the parts 
 which are widest at their ends (b-b). 
 
 Second, lap dovetailing (Fig. 2), which shows only from 
 the side as at the front ends of drawers. The tails are always 
 on the side piece and should be two to four times as large as 
 the pins. There is no rule for size. Use a size that is stronsc. 
 looks well and divides the space evenly. Always begin and 
 finish Avith a half pin. 
 
 25 
 
Third, the mitre dovetail, not illustrated, which is hidden 
 altogether. It is much more difficult to make and not so strona; 
 as the others. You will have no use for it. 
 
 Cut your pins first and ninrlc the tails from them, then 
 if you make a slip you can correct it before marking the tails 
 and after you have had some experience you can learn to cut 
 the tails Avithout marking the bevels. 
 
 The object of this exercise is to make a lap dovetail .ioint, 
 as of a drawer front. Get out one piece 7-8 in. x 5 in. x 12 in. 
 when jointed and squared, for the front of the drawer and 
 one piece 1-2 in. x 5 in. x 12 in. for the side of the drawer. Select 
 working faces which will be the insides. Ret your marking 
 gauge a shade less than the thickness of the side piece and 
 see that the marker is sharp. Now mark across the inside 
 face of the front piece, gauging from the end (c-c). This 
 
 Exercise No, VIII. 
 
 is the length of the pin. The length of the tails (which are 
 on the side piece) should be about 3-4 the thickness of the 
 front piece, or about 5-8 in. in this case, so set your gauge 
 5-8 in. deep and mark across tlie end of the front piece gaug- 
 ing from the inside (d-d). AVithout changing your gauge 
 mark a line across both sides of the side piece, gauging from 
 the end (e-e). Place front piece in vise, marked end up and 
 face towards you. With a pencil, space out the tails, which in 
 this case will be about 8-8 in. wide, making a half pin at 
 beginning and end and three full ones between. INIake them 
 even distances apart, of course, and when you have located 
 
 26 
 
them set your T bevel at an angle of 1 in 6 and marlc them 
 accurately on the end of the front, and with your try square 
 continue these lines down to the gauge line (c-c) on the face. 
 Take your back saw and cutting on the inside of the bevel lines 
 saw down to the gauge mark (c-c) on the face, but not beyond 
 the gauge mark (d-d) on the end. In other words, you can 
 only saw the corners. ]\Iake all cuts. in one direction first, then 
 tlie others just as you would file a saw. It is easier to be 
 accurate this way. Next, with your chisel clean out the spaces 
 l)etween the pins. These spaces will l)e like a mortise, open 
 on the end and wider at the bottom than at the surface. There 
 will be a little space close in the corner where you cannot get 
 the chisel, clean this out with your knife. Remember not to 
 cut quite to the line till the very last. The pins are now com- 
 plete. Lay the side piece (No. 4) on the bench face up. Stand 
 the end on it with its inside face just covering the gauge mark 
 (e-e) across the side near the end, as illustrated. Hold it 
 firmly and mark the side around the pins in the end piece. 
 Place the side in the vise, end up, and square the tails across 
 its end. With the back saw cut the sides of the tails (on 
 inside of lines), and lay on the bench and cut between the tails 
 with your chisel. 
 
 If you have much dovetailing to do it is worth while to 
 get a chisel bevelled on both sides and across the end, like a 
 lathe chisel. It is easier to get into the corners with this. Put 
 your pieces together and dress off the side till it is exactly 
 flush with the front. 
 
 When you can do this exercise and the preceding ones 
 accurately you can do about anything you will be called upon 
 to do. It is hard, but worth while. You will be able to make 
 the common dovetail easily after this. Just remember, in that 
 ease, to make pins and tails the same size and about as wide 
 as the thickness of the material. 
 
 27 
 
Chapter IV. 
 
 FASTENINGS. 
 
 There are many ways of fastening' the parts and joints of 
 furniture. Among those most used are brads, screws, wooden 
 pins, shaping of the parts and glue. Glue is used in almost 
 all joints. Use brads and screws very sparingly. Any other 
 fastening is preferable in most cases. If you do use the latter 
 in any part that is visible, first bore a hole from 1-8 to 1-4 
 in. deep, large enough to take a wooden plug to cover the head 
 of the metal. For fastening by shaping the parts there are 
 many devices. You have learned the mortise and tenon, the 
 dowel joint, the mitre and the dovetail. These will answer 
 almost every requirement, with glue in most cases, and in 
 some cases pins to hold them together. When using glue there 
 are several things to be observed. It should not be too thick 
 or too thin. Experience soon teaches you how thick to use 
 it for each kind of work. As a rule about as thick as thin 
 syrup will be right, but hard wood requires thinner glue than 
 soft Avood. If the pieces are very cold they should be warmed 
 and the glue always used hot. When the joint is such as ad- 
 mits rub the parts together, and in all cases clamp tight to force 
 out the surplus glue and hold the joint until the glue is dried. 
 It should stand S to 12 hours before being handled. To glae 
 end grain first size it, that is, put on a coat of glue, allow it 
 to dry and then proceed as above. Use the best furniture glue, 
 though the prepared glues are good and very convenient, but 
 if you use the latter get a small quantity, as it is better to use 
 it hot and it loses strength by frequent heating. 
 
 To |)repare glue use a glue pot which is like a double 
 boiler. Put as much as you think you will use in the inside 
 pot and cover with cold water. Let it soak six or eight hours, 
 then put the smaller pot in the larger one with water in the 
 outside one and heat until the glue is hot. 
 
 Glue can be made to stand the weather by adding one part 
 boiled linseed oil to eight parts glue, stirring all the time, or 
 else use skinimed milk instead of water in the glue. 
 
 28 
 
Chapter V. 
 
 DRESSING OFF AND SMOOTHING. 
 
 As a rule it is better to leave the final dressing off till the 
 joints are all made and glued or otherwise fastened, so that in 
 case there are any little inaccuracies the pieces can be planed 
 smooth. This always has to be done with a glued joint, either 
 with plane or scraper, or both. 
 
 The scraper is simply a flat piece of thin steel about 3 in. 
 X 5 in. The best ones are cut from an old saw, but you can 
 buy very good ones. To sharpen a scraper lay it on a flat 
 board and rub the side of the edge with a piece of hard steel 
 (your nail set is good) laid flat on it, then take it up and 
 draw the steel firmly along the edge. This makes it flat on 
 the sides and edges but turns up a little sharp edge. Use both 
 hands with the scraper and tip it in the direction you are push- 
 ing it and scrape a little across the grain. It is well to scrape 
 all surfaces to take out any plane marks or nicks and it saves 
 work when sandpapering. Sandpaper with coarse, then fine 
 sandpaper, or steel wool, always rubbing with the grain. Tt 
 is hard to be sure that your M^ork is quite smooth before it 
 has any coloring on it, as the shadows are very light. Look 
 across it towards the light both ways, as the shadow is always 
 away from the light, of course. If in doubt, rub some more. 
 The finish of furniture is of the utmost importance and it 
 should be absolutely smooth before anything is put on it. 
 Even the fine sandpaper will make scratches which show on 
 a polished surface if not always rubbed with the grain. Have 
 horizontal work between you and the light; vertical work 
 stand between light and work. With oak it is well to moisten 
 to raise fibre, then rub again when dry. When you are satis- 
 fied and doubly satisfied that not a least blemish remains, and 
 not before, then proceed to put on your finish. 
 
 29 
 
Chapter VI. 
 
 STAINING. DYEING, FILLING, POLISHING. 
 
 For coloring the wood wipe-stain is perhaps the easiest 
 and quickest and is very satisfactory. You can get it at any 
 paint store read}^ for use. Put it on with a brush of con- 
 venient size for the work and immediately wipe off with old 
 rags or waste. It will not show brush marks and do not be 
 frightened if it is much darker than you expected before it 
 is wiped off. If the first coat does not make it dark enough, 
 allow it to dry 12 hours and apply a second coat. After the 
 last coat has dried 12 hours or more, and it is thoroughly hard, 
 if on fir or similar wood, you may proceed to polish. If your 
 material is oak or other open grain wood you will need to 
 apply a filler, which you can also get at the paint store. This 
 should be of the same color as the stain and put on in the same 
 way. When it turns dull, which will be in a few minutes, 
 wipe off all on the surface. This will leave the pores filled. 
 Allow filler to dry at least 12 hours before polishing. 
 
 The best and easiest polish, as well as the most beautiful, 
 is Avax. To prepare this shave beeswax into a pan. add as much 
 spirits of turpentine as will moisten it through, and powdered 
 white resin, in proportion of one part resin to sixteen parts 
 wax. Dissolve on stove, being careful not to let it catch fire. 
 Stir it up and when cool it is ready for use. Roll some 
 cloths into a ball, smooth on the outside, and use to apply the 
 polish. Put the polish on very thin and evenly, allow it to dry 
 a few hours, then with a clean ball of cloth (preferably woolen) 
 rub at first gently with the grain, then harder in a circular 
 motion and finally a few strokes Avith the grain. After 12 
 hours rub again with dry cloth, and if a higher polish is desired 
 apply a second coat of wax as before. This polish will improve 
 with age and occasional rubbing. 
 
 Instead of the wipe-stains you can use wood dyes which 
 come already prepared. They sink farther into the wood and 
 do not wear off as soon, but on the other hand are much 
 harder to apply evenly. The filler, however, will take off some 
 of the dye and you can sometimes even up a little any dark 
 spots when rubbing down the filler. The dye does not take so 
 long to dry as the wipe stain, six hours being plenty. Polish 
 as al)ov('. 
 
 30 
 
The filler in both cases will darken the color a little. Do 
 not forget this in applying your stain or dye, and in some cases 
 you will not require any other coloring than the filler itself. 
 Of this you can judge by the color j^ou desire and a little 
 experimenting. 
 
 The hard glossy finish is not used on this kind of furni- 
 ture and is very much more difficult to handle. In case you 
 desire to use it on anything jiroceed as follows : Put into a 
 glazed vessel a little gum shellac, just cover with 90 per cent 
 alcohol. Stir till dissolved, about two hours, though not nec- 
 essarily all the time. Do not use a tin vessel. Do not allow 
 lumps to settle. When thoroughly dissolved take soft cloths 
 and make a ball about 2 in. in diameter smooth on the bottom. 
 Put on this half a teaspoon of the polish, then around the ball 
 put a piece of cloth about a foot square, holding the ends in 
 your hand. On the smooth side put a few drops of linseed oil 
 and rub your work lightly in a circular motion all over. When 
 it rubs harder put a few drops more oil on the ball and also 
 on the work. Watch carefully. If the cloth sticks to the work, 
 thin the polish on the ball with a little alcohol, first taking off 
 the outside cloth. Replace the outer cloth with the other side 
 out. When the work is all filled with polish and has a good 
 gloss, change the outer cloth for a clean one. Put a few drops 
 of alcohol on it and proceed as before till the oily look has 
 gone. Too much alcohol will wipe off the polish in splotches. 
 When the ball leaves little or no mark rub fast and strong with 
 the grain a few minutes and you are done. This finish improves 
 with age also, but requires practice to apply properly. 
 
 To describe the numberless methods of coloring and fin- 
 ishing woods would fill a book several times the size of this 
 one. The above are the best, quickest and most easily learned. 
 
PIANO OR ORGAN BENCH 
 
 32 
 
PIANO OR ORGAN BENCH. 
 
 Piano or Organ Bench : This seat is very easy to make and 
 much handsomer than the ordinary piano stool. Lumber 
 required 10 ft. 1 in. x 12 in. and 7 ft. 1 in. x 3 in. 
 
 First, get out the end pieces to dimensions given. Cut the 
 mortises for the ends of the stretcher as shown, the top of 
 the lower mortise (a) 6 in. above the floor and the top of the 
 upper mortise (a) 18 in. above the floor. The tenon on the 
 stretcher has only one shoulder, as shown at (c)- Next cut 
 a rabbet 1-4 in. deep for the seat to fit in across the inside 
 face at each end, just above the upper mortise as shown by 
 dotted lines at (d). Then round the corners and cut the 
 handles and arches in the bottoms with the compass saw. Next 
 get out the seat exactly the same width as the ends and 1-2 
 in. longer than the space betw^een the ends to allow for the 
 1-4 in. in the rabbet at each end. The stretchers (b) are, of 
 
 1 1 
 
 ^ 
 
 7 
 
 . ///,- 
 
 ■ •! 
 
 
 7 
 
 z>"-" 
 
 r 
 
 ^ 
 
 
 ' s. 
 
 Vj 
 
 course, 1-2 in. shorter to their shoulders than the seat for the 
 same reason, though 3 1-2 in. longer including the tenons. To 
 cut the holes for the pins, insert the tenon through the end and 
 mark across it on the outside just where it comes through the 
 mortise, then take it out and bore a hole about 1-2 in. in 
 diameter on this line so that when the tenon is inserted through 
 the mortise one-half of the hole will be outside. You can thus 
 make your pins round and by splitting them in half have two 
 pins. All sharp edges should be rounded off a little with the 
 plane so they will not be so easily marred. Smooth thoroughly 
 before putting together. The seat is held in place by two 
 screws from underneath through the upper stretcher into the 
 seat. These screws should be near the ends of the stretcher 
 and well into the seat, but be very careful they do not go 
 through the seat. 
 
 33 
 
PLANT STAND 
 
PLANT STAND. 
 
 Plant Stand: Lumber required i ft. 1 in. x 12 in. Cut 
 the top from one end of your board. Then hiy out the four 
 legs marking the top of one next the bottom of the other to 
 save sawing and the four will just about take up the width 
 of your board. The two stretchers will cut out of the remain- 
 ing lumber leaving you a piece about 6 in. wide to spare. 
 Smooth up the edges of the top and take off the sharp corners 
 with your plane. Next shape the legs cutting the rabbet 1-4 
 in. deep for the to]) to fit in. then the mortises for the tenons 
 on the stretcher. Next shape stretchers, halving them together 
 where they cross and making the tenons about one-third as 
 thick as the material itself, and shaped as in the drawing. 
 Smooth thoroughly before putting together. Fasten the tenons 
 with glue and the top either wuth a plug giuf'd in as at (a), or 
 
 /-) 
 
 p 
 
 . 
 
 ir 
 
 i> 
 
 --. ^ 
 
 
 
 
 
 
 
 
 ' 
 
 ■. 
 
 
 
 1 
 
 1 
 
 
 I . 
 
 t 
 
 ! 
 
 5 
 
 with screws sunk and covered by a plug as at (b). This ])lng 
 should be about one-half inch diameter and allowed to project 
 about 1-2 in., the end being rounded as in illustration. 
 
 This stand made about 27 in. high, 23 in. in diameter, 
 makes a pretty tea table. 
 
 35 
 
MAGAZINE STAND. 
 
 Magazine Stand: LnnilxM- recinired 20 ft. 1 in. x 12 in. 
 Got out ends first to dimensions given. Cut mortises for the 
 tenons on the ends of the to]i and bottom shelves, the top of 
 the lower ones 5 in. above the floor and tlie top of the upper 
 ones 35 in. above the floor. These shelves do not fit in a 
 rabbet. Next cut rabbets 1-4 in. deep for the other two shelves, 
 the top of the lower one being 15 in. and the top of the upper 
 one 25 in. above the floor. Cut holes for pins as described in 
 directions for piano bench. The brace (a), below the lower 
 shelf has no tenons and no rabbet ])ut just fits snug and is set 
 back from the edge of the shelf about an inch, as shown by 
 dotted lines in end view. Is fastened by two screws from 
 underneath as shown. These screws need not be plugged, as 
 the holes will not show. 
 
 Make the tenons on the ends of the lower shelf about 2 
 in. wide and about 11-2 in. for the upper tenon, the tenons 
 being full thickness of the shelves. 
 
MUSIC CABINET 
 
/(> 
 
 /i 
 
 
 e^A.- 
 
 D 
 
 30 
 
 ITT 
 
 tEL 
 
 C 5 
 
 T 
 
 \ A i 
 
 ~yyy^yyyy-^y^-i- 
 
 L.^x.J 
 
 / o 
 
 
 -IK, /i 
 
 
 jTb 
 
 ^4^. 
 
 -y^y^^^y^^^ 
 
MUSIC CABINET. 
 
 Music Cabinet: Lumber required 12 ft. 1 in. x 12 in.. 
 6 ft. 1 in. X 4 in., 2 ft. 1-2 in. x 9 in., 14 ft. 1-2 in. x 1 in. and 
 4 ft. 1-2 in. X 12 in. 
 
 Note that the top and bottom shelves are rabbetted "'-4 
 in. into the sides, and held by screws from the ontside cover d 
 by plugs. The door is made with panel 1-2 in. thick. The 
 three middle shelves are adjustable, that is, may be set at any 
 height by cutting notched uprights of the 1-2 in. x 1. in. mate- 
 rial and screwing them to the sides of the case, as shown in 
 side view at (a), and cross pieces to fit in these notches and 
 support the shelves at (b). The shelves are not fastened at 
 all but the corners cut out to fit round these uprights and rest 
 on the cross pieces (b). The support under the lower shelf 
 (c) is simply fitted in and fastened with screws from under- 
 neath. It will look well to set the door in about 1-8 of an inch 
 from the front edge of the sides and top and bottom shelves. 
 Piece (c) should also be set in 1-8 of an inch. The back should 
 be fitted between the sides and fastened with screws covered 
 by plugs. Any kind of catch may be used, but a square wooden 
 knob bevelled to a point on the outside and cut to fit a round 
 hole and fastened with glue in the door, as illustrated at (d), 
 will appear best. If this knob is used get a friction catch 
 and set it in the top of the door. 
 
HALL SEAT 
 
 42 
 
-b' 
 
 nX' - H N— ^ 
 
 ALJ 1 -I ■ 
 
 ;o!| --4 
 
 T 
 
 |f ^1" "ii "C^'bJ" 
 
 'I t-ti^'r >' ; r^ 
 
 1^^ 
 
 f^ 
 
 43 
 
HALL SEAT. 
 
 Hall Seat: Lumber re(iuirecL 12 ft. 2 in. x 12 in^ 36 ft. 
 1 in. x^l2 in. The enHs are of the 2 in. x 12 in. material 
 dowelled and glued. The box under the seat has two tenons 
 on each end of back and front, which may either come tlirough 
 flush with the outside of the ends or not qiiite all the way 
 through if preferred. These tenons should be about 2 in. wide, 
 full thickness of board and are fastened with glue and wooden 
 plugs straight in from the front and back. Note that the box 
 front and back (a) is set in about an inch from the edge oE 
 the seat. The seat itself is hinged to a 3 in. strjp (b) side view 
 at the back, and has a piece (c) across each end about 2 in. 
 wide same thickness as the seat and flush with it, instead of 
 battens underneath, to keep it from splitting. The bottom of 
 the box (d) fits inside resting on a square strip at each end 
 which is screwed to the ends of the seat. The back is rabbetted 
 into the sides and fastened with screws from the back as at 
 (e). This back is made of three boards, as at (f), and fastened 
 with screws. Note that the edges of these boards are planed 
 to an angle of 45 degrees, then the lower edge of each is just 
 planed off so that when put together there is a little V at the 
 joint. This makes an easy and good looking joint, as no crack 
 will be visible, while at the same time it does not require the 
 care and time necessary, in the ordinary joined edges. This 
 seat will be found very convenient in the hall for rubbers, etc., 
 if you have a i2,'alvanizod pan made to fit in the bottom of 
 the box. 
 
 44 
 
46 
 
HAT TREE. 
 
 Hat Tree: Lumber required 16 ft. 1 in. x 6 in.. 6 ft. 4 in. 
 X 4 in. The 4 in. x 4 in. is, of course, for the post which should 
 Ix' l)evelled to a point at the top as shown. The feet are made 
 hy gluing three pieces of the 1 in. x 6 in. together, as shown 
 at (a), and then sawing to shape with compass saw. It will 
 .save work to allow the middle piece to project about 1 1-2 in. 
 for a tenon to fit into mortise in the post, as shown at (a^i. The 
 arch in the bottom of the feet need not be cut all the way 
 across but simply take the corner off. as at (b). which shows 
 the inner end of a foot. This taking the corner off saves work, 
 gives a firm footing and has all the appearance of being cut 
 clear across. 
 
 To mal\e the coat and hat hooks take a piece of the 1 in. 
 X 6 in., as at (c), cut a jog about 1 in. deep in the lower inner 
 corner for a shoulder, measure 6 in. from the inner end along 
 the top edge to (d). Using this as a center, with your com- 
 pass mark the half circle (e). which should be 3 in. in diameter; 
 4 in. from the inner end of the piece and 3 in. below the top 
 edge take another point (f) and describe a circle 3 in. in 
 diameter as before. Next bore a 1 in. hole at (d) as near the 
 edge of the board as the bit will work and a 1 in. hole at (f). 
 With the compass saw saw round the outer circle at (e) until 
 you come straight under (d), then saw straight to the top side 
 of the hole (f). From the hole (f) slightly above its lower 
 side, so as to leave a little hook, saw straight to the outer circle 
 and then follow this outer circle until directly under point 
 (f), then straight into the shoulder as illustrated. Fit these 
 four pieces into mortises in post, fasten with glue and pin as 
 illustrated. 
 
 47 
 
DINING TABLE. 
 
 Dining Table: Lumber required 10 ft. 3 in. x 3 in., 16 
 ft. 1 in. X 4 in. and 18 ft. 1 in. x 12 in. For the top join four 
 pieces of the 1 in. x 12 in. 4 1-2 ft. long with dowels and glue. 
 Allow it to stand at least twelve hours, then cut circle and 
 dress off the top with plane. The stretchers (a) are halved 
 together where they cross in the center of the table and mor- 
 tised into the legs as shown. Stretchers (b) are also halved 
 together at center and shaped and mortised as shown. It adds 
 to the appearance if j^ou put a pin in the top of these stretchers 
 where they cross as shown at (c). This pin may be either 
 square or round. The top is fastened with screws from under- 
 neath through the stretchers (a). These screws need not, of 
 course, be long enough to reach entirely through the stretcher, 
 but the heads may be sunk about 2 in., as shown at (d). 
 
 50 
 
i'f~-> 
 
 UJ 
 
 
 V/^ 
 
 CHAIR. 
 
 Cliair: Lumber required 12 ft. 1 in. x 4 in., VI ft. 1 in. 
 .\ 2 in., 4 ft. 1-2 in. x 2 in., 8 ft. 1 1-2 in. x 1 1-2 in. 
 
 First get out the back ])osts from a piece of 1 in. x 4 in. 
 to dimensions given. Cut the mortises for the back slats, seat 
 frame and spreaders at positions indicated in sketch. The 
 upper rail in the back should be about 8-4 of an inch below 
 the top of the side posts and by following' the dimensions given 
 in drawing you will get the position of the lower rail. The 
 three upright slats in the back should be mortised into the 
 top and bottom rail, as indicated by dotted line, but may be 
 mortised full thickness and so save cutting a tenon, though 
 if you do cut a tenon it perliaps saves more time, as you do not 
 have to be so careful in cutting your mortise, Avhich is covered 
 l)y the shoulder of the tenon. When you have got out the back 
 l)osts, next make tlie front posts, cutting your mortises exactlv 
 
 52 
 
the same height from the floor as those in the back posts. Then 
 get out the side rails and put these pieces together. The 
 tenons on the side rail should be as long as possiljle without 
 going quite through the leg. as they take all the strain when 
 the chair is tipped back. Having glued the two sides of the 
 chair together next get out the top and bottom rail of the 
 back and fit and glue the three slats into them. Then get 
 out the other rails of the back and front and glue them in one 
 side of the chair. Then put on the other side of the chair and 
 the frame is complete. The seat is what is known as a slip 
 seat and is made and upholstered separately, then slipped into 
 the frame of the chair. The inner frame for this seat is shown 
 at (a) by dotted lines. It is made of the 1 in. x 2 in. stuff 
 firmly mortised and glued at the corners and rests on four 
 brackets at the corners of the frame, as shown by dotted lines. 
 It should be a full l-8th of an inch smaller all around than 
 the frame in order to allow it to slip into the frame after the 
 leather seat has been tacked on. This leather seat is made by 
 tacking strips of strong webbing or canvas about 3 1-2 in. wide 
 over the top of this inner frame. Interlace these strips like 
 basket work, leaving little or no space between them and 
 stretch tightly over the frame. With soft cotton, hair or other 
 padding laid evenly over the whole surface, beinsr careful to 
 leave no hollows and making the center a little thicker than 
 the edges, build up your seat as thick as you want it. Then 
 stretch the leather or other covering tightly over both paddin.g 
 and frame and tack it firmly on the under side of the frame. 
 To cover the webbing and ends of the leather, tack a piece of 
 black cloth over the whole bottom, then slip the seat into the 
 frame. Some workmen put a pin through the leg and tenon 
 Avhere the rails are mortised into the legs. This adds strength, 
 but we think is hardly necessary if your tenons fit properly 
 and are strongly glued. 
 
MORRIS CHAIR 
 
 54 
 
56 
 
MORRIS CHAIR. 
 
 JMorris Chair: Lumber required 8 ft. 2 in. x 2 in., 14 Ft. 
 1 in. X 6 in., 14 ft. 1 in. x 2 in., 5 ft. 1-2 in. x 10 in. 
 
 First get out the posts. Cut the mortises, as indicated, for 
 the seat frame. Put the sides together, fastening the arm on 
 top of the posts by a screw down through the an. into the top 
 of each post. This screw, of course, is to be co vexed by a plug, 
 or if you desire mortise the top of the post thn^igh the arm 
 making a square tenon mitred to a point on top of the arm. 
 Next put in the front and back rail. Screw a strip (a) side 
 view on the inside of the side rails and slats (b-b-b) resting 
 on these strips to hold the seat cushion. The back is made 
 separately and hinged on to the top of the back rail of the 
 frame. It rests against a bar which tits into notches in the 
 arms, as shown at (c), the bar itself being shown at (d). Note 
 that the arms project about 1 in. inside of the posts and there- 
 fore are rounded out to the post at the back, where the back 
 of the chair comes up between thern. We would suggest your 
 having the cushions made at an upholsterer's, as it is difficult 
 to make good cushions yourself. In imitation leather these 
 will cost about $10.00 and in genuine Spanish leather about 
 $20.00. 
 
 57 
 
LIBRARY TABLE 
 
 58 
 
T^^r. 
 
 \''^"^^ ■•-:! 
 
 ""TF 
 
 am 
 
 -..» 
 
 i 
 
 i=d=3 '^i 
 
 c=0=) -n 
 
 59 
 
IM 
 
 A 
 
 m 
 
 u 
 
 ^ 
 
 Kmmmw 
 
 ^ 
 
 fvZ 
 
 n: 
 
 j^L a. 
 
 ^^i^^^ 
 
 
 
 ^mw^^^<ft 
 
 W E 
 
 60 
 
LIBRARY TABLE. 
 
 Library- Table: Lumber required 26 ft. 1 1-4 in. x 12 in., 
 10 ft. 1 1-4 in. X 8 in., 20 ft. abont 1 in. or 1 1-4 in, square. 
 
 First select three pieces 5 ft. long of the best of the 11-4 
 in. X 12 in. for the top. Join these with dowels and glue. When 
 dry fasten four strips on the under side with glue and screws, 
 as shown at (a) in side view and bottom view. These strips 
 should be set back about 1-2 in. from the edge of the top and 
 mitred at the corners. They strengthen the top and give it a 
 massive appearance. Next get out the ends. The pieces (b) 
 and (e) are exactly the snme. To mark the curve place one 
 point of your compass at the corner formed by the dotted liu'^s 
 at (d) and with the other point mark the curve, the points 
 being 3 1-4 in. apart. The upright pieces (e-e) are mortised 
 into the top and bottom pieces and are made as shown at (f). 
 The shelf should be made before the table is put together, the 
 l>osition for the tenons being marked by placing the end of 
 it against the mortises in the uprights after the end is put 
 together. The ends are fastened to the top by means of a 
 square strip which is screwed to the top and then the ends 
 screwed to the strip, as shown at (g) side view and bottom 
 view. The tenons in the ends of the shelf should be about 1 1-8 
 in. wide and full thickness of the shelf, which will make them 
 square. The pins for these tenons are shown at (h) and should 
 be about 1-2 in. thick. 
 
 61 
 
__ 013 971 882 3 ^ 
 
 Special Designs 
 
 Use the following blank pages for pencil sketches and clippings. 
 
 We will furnish working plans, with full instructions for 
 any piece of furniture you may desire at 50c. each. Just send 
 us a rough sketch or a picture, giving your idea. 
 
 62 
 
7 / /f? 
 
LIBRARY OF CONGRESS 
 
 111 llii HiImiIH iiiiM" llliiii '' • ' 
 
 013 971 882 3