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Furniture

FOR THE

Craftsman

A manual for the student and
mechanic, covering the design,
construction and finishing of
practically all the articles used
in the furnishing and equip-
ment of the modern home,
porch and grounds with hints
on upholstering

By PAUL D. OTTER

NEW YORK

DAVID WILLIAMS COMPANY

231-241 WEST 39th STREET
1914

/\^

THE SCIENTIFIC PRESS

ROBERT DRUMMOND AND COMPAN\

BROOKLYN, M. Y

JAN -2 1915 ^y^

'CI,A393353

PREFACE

TT is gratifying to realize that the period in which the series
of articles under the heading: "Cabinet Work for the Car-
penter" occupied frequent space in the columns of "The Build-
ing Age, " has been noticeably the period in which the taste of the
public has been pressed back into the good old mould from which
so much of our enduring art was cast. To this subject and
homage to the old masters of furniture building, deference is
paid in the opening chapter, where a short review is attempted
of that portion of the history of furniture showing examples best
designed to inspire us for the work to be considered.

Much additional matter has been added to the original arti-
cles and all arranged in the form of a handbook in order to meet
more general requirements under the title "Furniture for the
Craftsman." In addition to the carpenter and the manual
training student there is the day-fagged business man as well
as many others who are likely to find refreshment from com-
mercial and professional pressure in the increasing skill of doing
things and in the joy of their accomplishment.

The subject matter is comprised in sixteen well-arranged

and carefully illustrated chapters, one of which considers the

essential tools and equipment necessary for doing the work,

while others describe various kinds of furniture as well as bath

room accessories. The concluding chapters are given up to

finishing and upholstery. Not the least interesting portion of

the work is that which deals with the furnishings for the porch

and the grounds about the house.

Paul D. Otter.
Chicago, May 15, 1914.

TABLE OF CONTENTS

CHAPTER I

Influence of Antique Models on Present Day

Furniture 7

CHAPTER II

Essential Tools and Equipment — Ornament on

Furniture 41

CHAPTER III
Certain Furniture Forms — Value of Spare Time and

Observation 67

CHAPTER IV
Tables and Stands 88

CHAPTER V
Stools and Other Useful Furniture 103

CHAPTER VI
Furniture for the Hall 131

CHAPTER VII
Sitting Room Furniture 157

CHAPTER VIII
Furniture FOR THE Parlor 173

CHAPTER IX
The Dining Room iq5

CHAPTER X
Bedroom Furniture AND Conveniences . . . . . 217

CHAPTER XI
Bathroom Accessories 230

6 TABLE OF CONTENTS

CHAPTER XII
Certain Kitchen Accessories 247

CHAPTER XIII
Bookcases and Holders ...255

CHAPTER XIV
Furnishings for the Porch and Grounds .... 265

CHAPTER XV
Finishing 293

CHAPTER XVI
Upholstery 297

FURNITURE FOR THE
CRAFTSMAN

CHAPTER I

INFLUENCE OF ANTIQUE MODELS ON
PRESENT-DAY FURNITURE

]MAN becomes a responsible factor in life when he en-
gages an interesting side partner to help and con-
fer with him in his plans and future welfare. The
home then becomes a talked-of subject and very
soon a reality. The endeavor in this preliminary
article will be to consider the subject of furniture as tools and
equipment of domestic use, requiring the same intelligent con-
ception and selection of each piece for one's needs in establishing
the home as would be given to the selection of some necessary
tool.

Following this review the purpose is to later detail various
pieces of furniture in such a manner that those interested may
construct them; also to present illustrations of good types of
furniture which will enable them to more readily select from
dealers such patterns as will prove satisfactory to present needs
and future refinement of the home.

As life and the establishment of the home is begun with much
sentiment and always with the substantial thought of perma-
nence, so should the selection and gathering together of all
things be attended with the same substantial thought of perma-
nence. Too often a home is thoughtlessly established by buy-
ing things hurriedly or getting possession of nondescript pieces

8 FURNITURE FOR THE CRAFTSMAN

— this to a lasting regret when loving association attaches by
use even to a chair or a table of a poor pattern.

By considering the subject carefully at the time of purchasing,
one may secure neat furniture of a plain form and design which
will be in harmony with other furniture forms one may desire to
make from time to time. To illustrate, compare a quite possi-
ble selection of sideboard which you bought ten years ago — say
Fig. I — and then Fig. 2, which you wish to make or buy. Fig.

Fig. 1 — An Ornamental Sideboard of Very Questionable Design.

2 has in its direct lines and quiet surfaces the dignity of service
and it will always be in favor. Fig. i — well, it is quite like
some overdressed, slangy person, and there will soon come a day
when you will cut his acquaintance.

How to know furniture is a leading question to one who is
refurnishing, or to the home planner. Be he ever so fastidious

INFLUENCE OF ANTIQUE MODELS 9

in matters and correctness of dress, he may feel quite at a loss
in furnishing the rooms of a new home. Heretofore insufficient
attention has been given to style or architectural type of our
exteriors in the selection of furniture. Now we do see evidence

Fig. 2— a Buffet Sideboard.

of more regard in relation to exterior and interior harmony and
in the arrangement as well as purpose of each room.

To more clearly illustrate recent discrimination in selecting
furniture, one may take up various back numbers of magazines,
which so frequently open, as it were, the door of our homes,
permitting us to look within. Do you not see that this living
room or that library contains an odd assortment of mismatched
furniture? It is true, such an array does not always indicate
absence of a developing taste for good things in furniture; far
from it. I should now, while writing, dislike mightly to have a

10 FURNITURE FOR THE CRAFTSMAN

newspaper photographer come in and snap-shot some of my
furniture, for way back in the early partnership days did not
the low income decide the selection of this chair or that table?
I guard them as jealously as a dog with his foot over a well-
earned bone; they represent much that is hallowed with senti-
ment. The high chair is fondly tolerated ; the old rocker, though
it be of a "passe" factory pattern, the daughter would not per-
mit of its banishment, as it pictures in the mind many hours
and days of rockaway rides into story and sleepland with mother.
No, do not put them away in the attic, but let us suggest to the
newly married to appreciate the great opportunity of this period
to secure furniture of good outline and plain surfaces. Good
furniture is now so prevalent that you will unconsciously know
it when you go out to look for it intently. To know it more in-
timately is the purpose of what follows.

Pictures Rather Than Description

In studying good furniture we will avoid getting into the
depth which an antiquarian might lead us in such an extensive
subject by resorting, with a brief description, more to pictures
labelling them as we go along. The desire will be to show char-
acteristic prototypes of furniture prevalent during the years
gone by, and, as we discuss in detail later on, in a parallel way,
an example of a possible or modern treatment of a similar form
or article made today.

In surveying the history of furniture as a treatise intended for
information and inspiration to many desiring to make furniture,
I am inclined to confine our study almost entirely to English
styles and periods — not that little merit is to be found in the
work of Germany, Italy and France, and particularly France,
but that French examples represent much elaborate detailed
treatment and extravagance of outline which would carry us far
beyond our purpose. French influence, however, should not be
discredited and is strongly reflected or worked in, as we shall see
in our comparisons.

Beginning with the reign of Queen Elizabeth (1558- 1603) we
have the "Elizabethan Style," which in its influence extends far

INFLUENCE OF ANTIQUE MODELS

into the reign of her successor, James I., and indeed it is hard in
many cases to tell "t'other from which" — the Elizabethan from
the "Jacobean," as it was called.

Political and social conditions were reflected more in articles
of domestic use in those days than they are now. The arts and
industries were encouraged and patronized more by the royalty
and people of the court, and such patronage continued for a long
period during each reign. It is to this royal fostering of the arts
and industries of the political divisions and periods of former
times that we derive much of our inspiration and influence in
matters of art and literature — we draw deeply from these well
springs.

Furniture Much Ornamented

The early part of the Elizabethan period was characterized by
much ornamentation, principally carving, the frames designed
quite with the purpose of having the cabinet work a foundation
for elaborate ornament of enriched turnings, carved panels,

Settle of the Cromwell Period.

Strap work, bands and borders. Not until well into the period
of the "Jacobean" Style — James I (1603-1625) — was there evi-
dence that the carver worked for the joiner instead of the joiner
building frames for the carver to decorate.

FURNITURE FOR THE CRAFTSMAN

The cabinet maker was then beginning to work for recogni-
tion more in the excellence of his joinery and by the display of
molded and mitered panel work, and while the general forms of
the over-enriched and the plain are quite similar, as the Jacobean
Style is reviewed and we sit back and read of the history of the
time, we are impressed that political and social conditions do
have an influence on the character of the clothes we wear and
the furniture we use, for when Cromwell became Protector he
and his followers certainly would have none of the things of the

Fig. 4.

court — its grandeur, extravagance, tinsel, carvings and foolish-
ness— and we look into the homes of his time and see that there
was considerable modification to conform all things to the simple
and useful. Note the severely plain paneled settle in Fig. 3.
By referring to the carved "court cupboard" in Fig. 4, the
essential features of the Elizabethan are shown. There are
few surfaces of rest. Under analysis, however, the sturdy form
of the structure or carcase commands attention when brought
into comparison again with Fig. i, for example.

Figs. 5 and 6 represent the character of carving employed,
being much in the nature of bands or squares, the design being

INFLUENCE OF ANTIQUE MODELS

cut into the wood much after the manner of type, with the main
detail left quite flat.

Fig. 7 is a chair much in vogue during this period and is here
used to illustrate how much our village chair makers in Colonial

Fig. 5.

Fig. 6.

Fig. 7.

days employed the lathe in producing similar patterns for com-
mon use. Figs. 8, q, lo and ii in their order illustrate quite
sufficiently the developed features of the Jacobean Style, while
Fig. I 2, although Jacobean, is of the time of Charles II., showing
considerable French influence, particularly in the full carving
and the shape of the legs.

By the use of illustrations Figs. 8, q, lo, 1 1 and 12 in the pre-
ceding article, indicating the character of the Jacobean period,
which includes the reign of James II, Charles I, the Common-
wealth period, Charles II and James II, and also embracing what

FURNITURE FOR THE CRAFTSMAN

Fir. 8.

Fig. 9.

Fig. 11.

INFLUENCE OF ANTIQUE MODELS

is called the Stuart and Tudor style, we immediately note a
change in style when William, the Dutch Stadtholder, comes
over from Holland with his wife Mary and possesses himself of
his father-in-law's throne (1689-1702).

He was a man of decided ideas and a determined way of put-
ting them in motion. The period of "William and Mary
presents a study in furniture very different to preceding forms.
Here again the illustrations will more quickly show the distinc-

FiG. 12.

Fig. 13.

tion, and it hardly needs the attention to be called to note the
difference in the leg of chair. Fig. i 3. This pattern denotes par-
ticularly the Flemish or Dutch influence, which in turn was bor-
rowed by them from the French.

There are many modifications of this, the cabriole leg, as it is
called. The reader will note that the upper part of the chair
indicates it is quite a different type in the transition still

FURNITURE FOR THE CRAFTSMAN

of the former Jacobean, for it must be appreciated that while
we are quickly reviewing this subject and are now stopping at
a particular period that possesses many imported features to a
marked degree, yet during all these periods the impressions and
suggestions of former styles in point of fact require a number of

Figs. 14 to 18 — Forms of Chair Seats

of years to be eliminated. For the accepted classification
we must know the style under discussion as "Queen Anne" — -
however little she had anything to do with the change of art
brought over by her Dutch brother-in-law, William.

Fig. 19 — Queen Anne Splatback Chair

The "William and Mary, " however, or "Queen Anne," as we
will call it, must necessarily strongly attract our attention, for

INFLUENCE OF ANTIQUE MODELS

with the constant preference for the "Colonial" in our present
day furnishings we have in it the results of an early king's foster-
ing care of his home arts in cabi-
net making, as seen when consider-
ing the furnishings of an early
colony home.

Another marked feature of the
"Queen Anne" style was a change
from a square or rectangular out-
line to a rounded or curvilinear
form in the shape of the seat
frames, as indicated in Figs. 14,
15, 16, 17 and 18. Also the chair
backs were of a baluster or "splat"
like character instead of solid pan-
els as in Figs. 13 and iq.

The "Windsor" type of arm
chair brought out at that time
shows such baluster or splat in the center. This form of chair,
Fig. 20, is greatly identified with Colonial homes.

Fig. 20— Windsor Type of
Arm Chair

*l^<.^r/-/..^'

Fig. 21
With the introduction of the arm chair, formalism and stiffness
gave way and the upholsterer developed his craft more. I n Fig. 2 1

FURNITURE FOR THE CRAFTSMAN

is shown a "Queen Anne" settee which is very popular
today, the picture indicating the peculiar scroll roll arm which
in those days had their purpose of accommodating the full or
hoop skirt of the ladies. Cane came into considerable use about
this time for filling backs and seats to chairs.

The toilet mirror and writing desk in Fig. 22 and what was
then special furniture also came into favor. Men of prominence

Fig. 22.

Fig. 23.

and writers had furniture or chairs built to meet personal whims
or needs, just as one would order a suit from his tailor. Fig. 23
illustrates such a chair made for the poet Gay. Note the cabri-
ole leg, a French shape but cut in a more restrained manner than
the carved leg shown on the chair in Fig. 13.

And so we come along in the years and enter the "Georgian
period, " so-called, properly beginning with the reigns of the four
Georges from 17 14 to 1830. In this century much of the very
best work was executed, and after a period of two hundred yearo
the modern designer is holding up the work of Chippendale, Hep-
plewhite and Sheraton as masters unexcelled.

INFLUENCE OF ANTIQUE MODELS

More is known today of "Chippendale style" than is known
of the man Thomas Chippendale, who was born in 1708 and
died in 1779. With little knowledge of his private life and per-
sonality, we can, however, arrive at an estimate of the man when
we review the years in which he lived and accomplished so much
that found favor among his wealthy patrons, which leads us to
believe that he would be a rare success today; for while not es-
pecially original, he possessed great ability to put "this and
that" together with results which produced a style that has car-

Fig. 24. Fig. 25.

ried his name along through the years. While a clever adapter
of parts and pieces we like to think that the product of his brain
and hands still bears his name rather than that of a patron king.
He must have shown some executive ability to bring this about
— some might call it egotism, but why should not a man be
known by the chests and tables he makes — particularly if he
makes good chests and tables — just as much as a good painter
is recognized by his signed painting? This man and his con-
temporaries lived mind, body and soul in their work, and we sus-
pect their enduring work was greatly stimulated by personal
praises and substantial patronage; they lived in a period when
men of mental ability were also equally capable with their hands.
In Fig. 24 is shown a plain type of Chippendale chair which
is considered quite characteristic, although it is not his favorite

FURNITURE FOR THE CRAFTSMAN

form, for the leg which he delighted in using was the French
leg, but treated less elaborate and more suggestive of the "Queen
Anne" cabriole type as in Fig. 25, which terminates in a ball
and claw.

While Chippendale showed great preference for French detail,
he used it in many cases in a very skilled and restrained manner
on his cabinet work, the forms of which were usually plain and
well proportioned. In a condensed treatise of this kind, chairs
are pictured to show the character of a period as they naturally
offered a more frequent medium of expression on the part of the

Fig. 29.

Fig. 27

Fig. 28.

designer for his particular tendency. A clearer impression of
Chippendale ornament may be obtained by referring to Figs. 26,
27, 28 and the group iq The detail in the first chair back is
quite of the Louis XIV and Louis XV order, and again in the
back. Fig. 27, he uses in a simple way certain French motifs as
shown in the group Fig. iq in clever union with an original
Gothic treatment of the open banister, and then in Fig. 28 he
combines this French influence with the Chinese lattice treat-
ment, and so in pilaster, rails and panels of other furniture forms

INFLUENCE OF ANTIQUE MODELS

he utilized these fragments, leafage, scrolls, shells and scallop-
ing with rare grace and skill.

Fig. 29.

As with all who became enamored with French ornament,
particularly the excessive overladen character of Louis XV style
and "Roccoco, " so Chippendale left behind him many drawings
and examples of his work which we would now consider decided-
ly erratic and overdone, but we have evidence in drawings and
examples of so much of his better work that we readily overlook
his fancy flying to questionable heights, and his contemporaries

Fig. 30.

Fig. 31.

were undoubtedly influenced by the versatility of this man.
Figs. 30, 3 I and 32 show other forms of this designer's work.
Men following Chippendale a little later no doubt were more

22 FURNITURE FOR THE CRAFTSMAN

under the spell of the Louis XVI style, which was considerably-
restrained in form and detail to that of Louis XV, and in con-
sidering Hepplewhite and Sheraton we find little to criticize in
extravagance of outline and surface embellishment.

-Chippendale " pie crust" Table.
Hepplewhite and Sheraton

From certain glib usage by novelist and salesman, Chippen-
dale is thought to be quite the "entire show," when as a fact
two other men occupied the stage and played well their parts,
at least in the last act of the Chppendale setting. How well
the three have played, copied or vied with each other our present
day furniture stores will show. It is truly Chippendale, Hepple-
white or Sheraton which the manufacturer aims to reproduce
with all their characteristic features.

The marked and individualizing feature of the Hepplewhite
style in contrast to Chippendale is in lighter parts, graceful out-

INFLUENCE OF ANTIQUE MODELS

line and delicate ornament, and to be just, very little pirating
from the work of his own countryman, yet dominated much by
French work and motifs. To arrive at a quick comprehension

Fig. 33.

Fig. 34.

Fig. 35.

Fig. 36.

Fig. 37.

FURNITURE FOR THE CRAFTSMAN

of the difference, Fig. 33 serves as full evidence of general form,
and this designer's work may be recognized by the shield form
of back; rarely if ever was the back imbedded in the back seat
rail. See Figs. 34, 35 and 36.

Fig. 38.

Fig. 39.

Fig. 40.

Contrast these forms with those of Sheraton, shown in Figs.
37, 38, 39 and 40, whose tendency was more to straight lines
and tapering members.

As regards the identification of furniture forms, Hepple-
white may always be recognized by his use of the concave cor-

Fig. 41.

ners in writing desks and sideboards, as indicated in Fig. 41,
while Sheraton used the convex shape as shown in Fig. 42.

INFLUENCE OF ANTIQUE MODELS

It has been the endeavor to sort over the work of these three
great English cabinet makers and show the salient features
of each.

Colonial

The "Colonial" as a term applied to furnishing and furniture
would make an interesting story. In description it is traceable
to the influences of three recognized periods — the Greek "Clas-
sic," which inspired the French "Empire" style, to in turn
undergo still greater elimination and refinement during the

Fig. 42.

"Georgian" period in England, when it finally developed into
its present known characteristics of simple form and plain sur-
face, and as time passes the term "Colonial" is given greater
recognition in the list of the world's creative or architectural
periods. The open museums and the private collection show
a goodly harvest of many early examples in which there are the
genuine work of the best English designs imported by the
colonists, as well as the work of the early American cabinet
makers.

To have proper conception of the "Colonial" we must dismiss
from our minds Chippendale, Hepplewhite, Sheraton, Adam
and other English workers and gradually draw together the

FURNITURE FOR THE CRAFTSMAN

composite type of these workers and the work of our own colony
craftsmen who were locally handicapped and otherwise unable
to work in any but a restricted manner. We will find that the

type resolves itself Into
a most satisfactory form
in which the simple ele-
mental forms of base
pediment, column and
scroll are marked incon-
stant consideration giv-
en to the "Colonial" as
the prevalent style.

The simple outlines
of the table in Fig. 45
and workstand, Fig. 44,
are used as examples of
distinctly American Co-
Fi-. 34. lonial.

Fig. 44.

The "sleigh" bed in Fig. 45 is another type, yet showing an
Empire" influence. Fig. 46 shows the inventive tendency

INFLUENCE OF ANTIQUE MODELS

when the early colony chair maker devised the rocker, yet was
under the spell of Chippendale in the design of the back. Fig.

Fig. 45.

47, however, is quite independent of mother country suggestion
except that it indicates slightly the "Windsor" type, yet it is so

Fig. 46.

Fig. 47.

FURNITURE FOR THE CRAFTSMAN

pronouncedly rural colonial that it and its variations hold our
patriotic attention.

In articles following it is the purpose to take up more in detail
the goodly influences of the eighteenth century designers and to
be more at home with our "Colonial. "

Mission

Our theme would not be brought up to the present day should
no mention be given to the unquestionable influence of the very
few furniture forms found about the early American missions.

Fig. 48. Fig. 49.

We are all living to experience the marked transforming ten-
dency of what we now call the "mission style." Owing to its
refreshing simplicity and to the sparcity of architectural types
and interior detail, architects and designers have in many recent
instances overstepped and "gone to Spain" for much the old
friars either did not intend to bring with them or have on or
within their community buildings, or for good reasons were un-
able to skilfully execute conventional forms.

Figs. 48 and 49 show the original inspiration for what we term
"Mission, " and any decided departure from the direct construc-
tive character ceases to be "Mission." From the restlessness

INFLUENCE OF ANTIQUE MODELS

of our day we are developing a modified interpretation familiarly

known as the "Arts and Crafts," of which more will follow

later.

Tables

In the two previous articles a general view and discussion of
furniture forms was given. Time has tested these forms and
other general characteristic features described in those articles,
and it will be found that the influence of these "periods" actively
determines our form of furniture as does the period ^tyle of
the building determine the nature and decoration of the room
within, and so it is with the intention of dividing the furniture
family under headings that the subject of tables is now consid-
ered. It is not so much what we make for ourselves in unre-
strained enthusiasm, urged
on by watching the clean
shavings curl from our plane,
but it is what others might
think of our product when
we get through with it that
impels us to consider, with
some deference, what is in
the market? — what kind of
furniture is the home fur-
nisher seeking ?

In this inspection of pres-
ent furniture it will inspire
the practical tool user with in-
creased confidence that many
of the furniture forms bought
by discriminating purchasers
he can make for his own
home and use them also as
models for private orders.

Fig. 50— Table Chair 293^ In. High
Shown with Top Down

With this idea in mind the present subject has been prepared,
presenting types of simple construction and of the character
which will harmonize well in the furnishing of the modest home;
particularly will others fit in well with the bungalow and concrete

30 FURNITURE FOR THE CRAFTSMAN

order of home, the character of which originally springs from
the same source as shown in many under consideration.

Having a two-fold use, Fig. 50 is very desirable in the small
cottage or bungalow home where the dining room is frequently
the living room. It is well adapted for beginners in the home
life and when not in use looks well against the wall as a settle,
particularly when the room has a timbered or paneled treatment.

It might be well to note here in passing that all such pieces of
furniture never look well in natural or light finish, even golden
oak finish, for much of the square furniture is too light. The
main purpose and most satisfactory color finish is to get age-
brown tones immediately, as they blend well with drapes, rugs
and all other furnishings. Such a tone, you will notice, accords
well with standard tones adopted by the architect and decorator.
This age tone is commonly known under the name of "fumed
oak." "Cathedral oak" is another pleasing shade of brown.
Oak is also a safe wood to use for furniture of a medieval type,
or that which partakes of a sturdy character and possesses a
combination of square and round-turned parts.

It is assumed a sufficient working drawing be made showing
the end view of the subject and also one-half of the front view.
With the skill of a workman and the experience in getting out
and handling stock much of unnecessary and familiar detail need
not be placed on the drawing if time does not permit. The use
of the drawing will be to pencil in between determined measure-
ments unknown detail of form and outline. Other simple parts
may with judgment be arranged for and fitted as the work pro-
ceeds.

These remarks do not, of course, minimize the value of a
clearly defined working drawing, should there be any need of re-
ferring to it at some later time or of making a modified interpre-
tion of the same class of subject.

Well seasoned wood should at all times be made use of and
generous well fitting tenons be given to the cross stretchers
which should go clear through the thickness of cross legs and
further secured either by a headless brad or a hardwood peg.
The top of the table may operate on a bolt or lag screw secured

INFLUENCE OF ANTIQUE MODELS

through a hole in the enlarged part of batten and pass into arm
or back post. This is a matter of experimenting and also the
location of top in central position over the base when down in
place.

Little need be said of the settle table in Fig. 5 1 except to call
attention to another use of the compartment under the lift-up
seat. This is entirely of K-in. boards. The drawing here
shown represents a familiar type of early English or early colony
utility table. It admits, however, of varied outline and more
elaborate treatment. Sometimes the
seat is padded and upholstered with
a padded and upholstered panel
treatment, covering much of the
space within the battens of the un-
derside of the top. This, then, to use
an expression, "puts it in another
class" and identifies it more with the
furnishings of a craftsman's living ^
room.

It is desired by the aid of the cuts
shown to excite individual expression ^
as much as possible. Much of the _L
old furniture is interesting from the Fig. 51— A Settle Table 29 ^In.
ingenious devices or construction, de- ^igh Shown with Top DoWn

signed just as much then as today, to serve a double purpose, and
it is hoped that the spark of inventive genius may be fanned into
fiame of enthusiasm for other simplifying means or comfort-
giving features. Meanwhile curb any desire to change good
form for some untrained outline or erratic profile to your turn-
ings; rather seek out and make a rough pencil sketch of a bit of
turning or an approved outline which you think would apply to a
particular form of furniture needing a little more grace or live-
lier expression to it by a change of outline, or an added bit of
modest carving or moulding.

Fig. 52 presents an English breakfast table which is coming
again into renewed favor. It has its advantages of looking well
when not used as a meal table and of being useful for other purposes.

FURNITURE FOR THE CRAFTSMAN

The marked revival of needlework among ladies demands at-
tractiveness in table designs and for this reason the antique
models are more than ever being reproduced, fashion dictating
that luncheons be served on bare table tops over open lace work
doilies and scarfs. A becoming design of table is therefore much
in demand. A simple turned shape to the posts of the Jacobean
period is shown, although other profiles may be used. Two
specially fitted hinges screwed firmly in the usual way to ends of
leg strainers and brought together by a central pin covered by

Fig. 52— An English Breakfast Table with 36x36 Inch Top

finishing cap will provide one of the many ways of throwing open
the legs to a square position under the table top.

Certain unobtrusive stops and a locking device to be provided
to check the posts at a determined position. Whatever may be
the diameter of the table, make the center of the table about 3
in. less than a third of the diameter.

The size of leg stock shown on cut is for the larger size of table,
48 in. X 48 in.

Fig. 53 is now one of the very popular forms of gate leg tables
— most frequently made in mahogany. This fits in well with
furniture of a mahogany order, as does most of the William and
Mary style, of which this is a suggestion.

The gate with the halved out post A fitting into cross rail cor-
respondingly halved in a loose fitting manner, pivots or swings

INFLUENCE OF ANTIQUE MODELS

out from post, loosely pivoting on top of rail. The correspond-
ing gate on other side of table swings out in a similar but alter-
nating direction, stopping at a check at right angles with the

Fig. 53— A Gate Leg Table

3r's<?.

Fig. 54^A "Sheraton" Dining Table, 42 or 48 Inches in Diameter

table frame. All dropleaf tables should be treated with a rule
joint contact with leaf and top of table.

Fig. 54 meets with favor now even though its class was re-
placed by the pedestal table^ yet it, too, has the merit of side
wall attractiveness which the modern table cannot have. The

FURNITURE FOR THE CRAFTSMAN

leaves are usually supported by a stiff swinging cross bar set into
top of apron rail. Care should be used in the selection of dry
lumber for the tops and also to screw on a batten, using no glue,
but setting each screw in a small slot so that the top may shrink
and expand unretarcled.

Mahogany, or birch finished mahogany, is properly the wood
for this table and more particularly if it is made in a smaller size
than a 42-in. top.

We used to feel very well satisfied with the ordinary dining
table and a direct communication to the kitchen and the pantry,
but now our needs, through a process of refinement, must take
on considerable complexity, all of which acids to home charms

and the wife's pleasure in displaying

^°' J in an attractive way and on suitable

, furniture her growing collection of sil-
ver, cut glass, decorated ware, and
last but not least, her linen, for every
day or on festal occasions. This re-
ci quires us to show Fig. 55, a serving
table, which is very simple and plain,
being a sort of second cousin of the
more aristocratic sideboard. It is one
remove from the buffet and conse-
quently about fits in with our modest
ideas of living and the useful furni-
ture we need about a bungalow or
that class of home.

Little need be said about this except that a form of frame
made similar to one suggested in Fig. 62 is to be used as a base of
construction and the t\\'o lower shelves are to be cut out and
fitted in a similar manner. The shelves may be secured to
posts from the underside by means of a counter-bored screw hole
bored on a long slant. This simple sideboard is becoming a
necessity, as in a home without servants it permits of extra
table furnishings and the desserts to be placed in readiness before
the meal is begun, thus creating greater repose for the housewife.
Fig. 56 offers a good substitute or even an adjunct to Fig. ^^,

INFLUENCE OF ANTIQUE MODELS

being a tray table which provides a proper resting place for the
glass filled tray when not in use.

We do not pass the social
hour or two without on many
occasions being served with
refreshments, and the tray has
truly become a necessary
article, and like everything
else an object of attractive-
ness and friendly rivalry as to
who will own the prettiest
tray.

Fig. 56 may properly have
a second drawer, although
where the lower shelf might Fig. 56.

be used for a fruit bowl such an addition may destroy the dec-
orative effect.

The glass tray, Fig. 57, which in this instance determines the
size of table top for Fig. 56 consists of a moulding of oak or ma-
hogany cut from a stick ^4 in. x i>4 in. of a section, preferably
the one shown. These pieces are cut to a mitered frame meas-
uring over all 16 x 25 in.
Long brads properly set in
and concealed, or a Vk in.
saw kerf run across the
glued up frame at an angle
of 45 deg. with a slip of wood
set in glue and trimmed off,
will probably produce a
more dependable joint. A piece of good, clear, clean, single,
thick glass, a piece of attractive figured cretonne with birds,
foliage or flowers, a piece of dry thin board or flat stiff straw
board, are to be cut to fit not too tightly within the rabbet
size of the frame, then with a number of stiff thin brads
securely nail in position; a small round reed or stick is some-
times used to brad in over the backing. As a final covering
of this surface and also to extend over the bottom face of frame.

Fig. 57

FURNITURE FOR THE CRAFTSMAN

Fig. 58

glue on an extra large piece of corduroy, preferably brown, green
or gray, starting from one end, and using some stiff paste, or
rather thick prepared glue, which has little moisture. After
this covering is set and dry use a sharp knife in trimming off the
material overhanging outer edges. Brass handles are now to be

had for such trays and care should
be taken to set the screws into the
light frame in a prepared hole small
enough to make the screw draw up
firmly.

Fig. 58 is a collapsible table or
stand to support tray in kitchen or
pantry when receiving contents pre-
vious to carrying to dining room tray
table. Fig. 56, or in to guests during
some social gathering. It is quite a
useful article for large gatherings
where other table space is being used
and is also necessary for the welfare of a handsome tray when
away from its proper place.

The Sewing Table

Among the many kinds of tables the sewing table provides
an orderly place for materials and
ample space to lay out work on the
top and extending leaves. The
plain and less expensive type shown
in Fig. 59 in Mission style is here
used as a basis for any different
treatment the reader may wish to
give it and not depart from form
or size of parts. The legs may be
treated with a squared neck or les-
sening of stock under the lower
drawer frame and the major part
of post reduced to a taper and ex-
panded again before it reaches
the floor into a square ball effect; or this full length may

Fig. 59

INFLUENCE OF ANTIQUE MODELS

be turned by using some well selected taper form. The shelf
and top may then be treated with a moulded edge and slightly
rounded corners and the rulejoint be used instead of plain
square.

Fig. 60 is a more pretentious table
properly made in mahogany. This
is the type the interested worker
will find gives him the opportunity
for skilled workmanship and in the
drawers he may insert various small
compartments and specified divi-
sions which would delight the future
possessor of such an article.

By the use of Fig. 61 the manner
of glueing up stock is shown and may
be restored to produce a fiowing
shape or outline which is frequently
wider than stock obtainable. The
heavy line shows the proposed shape of one-half of lyre pedes-
tal to work table, Fig. 60 allowing length for large tenons, top

and bottom "A" to fit in mor-
tise in frame, Fig. 62, and the
lower tenon to fit in moulded
base above scroll feet in Fig. 60.
Before the outline indicated in
heavy line is sawed out, unite the
two halves by glueing. This
will enable you to use long clamps on fiat surfaces. When dry
saw out on band saw and cut tenons.

The frame. Fig. 62, here shown is a base in most all forms of
modern construction of carcase work. If the reader will in-
spect any available piece of furniture of a case of like nature, he
will find this frame to be a convenient one upon which to secure
other constructional parts. In many instances it is not in out-
ward evidence, while in the case of the sewing table. Fig. 60, it
appears between the two drawers and above and below. Where
thus exposed to view the stile should either be faced with veneer

-" ^

Fig. 61

Fig. 62

38 FURNITURE FOR THE CRAFTSMAN

or be of the same kind of wood as the entire construction ; these
frames otherwise may be made of inferior wood, generally of
^ or % in. thickness and 2 or more inches wide, judgment show-
ing whether one or more cross bars will be needed for extra stiff-
ness.

A preparatory working drawing which you should make will
indicate where you are to relish out the corners, as instanced in
Fig. 62, to provide a place for the jamb blocks on each side of
drawer. The ends of the carcase hidden by the drop leaves in
the cut are glued and secured by screws to these frames by
screws countersunken or set in, as shown at "B. "

Use of Corner Blocks

A double insurance of strength and stiffness is always secured
in cabinet work by setting in frequent corner blocks; these may
be made of neatly cut triangular blocks or strips two or more
inches in length.

The upholding of the drop leaves may be secured by various
means and I take it that if it is a pleasure to construct an article
it is equally interesting to study out and provide certain in-
genious devices which further embody personality in one's pro-
ductions. Various holding-up methods are used on such tables,
the simplest possibly being a swing bar, space for which must be
provided for its action under the middle part of the table top, or
sufficient space may be provided on your drawing so that the
middle top shall hang over sufficient to hinge to each side of the
case a ^ in., swing bracket long enough to properly support the
drop leaf when drawn up.

Our broad-handed way of living makes the subject of tables
very varied, as each room appears to demand a special form of
table, but I am going to give the parlor scant attention at pres-
ent, for that room is falling much in disfavor. Fig. 63 shows a
very popular and approved form of convenience table for the
living room: It is of the Mission order, yet to those who wish a
less heavy effect, the left leg is shown turned in the Elizabethan

INFLUENCE OF ANTIQUE MODELS

style, which will he found to modify the over-weighty appear-
ance, and permit of its use in greater harmony with a mixed
assortment of furniture patterns, which are generally to be found

Fig. 63

in a living room. Such tables are generally made in three sizes,
40 in. X 30 in., 42in. x 28 in., and 36 in. x 26 in.

Fig. 64 is a graceful form of table adapted to a ladies room,
parlor or reception hall and should
be made in mahogany or other rare
wood.

The top is semi-circular and the
apron is sawed in conformity and set
under very slightly, about ^ in. ;
the legs are i yi in. square and mor-
tised between the aprons and reduced
by a taper to 3:^ in. at floor. By
making a small grooving tool or
plane a groove of -h in. square
may be plowed in X ii^- away from
edges of legs on front and also on
apron front and one groove in edge of table top, into which may
be set in glue a strip of wood or veneer of a lighter color. Let
dry and then scrape flush with cabinet scraper and sand smooth
with No. 00 sandpaper.

Fig. 64

FURNITURE FOR THE CRAFTSMAN

The Telephone Table

The telephone table, Fig. 65, I am sure will be highly valued
in the home, particularly by the feminine members of the family.

The style is a modified
type fitting in well with
the "Mission, " "Quaint"
or " Arts and Crafts " style
so prevalent. The simple
general form is one per-
mitting various changes
in leg treatment and shape
of outline to apron, the
interposition of turning
above and below the
stretchers of a character
similar to the "Early
English" or "Jacobean"
patterns shown on page,
14, will enable the inter-
ested reader to produce a
variety of styles of this
most useful table and
stool to match. An undershelf in table provides for the tele-
phone book. The top, shelves and side rails are of ^ in.
material. The table stand is so made with the side strainers
or stretchers provided with a groove and projecting lower lip to
carry top of stool when it is slid in out of the way. A i ^ § in. hole
is bored into center of stool top to facilitate withdrawing it. A
wooden arm represented in "C" and a turned disk to hold tele-
phone stand is secured by a bolt with nut and washers to
table top at back so that instrument may be swung back or
forward for convenience.

CHAPTER II

ESSENTIAL TOOLS AND EQUIPMENT

ORNAMENT ON FURNITURE

O later call attention to certain essential tools, an apt
subject for illustration is the hall seat, this being
largely within the province of the joiner and the
general scheme of interior case work, and indeed it
may be made a feature of the wainscot of the hall
if so desired. In this instance we will consider it as a movable
piece and use it as a model with which to convey to the reader
certain information regarding detail which he will doubtless ap-
preciate if he proceeds to lay out the drawing and construct one.
The style is plain, almost severe, as shown in Fig. 66, the
charm depending solely on the easy line of the end piece and
foot in its relation to the
arm. The rare beauty in
good furniture is to cre-
ate that smooth round-
ness or undulating surface
which the worker, an en-
thusiast, alone knows has
not been produced success-
fully by mere machinery.
It is this changing surface
which even the artisan does
not fully comprehend until
after the final finishing to
a dull polish, when the
effect of the lights and
shadows brings out the Fig. 66.— General View of Hall Seat.

FURNITURE FOR THE CRAFTSMAN

personality of the work. This grades it far ahead of the "cut
and dried" mill work, how ever much we may admire the
monotonous precision.

As the drawing is sufficiently explanatory, little need be said
other than to enlarge it upon the drawing paper. Starting with
the vertical center line and the floor line, as indicated in Figs. 67
and 68, lay off from these measurements taken from the cut —

Fig. 67.— Half of Front.

Fig. 68.— Side Elevation with Detail
of Arm at the Right.

height of seat and arm first — and as a guide against going very
much astray on a changing line we have thrown out a few light
lines and measurements from the floor line of front and end views.
This, with a little judgment and observation of relative points,
will enable the workman to enlarge that portion of the detail
w hich cannot be done by a straight edge. Draw the arm as
though it were closely related to the end and front line; it will be
finished flush, as it joins to the front edge. The bottom line of
the end must also be made with a free curve and as though it
were cut from a solid width. However many pieces one may

ESSENTIAL TOOLS AND EQUIPMENT 43

use in joining the board, it will be surfaced and considered as
one piece. The back part consists of a square framing, as
shown, with stiles continued to the floors. Through these and
the bottom rail screws are put in from the back and secured to
the end piece, seat and the arms. Below the seat line and at the
back and under the exposed bottom rail a cheap paneling, and
then a bottom rail must be embodied in the construction of the
back framing. Through this rail screws hold the bottom of the
box under the seat. The bottom may be of whitewood or other
low-grade lumber, the seat ends being gained to receive it and
the front edge snugly fitted to front board and held with a few
glue blocks underneath. Stiles and rails in the back framing
should be joined by a mortise and tenon joint, the end pieces
secured to the front panel under the seat by three flathead
screws, sunken and flush plugged with wooden plugs to match
the grain.

The seat is raised from the front and hung by three i>^-inch
butts screwed to a 2-inch strip, which in turn is screwed to the
back rail. A resting cleat should be neatly fitted in directly
under the seat and screwed to the inside of the ends. It will
be noticed in Fig. 68 that the back center panel is inclined for-
ward at the bottom. This inclination is more restful to the
occupant than a vertical position and adds much to the design.
The edges are worked off to a long round. When measuring
stock for this panel 2 inches extra should be allowed on the
ends of the panel, these to be cut off and glued to the ends on the
back and a strip glued on at the bottom. This gives stock
on the edges to produce the long round and to advance the bot-
tom edge as shown. The entire panel being fitted, slip into
the opening ofthe frame on this bevel and it is then held by glue
blocks in the rear.

Aside from the drill it gives in laying out a correct working
drawing, the foregoing description need not be expressed on the
drawing, merely the definite points and marking outlines being
required. The minor details are much a matter of trade ex-
perience and judgment. If the drawing is to go into other
hands all features should be intelligently drawn.

44 FURNITURE FOR THE CRAFTSMAN

There are several ways of transferring irregular detail or orna-
ment from the drawing to the stiff paper which one may cut out
as a pattern to mark the stock. Closely prick the marking lines
of the drawing and, laying stiff paper underneath, use chalk or
charcoal dust held in a piece of linen tied in the form of a loose
ball. This is pounced over the punctured lines, thus iniprint-
ing the dots on the paper underneath. Another way and one
very satisfactory is to place the pattern paper under the draw-
ing with a sheet of typewriter's carbon paper between and then
trace over the outline with a steel or agate tracing point, the
transferred outline being then carefully cut out with scissors
or by following the line with a sharp-pointed knife over a hard
board.

With the patterns secured, the stock surfaced to the right
thickness and the edges jointed, it will be found very satisfac-
tory while the drawing is still pinned to the level table to mark
off the points, placing each piece represented up to the line and
with a fiat square marking the line or bevel, also at same time
marking the position of dowel, screw centers or mortise and
tenon. Should there be two or more pieces alike bring them
together on the level surface, and by the point marked line them
all with try square and do other necessary gauging, which will
not make it necessary when at the bench to interrupt operations
by taking off more measurements. Care should be taken when
using marking gauge not to run out onto an exposed surface, as
this is a weakness with some workmen and shows up badly in
the finish.

The band saw, whether driven by foot or power, is nowadays
in use by many carpenters, or at least they have easy access to
one, and the simple outlines of this pattern may be readily cut
out. In the absence of it, however, it is not so intricate but
that it may be cut out, even though roughly, with a keyhole or,
better still, a 'turning" saw and the outline worked true in the
after dressing. Using a band or scroll saw, the ends may be
glued up in a solid width and sawed true to line. Should the
line have to be cut in some other way it would be well to figure
the front edge from a 6-inch width, securing the line and that of

ESSENTIAL TOOLS AND EQUIPMENT

the under line before gluing together. The foot, or modified
type of "bandy leg, " is obtained by gluing to both sides of each
end with a rub joint a piece of equal thickness and 43^ inches
long. In order to get a similarity in grain use blocks from the
same piece of stock, arranging them, if necessary, to joint with
reference to the grain. An even shade will at least be assured
even if it be impossible to satisfactorily match the grain. It is
sometimes possible to carry along all details in the construction
to a "knock down" condition — that is, assemble it for a trial
fit before giving attention to working off the edges. In this in-
stance the various parts had better be worked up to the final

Fig. 69. — View Showing Half of Stock Dressers' Scraper.

sanding, this involving the branch of furniture work termed
"stock dressing," the producing of changing surfaces and mold-
ed edges, which cannot be done by machinery without consider-
able preparatory expense.

The tool illustrated in Figs. 6q, 70 and 71 is very essential in
performing this class of work. It is strange that, with the many
uses to which it may be applied, it is seldom found in the hands
of others than skilled cabinet makers and particularly chair
makers, where twists and winds in the construction render it a
necessity in creating a beautiful curved or sinuous surface across
two glued-up parts, as in shaping sawed legs, and many other
uses as an after finisher of roughed-out work from the draw knife
or spoke shave, or in tapering off plain molds.

The tool is not to be obtained through regular hardware
supply houses, it being one of the instruments "handed down,"
so we give the detail and would state that it is very easily made.
The part marked No. i in Fig. 6q represents a little more than
one-sixth of the full length and size of the handle portion. The
wooden parts, Nos. i and 2, the latter being shown in Fig. 70,

46 FURNITURE FOR THE CRAFTSMAN

are made of beech or maple, the center part in Fig. 6q being cut
out, as shown, to half the thickness, and a corresponding piece,
shown in Fig. 70, fitted neatly within it. These two parts are
protected on the working face by small plates of heavy sheet
brass, or much better, a piece of bone, as shown at the bottom
in Fig. 6q, flat-head screws being sunk, used flush and filed
smooth to the plate. Previous to fitting these plates the two
wooden pieces are slightly beveled away from the center, as
shown at No. 3 in Fig. 71. The inner face of Fig. 70 is cut out,
as shown by No. 3 in Fig. 7 1 , the length of the recess on the pro-

//•5

J^ -1

^ m

II CD 0

If m

"^ J^" 2' "^ ^

Fig. 70.

Fig. 7]

tecting plate seen in Fig. 70. This is similar to the throat of the
plane. The protecting plate in Fig. 6q is a straight strip similar
to that in Fig. 70, hut without the recess.

The manner of holding the parts together and binding the
blade to a set position is by means of two i j4-inch stove or slot-
head bolts, passed through hole shown in Fig. 6q, and in a cor-
responding position through Fig. 70. The nut of the bolt is
sunk flush on the outside in Fig. 6q, as shown by the dotted lines.
Small washers are imbedded in the sides of Fig. 70 to prevent
splitting.

The tool is now ready to receive the blade, and when all parts
are brought together the part No. 2 in Fig. 70 should almost
come in contact with the part shown in Fig. 6q when screwed up
tight with a driver. The scraper blade. No. 4 in Fig. bq, is set
between the two wooden parts, Nos. i and 2, and may be made
from a broken hand-saw blade, about the gauge of a finishing
saw, or a regular hand-scraper blade of good steel may be used.
When sharpened for use the edge would appear as shown in an
exaggerated way in No. 5 of Fig. 71, the edge having previously
been ground on an emery wheel or grindstone to a firm, long
round on one side only, then trued on an oil stone, leaving a
heavy edge, sharp and square. The object then is to turn down

ESSENTIAL TOOLS AND EQUIPMENT 47

this keen edge, not simply making it a wire edge, as practiced on
a cabinet scraper, but by means of a polishing steel turn it over
evenly and with considerable pressure produce an extended
edge of some permanence.

The polishing steel may be made of an 8 or lo-inch discarded
rat-tail file, ground smooth and polished with emery cloth.
The end has an obtuse point identical with a center-prick punch
for metal. This instrument, which is easily made, when handled
resembles a butcher's steel. To use the steel place the scraper
blade, which has been squared on an oil stone, between the jaws
of a vise or other clutch, rounded edge up and toward you.
Starting in with a gentle pressure of the steel held in both hands,
stroke the squared edge down and away from you, back and
forth, in an even way, increasing the pressure for some time,
when you will find the edge to be quite extended and beginning
to curl against the face of the blade. Remove the blade from
the vise and with the steel point touched with a little oil apply
the point at one end of the blade, which should be held slanting
against a fiat surface. With a firm and careful first stroke one
will be able to slide the oiled point between the turned-in edge
from end to end of the blade, thus pressing it out at any angle
desired, stroking it several times to secure a firm, straight edge.
What this angle is must be determined by the operator of the'
tool, for it depends altogether on its relation to the beveled face
shown in No. 3 in Fig. 71. It is a matter of experimenting, as
with the adjustment of plane irons or spoke shave blades.
When the blade is inserted, with back against recess in Fig. 6q,
fit the part in Fig. 70 in place and insert nuts in pockets cut in
outside of Fig. 6q. Slip the bolts with washers through the two
holes on the side of the part in Fig. 70 and draw up tight with a
screw driver, allowing the cutting edge to project slightly for
a trial. By experimenting on a piece of oak one will know either
that the edge has been pitched too low or not enough, by its dig-
ging in to greedily or by not cutting at all. Remove the blade,
place it in the vise and remedy with the polishing steel.

A disposition to "chatter" is sometimes located and remedied
by filing in a more rounded manner on the protecting plate under

FURNITURE FOR THE CRAFTSMAN

No. I in Fig. 6q. With a few peculiarities to overcome in getting
the "just right" adjustment, one will appreciate having an ex-
tremely useful tool for irregular surface work, or for reshaping
hatchet or other handles to your own particular form. It is
essentially a hard- wood tool.

On the same basis of construction as that already outlined,
a convex scraper may be made, by arching the central part of
the handle to any desired curve and making the blade in conform-
ity. This tool is used in shaping to a finish the hollow or saddle
surface on wood-seat chairs, the roughing-out work being effected
by a mallet and gouge, followed by a convex shave similar in
round to the scraper. As a necessary adjunct or rather a pre-
liminary tool, the spoke shave, Fig. 72, has much to do in pre-
paring in an easy way the surface or edge, before using the
scraper described. A form of this tool is to be had from hard-
ware dealers, but like many bought tools and a few all-metal
tools, it does not appeal to the men whose work requires a spoke
shave. The illustration, Fig. 72, shows the form of handle,

Fig. 72. — Details of Spoke Shave.

section and tightening bolt, which is set in a similar way to that
of the scraper. The blades can be bought of different sizes.
A handle made for a small blade, such as would readily cut the
edge of a portion of a 3-inch circle, would be found very service-

ESSENTIAL TOOLS AND EQUIPMENT 49

able, with one large tool for heavy work. It is suggested that
a plate of bone be used for the heel of the tool instead of brass;
a strip sawed from a beef shank, inserted in the wood handle,
held by screws and filed to a flush finish, causing the tool to
work more freely than metal. A little oil wiped over it now and
then will add to easing the work.

Now to the application of these tools to the hall seat and
other furniture forms. With the work all in the square-edged
state, note what is desired — a reduction of certain surfaces and
edges beyond the range of any shaper knife, universal plane or
other tool running in a set form or along a gauge.

The panel above the seat is the only part of the back on which
the edges will be rounded off in a vigorous way. After having
been fitted to the exact position it occupies in the opening of the
frame and marked with a scribe line, remove and secure it in
the vise, edges up, or else screw on temporary cleat blocks in
back and catch this in the vise. This is a better way for stock
dressing, as all edges and surfaces are up to view, and a full
sweep is given in reducing the stock in a symmetrical way.
This work creates a feeling for form and trains the eye to con-
sidering an even balance of right and left. A ^-inch sliver at
the least should come off the edge at the start, and the draw
knife is brought into use to do it quickly and easily; then with
the spoke shave begin the rounding, taking care not to run too
close to the scribe mark or the edge. With an easy swing, work
well over onto the surface, so that there is one continual round-
ness. The surface is now reduced to a condition where the
scraper tool is brought into use. With this remove all streaks
and smooth over with the grain and diagonally across the grain
at the ends. Noting the grain and being in thorough sympathy
with the "varying moods" of wood growth is everything in
using this tool successfully after the adjustment of the blade and
heel plate is to your satisfaction. An after-finish with the cabi-
net scraper blade prepares the surface for sanding with No. o
sandpaper, using the sandpaper block and then the loose paper.
The front edge of the seat is molded off in about the same way
as the back panel.

50 FURNITURE FOR THE CRAFTSMAN

The draw knife will again be required in removing the edges
of the end pieces. The full sweep of the line from under the
arms to the termination by the curve above the foot will be
molded evenly on both edges to a half round. This will make
a contrast to the foot, or "bandy leg" below, which is rounded off
from a square edge at A, Fig. 68, in an easy sweep to a shade off
onto the surface at B, keeping full width of blocks at C, this
work, of course, being carried out at both sides of the end. We
remove the square corners of the glued-on blocks in a decided
manner with the draw knife, thus reducing them in a roughly
rounded condition to that of the side line. Then take a gouge
and mallet and cut away the superfluous stock intervening of
the glued-on blocks between A and B quite down in a slanting
manner to the middle surface. With a pencil mark from top of
toe a curved line illustrated in the foot, shading out at B.
When such a line is to be marked for a number of pieces a pat-
tern should be made of zinc, with a check or stop at B and at the
floor line. This being slightly bent in conformity to the roughed-
out part, the line may he marked out quickly and with accuracy.

As the original sample is being constructed, this is a part of
the work where the eye, and a decision as to what looks right,
must be exercised. Using more care with the gouge, cut near
to the line, both legs being worked away in this rough state.
Continue with the spoke shave to round off the bottom portion
under the marked line, almost in the same manner that a lathe
would do it, shading off the rounding at B. Here we shall have
to resort to a chisel, as the shave cannot be worked. This is to
be followed by a coarse half-round wood rasp, using the flat side
for the under part of the leg, and the round side to be brought
into use on the upper and curved surfaces, where the shave and
scraper will not go. Having satisfied yourself that the leg has
been worked into a trim, evenly balanced form, finish with the
cabinet scraper and No. >^ sandpaper. If the glue joints are
good, the joint should be \'ery little in evidence. The arm,
which has been fitted and scribed underneath, where it rests on
the end, is now to be treated to a low round on the face, and the
nose rounded off in keeping with the flowing line underneath;

ESSENTIAL TOOLS AND EQUIPMENT

then, as shown in the illustration, it is coved out underneath on
the outside, shading out as it nears the back. The serpentine
edge of front board is shaped off with shave and scraper; this
leaves no square edges on the construction except on the back
framing.

A convenient holder for shaping arms, legs and other irreg-
ular parts with the spoke shave and scraper is shown in Fig. 73
of the illustrations. The outline of the wooden yoke and the
length are optional. The one shown is in use for many purposes,

Fig. 73.— Holder for Shaping.

and consists of a 3-inch piece of stock, sawed to shape, having a
long mortise in one end and a number of holes piercing it for a
loose pin. A hard-wood stick, tapered and elastic, notched
as shown, and provided with an extended metal prod, is adjusted
in the mortise at any place desired and secured by the pin pass-
ing through it. At the other end of the yoke is a projecting,
metal stop, and, as shown, underneath another hard-wood stick
is recessed and secured with a loose pin, and the other end
tapered to slip in the notches. The piece to be shaped is set
on yoke, against the stop, with the notched stick secured in
proper hole; it is then pulled forward, both ends are sharply dug
into, and held in that position by the swinging stick underneath
by slipping the wedge end into a notch.

Having completed the shaping of all parts, the work should
be carefully glued up. A temporary clamp or squeezing device
may be arranged on the floor in gluing up the back framing.
Three or four bar clamps are a necessity, with several smaller
steel or cabinet makers' clamps at hand to avoid any bungling

52 FURNITURE FOR THE CRAFTSMAN

in bringing the work up tight while the glue is hot. Too much
cannot be said concerning the importance of having good, fresh,
hot, easy flowing glue, and in real cold weather the parts well
warmed when clamped together.

While the trick of dragging screws over a bar of soap may be
known to many carpenters, it is worth doing in all hard-wood
work, as it makes them drive very easily and quickly when glu-
ing. There is great satisfaction when all parts are united in a
solid construction by good joinery and glue to run your hand
over the work and feel that it has beauty combined with utility,
or note, as a whole, where some part might be improved by
making the line or surface easier. It is just as important for the
joiner to inspect his work from a distance as the artist finds it
of value to step back from his picture to note the distance effect
of his painting. Arbitrary lines or detail expressed in a draw-
ing may have to be modified by your better judgment when
viewing the form complete.

The subject having been detailed from the drawing through-
out, the matter of finishing will be taken up, but in passing it
might be well to state that a chair, sideboard, or other piece of
furniture on plain lines, would be treated in much the same rela-
tive way in drawing it full size, and the various parts shaped or
described. On certain constructional forms, where glue joints
are required to unite several parts in an unbroken line — char-
acteristic of many "Dutch" chairs of the early colonies — the
rough stock dressing is done before gluing and after jointing and
fitting with dowels, sufficient wood being left near the jointed
edge to insure working it away to an easy, graceful line after the
parts have been glued up. No attempt should be made to do
this in a trial fit. Always consider construction as a unit.

Finishing

Having treated of this subject in a slight way at the inception
of our work, we need to particularize now that the hall seat is
ready to finish. Assuming that it has been made in oak, par-
ticular care should be taken that it be thoroughly smoothed over
with at least No. >^ sandpaper, rubbing along the grain only.

ESSENTIAL TOOLS AND EQUIPMENT 53

Next the color of the finish must be decided upon, as that is
embodied in the filler. Many modern interiors are still being
finished very near to the natural tone of the oak, and should this
piece of furniture be made for an interior in this color it would
be proper to finish it to match. However, this is not arbi-
trary with movable pieces of furniture and the prevailing finish
is in the standard golden oak, which is readily obtained from
varnish dealers. In remote places, where golden-oak filler is
not to be obtained, secure a gallon of white filler and add X
pound of raw umber and Y^ pound of burnt umber; thin the
mixture with turpentine. If, after trying one piece of wood,
a darker shade is desired, add more umber; if a lighter shade,
add dry raw sienna, or turpentine and oil.

When the desired shade is secured, apply with a brush and
leave to dry for a few minutes. Then wipe off with a coarse rag
and clean dry with cheese cloth and leave dry for half a day.
Sandpaper with No. o sandpaper. Treat the work with a coat
of orange shellac, allowing a day to pass before rubbing over
with No. CO sandpaper; then put on a second coat of shellac and
rub down after hard and dry with sandpaper, and apply a final
coat of hard-oil finish, and when this is thoroughly dry the sur-
face is treated to the oil-rubbed finish, which leaves a finish which
will always be durable and pleasing, as it does not have the in-
tense shine of cheap-varnish finish. A rubber made of listing,
or a long narrow strip of suit cloth about 2 inches wide, rolled up
tight and wound through the middle with twine, is more ser-
viceable than a loose piece of cloth or heavy felt. This rubber,
dipped in a semi-liquid mixture of raw linseed oil and powdered
pumice stone, is applied to the surface in a circular motion, and
after a little practice, and wiping with a dry rag occasionally to
watch how evenly the work is progressing, you will learn just
the amount of energy to apply. When this entire piece has been
worked over, clean off with a clean rag the excess oil and powder
and go over with another dry cloth — cheese cloth preferably —
bringing the surface to a good dull polish. This surface will
always be benefited by after-rubbing, or dusting, and may
be brightened after a long time by rubbing over it a mixture of a

54 FURNITURE FOR THE CRAFTSMAN

third quantity of turpentine in raw linseed oil, using a small
portion poured on a part of a cheese-cloth rag.

It may he stated without fear of contradiction that handy de-
vices are either the result of a sudden inspiration or a "simmered
down" way of doing a thing better than at first anticipated.
Competition is in most cases accountable for short-cut methods
and apparatus quick and double-acting. No live man, however
removed from active centers or in whatever line of work he may
be engaged, can afford to handle unnecessarily or back track on
his work. It is unwise in these times to do things the long way,
as one's time for rest and recreation is equally valuable with the
same time occupied in doing work piece by piece. Those who
lack inventiveness should cultivate observation, for many a man
will come on the scene who attracts attention by getting through
his work and having plenty of breathing time. Upon close
study it will be found he has some method or handy contrivance
which he has wrought out as the result of time and experience.

From making boxes, one like another, all the way through the
range of constructive work, thought should be used in "coming
out whole" on a job, whether it be a personal expenditure of
time and energy or figuring against a competitor. This busi-
nesslike calculation is sure to be valuable "when out for busi-
ness. " The modern factory is augmented throughout with ap-
paratus and devices solely of a hand-power class, holders and
markers being used to prepare the work for unskilled hands at
the machine. This "setting-up" practice solves the problem of
the ability of a factory to figure closely. In other words, brains
think out every detail before a stick is cut. The factory mana-
ger holds no patent right in taking a short cut across the field of
competition; the same conservation of energy should prevail in
the shop.

The illustrations presented herewith are simply memoranda
jotted down from time to time and given for the purpose of
bringing forth other devices which the reader may have found to
circumvent time and lessen labor. Frequently the spying-out
of some portion of a broken-down machine will offer a suggestion

ESSENTIAL TOOLS AND EQUIPMENT

in the making of a tool or the building of another machine adapt-
ed to one's needs.

In Fig. 74 a very handy clamp made from an old crippled hand
screw, the jaws having been reduced to the shape shown and 6
or 8 inches in length; one screw being used, the scope is limited

Fig. 74.— Handy Clamp.

by the filling-in block, as shown, which is connected to the jaw
ends by a piece of belt leather glued and braded. Two or more
of these clamps at hand will be found very useful in repairing,
gluing up or temporarily fitting parts. To be without clamps of
any decription is in connection with gluing up work like losing
the oars of a boat in midocean — very embarrassing — for it may
only require a little force in a concentrated form to send the
parts home. This very frequently is impossible, even though
resort is had to a block and a mallet.

An apparatus which is powerful yet portable and which will
be found useful when many frames are being made up is illus-

56 FURNITURE FOR THE CRAFTSMAN

trated in Fig. 76. The wheel, screw and nut have been parts of
an old machine. The heavy block through which the screw

Fig. 76. — Wheel and Screw Apparatus for Making Frames.

passes is held firmly to the bench by two heavy staples clasping
and passing through the bench top and washer plates under-
neath, where they are drawn tightly by large nuts. In default of
the wheel and screw the form shown in Fig. 75 is very effective.
Certain holes may be made in the bench to receive the four bolts

Another Form of Frame Holder.

in the block A and the large bolt in the block B. This will per-
mit of the press being readily removed or set up when needed.
The enlarged handle is reinforced by a piece of heavy brass plate
secured well up on both sides. The L-shaped iron C centers
over the lever with a washer intervening on the bolt.

ESSENTIAL TOOLS AND EQUIPMENT

A squeezing press of a permanent form is indicated in Fig. tj ,
where the principles are clearly shown. It will be found a very

Fig. 77. — Permanent Form of " Squeezing Press."

valuable machine, as rails and stiles to small framework can be
quickly brought to a tight, square joint. The notched metal
plate attached to the post, as shown, permits of the tension being
held until the glue is dry or the boring of holes and the placing
of dowels are accomplished.

The sanding stick shown in Fig. 78 and found in use by a care-
ful workman indicates what by some might be considered trifling.

Fig. 78.— Sanding Stick.

but is a real essential when put to use. This stick will prove on
further acquaintance with it to be a rival of a wood rasp. The
sand, or, better, garnet, paper is held firmly and smoothly to the
stick, allowing every bit of surface to be brought into use. The
paper being cut overlapping wide should be conformed to the
stick; then, with the two laps turned in, sanded side together, the

FURNITURE FOR THE CRAFTSMAN

tube is slipped over the stick, the laps sliding into the saw kerf.
The same principle is used on power-driven sanding spindles.

As the carpenter does not make use of a steel scraper as fre-
quently as a cabinet maker, he may find the proper way to

Fig. 79. — Device for Sharpening a Scraper,
sharpen for a continued use of that tool a little elaborate. Hold-
ing such a well-sharpened scraper in reserve, however, another
blade for less severe use may be kept keen on both edges by
adopting another craftsman's plan of having a fiat, smooth file
secured by staples to a stick and having a saw kerf just over the
surface of the file. The blade when dull is then drawn through
the kerf against the file, insuring a keen, square edge. A care-

FiG. 80. — A Routing Plane.

ful study of Fig. /q will demonstrate this point more clearly.

While there are all varieties of metal planes of a modern type

many of them do not give the satisfaction that can be derived

from the use of such a one as that illustrated in Fig. 8o. In

ESSENTIAL TOOLS AND EQUIPMENT

this case the body is made from a dry piece of maple or beech.
There is a certain easy sHp of wood over wood which holds this
and the smooth plane in favor with many workmen. By the
aid of the blacksmith the manufacture of this routing tool is very
easily accomplished and will prove of service in many ways,
particularly in producing sunken work on panels and drawer
fronts. The block is 2 inches in thickness. The thumb nut
when in position on the screw which binds the cutters draws up
against an imbedded plate, as shown. In default of the thumb
nut an ordinary nut may be used.

Where a considerable number of wedges are used in expanding

Fig. 81. — Device for Making Wedges.

tenons after parts are glued up the simple device shown in Fig.
8 1 permits of producing many in a very short time. The sketch
shows a I -inch board marked A laid on top of a cross-cut saw
table, B. This board is provided with a fixed strip sliding in
the table grooves C and permits of its movement up to the strip
D, clamped for tiie time on the saw table. The stock E for cut-
ting into wedges is placed against the handle F, which easily
swings by the nut shown between the adjusted stops G G. The
adjustment of these stops and also the wood screw inside of the
hook end of the handle F determines the taper of the wedge,

60 FURNITURE FOR THE CRAFTSMAN

whether obtuse or acute. The cutting is done by holding the
board A by means of the knob H and pushing it before the saw,
cutting the edge, as shown. In pulling back it is only necessary
to press the wood forward to the screw and stop on the handle,
meanwhile swinging the handle against the upper stop G for the
second cut.

Having introduced the reader to certain tools quite essential
in cabinet making, together with various handy devices other
than ordinarily found among a kit of tools, it might be im-
portant to stock up on other working capital.

Before considering other forms of cabinet work for the car-
penter, it is in place to study the subject of ornament as applied
to furniture, and under the term, ornament, is included any
embellishment not essential to the construction. It seems a
fitting time to write along these lines, for at no period in the
history of furniture, since primitive construction, has there been
such a reaction against vitiated or excessive ornament, and it is
a significant fact that a fad taken up by Americans represented
in the "Mission Style," and also the strong influence of Euro-
pean crafts and guild workers in working along plain lines, has
brought about this happy trend of taste.

The architect, designer or craftsman today is a free subject.
No kingly patronage holds him to follow repeatedly the "period
styles, " which in this country are quite out of place in the homes
of our democratic people. We may therefore be thankful it is
the style to be plain and be surrounded by furniture of a plain
substantial construction and outline. This state of affairs does
not dictate absolute avoidance of ornament, for we as a people
are extremists in some things, and already an easing-up of the
straight line, and rounding-off of the sharp corner incident to
the first "Mission" patterns is in evidence, and we have now
with us the "Arts and Crafts," or "Modern," which possesses
features refreshing and entitling it to be classed as a "style."
Happily the "Arts and Crafts" being the vogue, it is one to
which the carpenter can apply himself without the bench ex-
perience of a French cabinet maker, and to this end sketchy de-
tails are here given to guide him in the general requirements of
brightening case work with ornament, relief or open work.

ESSENTIAL TOOLS AND EQUIPMENT 61

Co-operation is the keynote today more than ever, from the
architect to the gas-fixture man, and the bride and groom of
today enter the new home as one better designed and more har-
monious than ever before, for the reason that good furniture and
furnishing are designed in co-operation with a knowledge of the
architect's taste.

Coincident with the plan is the rapid development of the
cement industry, its many varied applications in architecture,
the results, from its very nature causing the material to be per-
manently set in flat, plain sweeping surfaces or bold molded
effects, or treated with openings of a square or rounded char-
acter, which neither admits of or suggests fussy jig-saw work.
Its enduring quality will no doubt tend strongly to hold the de-
signer and constructionist to substantial ideas for some time to
come.

Supposing, then, we follow this thought in its bearing on re-
lieving furniture from absolute severity of case. Going back to
the "Mission Style," the old ecclesiastic carpenter in making
the few pieces of furniture for the simple needs of his brother
monks held to a rigid purpose of making a table from which to
eat, a chair to sit upon — not a table or a chair of a particular
design. Then, too, the lumber was hewn from the log and few
tools were at hand to continue the work. These were deterrent
influences for good design — that is utility first. However, he
was not altogether clumsy or lacking in grace of line, for in the
few examples from which the style is derived we see how he has
tapered the lower part of a heavy table leg or given a square
bulblike effect to a post, and in more elaborate pieces treated a
back rail to easy curves with correpsonding hollows, mindful, no
doubt, of things seen in his early days in Spain.

The monk, as well as many another, in effecting an enclosure
by gate or barrier, adopted the idea of the primitive man who
fenced in his first garden from wild animal depredations by tree
limbs set at intervals and criss-crossed by boughs in the inter-
vening spaces as in Fig. 82, then as the nations became more re-
fined the Grecian idea came prominently to the front, and today
we use more than ever the thought which is given expression in

J^URNITURE FOR THE CRAFTSMAN

Fig. 83 of the illustrations. This never fails to be effective and
to the point in filling space.

The limb and bough idea will by a little study resolve itself
into many simple and direct means of ornamenting panels, bases
or spandrels, as noted in Fig. 84, 85 and 86. It is not treated

Fig. 82

-f^^"

_i^:^_

Fig. 83

Fig.

\ ! :

Fig. 85 .^

Fig. 86

Fig. 87

Ornament in Furniture.

in a rustic form, for it then generally becomes a bad copy of a
good bit of detail, and we have all gone through with the rustic
idea in its out-of-place use. Rather catch the suggestion of the
limb or bough and conventionalize it, as indicated in Fig. 87,
which is as a mullion between case doors and branches out alike

ESSENTIAL TOOLS AND EQUIPMENT

on either side along a headboard. Such a treatment, as well as
that indicated in Fig. 85 and 86, cut in thin material, say 3-32
in., is very effective when firmly glued on and will permit of the
carpenter producing ornamental detail of a better character
than most incised or glued-on carving. There should be no
trouble in these chipping or finally dropping off and becoming
a source of annoyance if care is taken and good glue is used with
plenty of clamps at hand. A few invisible brads should also be
used.

Fig. 89

1S}^^W&^^

Fig. 90

Fig. 91
Ornament in Furniture.

It may be difficult to convert some of the readers to "simple
ways," when the band and jig saw, turning lathe and molder
stand ready to turn out wonderful things in curious shapes, so a
few parallel sketches are given to more forcibly show the de-
sirable and undesirable. Fig. 88 is obsolete, and not only by
reason of the difficulty in finishing such an ornamental border,

FURNITURE FOR THE CRAFTSMAN

but in keeping it free from dust. Fig. 8q takes its place and Fig.
qi is to be desired rather than Fig. qo. The avoidance of cut-
ting away too greatly the grain strength, even though it is a
glued overlay, is more prominent today, while the fretted pedi-
ment shown in Fig. qi gives way to a more rational and fortified
treatment, as indicated in Fig. 93.

j^^f^^ m^.^^

Fig. 92

Fig. 97

Fig. 95

Ornament in Furniture.

So with the foot of the stand or case, we have all suffered an-
noyance from the breaking-off of projections seen in connection
with Fig. 94 and q^, while we welcome Fig. q6 and 97. Such

ESSENTIAL TOOLS AND EQUIPMENT

a foot as that shown in Fig. q6 and qz should be reinforced by a
glued corner block from behind. The direct corner post, how-
ever, is stronger, terminating in a semblance to a foot, hoof or

Ornament in Furniture,
more frequently an animal's paw, showing the claws clearly de-
fined. Great deviation is shown in such supports. The writing
desk, with its carcase well raised to the floor, is usually made
with a front post which will permit of being formed with a prom-

66 FURNITURE FOR THE CRAFTSMAN

inent knee immediately under the case, which in its downward
shape diminishes to a slight ankle about 3 in. from the floor,
where in the same size of stock as shown in the knee a claw foot
is formed. This, if detailed by carving, consists of 3 or 5 toes or
a fanciful duck's web foot clasping a ball. When a particularly
massive effect is desired an extra stock is glued to the two outer
sides of the post or leg to permit of greater prominence to the
knee and claws. Various shapes of legs and feet are herewith
shown, which will assist in selecting various supports to chairs,
couches or cases.

It is hoped that within this small treatise on the extensive
subject of "Ornament in Furniture" the main guiding thought
has been adhered to — of watchfulness against senseless outlines.
This thought should also enter into selection of any hardware or
metal trimmings required, that they be of a suitably plain char-
acter in solid metal and well finished.

CHAPTER III

CERTAIN FURNITURE FORMS
VALUE OF SPARE TIME AND OBSERVATION

HETHER a carpenter with skill in using wood-work-
ing tools, or the man, who, following another oc-
cupation, knows also the joy of working in wood,
he is ever eager, with creative desire, to fashion
certain furniture for his own use.

A careful examination of many patterns seen in the stores, or
coming under his particular attention, would assure him of his
ability to produce work on similar lines, provided a few sugges-
tions or guiding points be given.

Assisted by accompanying illustrations which aim for sim-
plicity of construction, and unbroken character of outline, is the
purpose of bringing these articles together for a ready reference,
and it is hoped a fountain of inspiration and suggestion.

A commendable feature of the better patterns of present-day
furniture is the emulating of the sturdy character and sim-
plicity of treatment of the old cabinet makers, and be it said
here that our early American craftsmen created much that we
of the present time are forced to admire.

It is true we have misapplied our efforts through the medi-
um of modern tools, but would not the model maker of a
furniture plant of today be staggered should an apparition of
his brother craftsman of 1 700 appear and rudely snatch away
the power-driven rip-saw, jointer, band-saw and back-knife lathe,
and insist upon the modern man using the tools employed in those
days of yore! Should such be true and our twentieth century
man begin his task under the old way, in the light of a great
joke, is it unreasonable to suppose that long before he converted

68 FURNITURE FOR THE CRAFTSMAN

his log into boards the thought would come before him, as he
curiously handled and inspected the heavy jack plane, that his
would be no easy task in dressing his stock; but he sets to with a
will to experience what those "old fellows" must have had to do
before they could mark a line. While he catches his breath and
wipes the perspiration from his face, a bright, rational idea
comes to his mind and he says, "When I get this stock smoothed
up I'll go over my drawings and leave out some of my 'ginger-
bread' work and make my detail subservient to the construc-
tion, an object for which it is intended, " and then it dawns upon
him that this must have been the idea of the mechanic 200 years
back, when he produced the furniture we admire so much today.
He did it in a direct way and confined his energies to beautifying
only such places and parts as needed it the most.

The literature and history of the times have been very much
directed to old Colonial landmarks and customs. This ten-
dency has consequently created good prices for the few patterns
of furniture that come by chance into the hands of the dealers
and has created a demand for copies. A number of factories are
therefore kept busy manufacturing with great faithfulness re-
productions of "old antiques."

The mechanic, not necessarily a cabinet maker, can do much
in furnishing part of his home with portable or built-in furniture
if he will but observe the chaste, simple lines of the earlier work-
man. During the era of flashy, overestimated furniture, some
years since, there prevailed an idea among craftsmen other than
furniture workers that it was a special art and privilege to per-
petuate those styles from which we have since turned. So it
was, and we are glad of it, for such frailties soon went to pieces
and had their short day.

It will be noticed by the aid of the few patterns shown that
very little intricacy is attached in laying out necessary draft
from which to work. For the height of seats or tables refer to
any standard piece of furniture about the house, allowance being
made, of course, where a seat is to be upholstered, to build the
frame less the thickness of proposed upholstered cushion. The
same applies as to casters on chairs, couches or tables.

CERTAIN FURNITURE FORMS

Illustration, Fig. q8, showing the home writing desk is made
on such simple lines
that little explanation
is needed. The car-
penter, filling his much-
prized tool chest with
easy-moving drawers, is
perfectly able to lay out
the few drawers and com-
partments that are within
a parlor writing stand.
The slant front opens out Up
and forms the writing
table, being hung from
inside of ends by a chain ^^^- ^^•"

or metal device of the elbow order.

The hall settle or portable window seat, as shown in Fig. qq,
is almost a necessity unless one is fortunately provided with

-Home Writing Desk.

Fig. 99.— Hall Settee or Portable Window Seat.

plenty of closet room, for in this article, by raising the seat,
the box portion underneath makes a very convenient place to
keep overshoes, a small riding saddle, or other articles wanted
in a hurry and desirable to have readily accessible. In this
piece it would be better to use Norway pine, or better still.

70 FURNITURE FOR THE CRAFTSMAN

Southern pine with pronounced red sap, or it would be more
satisfactory, if possible, made in quartered oak, birch or ma-
hogany, the three kinds of standard furniture woods.

There has been much experimenting of late in using other
woods than the three mentioned, but any wood with a pretty
grain or figure could be used which would be free from liability
of indenting or checking, to which pine or bass is subject.

The prevailing taste is for the finishing material to be quite
dark in imitation of old-time stained and even weather-beaten
furniture, and a return to the wax-finish or oil-rubbed surfaces
is very much to be welcomed.

The finishing for such pieces illustrated, after staining to the
proper shade you desire, would be to give them three coats of
orange shellac, the first two coats being rubbed down by No. oo
sandpaper and the third coat of shellac rubbed down in pumice-
stone powder and oil; this will produce a dull gloss peculiar to
old-time furniture and one that will not show when suddenly
struck or indented.

Much can be said upon this subject of creative art, which is
awakening so much keen interest in the field of cabinet or case
work abroad. Starting originally among a small band of arti-
sans in the European centers the desire grew to give individual
expression to their productions, and to check the disposition of
concentration into large factories of various lines of handicraft,
thus losing the identity of the workman and at the same time
training the younger workmen to know only one small operation
incident to the line of manufacture.

The results of these workers along individual lines have found
expression in the Art Nouveau, or modern art. While it may
not be at present used extensively by American manufacturers
employing machinery for all operations, the spirit of the style is
already giving a healthful tone to our designs, and checking a
tiresome repetition of conventional styles and a sameness of
treatment.

It is hoped that with what will be shown an interest may be
awakened among many who feel their ability as construction-
ists and their inability as draftsmen to the point of drawing

CERTAIN FURNITURE FORMS 71

ornamental detail, that it is just as well to leave out the orna-
mental detail and produce their frames with a directness of con-
struction and nicety of finish, with the introduction of low
arched lines springing from posts to rails and the joints flushed
over. When the work is carried to completion in this way the
worker begins to feel he is dealing with a solid piece beautifully
outlined, and not a collection of parts inharmoniously related.

Attention being called to the prevailing class of furniture with
the purpose of drawing the interest of the craftsman to objects
of household use which he may construct with very little special
experience in the higher branches of joinery, to the end of grati-
fying his natural desire to be occupied during much enforced
idleness on kindred work for his own home, furnishing and exe-
cuting many orders which are sure to come from a display of an
article of household comfort neatly joined and properly finished.

With no desire to "teach an old dog new tricks, " the subject
will be taken up with the idea that the reader is a skilled wood
worker, exchanging notes with the designer, and that the work
under discussion will be projected with the hearty enthusiasm of
the revived "Arts and Crafts" movement, the aim of which is
individualism and credit to the workman.

Unfortunately, man's work of today, in many vocations, is by
concentration of like interests specialized, and his personal
touch confined to doing over and over again one small part of
the whole. This suppression of real active enthusiasm in one's
trade often is cause for a workman sinking into mediocrity.

Advantages of Observation

Today it is not enough for a man to consume at his work a
specified number of hours, or to conform to the regulations of
the union, but more to the self-satisfaction that he has used his
eyes to good advantage in observing the methods and work pro-
duced by a better workman than himself. The close inspection,
if possible, when opportunity permits, of some building recog-
nized to be architecturally correct, the relation with which the
inside fitting bears to the exterior treatment, and then to the
more minute inspection of the joinery, and from this the eye

72 FURNITURE FOR THE CRAFTSMAN

naturally seeks the furnishing of the room; possibly the body is
very ready to seek comfort in the substantial chair or built in
corner seat, and then the eye notes that there is a master build-
er's conception and a connection of thought from foundation
walls to the portable furniture of each room. From this daily
practice of observing we appreciate more that furniture is close-
ly related and is one of the branches of architecture, the con-
struction and treatment of which should no longer be debased
and made trifling by unnecessary and insecure applied orna-
ment, or extravagant, much-cut-into outlines, which time,
weather and experience have taught architects to avoid in their
work of recent years. This statement has no reference to
churches and public buildings of the old world, completed after
many years and beautified by sculpture and carving in enduring
materials, but refers more to our American architecture of some
30 years ago, a type which doubtless many readers have in
mind, "The American Villa" style, all in wood. It looms up
now as an example of the band sawyer's widest range of fancy,
assisted by the wood turner, who really reached the "highest
pinnacle" with his work; often he had one each on the seven
gables round about. Time, as with the old woman, has made
sad ravages with this style of head gear; each storm blows off a
little spire or tears out a baluster. Coincident with this style
were the same frailties embodied in furniture, much glued and
tacked-on work, turnings halved and glued on, veneer patches
crested top lines representing much misapplied work, and more
to free from dust. Even the upholstery had that tacked on, in-
secure look. Every housewife is gladly getting rid of this by
replacing it with the "Modern Art" furniture. We don't tell
her this, but the "Modern Art" represents a revival of the very
best that is old and, strange to say, of early American concep-
tion, plain, straight to the point, construction. Having thus
brought the attention to a study of good furniture, it will be ap-
preciated that the class of joinery embodied therein is not so
much out of the province of the careful carpenter.

In occupying our time on work meant for home use we gener-
ally embody individualism and honesty of pupose to a minute

CERTAIN FURNITURE FORMS 73

detail. This idea should ever be present in a restrictive sense
when it comes to duplicating your piece on an order received,
or multiplying it for a small local trade. It would not be pos-
sible, however, to allow you a suitable profit on your work
should you go to the great care of picking out just the "happy
play" of grain or quarter which is embodied in your sample;
this may have been the result of laying aside for months back
certain pieces which would finally match up well for particular
work. Care today is not as discriminating in cabinet work as
to the nicety of adjusting stock in framing, that there be a con-
tinuity of grain or quarter marks, as in some fine old samples.
When laying out stock a little forethought exercised will add
greatly to the final finished appearance — as, for instance, to
maintain balance in the figure or markings of the wood, to cause
a right and left display; this is often easily accomplished by in-
verting a leg or a panel, thus allowing the surface figure to "fan"
out, or arch in, as the case may be, with the other half. Noth-
ing looks so out of balance when using quartered oak in squares
as to thoughtlessly frame one side plain face out and the other
side showing the quarter. When using plain oak throughout,
or other woods, with a large figure, marked character and added
value is shown in the work. Oftentimes a combination of woods
is resorted to in making up an article of furniture which materi-
ally reduces the cost, elm, ash or chestnut frequently being
worked in where it combines best with the more expensive wood.
Very little so-called mahogany furniture sold today is made up
entirely in that wood, birch being largely used and sufficient
mahogany being used on front parts to establish some claim to
the title. As a matter of strength, birch is much to be pre-
ferred to cheap mahogany, both requiring the same imitation
or darkening to the standard dark mahogany tone. The selec-
tion of wood should be made with judgment and not without
some sentiment.

Dignified stability and the immediate suggestion of perman-
ence centers about the living room, oak, even chestnut and ash,
are alway-s identified, and considered typical of this thought.
While for the reception hall or the bedrooms, they call to mind

74 FURNITURE FOR THE CRAFTSMAN

the finer woods, as mahogany, birch, gumwood and other close
textured lumber, fitting in aptly with dainty furnishings and
trimmings.

Color in Furniture

The staining of wood in furniture is largely in practice today,
the colors taking in quite a range of tones, most of which are
imitative of natural conditions, such as "forest green, " a warm
green of the woods, and "weathered oak." The last named is
a pleasing tone of a gray brown, derived from very old furniture
which had been subjected to more open-air changes than our
glued-up furniture would stand today; this in consequence is
more appropriately applied to staunch heavy or general utility
pieces. Flemish oak color, a very dark warm brown, is also a
harmonious tone for furniture of a sturdy class. Cathedral
oak, fumed, and Castilian brown are other recent tones. As all
these shades are an attempted representation of what time and
weather conditions of several hundred years have created on
ancient furniture, it is but consistent to adhere to the oil-rubbed
or wax-like finish; this is advised on all special made pieces and
will be dealt with more in detail, as this subject is touched upon
now for the purpose of forming an idea of what woods may be
used in furniture. While it is essential to avoid using various
woods with known bad features, such as shrinking, swelling and
twisting, or soft and easily indented, yet a discriminate use of
woods other than oak, birch and mahogany, give very artistic
results; the main point is to know that it is perfectly air or kiln-
dried before using.

The writer has made use of white-pine panels saved from or-
dinary packing boxes. These work in admirably in portions of
of cabinet work where it is not likely to be indented, and are
well worth saving, as they are generally of the right thickness
and simply need redressing. This, of course, is for work stained
for walnut or mahogany.

Having considered furniture in a general way, it is assumed
that a certain article is under discussion. The trade knowledge
of the carpenter will not be questioned as to the handling of tools
or preparing of the stock, and the work will proceed with the

CERTAIN FURNITURE FORMS 75

necessary guidance of a rough drawing. This does not imply-
that one should have a knowledge of designing or drawing, how-
ever desirable the cultivation of this ability is to every crafts-
man. It is often with settled resignation that many determine
they are unable to express themselves by a drawing, when by a
little trial effort interest begets enthusiasm and the rest is easy.
In the absence of the regular Manila drawing paper, any large
sheet free from creases or wrinkles will answer temporarily; after
which, should your interest excite you to further trials, the best
of materials should then be secured. How many expend $io,
$15 or $20 on the "most complete set" of instruments without
the slightest idea of the use of two-thirds of them. Don't do
this now — use a good, medium, black pencil; your 2-foot rule; a
pair of dividers with well sharpened points and a pencil attach-
ment; a soft eraser for rubbing out trial lines; a triangle and
a T-square. This constitutes the essential outfit, and the main
feature is to secure your paper with common tacks or thumb
tacks to a smooth board surface or table, the edges of which
are perfectly square. Drawings, as a rule, are made to show
one-half elevation, with the end or side view and section pro-
jected to the right of this on the same base line. (See Figs.
67 and 68, drawing for hall-seat.) This shortens the work of
the front elevation, and the measurements are doubled when
laying out the stock. It will be seen that when drawing the
side elevation on the same plane it is made very simple, for
by the aid of the T-square many of the measurements are ex-
tended and ruled off. Now many will say, we are able to do and
have done all this; it is simply mechanical; but what gets me is
how to draw freehand, or the varying line portions of a drawing.
This no doubt confronts many as a nightmare and is intensi-
fied by the fact, generally, that the beginner starts out with the
idea of drawing the line gracefully and with cleardecision atonce.
He usually fails, or probably the line or lines do not occupy the
surface intended. It would take much practicing or months of
time to draw a finished line needing no correction; that would be
skill. You can, however, produce your curved lines and smaller
detail by boldly and with a light freehand touch swinging in the

76 FURNITURE FOR THE CRAFTSMAN

lines in a given territory, and if it falls wide off the mark, or
doesn't please you, erase and try again. You may have to do
this several times, when you will say, "This is just what I want ! "
Then is the time when you can preserve the effort by carefully
going over this, making the line heavy and clear. Rely upon
yourself in this way rather than create the line by the aid of the
compasses, which require aimless staking out of points to effect
several arcs, which must necessarily be joined by hand, and the
result is often a very mechanically stiff curve. The operator
has the satisfaction when working from his own drawing or pat-
terns of knowing that he can give more grace or freedom to cer-
tain lines when sawing the stock or dressing the edges with the
shave, for the beauty of long sweeps can be much enhanced by
the full-arm. movement incident to cleaning up the stock.

Previous reference has been made to the main purpose in
directing the attention of the craftsman to a class of work with
which, while he may not be altogether uninformed, yet the sub-
ject heretofore has not been presented to him in a prepared con-
dition to enable him to exercise his skill in a higher branch of
joinery.

The journal of today sent broadcast, with its articles and de-
partments relating to self help, makes it possible, if not indeed
certain, for every intelligent person to acquire knowledge, or at
least to add to his knowledge along certain lines. The mother or
the daughter in isolated districts has acquired information and
skill in millinery or dressmaking, studying explicit directions
and illustrations which are often self-explanatory in their clear-
ness, while in the column for domestic science greater deftness
is gained, together with the important knowledge of chemical
changes incident to good cooking. From these sources a pro-
nounced broadening of the individual is evidenced, and today the
"mossback" is the one who pores over the only printed matter
that comes to him — the local "weekly."'

Value of the Correspondence Department

The privileges allowed in the space devoted to "correspond-
ence" in a trade journal should not be undervalued either by

CERTAIN FURNITURE FORMS 77

the young or the old subscriber. Its advantages are indeed
great, and many are pulled out of dense ignorance or turned
from a well-worn rut by a careful and thoughtful study of its
columns.

We will suppose the carpenter or craftsman has many "off
days" now and then, due to weather or other conditions, and
unless he is a "captain of industry" the question of how to em-
ploy his time to profit is uppermost in his mind. The exercise and
higher development of ones skill at these times if not directly
productive certainly will be later, in his being rated a first-class
man. To this end he should have a better home work shop,
or room, than any other tradesman. First of all the place should
be swept up and always kept that way after work, then a good
substantial work bench placed to the best advantage for the
light, and all that appertains to his work should be put in con-
venient places or shelves. Brackets should be made for certain
tools, then a hanging shelf for lumber, so that it can be kept
clean and flat. All these handy arrangements and ideas for
carrying on the work, whenever spare time is given for it, will
occur to the man who goes at the matter with the purpose of
having an inviting place in which to work. After all is accom-
plished in the way of convenience and order, keep it so. Every-
thing being in readiness you will, when the opportunity offers,
get to work like one who has an appetizing meal before him.

Advantages to Country Carpenters

In turning the craftsman's attention, and particularly the
carpenter's attention, from large to small construction, such as
portable objects about the house, what benefit may come from
these chapters will be more to the carpenter in isolated districts
than to the journeyman in the city, who is kept more actively
occupied. His work then will not be so much brought into
contact in a competitive way with the cabinet maker, who sel-
dom locates in a small village or town. This fact should be a
greater reason and incentive to the cultivation of his skill in the
higher branches of joinery; for even in country towns there are
the "upper class" people, or those of means, who generally are

78 FURNITURE FOR THE CRAFTSMAN

easily prevailed upon to secure some interior fitting, or article of
furniture, particularly should it be made for a special purpose,
which raises it above the factory commodity.

With the essential requirements provided for, the individual
needs are then generally gratified and the housewife with great
pride in her plants or china will be equally interested in acquir-
ing a plant stand or plate rack. These now are quite commonly
sold in towns or cities, but often are poorly made or finished.
Here, then, is the mission of the carpenter or craftsman to work
up a local side business.

Primiti\e Structural Idea

The form which would suggest itself to a workman, should he
be called upon to produce an article, is the unadorned and useful
qualities in a piece of furniture ; this would be a natural expression
of his ideas of construction, free from imitation. Much of the
furniture which is sold today is strong and durable, but some of
such a severe type that it is highly probable the demand for it
will be short-lived. Our homes, surroundings and tastes are
ever changing; the desire is for change of outline; the primitive
structural furniture looks very much out of place unless a room
was fitted up entirely in that style, or in the later interpretation
of it, the "Arts and Crafts" school.

The structural idea should ever be in mind in creating a piece
of furniture, yet in our day of hard business drive the few hours
or moments of home rest should be in rooms furnished by furni-
ture not of the restless over-elaborated French style, nor by the
rigid square-edge primitive style; rather design our furniture
from this primitive type, as a dressmaker molds her cloth over
nature's form, knowing then we are started right.

Take, then, these old structural forms and in our mind's eye
pick up the draw knife and round off well the edges and corners, so
that if we ever did fall against it we would not bruise the flesh or
or have our teeth knocked out. Possibly in some places, taking
care to leave ample strength for the purpose, we may cut out an
arched line, which would be a little more in keeping with our
rounded-out lives.

CERTAIN FURNITURE FORMS 79

Suggestion and Incentive

Have the main line in furniture clearly define its purpose.
Probably the main thought embodied is in a plain sweeping
line which meets an untimely fate in some meaningless jumble
of scallops and coves. Rather have the design motif creep up
to and join in with this main line in the shape of surface carving,
or applied carving, properly shaded off and brought into definite
relation with the prevailing outline.

From observing good, sensibly designed furniture the crafts-
man is aided and inspired to evolve from a primitive structural
form something which immediately has individual character,
and it may solely spring from a pure curved outline of his own
shaping, one not previously conceived, but wrought by strength
and tool to the material. The main construction is determined
by the purpose for which it is intended by his effective outline
worked out of the material to lighten the effect of the whole,
and thus he becomes designer of his work.

We have no doubt that many intelligent carpenters refuse
special jobs, or do not appreciate the fact that a great increase
of revenue could be acquired, simply because they always did
the work but never attempted to conceive it. We know of one
builder who as a carpenter made a name as a builder by planning
at night neat drawings of porch and bay additions. These he
showed to people whom he knew had denied themselves those
attractive features when involved in their home building. A
man with funds barely sufficient to surround and shelter himself
with a home will leave out the porch in his calculations, but
both himself, and particularly his wife, are bound to have it
added later on. This same businesslike spirit can be cultivated
relative to furniture. This desire to make our interiors more
attractive is just as uppermost with many as it is to follow styles
in dressing. Accompanying this series illustrations are offered
with the thought in view that the pieces can be carried out as
shown, or modifications made on the same constructional forms.
The first subject will be that of a fuel chest.

The subject here illustrated exemplifies the idea which should
be uppermost, as expressed by the great master of arts and

FURNITURE FOR THE CRAFTSMAN

crafts, William Morris: "Have nothing in your house that you
do not know to be useful or believe to be ornamental. "

Certainly a frowning black coal hod standing in the corner
of one's sitting room jars on the sense of propriety. It looks
bad enough behind the kitchen stove, and is only tolerated be-
cause it is a useful article — an instrument of torture from which
the man of the house cannot very well flee. The coal chest is
an "accessory to the fact," yet in having one we find that in
itself it is pleasing to look at and also serves a double purpose
of a comfortable seat under the window sill or where one has a
mind to place it. We have then to consider an article of furni-
ture which admittedly is useful and in harmony with our better
desire to banish the unsightly useful necessity. It will be found
not only desirable for the stove-heated room, but for the gentle-
man who, in his steam-heated residence, likes to run a little fire
department of his own in the library grate just for "auld ac-
quaintance" sake and watch again the glow in the chimney
breast.

As here shown it will be very readily constructed. It is seat
high — that is, i8 inches from the floor to top, without cushion.

Fig. 100. — Fuel Chest and Window Seat.

The width at the ends, outside, is i8 inches, the front 22 inches.
The construction is held between four posts, 2 inches square,

CERTAIN FURNITURE FORMS

i\}i inches long, making the end frames 14 inches wide by 15^
inches, the back frame i5>i x 18 inches and the front frame 15
X 18 inches.

The frames for the ends and back are made of % x 2-inch rail
and stile, with a ^.g-inch plain panel set in a groove 3/16 inch

Fig. 101. — Showing the Chest Open.

from front face. Allowance should, of course, be made in get-
ting out the frame stock to permit of dressing the edges to size
given after the frame and panel are glued up and handled as
one part. The back and end frames are secured to posts iM
inches from floor line by means of //ibx 2-inch dowel pins,
three pins to a joint. Set the frame % inch back from face of
posts. Care should be taken in edging evenly the post and
frame before scribing and properly locating the boring points
on each part. In this way there will be no failure in having
projecting dowels drive into their corresponding holes when set-
ting up for trial and gluing. Long bar clamps should be used
in drawing up tightly after gluing.

The plan. Fig. 102, shows open bottom framing, which is to
be secured even with lower edge of outside framing. This con-
sists of some soft wood cross rails, as shown, 2 inches wide, and
the two front to back stiles are to be of i x 2 -inch hard maple or
other hard wood not easily worn by the rolling of the two casters

FURNITURE FOR THE CRAFTSMAN

seen on rear corners of fuel box end, Fig. 103. Secure this
framing, after it is glued and dressed to fit, by means of three
2^-inch screws, driven on the inside edge of the two maple

-16X-

ig;^

\->

Fig. 102.— Plan of Chest and Fuel
Box in Position.

Fig. 103. — End View of Box, Showing
Front Frame and Metal Bottom.

Strips, glue having previously been applied to the parts. Shoul-
der the projecting ends of the maple pieces, front and back, to
fit corner of posts and secure by screws to posts. The front
ends are to be trimmed afterward to stop the front frame, which
is part of the box, as shown in Fig. 103, from moving back more
than y^ inch from face of front posts. The outline of end of
the box proper, with section of front-panel framing, is shown
in Fig. 103. In Fig. 102 the plan and measurement of box are
shown directly over bottom framing of chest.

With the exception of the front of this box is constructed
from J/g-inch pine or whitewood and is put together with nails
in the back. The front frame is similar in construction to the
other frames, with the exception of intervening rail, to which the
handle is applied. This frame is rabbeted on the back face of
the stiles to within i^g ii^ch of the front to accommodate the
front ends of side pieces and through which screws are driven
diagonally into framing, the parts being glued before so doing.
To further strengthen this part of the construction, which is
subjected to a pulling strain, apply with glue and nails triangle
corner blocks on back in line with the middle rail and at lower
corners, as indicated in Fig. 103.

CERTAIN FURNITURE FORMS 83

We have now a box frame without a bottom. Where the
cleat is marked in Fig. 103 glue and nail a piece ^ x i x q>^
inches. From the top rail of front frame and in a curved man-
ner, as shown by dotted line, neatly bend and secure with tin-
ner's ^-inch nails a sheet of galvanized iron or sheet steel,
about No. 20 gauge. The size of the sheet is 18 x 25 inches.
Previously prepare the sheet for proper bending by cutting out
notches to permit of bending to the curve and where it is bent
up against the back of the box. The allowance is for i inch to
turn up on each side, which do by hammering on a square edge,
punching nail holes on this turned-up margin ready to drive the
nails into the wood. By making careful calculation in bending,
the sheet should go in the box opening with ease, and when se-
cured to top rail of front frame it may be made to readily con-
form by pressure with the curve and lay against the angle made
by cleat at bottom. Bend an easy corner up onto back of box,
where finally secure by row of nails along the margin. By the
use of the metal bottom the usual annoyance of digging coal from
at least two corners will be overcome and the curve causes the
coal to center to a position most convenient when the box is
drawn out, as shown in Fig. loi. Upon the rear corners of the
box, and in line to "track " along the maple framing underneath,
secure firmly a caster on each corner. In this instance it will
require casters which will not raise the box above ^ inch. A
single-wheel caster, such as those used on a dressing stand or
trunk, will do nicely.

The top of the chest, which if used without the cushion should
be of good figured i-inch stock, is jointed to a finished panel
18 X 22 inches, shouldered at the corners to fit between the posts
and the edges molded to a quarter mold and even with outer
face of posts.

The Cushion

The illustration shows an unconventional way of providing
a cushion for this primitive structural form. It is one which
may be made by the handy craftsman or handed over to a car-
riage trimmer should there be no upholsterer available. It
consists of a covering made of the prevailing Spanish brown

84 FURNITURE FOR THE CRAFTSMAN

leather, a soft material harmonizing well with oak whether it
be finished "natural," "golden" or in the "weathered" tone.
The cushion for this would be very much like a flat stuffed pil-
low, the filling made of hair or moss. The leather cover is made
of better grade leather on top, with a lower grade leather, or
"pantasote, " in color to match, for the under part. The two
pieces are cut out and sewed in length to fold and form a mail-
bag-like pouch, with ample flaps over the opening. Sew edges
of material, when folded to size of seat, with the good sides face
to face, then when finished turn inside out. Insert the cushion
and lay the pouch on seat, with flap side against the seat and at
back. With two soft leather straps of same color tack under
back edge of seat and draw them down across the bag, as shown,
and secure on the front edge.

A lower cost covering could be made altogether of imitation
leather or "pantasote," corduroy or velour in tans or brown.
As an article of furniture in close proximity to heat, the wax,
or dull gloss, is a preferable finish.

The Handle

There are a number of plain cast-bronze or brass handles
kept by hardware dealers answering this purpose. It should,
however, be strong and drilled to secure it through the middle
rail with a washer and rivet or by a round head bolt with nut
and washer from back. A hand hole in a corresponding position
on back of box should be made, which will permit of the box
being taken from the room for more coal.

Another Suggestion

In Fig. 104 is offered another idea for a coal or wood box of
an ornamental form and yet a part of the room furnishing. It
is given for the reader to lay out the section of the fuel contain-
ing space as it best suits his purpose, the form of this four-sided
box being somewhat dependent on the idea of ease in using the
shovel and also in forming in a pleasing manner the outline of
the end pieces. The carving of a claw foot on the two base
pieces would be proper and pleasing. A generous opening in

CERTAIN FURNITURE FORMS

the sides over the slanting top suggests its use as a handle,
strip of i-i 6-inch thick
polished brass, almost
covering the edge of side
panels from under front
point and down to sup-
port in back, will add
much to the appear-
ance. The stock for
this piece should be not
less than i inch, better
I }/s inches thick. The
proper dimensions of
the box would be contained

Fig. 104
within iq inches square.

A Screen

In these days of "high protection" the screen may seem un-
necessary, but there is just as much need of guarding from drafts,
or of screening a portion of the room which unavoidably is un-
tidy, as in early times, when by the very hugeness of the rooms
a portable screen afforded protection to the occupant of a chair
drawn to the fire. As our homes are today more evenly heated
the screen still remains an article of great service for other pur-
poses than to screen drafts. Artistically it breaks the square
character of a room by the ease with which it may be adjusted
as a background. From the standpoint of general utility in
the modestly furnished home, it will be found indispensable in
emergency when a room must be converted temporarily into
a sleeping room, or in case of sickness, the privacy or protection
from a high screen will be readily appreciated.

Fashion in future dictates the screen, and its importance is
such that it is keeping a few small factories turning them out
to supply the demand. The screen which you will make will
possibly be more substantial than those made to sell in dozen
lots. It will also have individuality, and your patron will be
the more pleased in this fact as it represents her taste also.

No detailed description is necessary to the carpenter in con-
structing the screen here shown, as it represents simply the care-

FURNITURE FOR THE CRAFTSMAN

ful joinery incident to making a door frame and the fitting of
panels and rails.

Fig. 105— General View of Folding Screen.

The subdividing of the interior space, as shown in the illus-
tration, by the paneling at the top and bottom, is offered, sug-
gesting a medieval treatment peculiar to interior finish at the
time when screens were much used. There is no arbitrary size,
the usual proportions for a serviceable screen being 22 inches
to 24 X 70 inches outside of each frame; the frame stock is of
I inch to ij^-gx i}4 inches. To guard against too much weight
the panel and structural features should occupy little space at
the top. A very pleasing treatment would be to have such
filling at the bottom only.

As to the main surface this is a matter of taste or expense.
The higher-priced screens are generally filled with leather of

CERTAIN FURNITURE FORMS 87

an antique finish, hut a rich effect is oftentimes produced with
low-cost materials; and the work incident to it entirely within the
range of the intelligent worker. A mortised and tenoned frame
of pine, not glued or pinned, and made to fit loosely in >2-inch
rabbet ^ inch off the face of framing, is required, over which
the material selected is stretched, tacking it with 4-ounce
tacks upon edge of stretcher, the same way an oil painting on
canvas is stretched; small wooden keys or wedges are then
driven in the corners along the tenoned strip, giving the final
stretch to the surface.

A screen made by the writer has the stetchers covered with
a heavy grade of linen dress stiffening, which was treated to
three coats of ordinary paint, the last coat being an olive green.
Two inches away from and conforming to the inner edge of the
frame a >^-inch striping of gold paint was lined over this painted
surface, giving what proved to be a simple, inexpensive treat-
ment, which in combination with the mahogany frames pro-
duced a pleasing and substantial appearance.

A good grade of heavy burlap so treated is very satisfactory.
While the painted surface is a little "tacky, " lightly fleck some
gold powder with a cotton wad in a careless way about the sur-
face, and this on a warm, brown surface will produce an antique
bronze peculiar to old leather or metal. Detail of treatment
is generally confined to one side of the screen, and the reverse
finished in a more simple way. Raised molded panels inserted
in chamfered framing may be shown as the front, with flat sur-
face and square edges on the reverse. The painted paneling
should be covered by a one-colored piece of "pantasote, " denim
or other lower but good-grade material, this to be tacked and
stretched along a ^-inch margin on the outer frames with small
tacks. As a covering to the tacked edge a gimp band of some
color is secured by evenly-spaced fancy head upholsterers* tacks.

Wrought brass, double-acting screen hinges must of course
be used, three to the fold, and nothing of a projecting character
on the framing should prevent them coming together, as a foot
rule would when folded either way. These hinges run in size
from 'j/ito \}4 inches, in eighths.

CHAPTER IV

TABLES AND STANDS

TRENGTH in the wheel is radiated from the hub, so
the light from the center-table lamp throwing out
its cheer over the family circle is remembered in
after years as having much to do in strengthening
family ties. It is then an article of furniture which
assuredly the carpenter and artisan should construct, embody-
ing in its assembling his especial fancy and requirements. The
table of today is not clothed with a long overhanging skirt or
cover, though this may be justified should the table be a tem-
porary makeshift. Beauty of wood and good joinery should
never be hidden by an all-over cover, and while the craftsman's
wife or sweetheart may be an excellent needlewoman, anything
of an applied nature should be subservient — used as a narrow
overhanging band, scarf, or centerpiece— to show in contrast.

Importance, then, should be particularly directed to selecting
the best obtainable stock for the top. When a table is contem-
plated it is sometimes possible to secure a quartered oak which
has, although rarely, a curly figure in combination, and the
table top is just the place to do honor to this whim of nature.
The edges of all table tops should be molded with an easy round
shape on the upper edge, as an accidental indentation is less
noticeable and it is more congenial to the touch.

In the case of small side tables, where the top would not be
subject to heat or accidental spilling of liquids, as would be the
case with a dining table, veneers of marked figure or crotch may
be used with great success, permitting of a lower cost of material
to be used for the solid part. When veneers are thus used the
mold selected must be of a profile which cuts a decided edge
through the veneered surface — that is to say, a quarter mold, or

TABLES AND STANDS

one rounded still lower, generally presents a destructive edge to
the veneer and does not show up well in the finish. It is ex-
pected that by the guidance of the measured drawings here given
the workman will receive inspiration to lay out his working de-
tails, and if fancy dictates, modify as he thinks best. His re-
quirements may be for a larger or smaller table, in which case a
height of 27 to 30 inches is adhered to, and top measurements are
generally increased indefinitely by 2-inch additions.

Fig. 105 offers a suggestion for the display of grain and figure
in the top, on the rails underneath and on the turned shafts. If
made of solid wood the opportunity of well rounding all edges is
particularly offered to enhance the finish of this pattern. The
top is apparently heavy, this being produced by false under

Fig. 105.— Front and End Views of Table.

stock projected and molded in advance of the top, as shown.
This false framing is carefully selected as to figure, fitted, glued
and afterward molded, when it is then glued and screwed to top.
The steady and rapid advance in lumber cost necessitates a
careful study of the uniting of thin, or, what was in times past,
refuse cuttings, into glued-up dimensions, and where, by a defi-
nite finish of molding, as in the case of the reinforced table top,
considerable is saved. The old notion that great strength was
to be found only in the solid piece is dispelled by modern prac-
tice in wood economy.

FURNITURE FOR THE CRAFTSMAN

The illustration, Fig. 105, is sufficiently self explanatory, ex-
cept we might suggest that the cross rails be cut long enough to
have deep-set tenons, and also the turned posts be provided with
a long square tenon as it enters the foot pieces. The bracket
supports are secured to posts and under top by screws sunk and
blind plugged.

Our next illustration, Fig. 106, is of a style suitable in a small
or large size, and while shown with only the cross strainers,
may have substituted a lower shelf for books or magazines.
The rugged claw foot is in pleasing contrast to the plain por-
tions of the table; the leg however may be left uncarved but
shaped in a graceful, symmetrical manner. The size given for

Fig. 106.— View of Round Center Table.

this leg is 2 X 2 5/ 16 inches. This, however, is sufficiently heavy
that the addition of side blocks will not be necessary to produce
a gracefully formed ankle and foot. The reinforced framing to
the top is also used in this table, this being ^yi inches wide, and
to which are screwed the rails, and into which are secured the
legs by dowels.

The height of these tables having been given, the plan in Fig.

TABLES AND STANDS

107 will facilitate making up a working drawing. In this illus-
tration the top is 23 inches in diameter by i inch thick, and the
projected under part 24
inches in diameter by J/g
inch thick. The rails be-
tween legs can be made of
2-inch material glued up to
admit of securing a width suf-
ficient to produce the quarter
ring shown, which is i>^
inches wide. Secure these

Fig. 107.— Half Plan of Round Table.

rails by glue and three countersunk screws to each quarter.

In Fig. 108 is shown an easily constructed table of a plain
character relieved by the carving on side panels. This carving

Fig. 108.— a Parlor Table.

should have a dull finish, with plain surrounding surfaces pol-
ished. Fig. loq shows what can be done by using properly se-
lected stock patterns of moldings under the top, a pattern that
will be somewhat in contour with an easy line given to the leg.
This leg is diagonally placed under the corner of the top and is
secured from stock 2^ inches thick, reduced to shape and
taper as shown. The rounding or stock dressing is accom-

FURNITURE FOR THE CRAFTSMAN

plished by a draw-knife, shave and scraper previously described.
Fig. I lo affords the basis of many modifications dependent upon

Fig. 109— Another Style of Center Table.

the constructional features being kept in evidence. This makes
a good serviceable family reading or library table, where one can
poke away an unfinished book on the open shelf at ends. Such

Fig. 110. — Family Reading or Library Table.

a pattern finishes most properly with a dull surface, fumed tone.

Den and Writing Tables

A table for the general living room, library, or we might call
it "den" should be serviceable and strong, for here it is that the
man, like the pursued animal, seeks retirement and rest at the

TABLES AND STANDS

close of the day. Bamboo furniture and spider-legged chairs do
not appeal to him — even the feminine mind has discarded the
flimsy, for the simple modern style is to her liking. Four legs
and a board is the first logical thought, and additions other than
necessary members used to connect these parts in the construc-
tion are useless. By this is meant brackets and other glued-on
parts having no relation to the purpose of the table.

An added value may be given the table, however, by inserting
a drawer under the top and providing an under board or shelf
where naturally in its place a strainer would be a part of the
construction for purposes of strength.

The dusting and wiping over of a table along simple lines is
more of a pleasure than source of irritation, for if properly fin-
ished it is improved by wiping. The suggestions indicated in
Figs. Ill, 112 and 113 are offered as a basis of the plain ser-
viceable style which can be modified in many ways yet retain a
simple character.

Many prefer a round leg or post. This should be of a simple
shape, leaving a square top for inserting rails and having the
shaft a perfectly plain round, the fullest size of square diminish-
ing on a slight sweep as it comes to the floor. The simplicity of
an Ionic column should be ever in mind to restrain one from the

Fig. 111. — Table for Living Room or Den.
tendency to overbeading and hollows, which frequently mean
nothing in turned work and are difficult to clean.

The table indicated in Fig. 1 1 1 of the illustrations is of the

FURNITURE FOR THE CRAFTSMAN

simplest type of construction, and for a room of little open space
it will be found very serviceable, both for a reading and a card

Fig. 112. — Table for a General Reading Room.
table as well. Fig. 112 shows a table designed for a general
reading room. The Japanese feature of overhanging shelves
gives a generous space for current journals which usually become
dog-eared when left lying on the table top.

There are times when in dusting, as in other things, "a lick
and a promise" is given between regular days, and a free table

Fig. 113. — Another Form of Reading Room Table,
top is very desirable for an orderly appearance. This thought
is suggested in the whim shown in the style, Fig. 113, with the

TABLES AND STANDS

built-up center shelf for the lamp or electrolier base and maga-
zine pockets on either side which will partly conceal the ruffled
condition of paper-covered magazines.

The form of writing table shown in Fig. 1 14 is becoming pop-
ular. It cannot be overfilled by papers and other matter not
actua. correspondence. In this respect it is desirable for the
living room or reception hall or a small size is very appropriate
in a spare guest room. The top always remains as a table top,

Fig. 114. — Writing Table with Drawer Open.

the writing being confined to the center tablet panel flush with
the top of the drawer when drawn out to a set stop. Under this
panel is the larger compartment for paper and envelopes, while
on either side of the partition are compartments full size or sub-
divided, as the fancy dictates, into a small space for loose pens, a
long till for pen holders and pencils, while at the back end either
at the right or left of the center writing tablet a fixed division
should be made for a square glass or some appropriate form of
ink well.

For neatness of finish, which should be in marked evidence on
such a piece of furniture, the tablet and other divisions having
been made of >^-in. paneling, the walls should be fitted with a
scant 3^-in. material of the same or another kind of wood. The
width of this paneling should allow for the >^-in. thickness of
top or till covers and form a rabbet for these to set upon. Usu-

FURNITURE FOR THE CRAFTSMAN

ally such a table is made in mahogany and the drawer compart-
ments in that wood also. The oak tables should have mahog-
any drawer divisions also, as this wood is very desirable for small
work and a good after-finish. In this form of writing table the
sides of the drawer must be of the full length permitted by the
interior of the table frame, but the drawer itself must be made
to withdraw only to a certain fixed stop or check provided for
the purpose. This is to avoid an overbalance when the drawer
is being used as a writing bed. Some tables made are provided
with a concealed counterweight, but this is unnecessary if the
table frame is of a substantial pattern and the drawer stop is
properly located.

The apparent waste space of the rear end of the entire drawer
readily suggests a private drawer or compartment secretly ac-

FlG. 115. — Details of Checking Device.

cessible by throwing off the check or stop, which can be con-
trolled by a simple mechanical device of an elbow joint or spring
push button variety placed entirely out of view at one or both
sides under the drawer and somewhat to the rear. The drawer
operates as an ordinary drawer, and the check is never used ex-
cept when it is desired to use the private compartment.

A checking device which is at present in satisfactory use is il-
lustrated in Fig. 1 1 5 of the drawings. Here the plate D is held
in checking position by the stop screw properly located as shown.
It is thrown forward when it is desired to pull out the entire
drawer. This is done by swinging out under the drawer slide

TABLES AND STANDS 97

the shaped metal piece D. This when erect with the drawer
stop screw pulled against it prevents further withdrawal.

In making such a piece of furniture there is opportunity for
personality in the design as well as in ingenious devices which
will characterize the article and give it increasing value.

The best of reading in the way of magazines and periodicals
will gradually accumulate upon the family center table, and if
there be no reserve place set aside for them they become a shift-
ing nuisance to the tidy housewife, and when the good man of
the house has an extra desire to wade into some back numbers,
while enjoying the warmth and cheer of the home, he may be
provoked to learn that his missing numbers formed part of a
bundle of reading which his good wife gave to some worthy poor
of a literary bent. To a busy man the flood of literature within
paper covers comes altogether too swift at times and it needs a
stormy Sunday to catch up. So we have arranged for the
craftsman to construct a stand which may also be used for sheet
music or portfolios of prints if desired.

This article of furniture has not until recently been on sale and
is classed among the special pieces for which there is an increas-
ing demand similar to the plate rack which, in truth, we do not
need, but, like the monthly magazine, we get them nowadays in
large quantities, and would any man deny his wife the pardon-
able pride of showing her pretty plates, which were bought, pre-
sented or won at her card club? So she has her rack for plates
and the oncoming monthlies create a new demand also, which
gives rise to the display of the accompanying sketches and neces-
sary description. Referring to Fig. ii6 it may be stated that
the position of shelves, which are of ^-inch material, is optional.
The three may be put in evenly spaced or varying as best suits
particular need. To avoid securing them on the ends from the
outside, thus marring the plain panels of the case, it is best to
have them nicely fitted and resting upon a quarter round cleat
under each end. The arched framing consists of ^^-inch stock
fitted over the edges of the case, glued and held with sunken
brads. This breaks the angular crudeness which most primi-

FURNITURE FOR THE CRAFTSMAN

tive structural pieces possess. The inner edge of this arch is
well rounded off, and the outer edge should have the sharp edge

Fig. 116. — Magazine or Music Stand.
struck off also. Main dimension figures are merely given for
the general proportion to this and to Fig. 1 17.

When the detail is laid out in full working drawing the most
direct constructional features can then be studied. If it is for

Fig. 117.— Another Style of Stand.
personal use these articles of furniture will no doubt represent
more labor and material than would naturally be expended in

TABLES AND STANDS 99

making them in quantity. This does not imply that to manu-
facture in quantity one should resort to questionable methods,
with attractive features on the outside only. In all work to be
placed on the market scheming in careful detail is very necessary
and the outward essential features must be presented in an at-
tractive and, in furniture, the most substantial way possible.
With solidity of appearance the sale is more than half consum-
mated, and it matters little with the average customer how this
same piece of furniture is held together, whether by the old way
of mortise and tenon, or the now generally accepted practice of
doweling.

Judgment must be exercised in using some of the modern ways
of securing a joint. In the primitive forms of furniture now so
popular it certainly is a sham to represent the main structural
parts as piercing another member by a sturdy projected tenon
with a cross pin. The temptation to do this in imitation only
by the easily applied dowel joint on one side and a glued-on/ac-
simile of the tenon and taper key on the other is just as liable to
be met with as graining maple furniture in imitation of oak.
The latter is less reprehensible than the former by reason of
equal strength to oak; but a sham is sham for all that.

Relative to the magazine stand, Fig. 1 16, the case itself con-
sists of practically the two ends and top board, with the front
trimming and bottom rail. These brought together in a solid
construction would still make a weak body, with great liability
of ends, and possibly the top, splitting by overweight, or rough
handling. The construction must be held together by a framing
immediately under the lower shelf. The making of this framing
is an illustration, then, not necessarily confined to this particu-
lar article, of the value of utilizing the least amount of material
to secure the proper support for the outer case.

Turning again to the stand, the ^-inch shelving may be used
with equal reason for the lower shelf, when immediately sup-
porting this is constructed a skeleton framing consisting of two
I X I >^-inch strips held apart, the width of the stand back of the
foot board, by three %-inch dowels chucked and glued. Screws
from the inner edge of these strips may be driven into inside of

100 FURNITURE FOR THE CRAFTSMAN

foot board and to the bottom, upon which the back filling is
tacked, this of a sheet of heavy white wood veneer, or low-grade
^-inch tongue and grooved lining. On the line of, and fitting
between this dowel framing, a similar strip is glued and screwed
from inside to the end panels. Arrange for bottom shelf to fit
over this framing snugly and set in a >^-inch rabbet on edge of
foot board. Through end strips and dowels underneath screws
should be driven to hold the shelf board securely.

It will be seen that many under structures can be held to-
gether by the use of dowels, rather than dimension stock and
the extra work of mortising and tenoning; in fact, some in-
stances of making joints which are not absolutely depended upon
for strength. The use of the "corrugated steel fasteners" is very
successful, as it oftentimes is desirable to use a cheap mitered
framing, which is used in the nature of a reinforcement, the
facility of driving them in across the freshly glued joint being
accomplished much more readily than the work of halving, or
attempting to drive long brads.

The Serving Stand

When living rooms are necessarily small, heavy furniture
oftentimes proves to be a "white elephant." The cost of
ground, particularly in large cities and towns, is a factor in com-
pressing our ideas, and in building it is frequently required to
plan a certain number of rooms within a given space, with so
many windows and doors that are communicating, that the
usual large sideboard for the dining room is found to be a misfit.
This living in "band box" style among city dwellers and flat
occupants has created a demand for intermediate-sized pieces
or the "patent back action" all around utility furniture. While
it is not on record that the apartment dweller has as yet been
supplied with a folding bed to be converted, on arising, by the
turn of a lever into the breakfast table, yet the general utility
idea does provide a bed by night and to all appearances a mantel
by day. The "much-in-little" space requirements have in-
cited many bright ideas, and the carpenter has exceptional ad-
vantages by his constructive ability to study and experiment in

TABLES AND STANDS

101

this field of compressed utility. The invention of the most com-
pact kitchen cabinet, containing everything needed, from a nut-
meg to a half barrel of flour, is undoubtedly a blessing to the
housewife of a lo x 12-foot kitchen.

The serving stand is a modified type of the sideboard, or,
properly speaking, it was the original food-serving stand, from
which, with a desire to inclose some articles of food or drink, the
buffet was designed, with its drawers and cupboard-like inclo-
sures, it was a transition as wealth and the family increased to
have this piece of furniture made very large, and the sideboard
became a repository of riches in family plate and silver.

These are a valued inheritance to the few who are fortunate
in having one left to them, but it is feared that many were not

Fig. 118. — Elementary Pattern or Serving Stand.

properly appreciated to be in evidence today, on account of the
weight and size, and so, like the old four-post bed, modern re-
quirements call for something which does not quite take up the
entire room. The illustration, Fig. 118, is an elementary pat-
tern from which many modifications can be made leading up to
the pattern in Fig. i iq, which approaches the so-called buffet.
This in turn offers sufficient suggestion to use the same size
treated in various ways and still have the same directness of

102

FURNITURE FOR THE CRAFTSMAN

construction. The two pilasters in front offer a good field for
variety in outline and in surface for carving. By the exercise

Fig. 119. — Design for a Buffet.

of a little study on paper it is surprising how two such members
will present great variety in treatment.

CHAPTER V

STOOLS AND OTHER USEFUL FURNITURE

HOW THE CLEVER MECHANIC CAN FURNISH THE

HOME DURING OFF DAYS— SOME ARTICLES

WHICH HAVE BECOME A NECESSITY

INTER interests and outside occupations are fre-
quently interrupted by weather conditions, and,
as the various holidays come and pass, suggestions
enter the mind of the many things which might be
made — articles not only highly essential but many
which might be classed as luxurious comforts were we to buy
them for our own use. The purpose of this article, at what may
be termed the shut-in time of the year, is to consider a few of the
many pieces of household equipment which partake more or less
of the nature of gift pieces — the things which the housewife
would like to have you make for her; features to the home which
aid her to plan and make it attractive and modern.

I am writing intimately on this subject, for there has just been
a decorative upheaval in one of the living rooms, and before the
paperhangers had cleaned away their sticky mess feminine de-
sires called for another bookcase of special size to house the many
books which had accumulated, so not a few fragments of even-
ings and Saturday afternoons were used to bring about this par-
ticular piece of furniture.

I think the cedar chest and the bed box will be the most de-
sired and needed, whether the home be amply provided with
closets or store room or is so compact that the space under the
bed must be used. Whether it be entirely true that red cedar
repels moths and insects, the wood itself has enough virtues in
its color and markings as well as lightness to recommend it for a
storing chest for woolens and furs.

103

104

FURNITURE FOR THE CRAFTSMAN

Little need be said to the carpenter about its construction, as
it is simply a box of the acceptable form and size, the parts of
which may be assembled by the usual box construction, or more
elaborate joining may enter into it. Whatever the method, be
it dovetailing, mitering or lap-jointing the corners, a small tri-
angular strip set in glue around the inner corners helps the finish,
while frequently the outer corners, as shown in Fig. 120, are

— *-.

Fig. 120.— a Cedar Chest.

given an added finish by bending a heavy plate of brass to fit the
corners. A simple scroll or other ornament may be filed out or
cut on the jig saw, according to taste.

As our experience with the cedar chest partakes somewhat of
the revival of the old dower chest, much license and personal
whim may enter in the final ornamenting by brass bands, hinge
plates or some decorative escutcheon plate.

Another size of chest than that shown is 24 in. high, 24 in.
wide and 48 in. long; still another is 17 in. high, 16 in. wide and
32 in. long.

The more modern Utility Box is of the same shape and pro-
portions as the cedar chests but smaller and lighter, being:
14 in. high, 15 in. wide, 27^ in. long.
i5>^ in. high, ib}^ in. wide, 32 in. long.
ib}4 in. high, iq^ in. wide, 36 in. long.
These are for ladies' shirtwaists and other apparel of a light
character.

STOOLS AND OTHER USEFUL FURNITURE

105

In Fig. 121 is shown a light sliding upper tray about two-
thirds of the length of the chest and 3 in. deep. This sets on a

Fig. 121.— Cedar Chest with Sliding Tray.

neat strip secured to the inside of the chest, the material of the
tray being yi in. in thickness.

Living in flats or small homes will soon create a desire for more
storing space and the under-bed box offers a very ready means
of laying away ladies' skirts or any other long garment. With
the small wooden wheels projecting slightly over bottom edge
of box, it may be drawn out very easily from under the bed by
means of a handle secured to the front panel. Cedar may be

_22y. 4 5

Fig. 122.— An Under-Bed Box.

used for this also, but as it is not on dress parade other woods,
such as pine, sycamore or basswood can be used, and with care-

106

FURNITURE FOR THE CRAFTSMAN

ful surfacing of the boards and final smooth sanding, such a box
may represent good carpentry just as well in inferior wood as if
it were in mahogany. The wheels are either sawed or turned to
4 in. in diameter and yi in. thick, provided with a ^-in. hole,
through which is passed a short wood axle with a round button
head, the end of the axle being driven into a tight hole in the
ends of the box. An offsetting wood washer should be placed
between the wheel and the side of the box.

One thing suggests another, and to provide a proper place for
ladies' hats Fig. 123 will be given the greatest consideration in

-J^i"7

Fig. 123. — Stand for Millinery.

Fig. 124.— An Umbrella
Stand.

a lady's bedroom, for in the three boxes she may find ample
space for the modern hat. What the size of these boxes shall be
no man will ever know, but make them big enough; that is, the
stand, for it consists of four i-inch posts, two center boards and
top and bottom fitted as shown. As to the boxes, they should
be three of the same size pasteboard boxes covered on the out-
side with a figured cretonne. The stand may then be made

STOOLS AND OTHER USEFUL FURNITURE

107

large enough to permit of the boxes being set in and taken out
readily. Oak, mahogany or white enamel finish will create a
very attractive article of furniture when completed.

A place for umbrellas eventually becomes a necessity, and
Figs. 1 24 and 125 represent two forms. This is one of the many
objects which also prove an acceptable gift. Fig. 124 is 12^
X 14 in. and 29 in. high, outside measurement, while Fig. 125
stands within 14 in. quare and is 32 in. high. The posts are
set at an angle of 45 degrees with the sides.

The shape of the posts which are secured from stock dressed
I in. thick and the curve of the foot contained within a width of
2j^ in. should be laid out on paper and a pattern drawn and cut

H 144= scj

Fig. 125.— An Umbrella Stand. Fig. 126.— A Plant Stand.

out. The lower framing in each style. Figs. 124 and 125, con-
tains a light galvanized iron or copper drip pan, which can be
made to fit.

Another form of furniture which the winter months suggest
as quite necessary is some orderly place to hold the plants which
we desire to have. Fig. 1 26 admits of a very simple treatment,

108

FURNITURE FOR THE CRAFTSMAN

as shown in the three plain Mission style of posts, or they may be
given an Early English turned form as suggested. A loose fit-
ting galvanized pan should be made, provided with lift-up rings
at each end. Oak with the customary finish is the usual wood
for this article, although it is very attractive made in basswood
and enameled white or old ivory.

A beautiful fern or rare plant is to be found in every home and
Fig. I 27 or a similar form of tabouret stand enhances greatly the

Fig. 127.— Lamp or Plant Stand.

furnishing of a room. With a top 17 in. in diameter and the
base 1 5>^ in. the shaft should be turned out of solid or glued-up
stock, not less than 7 in. square. The four feet are sawed from
i>'4-in. stock 234-in. wide, and are fastened to extend \y^ in.
beyond the base.

Fig. 128 is within the ability of those who are not equipped
with a turning lathe to turn such a pattern as shown in Fig. 127.
In Fig. 1 28 the four posts are marked from a pattern drawn out
as shown at A within a width of 4>^ in. It may be marked out

STOOLS AND OTHER USEFUL FURNITURE

109

on a board i yi in. thick, dressed, and two legs secured in a length
of 32 in. The view of the stand shows the form of construction.
It might be suggested that joining with the lower shelf should be
by the use of a /s-in. dowel with the greatest length passing
slantwise through the cross grain of the post. This would in-
sure strength at a point that is considerably cut into. The pat-

FiG. 128.— A Small Stand.

Fig. 129.— a Smoker's Stand.

tern is offered as an expression of the very popular Colonial type.

A man of tools seldom gets an opportunity to make anything
for himself, but it may be barely possible that he can slip in at
odd times a smoker's stand to care for his smoking outfit. Fig.
I2C) is a simple form which can be elaborated on if desired. It
is 32 in. high and stands within a square of 13^^ in. The con-
struction is evident and requires no explanation.

For the proper care of sheet music a cabinet should be pro-
vided. Fig. 1 30 illustrates one form which is very simply made,

110

FURNITURE FOR THE CRAFTSMAN

using in connection with the i^-in. square posts, boards 3^ in.
thick throughout, or making up Js-in.x 2 in. front door frame, and
putting in a thinner panel having some particularly fine mark-
ing, or figure, or inlaying some simple square or diamond of

Fig. 130.— a Music Cabinet.

lighter wood as a distinctive feature. The bottom consists of
a board shouldered out to receive the corner posts and the sides
and back are secured to it by sunk screws and glue corner blocks.
The back may be made up of basswood into a paneled frame
like front door. The disposition of shelving is much to be de-
cided by personal needs and ideas and in view of the prevalence
of automatic piano players and phonographs, some thought
might be given to spacing for such records.

Little need be said of the three forms of book holders except
that they suggest quickly-made articles for friends, or the various
members of the family, for the holding of choice personal and
often-used books. From their size some cherished piece of wood
may enter into the construction, and in the making and after-
finish develop some hidden beauty of color and grain.

STOOLS AND OTHER USEFUL FURNITURE

111

Fig. 131 is an instance of some simple form in which rare grain
marking often occurs when wood is worked into a simple undu-

FiG. 131.— Book Blocks.

lating surface. The three blocks when fitted and glued up form
the end of a hook support which is simply used for a few favored
books on one's sitting room table. Fig. 132 shows a colonial

Fig. 132.— a Book Rack.

112

FURNITURE FOR THE CRAFTSMAN

treatment of a common form of rack. Fig. 133 is a revolving
book holder built on the plan of an Indian "Swastika" over a
i2-in. square base board which revolves about a central pin or
bolt with a washer, held to a base as shown. This offers a very

Fig. 133.— a Revolving Book Holder.

convenient holder for certain books which come in sets, or for
the student who uses several books which he desires to have at
hand.

Workstands and Sewing Tables

The sewing stand or work table is like the wholesale ware-
house— not drawn upon constantly but a place of last resort
when the stock of little things is exhausted in the small basket
the ladies like to carry about. The stand, however, in large
operations of dressmaking and also when sewing is laid aside
is quite indispensable and is a part of the furniture equipment
of a well furnished home.

In the construction of the workstand the early colonial mod-
els are perhaps the best because of simple pattern and because
the industrious women of those days knew more of the require-
ments than unfortunately do many women of the present day.
Fig. 1 34 represents such a type with two drawers and drop leaf
on each side.

What few original pieces are to be found and the many copies
made from them in recent years are always made in mahogany

STOOLS AND OTHER USEFUL FURNITURE

113

or are examples of careful veneer work in crotch or cross-band
veneers. Custom has so dictated the use of material or color
for certain purposes that it is no whim to say — from a selling

\ek

Fig. 134.— Colonial Work Table.

Standpoint — that such a piece of furniture would prove accept-
able to critical taste even if made in any other wood than ma-
hogany.

The work stand while infrequently used takes up space and
for this reason should be a sightly piece, while the idea of utility
and beauty are equally important.

Referring again to Fig. i 34 it may be interesting to state
that it consists of four 2-inch square posts turned, as shown.
Three open frames are made shouldered to receive the squared
portions of the posts, as indicated in the drawing; one for the
bottom, one to divide the two drawers and one fitted flush with
the top of the posts. These frame rails, which are 13-16 in.

114

FURNITURE FOR THE CRAFTSMAN

thick, may be immediately doweled into posts or made into
glued-up frames and the corners cut out to receive the posts,
the latter being then drawn up to the corner by counter-sinking
screws in a diagonal hole. The sides and back having been
relished on the inside edges are set in grooves prepared for them
in the posts. The top then is pulled down tight by means of
screws set in from under the top open frame. In passing it may
be stated that it is not advisable to glue any table top to its
frame or bed as it is unable to go or come in different tempera-
tures. True surfaced and well fitted to the case or apron with
screws properly located will be sufficient.

The drawers are made in the usual way, lap dovetailed for
the front corners and common dovetailed for the rear corners.
The fronts, however, are i^ in. thick to permit of a well
rounded mold that is generally faced with a nicely selected piece
of veneer jointed in the middle of the drawer in crotch effect —
that is, burl veneer edge jointed in a diagonal manner with the
figure taking the directions of an inverted V. It will be noticed
that the rule joint is one of the features of such table tops. It
certainly is desirable in comparison with the square edge and
should be so treated if a pair of planes can be improvised to
make the hollow and concave mold.

Another feature which is good enough to copy is one manner
of holding up the two side flaps of the table, as shown in Fig. 135.

In order to provide for this.

the panels on each side of the
drawers are set into posts
sufficiently to allow of the
three pieces i, 2 and 3 of
3 4 -in. thickness to set i-i6in.
within the face of the posts.
The parts marked 2 and 3 are
glued and fastened to the
side panel, while No. i oper-

FiG. 135.-

-Detail of Table Leaf
Support.

ates in a loose double "tongued" and groove joint provided

in No. I, a steel wire holding them in place. In operation

No. I is swung out when the table leaf is raised in position and

forms a firm support for it.

STOOLS AND OTHER USEFUL FURNITURE

115

The construction of the work stand shown in Fig. 136 is very
similar to that of Fig. i 34, having the two small drawers for
materials and the large lower drawers for more bulky goods.

Fig. 136.— Colonial Workstand.

The two seven-faced compartments on each end of the stand
offer ample room for sewing under way or in progress or for
rolls of material which accumulate at dressmaking time. The
cover or top of the two compartments hinge and lay back on
top of the table when open.

In Fig. 1 37 is shown a very serviceable wall stand which takes
into consideration ample top drawer space for scissors, spools,
needles, books and other equipment, leaving the large lower
drawer free to put away unfinished work. As will be seen the
sides of the drawers are parted from the outside of the case by
the thickness of sliding strips of % in. hardwood, one being
secured to the drawer side and operated between a top and bot-

116

FURNITURE FOR THE CRAFTSMAN

torn Strip fastened by screws to the inside of the ends. These
closely fitted and rubbed with soap or paraffin will cause the
drawers to work smoothly and evenly.

Fig. 138 is another form of sewing stand quite common in
colonial clays, and now meets with favor as a gift piece which

Fig. 137.— Workstand.

spare moments may bring about and afford an immense satis-
faction not only to the recipient but the giver in making it.
The posts of 1 3^-in. dressed stock are placed diagonally to the
frame, and a top frame is secured over all to which are hinged
two panels, which when closed form the top. A removable
tray as shown sets over a small cleat on inside of apron. Below
this tray is tacked the bag of dark green baize, to contain dress
work and materials. The two table tops when open may be
supported by a very thin swing-out bracket hinged to the table
legs and fitting under the center table frame. This stand and
all forms of sewing tables are most appropriate made in mahog-
any or walnut, and when made in oak the dark nut brown or
fumed finish is always pleasing.

STOOLS AND OTHER USEFUL FURNITURE

117

While in more modern times the stool is sought after as the
most serviceable piece of furniture upon which a child may em-

18'

Fig. 138.— a Sewing Stand.

ploy its nervous energy in swinging and balancing around on
all sides, it is also a very comfortable addition to an easy rocker
or armchair to rest tired limbs. As an article of furniture it adds
much to the various ways the tactful housewife likes to "shift
scenes and set pieces" of her rooms to create an entire change.
The woman of today has little use for the three or five-piece
suit — that and nothing more — arranged severely about the par-
lor, as we remember it years ago. Stiffness and unwelcoming
formality has given way to an easy, haphazard arrangement of
a room's belongings, and with plenty of small furniture easily
carried about there is an invitation in every corner to be com-
fortable, and certainly not to "stand on ceremony." Then,

118

FURNITURE FOR THE CRAFTSMAN

too, the Stool or stools about the house help out amazingly
when the young folks have their parties and chairs are at a pre-
mium. Even the flower stand or tabouret may be pressed into
service on these occasions.

In our compact way of living in some communities double
service is demanded even of the stool, and the open space under
the seat may just as well be made use of to hold slippers and
shoes, or for the smoking outfit, while a commonplace stool
about the kitchen, used to stand upon in reaching high shelves,
may do duty in an enclosed box for a shoe-blacking outfit.

In the illustrations presented herewith Fig. 139 represents
a handsome parlor piece, with spring upholstered top. The

construction is simple, consisting
of a 5-inch plain cove molding,
mitered at such an angle as to
produce quite an overhang at
the top edge. Over the square
stumps of the carved feet is
screwed a 3^-inch pine board
qM X 1 1 H inches. This is read-
ily made as an inner construc-
tion to which to fit the outermolding, securing this above the
board with glued and nailed corner blocks. This board, as seen,
is a substantial bottom upon which to secure with staples the
five upholstery springs — a spring at each corner and one at the
center. From the profile of the foot,
shown in Fig. 140, a full-size paper
pattern may be drawn and cut out.
This foot is of built-up stock 5 inches
square. The heavy sawing will re-
quire the services of a band saw, the
pattern being marked on the right
and left faces of the block. After
sawing one side do not throw away
the scrap piece, but tack it on tem-
porarily in place with a brad or two.
This will be needed to hold up the stock square to the saw,
and it also has part of the markings on the other side.

Cushion Seat.

Fig, 140. — Section showing
Construction.

STOOLS AND OTHER USEFUL FURNITURE 119

The carving of the foot being very simple, the more rugged
the effect, even though it he rough from amateur hands, the
greater character will it have in contrast with the carefully
smoothed-off knee and plain cove above. There would be more
carving practiced by the artisan could he appreciate that by
carving the slickness of relief work from a powerful die press
is not being imitated. It holds in this as in any other work —
be yourself. Cut a leaf as it looks, not as a wooden leaf; a lion
or bear paw rough and powerful, not smoothed over as though
it had been manicured.

To obtain this rough hair-like effect, which shows up so effec-
tively in the after-finish, secure first the indentations defining
the toes, shown in the cut, by a large-sized V-carving tool; then
with a ^-inch gouge, not too quick in curve, proceed to round
off the corners. Then cut in again with the V-tool and work
off to the desired round, cutting out quite a hole between each
upper joint and toe, this throwing a shadow and enhancing the
rugged effect. In giving the hair-like surface to these ball-
like members press the edge of the gouge against the wood at
almost right angles. Proceed to wriggle the edge over the
round portions, producing a regular series of slight miscuts,
which create an overlaid effect that is very striking.

,The illustration. Fig. 140, shows how this stool may be up-
holstered. The bottom of the springs held in place, the first
thing to do is to secure them with stout twine at the top, begin-
ning with the twine tacked or stapled to the inner edge of the
molding at the top. Draw it across and with a slipknot secure
it to the wire; from here across the spring and with a slipknot
secure the other wire, and with a little pressure pull down and
nail the end of the twine to the opposite side. In this way
bridge over each spring, and where the twines cross secure with
a knot. The idea, of course, has been to compress by the twine
the four outer springs somewhat more than the middle one,
leaving this higher to produce the round effect shown. The
superimposed material is placed on a covering of stout muslin
stretched over the springs and tacked along the top edge of the
molding. Cotton batting is then laid on, and held in place here

120

FURNITURE FOR THE CRAFTSMAN

and there by stitches taken with a long needle. Over this place
a little picked hair or moss, then stretch another covering of
muslin, conforming the stuffing into an even shape while tack-
ing. The upholstery fabric, or outer covering, may be almost
any material strong and pleasing in color, from terry to leather.
There are many plain figures of velour which are inexpensive
and wear well.

Aside from the sufficient information for construction noted
in the illustrations, it might be said of Fig. 141 that the side
panels consist of 3-inch material, this being blind nailed to the

Fig. 141.— a Slipper Stool— The Legs Stand
1 ?4 Inches from the Perpendicular at the
Bottom.

edge of the end panels, and the corner edges struck well off on a
slant with the plane. The effect of setting back the middle
panel of the end by using a thinner material is pleasing in the
after-finish.

The top, or lid under the cushion, made of ^-inch stock, is
provided with an inserted strip at each end to prevent splitting.
On the two corners a dowel pin is glued and sunk, projecting
Yz inch, and acts as a hinge, being inserted into corresponding
loose holes in the cap piece A of Fig. 142. This requires the
lid and two end caps to be placed together over the box and
drop between the projected end framing, when the end pieces
are bradded onto the edges of the box, glue being used. A stiff
paper or tin washer previously slipped over the dowel will pre-
vent the binding of the lid. The cushion to this stool is made

STOOLS AND OTHER USEFUL FURNITURE

121

up like a bed mattress, and is held to the lid by understraps.
In Fig. 143 is shown an end view of the framing.

16^ LONG - A-t-r

Fig. 142.— Plan of Top
of Slipper Stool.

I I

Fig. 143.— End View of
Slipper Stool.

The stool and sewing stand shown in Figs. 144 and 145 will
prove to be very desirable for the housewife, for the hinged side
may be snapped down in an instant, covering up all traces of
work in the parlor or sitting room should a caller arrive. The
construction is simply four paneled frames, mitered at the cor-
ners and supported on substantial feet as indicated in Fig. 146,

Z[^

, ui--

FiG. 145.— Plan of Stand
Top and Bottom.

Fig. 146. — Showing Con-
struction of Feet.

Fig. 144. — Combination Stool and
Sewing Stand.

with the corner edge chamfered along the dotted line. This

gives a French leg effect in connection with a slight rounding

of the frame edges, and a decided inturn of the lower corner

to accentuate the profile.

122

FURNITURE FOR THE CRAFTSMAN

The interior finish of this stand must be left to feminine fin-
gers. We might venture to say that in fitting up one or more

Fig. 147.— a Window Seat.

sides heavy pasteboard, cut to size, could be used to advantage
upon which to sew the lining selected, and to serve as a firm

Fig. 148.— a Window Stool.
backing for the various pockets to hold scissors, needle cases,
etc. This does away with the objectionable rummage incident

STOOLS AND OTHER USEFUL FURNITURE 123

to the round work basket, or, like some poor workman's box
of tools, all thrown in a heap.

In Figs. 147 and 148 are shown attractive seats for the win-
dow and fireside. The construction is evident from an inspec-
tion of the pictures and needs but little comment, except that
in Fig. 148 any cheap top board may be secured over the posts
and heavy upholstery nails, i inch apart, used along the edge
of the material. The top and bottom edges of the side panels
should be turned off with a spokeshave; also the edges of the
corner posts struck off. This gives a hand-wrought appearance
very much desired.

In Figs. i4q and 150 is illustrated a handy stool made up at
short notice — one day — to add to the length of a servant girl,

Fig. 149. — Kitchen Stool and Blacking Stand.

who was compelled to use a chair for high pantry shelves. By
adding a lower board and dropping the sides on hinges it was
made to do double duty as a shoe-blacking stand.

The flower stand in Fig. 1 5 1 may be brought under the stool
class of furniture, many being purchased for either purpose.
This one with the projecting pilasters makes it distinctly a
flower vase holder. The lower shelf makes an appropriate
place for a less spreading plant or for ornamental shelves. The

124

FURNITURE FOR THE CRAFTSMAN

height to the top of the shelves is q and 24 inches, respectively,
and their diameters 16 and 24 inches. The pilaster is from
material 7^ x 26 inches, the thickness for all the parts being

Fig. 150.— An End View of Fig. 149. Fig. 151.— A Flower Stand.

i^ inches. Chamfer all edges not less than 3-16 inch. Glue
on large flanged turned buttons over countersunk screw holes.

No more appropriate finish could be given the serviceable
and movable stool than the prevailing "fumed" tone, wax
coated. The brown shade in itself harmonizes with almost
any interior color arrangement, and the finish is such that no
mar or scratch will show, as will be the case with it if it were
finished with varnishes, while the dull lustre may soon be re-
stored by using a rag wet with sweet oil, allowed to stand a
half hour and then polished with a dry cloth.

The foregoing remarks relative to "fumed finish" apply only
to furniture made in oak, ash or wood of that character. To

STOOLS AND OTHER USEFUL FURNITURE 125

use the stain on birch and other close-grained woods a nonde-
script brown would result. Supposing the article to be treated
is oak; the fumed mixture is applied with a brush, allowing it
to stay for a few minutes, when the surface is wiped dry. On
the following day coat with shellac, and after this is dry rub
down with No. oo sandpaper. Ordinary beeswax is brought to
a melted state and applied with a brush, allowing it to stand a
half hour before rubbing off the excess with a rag. Start the
rubbing across the grain, and finish with a circular movement
as a final polish.

Comfort in Reading and Holding Reference Books

On a closer inspection do we get well acquainted with that
in which we are interested, but how disinclined are we to go
after information which most usually is stored up in large vol-
umes; for after nightfall most of us feel too luxuriously indolent
to hold up a book of reference, much less take notes therefrom.
There is truly some effort in the use of dictionaries and encyclo-
pedias on account of their unusual size and weight, and what-
ever facilities frequent inspection of them and a regular habit
of reading varied literature, while occupying a comfortable
chair at a restful angle, will, I am sure, impel our craftsmen
friends to prepare plans for the making of a reading table after
the suggestion shown in Figs. 152 and 153. I am a little in-
clined to think that the main parts of some of these tables which
are sold are built entirely too light, for while they are intended
to draw easily toward you and adjust to the distance and angle
of one's vision, yet they should have at least the four posts
strong enough that they would not break or part company with
base or top.

Care then should be given to the joinery to make the con-
struction firm, but as light and graceful as consistent, and
it may be that some of our readers may desire to put in
turned posts instead of those indicated. Mortising the long
rails into the posts, and using dowels for securing the end rails
into the posts will lock one into the other and also save the
strength of the posts.

126

FURNITURE FOR THE CRAFTSMAN

Personal requirements should be considered as to not only
the fixed height, but the extreme width inside between posts.

Fig. 152 Fig. 153

Fig. 152, 153 and 154. — Elevations and Details of a Reading Table.

Some particularly restful armchair or rocker would determine
this. The width should be sufficient to allow of the table being
drawn readily over the arms, which frequently are more than
30 in. over all, in a Morris chair for instance.

It will be seen that the three parts of the table rest upon the
framing of the rails to the posts, the two outside portions of
the top being securely held thereto by screws counterbored
through rails, while glued corner blocks may give the framing
greater stiffness.

The center of the table is a frame filled with a larger fixed
panel shown at A in Fig. 154, and the smaller, shown at B is
loose and swivels on steel pins properly located so that it may
be swung up at right angles when needed to rest the book upon.
The fitting and adjusting of this swing piece is clone in connec-
tion with fitting up the frame, and when ready to glue up, the
steel pins are inserted with a very thin washer between to insure

STOOLS AND OTHER USEFUL FURNITURE 127

free action. The larger panel is also set in, being fastened
permanently with glue, and the entire frame glued together
and held in clamps until dry. By the exercise of a little care
the swing book support B may be so fitted that only a very
slight crack will show on the surface of the table; for detail of
this see Fig. 154, A and B. By experimenting you will find
that the edges of movable and fixed parts will have to be treated
from underneath as indicated in the section shown. After
framed-up panel has been fully completed it is fitted in between
the two tops, trimming just sufficiently to avoid binding.
Then locate and mark places for two hinges on one side and
after these have been fitted to allow all tops to be flush, pro-
ceed to arrange for a swinging adjustable support. This is
shown in the drawing, but many other ideas may be suggested
while you proceed with the work. The scheming and creation
of simple devices is a great part in the pleasure in making furni-
ture. It may be that a small drawer or compartment would
be desirable, sufficient to hold pencils and note paper, and
the supporting device would have to be such as to not interfere
— think it out. That is one of the privileges and the joys of a
craftsman, to scheme and create simple devices that add to the
utility or aid in the economy of space. Recently the writer
dealt with an armchair designed for the private car of a presi-
dent of a large railway. His desire was to have a tablet drawer
for paper under the seat; and in the roll arm, his mechanic had
secreted a brass tube to contain pencils, one tube working within
another and controlled by a secret spring. That chair, person-
ally, was gratifying and he always knew where to find his writ-
ing material.

Piano Stool

The pattern of piano stool frequently on sale, or handled by
the piano dealer, bears little resemblance to style or features of
the piano you have selected. As the designs of pianos are now
under the influence of more restful lines and reposeful surfaces
the form of stool with turned legs, cast claw and glass ball fails
to harmonize, and with this thought such a stool has been trans-

128

FURNITURE FOR THE CRAFTSMAN

formed and is illustrated in Fig. 155. Piano stools are not
usually made by piano makers and we will assume that the
reader possesses the conventional type which the piano sales-
man has presented to him, for it is generally "thrown in" as
a generous gift after the sale of the piano has been closed — one
never quarrels with a gift, at the time, but surely most frequently

iS'HiAM

1^ .4

--4-

2V;

^" > -d

a
Fig. 155. Fig. 156. Fig. 157.

Details of Piano Stool.

that stool does not match the piano — so withdraw the screw
and nut, as you probably will not be able to get one elsewhere;
also save the tops and otherwise use the general proportions
in constructing a type of stool which will be more in keeping
with your particular piano. As in all forms of furniture, the
attractiveness is quite entirely in the good workmanship and
the final finish. This simple pattern is offered, but modifica-
tions may readily be made in introducing certain cuts or fea-
tures that stand out as a main feature of the piano case in ques-
tion. The central square column which is bored out to receive
the screw and nut may be treated like a "square turning" in
which you can introduce the predominating mold appearing in
your piano. In this way you individualize your work and it
becomes interesting by just that much of yourself put into it.
In selecting the material for the four square taper legs you
may be fortunate in finding a piece of i^s-'i^- stock in which
the grain happens to run in a slight curve in line with the paper
pattern you have made. Nature is often very accommodating
that way if we take a little trouble to find it out, and this fea-

STOOLS AND OTHER USEFUL FURNITURE 129

ture of cabinet making is the secret of the "old masters," of
getting into harmony with their work and materiaL It is the
intuitive bump cultivated so highly which has made their work
so prized and enduri^. Now, these legs, for instance, may,
by a little sorting ovef'or even turning the pattern in a proper
way, be made entirely in tune with nature's grain, assuring us
that there would be little possibility of one or all of them split-
ting later on by a badly selected short-grained piece. This is
mentioned at some length, for it is the little preliminaries of
laying out and beginning which bring about strong and satisfac-
tory furniture. A pattern may be secured from drawing of
the dimensions given in Fig. 157. With the pattern cut out of
stiff paper, lay it over the selected material of i^s-ir^- squares
and mark all of them. Then saw them on a band saw, or re-
duce to a line by draw-knife and shave, after which they must
again be marked, putting the pattern over the shaped surface
and marking with a pencil. A good way to mark a re-shape is
to have sufficient thickness of stock in your squares; then mark
the pattern on one side; turn it over the back corner and mark
again. Saw out and replace with small brads the first refuse
piece which contains your marking; then proceed to saw again.
You will appreciate this method when dealing with the situa-
tion, particularly when proceeding to saw out a claw foot, or
leg of various curves or indentations. It is better to preserve
the shape of the original square when sawing the second time
by tacking on the first waste piece.

The pedestal block is, when finished, 2>^ in. square by io>^
in. long, and at the lower end a criss-cross mortise is made to
exactly fit down over the i-in. square criss-cross stretchers
which have been previously halved together. A lower finishing
cap is then made i in. by 2^ in. square with a }4-in. chamfer
mold. This cap is finally glued over the finished surface of
pedestal block and the lower face of the cross stretchers, pass-
ing a screw through all three parts, and small screws or brads
at the corners into the ends of the pedestals.

The outer ends of the stretchers have previously been cut
to tenons on a slight slant to fit properly into the sloping legs

130

FURNITURE FOR THE CRAFTSMAN

of the Stool. Fig. 156 shows the plan of the stool in relation
to contact of legs at the floor and as they enter the round cap
block over the square pedestal.

Piano Bench
In a developing family, the piano bench is to be recommended.
There is greater freedom of movement and it is condensed for
duet purposes, or for the use of teacher and pupil, while the space
under the seat is doing service for sheet music. As Figs. 158
and 159 clearly indicate a simple form of construction, little

r© X 00

Fig. 158.— End Elevation Fig. 159.— Front Elevation of Piano Bench,

need be said. Great care should be given the selection of a
well-dried board for the top, as it is a free panel swinging open
on hinges after the manner of a tool chest top. This top,
which should have a final thickness of % of an inch, might
represent some skilled joinery in the nature of a frame and an
inserted flush middle panel, or if a solid panel be used it would
be wiser to sink in two narrow cross battens and meet them
lengthwise with battens glued to the surface, thus forming a
slightly raised framing which would be within the outer frame
of the bench when the top was down.

The bottom board of the music compartment, which is 2 in.
in depth, should also be well selected to avoid splitting, and
cut sufficiently large to have the under edge all around relished
down to >< in. to fit into a corresponding groove provided on
the inside of the rails before the entire construction is finally
brought together and glued up. Glue corner blocks fitted and
cut away to avoid being seen, and set against the posts under
the bottom of the compartment, will also aid greatly.

CHAPTER VI

FURNITURE FOR THE HALL
Hall Seats, Hall Stands and Chairs

F comfort and generous proportion are in evidence
at a glance as one enters at the front door, the im-
pression is conveyed to the visitor that each room
bears evidence of its purpose. There are some
visitors one does not invite beyond the limits of the
hall— the book agent, for instance— and before his departure

Fig. 160.— General View cf the Kail Seat.
131

132

FURNITURE FOR THE CRAFTSMAN

an easy seat will be welcomed. Generally the hall seat or settle
with its straight back and little depth of seat is extremely un-
comfortable. This style has no doubt been followed without
much reasoning, but now in these days of rockers and reclining
chairs and hard work, the chair that invites you by its back-
fitting angle or curve is generally in demand.

The hall seat, as shown in Fig. i6o of the illustrations, while
it has a high-grade character is not an extremely difficult piece
to make, as will be seen in the end view. Fig. i6i. It might be

512'

Fig. 161.— End View of the Hall Seat, Together with Partial Plan.

placed in the frequent triangular wall space directly below the
first landing, but this is merely a suggestion with no intention to
be specifically followed, as such wall spaces vary greatly, but
the leg and heavy rail feature may be embodied in a working

FURNITURE FOR THE HALL 133

drawing to fit individual requirements. The small end sug-
gests a pleasing form to terminate the seat of indefinite length
at the turn of the wall, or entrance to a door. This end where
exposed to full view should have a good figure, well finished.
The width of the rail on this and its continuation along the top
is made by gluing on both sides of the center a mold of the shape
shown, the top edge being worked down smooth as "one piece, "
having a slightly crowned shape. Where a large space in the
hall is available even iq or 20 inches is none too deep for the
seat, instead of 16 inches, as indicated on the seat shape. The
turn of the seat, however, into the corner makes up for an entire
lack of the proper depth.

As indicated in the bulging line showing the proposed up-
holstering immediately over the seat cushion, a soft wood block
of similar shape placed at frequent intervals will be necessary
to falsely build out the overstuffed work into that conformity
which is so comfortable to the back, and which few hall seats
possess. A man familiar with upholstering or a carriage up-
holsterer should be given such work. The needs of the uphol-
sterer are just as great for frames as would be the needs of the
carpenter for the work of the upholsterer, so that the combining
of forces is very frequently the result of a satisfactory furniture
business. Much of the furniture of the present time is provided
with upholstery, particularly of leather, giving it greater com-
fort and an air of sumptuousness. By closely observing the
models about him a man skilled with tools may do very credit-
able work in a short time, and the suggestions given in
Chapter XVI will be of benefit, the first dealing with spring-
cushion work, while the other has to do with the loose-bag work
so much in favor on types of mission work.

In Fig. 162 is presented a suggestion for a hall seat which can
be made without cushions, although the wife may have some-
thing of that kind on it after it is finished. The main idea here
is not so much originality of pattern, for it may be the ordinary
hall seat or bunker, not much more than a high-grade packing
box in proportion, but a comfortable treatment may be given the
back by making this into a neatly framed panel which, when not

134

FURNITURE FOR THE CRAFTSMAN

in use, may be pushed back as a part of the wainscot €;ffect. When
it is desired as a seat the Hd of the bunker pulls forward to a stop,
bringing with it the lower edge of paneled frame to an angle,
which is more to be desired than a right-angled position, small
butts being used to allow of a loose joint. A trimming mold

Fig. 162.— Another Style of Hall Seat.

should be provided at the top as a detached apron, which will
permit the frame to move slightly forward and down without
showing the top edge. Illustration, Fig. 162, shows the idea
sufficiently. When removing articles from the bunker raise
the lid slightly, push back the frame in its regular position and

FURNITURE FOR THE HALL 135

then raise the Hd to any angle desired. In the illustration A
indicates the post to baluster rail, which would form an arm
rest at the end of the seat in most hall arrangements.

Hall Frames

Were it not for the expense mirrors should be used plentifully
about the house. It would not be with the thought of vanity,
but one of expansiveness, seeing double, as it were; and in the
hall, and particularly the town-house hall, or vestibule, this
means of deception should be employed to apparently enlarge
the rooms. Aside from the reflection the surface of a mirror,
if placed with some thought of catching light from some distant
opening or window, has much to do in lighting what would other-
wise be a dark room. For this reason the console stand, dealt
with on page 143-4 is a good piece of furniture in the reception
hall. This brings the subject to a substitute for, or possibly
an adjunct to the console — the hall frame — in which the mirrored
surface plays an important part, or should play an important
part, other than for trying on hats or arranging a necktie.
The days for a little triangular or heartshaped patch of looking
glass fixed in between some hooks are past, and the hooks of a
smooth pattern are now somewhat on the outskirts of a large
expanse of beveled mirror, the edge of which is cut to an easy
line or square.

The two extreme patterns of hall frames shown in Figs. 163
and 164 illustrate the character of prevalent styles, either a
form having an easy outline with smooth surfaces and rounded-
off edges, or the more severe outline shown in Fig. 164, having
a pronounced breaking away, however, from the straight lines
and square corners of the Mission ; the surface also is broken into
by some simple perforations, as indicated.

It is evident from the framing of Fig. 163 that in making
the felloe joint, either the width of the stock of the three parts
must be sufficiently wide to provide for cutting out the rounded
corners on the inside, or the curve secured by building on by
glue joint sufficient width in the rough to produce this curve.
This joint may be accomplished either by a butt joint and dowels;
or on the reverse of such a butt joint, the stock may be gained

136

FURNITURE FOR THE CRAFTSMAN

out, inserting a lapping piece, which will not show from the
front.

The three horizontal hook molds will have to be worked out
of stock I >^ X 3^4^ inches into shape similar to that shown.

No attempt should be made to place the mirror in from the

»iiiiiiiiMMiiiiiuiiiiimiiiiiiiiiiiii
Fig. 163.— Hat and Coat Frame for the Hall.

back into the usual rabbet, but fill the opening with thin back-
ing, and prepare a small, neat quarter mold, which is tacked

^>\>.^^.X.

Fig. 164.— Another Style of Hall Hat and Coat Frame.

snugly into place after the mirror is set in the frame from the
front. This is more expeditious in many ways than in prepar-
ing a rabbet.

FURNITURE FOR THE HALL 137

The attractiveness of Fig. 164 depends largely on a judicious
selection of figure in the wood. Were this made in the factory
the honesty of the purpose in the projected tenons might be
questioned, as they are most frequently blocks glued on to
make it look honest and "primitive," the bonding of the joint
being by dowels. In this instance they happily are both a
part of the construction and design and should be so treated.

The hall tree or stand becomes a necessity not only within
the spacious entrance of the house, but variations for limited
space may be constructed, which will give greater dignity than
the cleat provided with hat hooks so often seen in contracted
hallways. Considerable ingenuity may be expressed in design-
ing along the lines of the "much-in-little" idea, and from a sal-
able standpoint compactness, with a varied range of usefulness,
should be borne in mind.

The mirror is a desirable addition — the ladies not only finding
it indispensable in getting a last look, but indifferent man, from
an unconscious look, may realize he is ready to depart for busi-
ness, and that he would look better to exchange his skull cap
for a street hat.

When considering the hall tree of some pretension, a closed-in
box under the formal seat usually made, will be found the best
place for overshoes. At the sides a curved device of wood or
metal should be secured, in which umbrellas and walking sticks
may be placed, their ends resting in a hollowed metal disk
formed and fastened to the construction. As the hall stand is
really a mute servant, ever ready to relieve one of street encum-
brances, it therefore should be treated with consideration and
made to assume a "good front" as the guest enters the hallway.
By the exercise of a little thought directed to this part of the
house before the final finishing, the carpenter or contractor may
develop many ideas which will accentuate the expression "the
first impression is everything." A little extra use of finishing
material enables him to make the hall tree a part of the house
free from the objection of portable furniture in contracted
quarters.

The built-in china closet, sideboard and refrigerator are ex-

138

FURNITURE FOR THE CRAFTSMAN

amples of space saving which appeal strongly to the purchaser
or the prospective tenant. This is just in passing over the sub-
ject, as many will be interested in some befitting scheme for the
wraps and hats of many hallways, unprovided with more than a
stand or old hooks. In the accompanying illustrations is shown
in Fig. 165 a serviceable hall piece for small space, or for the

Fig. 165. — Front, Side and Plan Views of a Convenient Hall Tree.

second flat hall landing, should one live in the benighted country
of flats. The mediaeval style of the chair makes a desirable base
to extend the banister and terminate it with a cross bar for hat
and coat pins. Back and at the ends of the middle slat may be
secured large metal rings for the umbrellas and sticks, or there
may be a large ring at the side of the seat, as shown in the draw-
ing. Reinforce the horizontal panel or back rest by battens
glued and screwed on each side of the banisters or uprights, thus

FURNITURE FOR THE HALL

139

insuring the slat from splintering. Modifications of this may-
be made by having the legs of square stock built on the same
plan with panels between, and a bottom, making it into a box
for overshoes. This is a piece of furniture which looks particu-
larly appropriate when finished in fumed oak.

In Fig. 1 66 is shown a piece of furniture by which great con-
venience is secured all around and inside, within limited space.

Fig. 166. — Front and Side Elevations of a Hall Stand.

The construction of this, as well as that shown in Figs. 167 and
168, is straightforward and readily enlarged to working detail.
In making a drawing of Fig. 168, first construct the plan at the
seat line, within a diagonally cut square, the sides of which are
33 inches. Draw the plan of cabinet above the seat, within a
similar triangle, the sides of which are 23 inches. In detailing
the seat, have the depth 14 inches from the rear edge, of which
a plain board, tapering in its length of 54 inches, 7 inches less

140

FURNITURE FOR THE CRAFTSMAN

where it joins the underside of cabinet, thus giving an incline to
the back. The front of the cabinet is 1 1 inches high, and the

Fig. 167.— Front and Side Views of Another Hall Stand.

total height of the stand is 7 feet. Sufficient measurement and
suggestion are given so that the length of the underdrawer is
optional. The seat may be made to lift up, being hinged at the
back and doing away with a drawer and pulls.

The Console Table

The heating of the residence today from some hidden source,
the furnace or boiler, gives little excuse for the mantel, much
less the make-believe chimney breast. This naturally has

FURNITURE FOR THE HALL

141

brought back the console to break the blank wall space. While
at one time or another in its use it was somewhat of a movable
piece classed among furniture, this was due no doubt to the fact

Fig. 168.— a Corner Stand and Seat.
that an elaborately framed mirror was hung immediately over
the wall or half table, creating an opportunity for the incoming
or outgoing to arrange their hair and wraps in a manner entirely
satisfactory to themselves. Then, too, the mirrored expanse of
glass reflects and apparently makes double at first impression
one's possessions and their arrangement far more than did the
usual small mirror above the mantel.

The console table, as well as many other furniture pieces, has
been remodeled along the lines of present-day thought, and the

142 FURNITURE FOR THE CRAFTSMAN

mirror and table are joined, having the form of a fixed wall
framing with a table — or, more properly speaking, a shelf —
supported by consoles, brackets, short columns or a paneled
base in conformity with the nature of a surbase and all that is
above partaking of the character of the interior trim. .

In considering the building of a console table for the parlor,
reception hall or other room not provided with mantel or fire-
place a little thought should be given to its most favorable loca-
tion. Very frequently the wall space between two side windows
is an excellent situation for it. Should there also be a front
window to throw light on the mirror the impression of much
more light and brightness will then be conveyed. The home
should be a reflection of the occupants. Many a remark is
made: "Jones" house is always cheerful and cozy; I like to go
there." Why? No doubt Jones gave some thought to the
proper places for windows to let the good light and air do what
nothing else ever did in place of it.

Two drauings of consoles are offered in Figs. i6q and 170 of
the illustrations. Fig. ibq is visibly portable, while Fig. 170 is
constructed in such a manner as to be set flat to the wall and
there fastened, after having cut away the surbase for perfect
contact with the wall. Both are within the space of 35 x 87
inches, although this is optional, the point being that of the pro-
portion shown, or rather to have a decided mirror surface of an
elongated form and that the top reach to the top of the window
cap, thus forming a close relation with the picture mold and the
general trim. The two patterns, it is hoped, will represent a
modified type which will not disturb the general plans of a mod-
ern room. Fig. 1 70 will fit into a room to better advantage than
Fig. i6q, should the furniture be all of a smooth, highly finished
character. The design shown in Fig. i6q partakes more of the
nature of the prevailing trend of the modern style. In Fig. i6q,
as well as in Fig. 1 70, the stiles reach to the floor and the framed
panel under the shelf is set in by dowels as would be a rail. A
careful selection of grain is an important feature in the paneling
as well as in the upper portions. The lower shelf in Fig. i6q
affords a place for a much prized urn or other object of art,

FURNITURE FOR THE HALL

143

while one of the many handsome clocks to be had may with pro-
priety be placed on the shelf before the mirror.

Rooms not supplied with overhead lights make it desirable to
provide side candle sconces for ornament and for festive occa-

FlG. 169.— Portable Console Table.

sions. The treatment of the top rail is offered as the nearest
approach within the range of the carpenter short of carving,
which generally finds a place on such a surface. The panel con-
sists of j5/2 -inch background, upon which is glued }4-\nch. fret work
panel, as suggested. This in turn may be worked upon to all

144

FURNITURE FOR THE CRAFTSMAN

appearances like carving by rounding off the edges and making
clear the scrolls, at the same time treating the design as inter-

Fig. 170.— Fixed Console Table.

lacing straps, then in the after finish leaving the background a
dull finish.

To the person executing such a console the mirror will be the
main item of cost, but will be small in comparison to the value
of the piece completed. Herein the craftsman has the advan-
tage of surrounding himself with many objects at very little cost
when the labor is not reckoned. The plate glass in the pattern

FURNITURE FOR THE HALL 145

shown is 28 x 56 inches, with beveled edges. Instead of insert-
ing this within a rabbet provided for it from the back, a rabbet
is cut on the stiles and top rail and filled in with ^-inch lining,
after which the console is completed and finished. The glass is
inserted from the front and set against the lining and a neat
small molding is then pressed along the edge and securely
bradded. This, it may be remarked, should previously be
finished.

The proportions and finish given in the pattern shown in Fig.
i6q will properly apply to Fig. 170. The bracket or console
supports consist of a 2-inch center, with 3<4-inch scroll pieces
glued to each edge and finished smooth on the front. The shelf
has a slight ogee front edge. In making the stilted round to the
top a felloe joint should be made, as a lap joint in the after
rounding would not look as well. It will be noted that the in-
ner edges of the stiles will require adding to somewhat below the
joint in order to secure the finished arched line. The final
rounding and smoothing over this joint should of course be done
after the frame has been fitted perfectly and glued up tight:
then, and only then, can be secured that complete "oneness" of
line and surface which is embodied in good furniture. The pro-
jected scroll ends may be an after application.

The Umbrella Stand

It is an old saying that "all things come to him who waits,"
but many acquire "things" after they have secured the
puchasing power. The handy man's wife acquires many
articles after patient waiting on her husband's ability to "just
get around to it. " The umbrella stand, while not of vital
importance, is not the least of many articles that some day we
will get around to having. Meanwhile in the more pioneer days
of home building the corner of the wall in the hall supported
the umbrellas at various unsightly angles. For the large
family the pattern shown in Fig. 171 will fulfill all requirements.

The perforated center adjoining the middle post is cut
from one length of board and the edges doweled and glued to
each side of the post and flush with the front face. To the outer

146

FURNITURE FOR THE CRAFTSMAN

edges is secured the back part, as shown, entering the block
corner seen in the side and front views. Before the divisions are

,53"

Fig. 171. — Umbrella Stand for Large Family.

placed a ^-inch batten should span the back part across the
front of the post and between the back corner blocks, being glued

Q-13'

Fig. 172.— Small Umbrella Stand.

and firmly secured to each piece by brads. This will insure
greater strength for the four-part back. The bottom of the base

FURNITURE FOR THE HALL 147

is floored and may be zinc-lined, or the bottom may have grooves
running to the center hole, in which a pan is placed to receive
the water that may drip from the umbrellas. Inasmuch as um-
brellas properly cared for should be opened out to dry, pans in
the homes are hardly needed. Fig. 171 is planned for four com-
partments, but its entire length may be shortened for three
openings if desired. For a small stand Fig. 172 will be found
serviceable to go in a certain corner. The arrangement for the
top is the same as shown in the plan, compartments being built
around a 2^-inch square post and the sides set in i^-inch
square blocks with chamfered edges. A dull oil finish will be
found most satisfactory to apply to this character of furniture.

Chairs

"Well, sir, I am ready to sit down in my easy chair when sup-
per is over," is the thought so frequently expressed and quite
uppermost inone'smind as the transactions of the day are closed.
With the older people a certain chair is often appropriated and
in time becomes closely identified with their life, the much-used
chair becoming more and more cherished and guarded as it is
passed on from generation to generation. Of such chairs there
are not a few examples which are today considered models in the
directness of their construction. It is an exception that an
antique chair is comfortable in which to tarry long, this impor-
tant feature being noted more in frames which were almost
wholly covered with upholstery material. In this there was
greater latitude to secure comfort than in a plain chair, the lines
of which were formed in the most direct way permissible with
low cost and a meager equipment of tools and machinery.
Today wood may be converted into many varied shapes; curved,
serpentine and twisted forms being as easily produced from a
minimum amount of stock as a piece of tin is in one's fingers
readily made to assume any shape desired. Steam, as the means
of softening wood, with modern metal forms and presses make
it possible to produce in a chair of general utility a graceful line
and proper balance, particularly to the back post. An illustra-
tion of this is shown in Fig. 173, which represents a very old and

148

FURNITURE FOR THE CRAFTSMAM

common type of rush bottom rocker, many of these being made
by the farmers in winter time for their own use or local sale.

Note the relative position of the straight back post to the
rocker. To give the proper balance and appearance of a sub-
stantial base, the posts should curve back immediately under

Fig. 173.— Early Settlement Rocker.

the seat and have connection with the rocker some distance
back. The straight back post required that the back be more
at right angles with the seat, which robbed the chair of the com-
fort and easy balance which the modern bent or curved post
rocker possesses. However, this type of rocker was the origi-
nal of that class of chair which is distinctly American, and little
attempt was made to alter nature's material form.

As these rare examples are less seen we cherish them the more,
as we think that before the early men of the country in building
their homes were able to take their stiff-backed ease they were
forced to lay aside, for seasoning, stock of simple form to con-

FURNITURE FOR THE HALL 149

Struct their chairs and other furniture, and also at a certain
time of the year, to gather from the fields and low marshes the
rush or flag for the chair seats. In the meantime the bench, or
form, did service, as well as other smaller and less unwieldly
forms, such as the hassock and stool.

The ordinary factory chair is built according to a certain
standard of size and adherence to bevels. In the construction
of a chair for individual use it should be very much like the suit
made by the tailor — made to fit the individual. The regulation
height of a dining room chair, or side chair, is i8 inches from the
floor to the top of the seat, plain or upholstered, with a %-inch
drop back of the seat. The angle of the back to the seat is
usually i>^ or 2 inches, in 12 inches.

The top of the seat in the rocking chair is in height from top of
rocker, about 1 1 inches in front and io>^ inches at the back leg
or post. The front edge of the seat, when the chair is not occu-
pied should not point up more than i 7 inches from the floor.
This is assuming that the rocker has a sweep which can be se-
cured with about 5 inches in width of stock. A greater throw-
back, or angle, is given the back than in the stationary chair.

The rocking chair, unlike other chairs, must be made to bal-
ance properly and, when occupied, give a well poised adjustment
to the occupant, as an even weight is to the contents on a scale.
This must be determined by the maker by trying the chair on a
level floor. Many have probably experienced the discomfort of
sitting in a rocker which compelled them to dig their heels into
the carpet to avoid going out in front, or to have the embarrass-
ment of almost flying heels up over the back. Such an article of
furniture among the young people is often considered in the
light of a prize "trick mule, " to be tried by the unwary as a part
of the evening's amusement. The rocker, or "sweep," how-
ever, on many rocking chairs is often too flat, particularly on the
very early chair of that type. The segment of a circle found
within a plank of 5 inches width and about 3 i inches in length
will produce a rocker giving a comfortable swing when properly
secured to the legs. Most any outline may be given to the top
or concave edge. It is generally made to conform to the under-
line until it rounds off at both ends.

150

FURNITURE FOR THE CRAFTSMAN

The construction illustrated in Fig. 174 represents a class of
chair which the reader may construct without so many of the

...oi"

245:

Fig. 174. — Front and Side Views of Chair.

peculiar features met with in regular chair construction, par-
ticularly that of the old turned class of chair, which requires
much practice in dealing with the angles and the boring of round
parts in order to have the work come out satisfactorily. Such
a chair appears simple to make, but some amusing first produc-
tions have resulted \\ hen the carpenter or cabinet maker has
completed a chair of turned parts. This is traceable to the fact
that being accustomed to almost continuously working with
square or bevel against flat surfaces, a new proposition is pre-
sented when he attempts to hold the tool and bore at the proper
angle a part that is round and also bent. These points will not

FURNITURE FOR THE HALL 151

be considered, as it means an equipment to be found nowhere
but in a chair factory.

The idea of the illustration is to show patterns which may
easily be constructed, or modifications of them made by the
carpenter, to have and to hold, making his home characteristic
and representative of his handicraft. It is well in all work to at
first draw the subject to full working detail, laying out on sepa-
rate paper the plan of the seat taken from the figures given in
the illustration. From this proceed to draw in the elevation of
the back part, one-half only being necessary, to the left of the
center vertical line. In order to create a chair which will be
comfortable a certain amount of curvature should be given to the
two slats. This can be done very readily when the slats are not
too wide faced by sawing on the band saw, or by adzing, that
curvature which can be secured within, say, 3 inches on stock.
In this case 5x25 inches for the top slat, allowing a thickness of
^ inch to the finished curved panel. To mark this out make a
paper pattern within the limit of the gross size of the stock.
After drawing in at the proper position the shape of the top and
bottom slat, proceed to detail the shape of the slat or small
banister.

It must be borne in mind that in most all chairs the spread of
the back part of the top is greater than at the seat. In the case
of a long chair, 2 to 2^ inches greater will offset a contracted
appearance. For the same reason the slats should be corre-
spondingly parted at the top more than at the bottom.

It is expected that the band or jig saw will be brought into use
in cutting these irregular shapes, although simple modifications
may be made thereby. In the absence of these most conven-
ient machines outlines may be produced by the slower means of
a draw knife on the outside and with hole borings and filing to
effect some kind of opening within, as a feature. To construct
more intelligently, a side-view detail should also be drawn, and
from this mark out patterns, which may be transferred to the
proper pattern paper. In doing this one will have absolute cor-
rectness of measurement and true relation of back to front part
and position of rocker. As previously mentioned, the rocker

152 FURNITURE FOR THE CRAFTSMAN

shape is to be drawn in its relation to the posts, within stock of
5X X 3i>2 inches. This position of rocker to seat height, as
before noted, will not be perfectly correct, but approximately,
until after the chair has been finally set up, and if upholstered
that weight and the height of the back will indicate an after-ad-
justment of the back or front post height to a comfortable bal-
ance when the chair is occupied.

A shaped-out saddle seat is a very desirable form and may be
set within the seat framing of the chair shown. The stock is
thoroughly dry before jointing, and if oak is used the careful
matching of the quarter in a favorable manner before gluing
will add .much to the appearance. After removing from the
clamps, surface to a thickness of i^s inches, then band saw to
the outline of the marking-out 'pattern, made for the pur-
pose out of heavy drawing paper. This pattern should also
have cut in it a fine slotted line, which will mark the turn
out of the interior shaping in the front, and the curved shapes,
as shown in the back of the seat. Under the bottom of this
plank temporarily secure with short screws a i x 5 or 6-inch block,
which is intended to set in the jaws of a vise while carrying on
evenly the work of scooping out the upper surface of the seat.

As the greatest depth of the saddle will be ^ inch in the back
part, be careful not to use screws entering the wood too far.
The roughing-out work is done with a mallet and a i-inch gouge,
reducing the surface in a dish-like manner, along the sides and
back to within 3/8-i"ch of the marked line, and to a depth thought
to be more effective. The middle and front edge of the seat is
left uncut, and from the straight line previously centering the
seat the wood is cut away in a sloping manner on each side,
leaving a crown or "pommel," suggestive of a horse saddle.
Now strike off the front edge, sloping away into an easy unde-
fined round, which when finally shaved off will be smooth and
congenial to the touch.

No tool in the regulation carpenter's outfit will be found prac-
tical in finishing this roughened-out undulating surface, and for
this purpose the chair builder has a tool peculiarly his own, the
construction of which has been fully described in Chapter II

FURNITURE FOR THE HALL 153

under the head of Stock Dresser's Scraper, and Details of Spoke
Shave. The tool there described is the straight scraper; a tool
having a convex cutting blade and holder may be made in the
same manner, and the tool will be found very useful for more
purposes than seat finishing. The convex shave, made with a
similar curve, is first used to remove the ridges of the gouge
work, and may be used to reduce the surface to a fair condi-
tion. Then the convex scraper is taken up for final smoothing
and working to a perfect clear edge along the marked outline.
A little after-nursing with a steel blade, the edge of which is
convex, may be used in places where the handled scraper can-
not be used advantageously. In sandpapering use No. i and
No. o paper under the palm of the hand, or under a soft
rubber block. Avoid destroying the well defined line along
the edge, but smooth off well the front edge. Carefulness in
creating such conforming work will be well rewarded in after
polishing.

As the work proceeds it will be noted that in adjusting the
rocker immediately under the side rails their extreme spread at
the back, regulated by the side plan, is less than in front. This
fact will cause the out-turn of the back post to set over the
rocker, with rear outside and front inside corner hanging over.
This is to be chamfered off to the thickness of the rocker
sweeps. The joints in this chair are all mortise and tenon,
with the exception of the arm and stump, where dowels should
be used.

After the chair has been knocked down for final gluing-up, go
over all the edges, taking off all sharp corners. The top edge of
the arms, front edge of the arm stumps, side rails, legs and back
posts above the arms are to be shaped a low round. The proper
time to do this is after the chair is glued up, in order that a con-
tinuous smooth surface may be worked over the glue joints at
the arm stump and where the arm enters onto the line of the
back post. The edges between these jomts may, of course, be
molded or shaped more readily in the vise, as loose parts, leaving
enough stock at the ends to trim after gluing.

154 FURNITURE FOR THE CRAFTSMAN

The Dining Chair

So much attaches to the moments spent about the dining
table that the chairs used for the family should be of the same
pattern and of a dignified, plain character, the outline free from
unnecessary angles and the surface smooth and plain. If carv-
ing is desired it should be of a detail clear and smooth, and low
relief. With these particular features observed the dusting and
polishing from time to time is greatly reduced. The chair made
by the famous cabinet maker, Chippendale, had these desirable
points about them, even on the open worked-backs. The carv-
ing and rounding of edges, front and back, were smoothly done
and easily kept clean. These chairs afford models for many
present-day reproductions.

The pattern in vogue in the early Dutch colonies of New York
gives us excellent types for dining-room purposes. The con-
struction of the earlier patterns are even more severe and to the
point than any period before, and later the style shown with
more elaborate treatment preserved the honest square-lined
construction.

For purposes of simple construction, Fig. 175 is given as a
composite of the Dutch and the English style which prevailed at
the same time in the New England settlements. The "ladder
back" is probably more easily constructed and more comfortable
to sit in, although the lower slats may be left out and a 7-inch
banister inserted between the under part of the top slat and the
projected base on the back rail. With the seat plan given and
shape of back post, as shown, a drawing of the entire chair may
be made. In doing this one may be guided in some particulars,
as in securing the back angle, spread of legs, etc., by a well con-
structed chair about the house. The front legs have a slight
taper. As to how much this and other matters of finish shall be
carried along must be decided when the chair is set up loosely
for a trial inspection. The rounding of the back posts on the
back, as shown in section on the seat plan. Fig. 175, is recom-
mended as giving a smooth finished appearance; also a similar
rounding to the back edges of the slats, which are J^ inch thick,
rounding off the front face with a low round.

FURNITURE FOR THE HALL

155

A padded slip seat cover with leather is most desirable, as it
wears well a long time and can easily be renewed. The frame

13 =

^ ^.^- ^^s^

19"
Post and Seat Plan.

Front View.
Fig. 175. — Construction of Frame of a Dining Room Chair.

to this consists of ^ x 2-inch material, lap jointed, glued and
nailed into a frame, giving a 3-16-inch allowance all around when
set upon the corner and side block shown in the engraving.

The upholstering of this is very simple, consisting of burlap
webbing stretched tightly over the face of the frame, upon which
is laid cotton batting, with several extra squares built up in a
tapering manner toward the center. This mass of cotton may
be held and molded into an arching shape by stitching with
thread and needle, making long stitches in so doing, sufficient
to keep the cotton from shifting. Over this is stretched the
leather, cut sufficiently large to pull down along the edges of the
frame, or what is now over the burlap webbing. Starting the
tacking from the front, pull it back, meanwhile rounding or con-

156 FURNITURE FOR THE CRAFTSMAN

forming the surface, and secure to the hack edge. Then tack
down the sides and trim off the surplus leather on the bottom
edge of the lower framing. By the allowance made on the frame
with added thickness of burlap and leather the framing should
slip in snugly against the chair frame, where it is held by screws
driven from the under side of the corner blocks. Note that the
inner corners of the legs are to be cut out ]/2 inch deep and on an
angle with the inside of the front and side rails. The straining
rails under the seat are ^s x ij^ inches, set in with tennons to
the front legs and back posts.

Rush Seats

It is rare to find an old-time workman who is able to make a
"rush" or "flag" seat. Where such work can be secured this
form of seat will be found very durable and artistic to embody
in the frames of chairs. The removable frame, or the manner
of constructing it for the chair desired, will be furnished by the
worker in that material.

While chair designs are endless, the main purpose of utility
and comfort should be the first thought. With a carpenter's
ability, many odd pieces and side chairs may be constructed,
embodying some rare wood or treasured piece of stock having
eccentric grain, or mayhap some rare old large piece of furniture
which has so sunk into decrepitude that a chair or two may be
constructed, thus continuing its service and history.

CHAPTER VII.

SITTING ROOM FURNITURE

TYLE and fashion in everything is presented for our
inspection and in a great majority of cases we
adopt them. Some people are ever on the lookout
for that which is new, but others climb into the
wagon after the "tailboard" is up, so fearful are
they of being left behind in the procession of things and events.
It is true we cannot divest our home of furniture as we would lay
aside a three-button coat for a four-button furnished with slant
pockets, but in considering the "modern" class of furniture, or
rather the going back to the simple style, it gives us an article of
furniture which we are not so likely to have supplanted by a
flimsy trifle. Certainly the family sitting room table should
have a sustaining dignity about it which the furniture of bamboo
or Shakespeare class of table heretofore never possessed.

Very little additional information need be given for the table,
Fig. 177, in the simple style. The plain posts and under fram-
ing are laid out on a drawing in a square of 21 x 40 inches,
having the posts center along two intersecting diagonal lines,
the open or top rails being mortised into the posts about 4 inches
under the edge of the top. All edges should be chamfered 3-16
inch and just above the taper of the posts treated to a saw
kerfed line, also chamfered to give finish. The top should be
carefully matched from i 5-16-inch lumber. Allow for the
height of the table 30 inches to the top either with or without
casters. The fumed oak finish is undoubtedly best for this much-
used piece of furniture.

The couch should not be a difficult frame to construct. In-
deed, after the inspection of the factory-made article the crafts-
man may, with a little practice with pencil and paper, lay out

157

158

FURNITURE FOR THE CRAFTSMAN

SITTING ROOM FURNITURE

159

from observation a frame which will have a pleasing, substan-
tial outline, yet have the joints all cut square. With this
thought Fig. 178 is presented with the necessary measuring
memoranda given thereon. The frame is within a size of 27

Fig. 177.— Sitting Room Table.

X 73 inches, making it ample in length for a "six footer," or
generous enough for an overflow accommodation in the event of
a surprise party. The head posts terminate in a claw foot, the
main rails and foot rail are made of not less than i-inch boards.

Fig. 178. — General View of Couch.

The shape given for head posts will come from a board 7^
inches wide. From a previously drawn detail showing the con-
tinuous character of lines in its constructed form procure the sepa-

160 FURNITURE FOR THE CRAFTSMAN

rate marking-out patterns, and right here be mindful that with
the cut-out paper pattern allow in the wood, in case of the line
arching from claw post joint to the horizontal rail an excess of
stock which, when the parts are glued up, may be sawed or shaved
to the correct free-arching line. The union of parts in this way
creates one of the pleasing features to attract the eye, and the
eye following this line in fancy terminates in a foliated scroll as
suggested, and in turn is met by a like, but less forceful, line
springing from the foot post. In like manner, the inclination of
head rest mold may have its abruptness folded up in a similar
termination. The couch frame, of course, is to have the same
treatment on the other side, for a one-side couch gives but one-
half the number of positions in which it may be placed. A
little consultation with the wife will often save a man doing
some foolish things, even as to furniture, for the housewife tires
of seeing her possessions always at the same angle or on the
same side of the room. The fullness of the clawfoot is made by
gluing on a 2-inch block, the upper portion of which will, by saw-
ing or shaving, invisibly shade in a natural manner into the post.
As treated in a previous article, no set directions can be given
for cutting or carving this claw; the carved claw is now very
much in evidence, and, as in everything else, a careful inspection
will aid materially in producing a good effect, even with the
chisel or gouge in use by the carpenter. The claw as a termina-
tion is selected, for with the inexperience of an amateur in carv-
ing the necessary unevenness and roughness will, by contrast to
plain parts, make a pleasing feature. A rough claw is better
than if it were produced from a turning lathe, if that were pos-
sible. A pleasing effect, in place of carving the ornaments on
the side of a couch, is to jig saw the patterns detailed from a 2-
inch block, then by passing them along a set straight gauge slit
them on the band saw into frets 3-16-inch in thickness. Glue
these along the proper line and direction, and after sanding the
edges a very pleasing form of relief will result.

The foot posts are 2^ inches square, with the three exposed
corners chamfered. A turned ball 3>^ inches in diameter gives
a finished termination. The head end rail, b inches wide, is

SITTING ROOM FURNITURE 161

placed in line with the side and foot rail, and then paneling or
veneer occupies the space between that and the inclined frame.
The molded effect along the upper edge of the head support and
rails may either be a narrow framing surmounting the construc-
tion or a molded strip secured as an after-finish.

The form of upholstery shown in the cut is now very gener-
ally a par-t of the simple class of furniture and stands for just
what they are — bags, made in a primitive manner, filled with
soft material. Here again the craftsman of today will be equal
to the occasion and find little that requires special skill in mak-

FiG. 179.— Method cf Sewing the
Leather Covers.

ing the cushions to fit his frames. Soft, pliable Spanish leather
(sheep skin) in all colors may now be secured in many towns.
Unnecessary expense may enter here as in everything else, and
it would be well to make the selection by samples. The bottom
cover piece may also be of the same color and grain imitation,
but of pantasote or other substitute for leather. Likewise,
instead of upholsterer's curled hair a half quantity with vege-
table down may be used. It will be quite necessary as well as
satisfactory to guard against waste and to find the exact size
of leather to make a sample cushion one-half size of the couch
body — that is, divide the couch into three pillows, using some
cheap material, and cutting it ample to allow for pillow when
filled to the width of the frame. The filling should not be less
than 5 inches in thickness. From this bag material, if made
to fill up properly, the exact size of the leather covers may be
found, allowing more on these for ^ inch to be turned in on all
sides. This yi inch extra is turned and pressed or hammered

162

FURNITURE FOR THE CRAFTSMAN

into a crease, and the two creases of the four edges of each piece
are brought together, rough side in, then held for a time while
holes are made with a belt punch about i inch apart. Through
these holes, as shown in Fig. i yq, a thong strip, cut from the
leather, is drawn, and in the after-finish a second thong may
be drawn, inserted so as to produce a cross-weave effect. One
side of the bag is of course left open to receive the inner filled
bag, or the filling may be put in direct and the thong continued
through the holes and finally tied in a neat manner.

The Side Chair

This is a pattern in the modern style, appearing well as a
wall chair, or making a good, light chair for the table. The
chair would be in keeping with the present primiti\'e construc-

FlG. 180.— Details of the Side Chair.

tion to have the back slats perfectly flat, but a more shapely
and comfortable back will result by using curved back slats,
as indicated in A, Fig. i8o. A flat panel is usually steamed and
bent, but for special purpose the curve is produced from a
heavy plank, using an adze, or in default of this a gouge and

SITTING ROOM FURNITURE 163

heavy mallet, and after shaving to curvature determined by a
wood template, used as the work advances. Much of the con-
vex side can be planed to line and even thickness by holding the
work in a vise. The back post shape may be secured from a
i-inch surfaced board. If oak is used show the quarter grain
on the edge. In making the seat none but thoroughly seasoned
stock should be used, and after the saddle effect is obtained
it should not be unprotected by finish very long. As you will
need a heavy cleat, or batten, screwed to bottom, as a means
of holding it in the vise while shaping the hollow, it would be
well to keep it on during construction of chair and until time
for finishing, avoiding chance of warping. The hollow work
is roughed out by a gouge and mallet, and then convex shaves
and scrapers are used to bring about an even concave surface;
these tools have been described in a previous paper. After all
parts have been fitted with tenons and mortises, assemble them
to see that they all come together well, also to give you an op-
portunity to note corrections which might be desirable to make,
and the final finish to be given each part. With the chair
knocked apart the edges are worked off with a plane or shave,
and the four slats in the back are greatly improved with edges
turned off to a quarter round, likewise top edge of top slat, and
hand hole smoothly filed in a rounded manner. The back part
is glued up first and held in bar clamps under the seat; two square
stretchers should be fitted at the same position, as shown, for
front stretchers. The side stretchers are indicated on the front
leg. The seat is now set in, as shown on seat plan, and secured
at each post by a 2>^-inch screw countersunk. Turning the
back part down, with seat face do vn on bench, put on the front
portion of chair, the legs and front stretcher having previously
been glued up, then provided with the side stretchers glued to
legs and treated with hot glue in motise holes of the back posts.
Drive these in them, gluing the seat motises; drive into place
the legs. In this class of work — open and liable to spring out
of true — it is well to have rule, or truing stick, to immediately
square the frame before the glue has positively set, the bar
clamps sometimes being brought into good use, to pull into place

164 FURNITURE FOR THE CRAFTSMAN

a refractory part. When the chair is well set, cut the back post
at bottom ^4 inch to give proper inclination. Clean off any-
excess of glue and hand sand from top to bottom, taking off
any crude edges.

An arm chair to match this pattern may be constructed from
a drawing making the size of seat proportionately 2>^ inches
larger than called for in Fig. 180, and the height 22 inches, be-
tween arms iq}4 inches and the height of arms 10 inches from

seat.

The Sitting Room Rocker

Our foreign friends say of us that we show our restless spirit
even when supposedly at rest in a rocking chair, purely an
American article of furniture. However this may be, the rock-
ing chair is finding favor in many foreign countries, and among
our makers it is the style of chair most made and given the
widest range of treatment. In constructing the rocker the
main object sought should be the proper "hang" or swing.
When attention is called to this it will no doubt be realized
that many rockers have the annoying fault of pitching the oc-
cupant too far forward or backward, with no particular middle
point of restful balance. The location of this fault will have to
be determined by the maker, and in some cases it is much like
making the suit to fit the customer to give perfect satisfaction;
usually the lack of balance is adjusted by removing the rockers
and cutting either the front or back legs, as indicated by rocker
either throwing the occupant too far forward or backward.

The rocking chair shown in Fig. 181 will be found a very com-
fortable resting place, even though built with flat back slats,
the comfort being given principally from the generous curve
to the back posts, with exception of slats in sides and back,
the material is i inch in thickness, the slats ^ inch thick,
arms and rockers should be i}4 inch thick, also the seat frame.
The seat frame may be made of an inferior wood, the front and
back edges will be covered by upholstery. The plan for the
frame, also that of rocker and arm will be found in Fig. 182.
The upholstery may be put on directly over the seat frame,

SITTING ROOM FURNITURE

165

as shown, or the style of leather bag described under head of
the sitting room couch. In either case, burlap bands are tightly

Fig. 181.— Front and Side Views of Sitting Room Rocking Chair.— Modern.

criss-crossed over the opening this being done on top of the

frame should the loose bag pil-
low be preferred. If the perma-
nent seat is desired, the bands
are tacked to the under part of
the seat, upon which are placed
for this size seat eight double
coil upholsterers' springs, three
back, three front and two in
middle space of opening. As the
subject of spring upholstery has
been treated in Chapter XVI
it will not be again taken up.
An inspection of an upholstered
seat will indicate the manner of
going about the work, the even

Fig. 182.— Seat Plan, Rocker and and partial compression of the
Arm of Rocking Chair. springs, however, by stout twine

166 FURNITURE FOR THE CRAFTSMAN

is quite an important foundation work for the after-padding
and overlay of leather or fabric.

The Clock

Even though it be the exacting alarm variety done up in a
nickeled can, everybody turns to the clock. It is their faithful,
almost animate companion, alive to the minute, yet weak and
failing at times if we don't do it a good turn now and then.
It is therefore well in setting up our home, or refurnishing it,
to give the time keeper a prominent or high place in honor of
his long service in keeping tab on our movements. Time was
when the old clock had to have plenty of room to stretch, as it
were, in the matter of ballast. This gave rise to the tall
"grandfather" look it had. While it is true some kinds of the
best modern clocks are framed in tall cases, with cords and
weights, the desire is uppermost to economize space, and very
reliable spring clock movements may be bought very reasonably,
or the works of an eight-day clock may be transferred to such
a case, to be discussed, as is shown in Fig. 183. Here the pur-
pose is to utilize space in a tall case, which was in former times
given over to the movement of the long pendulum and lowering
weights.

The sketch may be followed out in the full drawing, or modi-
fied within outside limits as fancy or individual needs suggest.
The back, instead of showing the wall, may be lined neatly with
thin paneling; the lower front may also have a panel or glass
door, protecting the magazines and books from dust.

The structural parts to be from i-inch material, the shelves
J^ or ^ inch thick. A satisfactory framing to the dial face
would be of laid-up veneer cut a little less in diameter than the
dial plate. This veneer may be made of successive layers of
rotary cut veneer, built up to about 7-16 inch in thickness or,
made of two 3-16-inch panels and three i-i 6-inch veneers glued
transversely, the outer veneer being first grade in figure, or
quarter, and placed upright as to grain. The gluing together
of these wood layers under favorable conditions as to high tern-

SITTING ROOM FURNITURE

167

perature of the room, proper clamping or heavy weight pressing
device will give a panel which will not split, as would a solid

18" > OTTET^

Fig. 183.— The Clock Stand.

168 FURNITURE FOR THE CRAFTSMAN

panel, when the greater portion has been cut out, as in this
instance of fitting the clock dial. The edges of circle of course
would be greatly improved by rounding or chamfering. The
fret ornaments are to be sawed out and slit to a thickness of
3-16 inch. These should be glued on to panels before outline
has been cut. Then saw or trim to the exposed portion of fret,
previously chamfering the edges with file or knife; and after
they are glued on putting in a few vein cuts in middle of leaves
will brighten the work very considerably.

Sitting Room Furniture

The sitting room first appeals to us, for it is here we go to be
at ease, to read or chat in the relax hours of the day or evening.
Some of later day like to see it on their building plans or speak
of it as the reception room, but this puts it in the chilly class,
and causes "the man" to feel less likely to be admitted — with
his cigar and dressed in his easy clothes.

In order to deal intelligently with the subject it will perhaps
be more interesting to offer a suggestion of each room, and to
this end the general interior view shown on page 158 has been
prepared. This, taken in connection with the details which fol-
low, cannot fail to interest those mechanics who are disposed
to improve their opportunities.

The sitting room, or living room, should be all that the name
implies — a room in which to truly li\e and rest, to draw cheer
and fresh air from without through broad window openings;
to provide ample artificial light by night, for how often does the
good wife who represents the "purchasing department" invest
in the lamp beautiful, possibly one of those "banquet" affairs
something like a lone umbrella in a little topply stand, stiff and
formal, with its pretty red silk skirts, absorbing the light?
This gives a reason for "Pa liking the kitchen to go over the
newspapers. "

As the carpenter is generally accustomed to doing work "on
the square" it is fortunate and befitting that no great departure
from the path of rectitude be suggested, for as indicated in these

SITTING ROOM FURNITURE 169

pages the Mission style, has been favorably received. This
"style" and its more pleasing modified forms in the later "Arts
and Crafts" and "Modern Arts" are within the range of every
joiner other than cabinet maker. Despite the present pro-
nounced favor in which this clean-lined furniture is held there
is little reason for the present-day craftsman, with modern
equipment, repeatedly executing all kinds of furniture in that
severely rigid manner. The form and generous proportions
may well be adhered to, or, we will say, take the pure type of
modern Mission, so-called, and soften it down on edges and
corners, and we would have a much less dangerous piece of
furniture to stumble against in the dark. There is too much
evidence of 3 x 4 inch and scantling effect, which is hardly con-
sistent with our rounded-out way of living.

As the window seat shown in the illustration is simply a
suggestion, its construction must be determined by individual
requirements. The height, however, can be definitely set at
16 inches, and this with soft, well filled leather bags to bring the
seat height to 18 inches.

The under part should not be lost space, but should do duty
for lockers or drawers. In building such a piece of furniture
the aim should be, whether it is portable or fixed, to maintain
its harmonious relations with the architectural treatment of
the house. A pleasing change may be given in the doors of the
lockers or cupboards, when the general wood trim is of a plain
character, by having a three-ply laid-up door, with a good
marked figure or quarter panel without molding trim. In
making the veneer the two outer panels should be placed trans-
versely in grain, with a thin veneer intervening, the three pieces
being glued under heavy pressure in this order.

The book shelf shown in the picture needs little explanation,
as it is a matter of easy construction. A slant top freed from
everything but the big dictionary will be found very convenient.
Where there is a large and growing family the medicine chest
and the dictionary should be in a free position to which to refer
quickly to repair our physical and mental condition. Un-
doubtedly the modern system of "elastic" book shelves is the

170

FURNITURE FOR THE CRAFTSMAN

best solution in caring for books, as they are in units and dust
proof, to be added one to another as books and the means in-
crease.

In Fig. 1 83a of the smaller illustrations a fireside seat isoffered as
a novel form of rest furniture not seen in the show windows,
its chief feature being its substantial character and the low and

Fig. 183a. — Fireside Seat,
slanting position of the seat to the floor. It measures to the
top of the frame q)4 inches at the back and 1 1 inches in the
front. The entire structure is from i-inch stock, or, when sur-
faced, %-inch thick. Careful selection of wood as to figure,
markings and jointing is very important in patterns with broad,
plain surfaces. If maple, birch or mahogany is used the smooth-
ness of the work in the making is amply compensated for in the
effect of the good after-finish, whether in dull or usual polish
treatment. The side view that is shown is all that is necessary
to detail in full a drawing, as the front view is 22 inches outside
from floor to top. It is thought that from the necessary high
and low points noted in the cuts sufficient guide is afforded to
prepare the drawing of the side. Do this in a free-hand way,
not hestitating to rub out and draw over until one feels satisfied

SITTING ROOM FURNITURE 171

that the curves are good. When the drawing has been com-
pleted cut to the outHne for a marking-out pattern. A side
will make up from three 8-inch boards jointed in length and
shape to more than cover the pattern. Be careful that good
glue is used, fitting the joints previously with two or more
dowels as a precaution. It is, of course, understood that the
boards are rough or full thickness so as to dress J^-inch in thick-
ness and perfectly smooth. After the sides are sawn and per-
forated to shape of pattern it would be well to glue and screw
the 2-inch cleat upon which the seat frame rests, as shown in
the illustration. The position of all detail will be before you
on your drawing.

The seat frame is i8 x 20 x % dressed size, consisting of the
rails and stiles of 3-inch widths, and as to filling, five 2-inch slats
equally parted. It is a matter of opinion as to how the frame
is made up, whether by dowels, lap joint or grooving. The
two rails shown according to the cut are now made ready, one
for the front rail, or apron, and the other in inverse position for
the top back rail. Cut these to a 20-inch length and provide
each end with three 7-16-inch dowels; likewise prepare a straight
back rail of the same width and length. The sides, bored with
holes corresponding to the dowel holes on the rails, permit the
frame to be glued and set up under long clamps, after which the
seat, exactly fitting, may be set over the fitted rails and along
the cleats, which were glued to the sides. This may be glued
and further held by glue blocks here and there underneath,
fitted to angle of slanting front and back rails. The back filling
consists of A^yi X 3-inch slats evenly spaced. Each of these may
be provided with two short 7-16-inch dowels to fit the top rail,
and the lower ends fitted and driven up to line, where they can
be secured by brads. The edges should now be rounded off
from top rail to floor, or they may be treated to a 3^-inch bevel
and smoothly sanded. The front edge of the seat should have
a full rounding; also hand holds at top to be well filed smooth.
The sanding stick illustrated in Fig. 78, Chapter 1 1 comes into
good use on such outlines.

172 FURNITURE FOR THE CRAFTSMAN

The cushions are very much Hke a leather covered pillow,
and their construction has been considered on pages 1 61-162.
The desirable finish for various pieces under discussion will
be found in Chapter XV on Finishing.

It may not be out of place to state that the smaller illustra-
tions represent articles of furniture slightly differing in design
from those indicated in the large interior view, this being done
for the purpose of giving a drawing with specific details and
the same proportions, which will enable the worker to draw up
in full outline the articles shown in the interior view if he so
desires, and at the same time incline him to lean more and more
on his own judgment and creative ability. There are many who
are not only able to originate, but to draw up their ideas if they
have proper standards to serve as a guide, and it is with this
thought in mind that much time and attention has been given
to the proper measurements and details of the work in hand.

CHAPTER VIII
FURNITURE FOR THE PARLOR

HE familiar caption "the parlor" has been used in
the present instance, although the room it desig-
nates has been outdone in recent years by the more
formal "reception hall," which is still another for-
bidden Eden to the tired man who pays all the
bills. Surmising that the readers will be more at home in the
parlor, it will be the purpose of the writer to surround it with
substantial comfort rather than conventional flimsiness. Why
the parlor in years past was considered more as a museum —
"free only on Sundays and holidays" — was due largely to the
furniture being made along lines most frail, and covered by up-
holstery fabrics most perishable, so that it was a foregone con-
clusion that no one but the minister and others not expected
to tarry long were ever ushered therein.

The drawings accompanying this and the other articles relate
to the modern plain style, but admit in many cases of using the
proportions for variation of details and added ornament. In
Fig. 1 84 is shown a view of the parlor with some of the leading
pieces of furniture. It is reasonable to believe that with the
good influence of the modern style there will not be a sudden
return to over ornamented, badly constructed work, for there
is too much honesty of purpose.

The Center Table

Fig. 185 with the legs placed in a diagonal position at the
corners, offers a subject for practice in varying the outline in
case this particular pattern does not strike the fancy. What
is wanted is a balusterlike pilaster. Six inches will be found to
give ample width for many outlines on the drawing paper, rub-

173

17-1

FURNITURE FOR THE CRAFTSMAN

FURNITURE FOR THE PARLOR

175

being out each effort until the proper combination of lines will
appeal to you. The half plan of the top, Fig. i86, shows
disposition of the posts at A. Great care should be taken in
jointing nothing but well seasoned stock for top and under-
shelf and after it has been reduced to the proper thickness,

^«>

-42

Figs. 185 and 186.— Detail of Corner Post "A," and Half Plan of Top.

Stain and fill before warping ensues. A decided chamfer on all
edges takes away the crude, factory made appearance.

The Corner Chair

The parlor offers a greater excuse for pieces of furniture not
classed among the most comfortable or back resting than prob-
ably any other room in the house. A creation which would
come well within the category mentioned is the corner chair
shown in Fig. 187, which has its purpose, however, in the general
scheme of furnishing, and with the odd pillows about may, in
a pinch, be made fairly comfortable. The size of the seat is 18
inches square, consisting of four i ^-inch square pieces mortised
to the four i ^^(-inch posts. The front edges are set back 14 inch
from the face of the posts, allowing in this for thickness of leather
or covering. There are many features which the individual
worker may carry out with safety and after-satisfaction, but
which, if carried out on a manufacturing basis, prove time-using

176

FURNITURE FOR THE CRAFTSMAN

Fig. 187.— The Corner Chair.

and expensive. The wide board used in the back represents
stock expense and liability of many broken-off corners before

the member is held in its own
construction by gluing. If there
be any charm in this particular
piece to redeem it from its crude
clumsiness it is inthis bold under-
line and the relieving open work.
The covering in such a piece,
without much doubt, demands a
good piece of Spanish leather.
The upholstery webbing is
nailed to the under edge of the
frame and the five or six springs
held down in a crowned form
by twine while the top padding
of burlap, hair and cotton padding is nicely molded to shape
before the leather is pulled and formed over it. It is well to
use no gimp in this, but double under the edges as they are
tacked down. The conforming and holding the leather may
be done with small tacks so placed that they will occupy spac-
ing immediately under the fancy large headed nails used for the
purpose.

The Roman Chair

The Roman chair, so-called. Fig. 1 88, is another piece of furni-
ture used as a sort of filling-in rather than for comfort. It may,
however, be elaborated and made comfortable by giving it a
back-fitting curve in the back slat and the appearance may be
greatly improved with either a band saw, adze or in other ways.
Shape the back from stock not less, and preferably more, than
3 inches in thickness, keeping the thickness of the curve or
serpentine shape 13-16 inch. While the particular sketch is in
the simple class it is one of the forms of chairs which permits
of varied treatment, and should any of the readers be given to
carving as a pastime the proportions herewith indicated will
offer a working guide for new shapes and opportunities for sur-

FURNITURE FOR THE PARLOR

177

face cutting. The drawing of the -front elevation is within a
space of 27>2 x 36 inches wide, and the distance between front

Fig. 188.— The Reman Chair.

and back frame is 17 inches. The frames are dressed to i 3^

inches in thickness. Corner blocks should be glued and screwed

in each corner under the seat. After the chair is set up and

glued, saw off the back legs yi inch at the floor in order to give

the proper "hang."' A bag cushion as described in another

article gives an added finish, or the seat may be made i ^

inches thick and be treated to a deeply cut saddle shape, as dealt

with on page i 52,

The Writing Desk

Unless one has a "den" or retiring room the parlor or recep-
tion hall is a fitting place for a writing desk where every one,
including the guest, may have access to the writing materials.
In our life of today, made up of so much detail, the old-fashioned
"lap " portfolio or writing box, is quite out of the question, and
generally, from its portability, is not, when in a hurry, just
where it is wanted. In Fig. i8q of the sketches reproduced
herewith we show one so outlined that it will be in harmony
with the severely plain or with the mixed class of furniture which
goes to make up the furnishing of a parlor.

178

FURNITURE FOR THE CRAFTSMAN

With the present-day craftsman's knowledge of fitting drawers
and compartments the same general practice applies in provid-
ing all the necessary pigeon and cubby holes which experience
has reminded us are so useful in disposing of answered and un-
answered letters, stamp and pen compartments and other little
details which will either please you, your wife or your wife to be;
for I take it that a great many of the lonely young fellows who

Fig. 189.— General View of Writing Desk.

see the home ahead of them will be ambitious to have the home
furnished largely with their own handiwork, work which they
can back up with a guarantee. The horse lover gets no greater
pleasure in going over the good lines of his horse than does the
man in fondly passing his hands over a well made article of wood
work which he has made when the home was plain, or when
shaping itself into an actual reality of home with the partner-
ship of a wife and all the pleasure which comes from acquiring
one's possessions piece by piece through the years.

The solid top constituting the rear portion of the writing
surface back of the hinged fall is dressed 1 2 x 26^ x 15/16. The
open frame under the drawer is 1 1 x 26^ x 15/16. The front

FURNITURE FOR THE PARLOR

179

of the drawer covers its front edge as an apron. The drawer has
a space of 4>^ inches to the bottom. The lower board, lo^
inches wide, is cut away in a graceful sweep to a width of 5 inches
at the center. Under this a stiff three-cornered batten should
be glued as a support and also to prevent splitting of end pieces.
The latter should be 1 }/s i^ch dressed, while the other parts,
excepting the top, may be 15-16 inch thick. A 3^-inch rotary
cut white wood veneer answers better than most any material
as a filler for the back and is recommended for covering such
surfaces inexpensively. Finish on both sides and it will avoid
bulging. A chain or, what would be better, a knuckle-jointed
brass rod or strip to hold the writing top to a level position
should be fitted to the inside of each end.

The Desk Chair

This answers not only for a
light chair at the desk, but does
duty as the more formal recep-
tion chair, a seat for the visitor
to drop into to say ' " howdy ' ' and
off again. The chair, Fig. iqo,
should be built of the same ma-
terial as the writing desk and be
treated in the finish the same.
The total height is 4 1 J^ inches.
The posts are cut to the shape
shown within a 5-inch board
dressed i inch thick. The seat
is shaped within a square of
17 inches, and treated to a
saddle surface as described on
page 152. The height of the
desk chair varies from iq to 20
inches with the usual after cut-
ting of the back posts ^ inch off
level. Taper the legs from i^
inch to J/s ii^ch square at the

Fig. 190.— Desk Chair.

180 FURNITURE FOR THE CRAFTSMAN

floor. Seat rails J-g x 2 inches are then mortised to the legs and
to the back posts as well as between the back posts at the rear.
The distance outside of the front legs at the seat is 1 5 inches, and
they are spread at the floor 16^ outside to counteract the taper
which would make them look "pigeon toed." These little
points must of course be looked after by the maker and in the
actual construction. Should they with this difference still look
"pigeon toed, " draw them out more at the bottom; herein lies
the value of careful workmanship to so set the work up K. D.
(knocked down) that the general effect may be seen and cor-
rections or additions made to various parts when taken apart
for gluing up.

The Settee

Time was not very long ago when the settee and davenport
were thought of like the "white elephants," but now some
people living in flats think the space none too small to acconimo-
date a full size davenport. Come around at night, however, and
the stately piece of furniti.ire will be found working overtime,
twice its width, doing duty as a first-class bed. Do not go into
too many double-barreled affairs if you can possibly live in a
house, or out in the country.

So with this idea our subject, Figs, iqi and iqz, deals with
something you can't double up or take apart, if properly made
and glued. This too is offered as a model from which to pre-
pare, if preferred, a working drawing, having a different back
filling and arm treatment, the pattern shown being in harmony
with types of furniture shown in the interior view of the parlor
and also in the prevailing style of frames. It is true that many
other pieces about the room of the conventional order generally
in the home are of fanciful outline and surface treatment. This
severe criss-cross effect in the back may put it "off key," and
a more pleasing effect may be secured by filling the same space
with ^4-inch square spindles spaced 3,^ inch apart. This is
mentioned simply to excite a little originality of treatment
suited to individual requirements, because the subject of fitness
applied to all things is worth consideration.

FURNITURE FOR THE PARLOR

181

182

FURNITURE FOR THE CRAFTSMAN

The general proportions of this settee call for a thick, soft
cushion top in the nature of a one or two-piece bag in leather^

: 1

Fig. 192.— One Half of Plan of Settee.

corduroy or tapestry, or the upholstering may be fixed in the
usual way. A long, loose seat, such as made by carriage makers,
would look well, in which case this would rest on a panel seat
bottom.

The Morris Chair

There is always one or more in the family who derive comfort
from the Morris chair or some other form of adjustable back
chair, while with others, like the tea or coffee drinkers, there is
nothing so restful as the excitable rocker. When extreme com-
fort is sought for one may have to make a personal test before
being thoroughly satisfied. In the case of the Morris chair the
luxurious softness of the cushions allows almost any form to
mold itself into a comfortable position, and therefore the con-
tents of the cushions should be of the best grade of curled hair,
with a mixture of moss, tow or cotton. The bag form of cush-
ion, previously mentioned, is shown in the illustration, although
the style of the cushion with square edges like carriage cushions
is most generally used.

While dealing with cushions it may be said here that the seat
cushion is supported either by a three-ply veneer panel tacked
to the inner strip, shown on the seat frame, Fig. 193, or the same
open space is bridged over by heavy upholstery burlap inter-
woven and tacked to strips and corner blocks. In tacking al-
ways start with and turn down a double thickness of the ends
of bands to avoid stripping through the tacks.

FURNITURE FOR THE PARLOR

183

The back cushion is supported by an open frame rack made
of J^ X I i-'s inch material, the frame i8 x 30_J^ inches outside,
with four ^ X J^ inch cross
slats evenly spaced. The bot-
tom rail is hinged to the back
rail of the Morris chair seat
frame, and the inclination of
the rack is made by resting
it against a 3,-^-inch steel or
brass rod, placed in any notch
on the bracket support shown
on the rear of the chair.

The lower end of the back
cushion rests on the rear end
of the seat cushion.

As to the chair frame there
is a field of change of style
from Fig. 193. Using the same seat plan create a different treat-
ment under the arms either by square spindles or three or four
slats or flat balusters under the arms.

^..^ 24>ii-

Fig. 194. — Plans of Seat and Arm of
Morris Chair.

Fig. 193.— General View of the Completed Morris Chair

184

FURNITURE FOR THE CRAFTSMAN

/x/4-

Following the illustration, the front and back posts and arm
pillars are made of stock dressed i}i inches square, the back
posts being finally cut from the bottom i >^ inches to give the
chair proper angle. The side rails may be dressed 13-16 inch
thick, and with the upholstery cleat on the inside of the same
thickness they will when glued be very substantial. This
is a matter of some consideration if more than one chair is to
be made, as stock costs much more if requierd over i inch in
thickness. After the chair has been tried by setting up, knock
off all the sharp edges before the final gluing.

The Pedestal

As many people are debarred from occupying exalted places,
due to many reasons, we often are obliged to go outside of
the family to secure some effigy or bust of the great — a hero
made famous after death — or perchance some one may bring
into the warmth of his home a beautiful nude maiden chilled

to marble seeking shelter behind a
flowing gauzy streamer. Whatever
the subject, it is either the expen-
sive original or a copy of some repu-
table work and in consequence
should have a befitting support.
One suggestion of many forms
which the craftsman may readily
construct is shown in Fig. iqj.
Many patterns have little of the
constructive element about them,
consisting simply of feet, base,
shaft and cap, all work of the lathe.
What should be avoided is making
the entire piece so small that it be
ridiculously inadequate to appar-
ently serve its purpose as a support.
The elements of classic architecture
suggest with little effort suitable
pedestals and, indeed, no model could be better than a pure
Ionic or Doric column.

4-i>^ia^

Fig. 195.— View of Pedestal 36
Inches High.

FURNITURE FOR THE PARLOR 185

We are now very much in the time of veneer work, and if
desired Fig. 195 offers the proper surfaces for veneering and of
a simple character. The reader is doubtless familiar with the
construction of the modern porch column, base and cap, so that
little need be written. Should the decision be to make the
pedestal a display of veneer, the construction should be in white
pine or basswood. The shaft, top and bottom cove mold may
be faced with a "crotch" adjustment of the veneer, or as it
naturally is, selecting in the case of oak pieces of decided flake
in the quarter. The fillets and edge of top and base look well
with "cross band veneer" — a strip selected with good marking
and cut from across the face of the veneer.

It would be well after the cove molding has been produced to
Hsaw these full length for the construction of cap and base, and
before mitering face them with the veneer. To do this a
rounded block conforming to the shape of the cove must be made
as a "caul " or pressing block the full length of the moulding or of
the part to be veneered. When all parts are in readiness the
veneering should be carried to completion if possible, or if inter-
rupted the work continued with all parts under like conditions
such as the temperature of the room, consistency of the glue and
even warmth of the pieces receiving the glue. This is all im-
portant, and a little experience will cause many to appreciate
the importance of proper caution. Care and quick action
should enter into the work, and other things being equal, the re-
sults will be satisfactory and lasting.

When much veneer work is to be done several large square
pieces of felt X inch thick are very desirable and quite essential
when gluing to changing surfaces. A newspaper or thin sheet
of zinc to prevent sticking can be placed over the surface when
veneering the cove. The felt is then laid over this, after which
the warm "caul" block and finally the fiat supporting pieces on
top and bottom before the jaws of the clamps or press are
brought to bear. When the pressure increases the yielding
character of the felt will press the veneer into any slight change
of surface. If great care is maintained in the process of mitering
and fitting the shaft the veneer may be applied to the stock first.

186

FURNITURE FOR THE CRAFTSMAN

The top and the frames which constitute the fillets top and bot-
tom are of course faced with veneer after the frames are made.
The half oval opening may be "floored" and used as a place for
card receiver.

Details of a Music Cabinet and Folio Case — Disposition of Music
Records and Loose Leaf Matter

Fortunate indeed is the man of tools who is able to meet re-
quirements as they arise, oftentimes being required to do things
quickly for others, or in his more leisurely moments relieve him-
self of a certain amount of petty slavery to ill-adapted con-
ditions, or entire lack of conveniences in his home surroundings.
The music cabinet and folio case which we will discuss were the

direct outcomeof the constant
experience of finding some
long-searched-for subject at
the bottom of the pack and
vowing "When I get time I'll
fix things differently." So
the folio case now having been
in most satisfactory use for
some time, sprung into being,
designed to take care of mat-
ter in a parted or ' ' unit' ' man-
ner— and the music cabinet —
well we kept buying records
and the song one wanted —
that, too, was generally at
the bottom of the pack.

While there are at present
but twoprominet makes of the
phonograph, the one under consideration is the No. 8 Victrola,
having a base measuring i 5>^ x i8J4 in. The instrument is an
excellent one and the selection of this pattern without a lower
stand or case was made with preference of putting more of the
large instrument cost into buying future records rather than so

Fig. 196. — General View of a Music
Cabinet.

FURNITURE FOR THE PARLOR

187

much in an expensive outer case. With the base determining
the size of the stand, the height, too, was also governed by the
disposal of the lo and 12-in. records and as will be seen in detail,
Figs. 1 97 and iq8, the height over all of the stand is 31^^ in.
A good grade of easy running brass casters were well imbedded
in the four places of contact with the floor, these being exposed
about % of an inch. The work of construction will prove to be
interesting by following the plan of making six framed-up panels,

Back. rail ^-(S"

Fig. 197.— Side View Fig. 198.— One-half
of Cabinet. Front View.

all frames to consist of J/s in material which before gluing up is
treated with a }i-\r\. groove on the inner edge of stiles and rails
to secure }i in. veneer panels set back }i in. from front surface.
The top frame is without a panel, and the bottom frame has the
inner upper edge rabbetted to receive a solid wood panel to be
smoothed off flush with the frame. Make all frames glued up to
a size, allowing for squaring and fitting accurately. The side
frames being alike are set up in relation to the top and bottom
frames in the manner indicated in Fig. iqq by bringing them
against the edges of the back frame by means of screws. To
avoid evidence of screws on the side frames, bring them up in glue
to back frame by means of long clamps, and apply finishing and

188 FURNITURE FOR THE CRAFTSMAN

gluing Strips on the inside as shown. Through these, screws or
brads may be set alternately.

It will be noticed that the front door, which is finished to 1 5 3^
X 2 3>^ in., fits with a slight overhang in front of the side frames
and immediately under a filling in strip J/gx i}4 ^^- wide v/hich
is cut out to allow of the sliding shelf "A" to be drawn out to a
proper length and stopped with a screw or checking strip. This
shelf will be found very convenient when using the instrument
to lay records upon. A rabbetted slide is, of course, screwed to
the sides and top for this movable shelf to slide over. The case
now being set up, the base may very readily be fitted and
secured by screws to the underside of the bottom.

By a paper or wood pattern drawn and cut out, mark and saw
from a 2 in. dressed plank the two Colonial base pieces. Then
give more definition to the upper part of the scroll by cutting a
line with a V tool, and using a gouge to hollow above it as shown
on both sides of each piece. The work of cutting a tenon on the
back end to enter the posts, and cutting a mortise to receive the
small front apron, may then be done; likewise fitting a tenoned
back rail, ^ x 3 in. The back legs, which are 2 in. square, it
will be noticed, are reduced by a slight taper below the arching
sides. All parts being carefully fitted, they may be glued up in
the nature of a frame and screwed to the underside of the bottom
framing.

One glued-up panel provided with grooves and tongued bat-
tens at each end is reduced to ^s of an inch in thickness and
fitted loosely to the shape of the interior of the cabinet. This
divides the height into space for 12-in. records below and lo-in.
above the shelf board. The means of support may be by pro-
jecting pins, similar to those used in bookcases.

When the final carcase work is completed, a finishing strip is
neatly blind nailed with small brads to the edge of the top
frame all around as shown in Fig. iqq and indicated by a pro-
jection on Fig. iq8. Prepare the strips to 3--i6 x i in. with
miter ends and have them well warmed and applied with hot
glue, sinking the brads and filling the holes with sawdust putty.
Ihis strip makes a proper molding in continuation of molded

FURNITURE FOR THE PARLOR

189

Fig. 199. — Showing Top Frame
and Slide Shelf "A."

base of the instrument, which sets snugly within. Screw holes
bored diagonally up through the top of the stand — one on each
side toward the front and one at the back — will permit of the in-
strument being held to the case. Great care should be used in
making the door to the front of
the cabinet fit very closely, as dust
should be guarded against. Use
two I ^-in. hinges with loose pins,
and the new thumb spring latch
will be found to hold the door
tightly closed and yet readily
opened. Two light removable
cases to hold the two sizes of rec-
ords should be provided to readily
slip in on the bottom and middle shelves. These cases are made
of thin material and cut to the outline shown in Fig. 200. The
ends and divisions being of the same pattern, the bottom,
ends, back and front pieces should be 5-16 in. thick, while the
division panels, which are set in grooves
about I in. apart may be of 3^ in. material.
It is desirable to have the cases portable
for several reasons, one of which is more
readily to attach a label bearing number
of letter to the front of each compartment
so that there will be no difficulty in locat-
ing or putting away records. A correspond-

FiG. 200.— End of Port- jng ijst should be kept in a book or on a
able Record Holder. ^^ , , , , . ,. . .

stiff card, which indicates a certam division

or divisions to be used for vocal, another instrumental, another

talking, and so on.

The Folio Case

As this article of furniture upon first appearance suggests the
familiar "grandfather's clock," it may properly be located in the
hall, or jamb space near to entrance to parlor or living room.

To those who are desirous of being in intimate touch
with information regarding their line of work, it will be
found after many months or years, that it becomes quite a

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190 FURNITURE FOR THE CRAFTSMAN

task to refer to some certain topic without spending much
valuable time looking for it among a mass of collected matter.
The absence of a proper storing place frequently is the reason
for many to discontinue — shall I say the habit of collecting.
The writer is well aware from long experience that there is a
medium to be adopted between the extremes of not collecting
and collecting too much. There is hardly any field of activity
in which a man may engage but what he would be greatly bene-
fited; in truth, progress in, by being always on the lookout for
further developing information in that line. This source of in-
formation is available, and is very frequently free to him in a
pamphlet or loose-leaf form.

I am thinking just now of the enterprising carpenter, the
prospective contractor. You are at liberty to further inform
yourself along any line you wish for the price of a postage stamp
or a post card — look over the advertisements and the invitation
is always open to you. Much information of value is thrust
at you as you walk about an exposition of whatsoever kind.

The most valuable form of loose-leaf knowledge is through the
current magazines, not only your trade papers, but your family
magazines — read and look them over for they will broaden you.
You will say many times: "There is an article I want to keep;"
cut it out. Building plans, or other features of home building,
articles on sanitation, location and all kindred subjects can be
withdrawn in this way from a mass of matter which experience
teaches becomes a burden if hoarded in its entirety.

So this folio case deals with the systematic accumulation of
such loose-leaf matter withdrawn and obtained from many
sources. In one pile it would be quite useless as that article
you were so much interested in a year ago and which you admit
now you can't recall just where you did see it.

To briefly add to the information given on Figs. 201, 202 and
203, it might be explained that the larger magazines, like the
Ladies' Home Journal and others, decided the inner size to be
ii>^ X 17^ in., while many years' possessions regulated the
height over all to be 6 ft. q}^ in. These dimensions then sug-
gested the use of a clock, and to all appearances every one takes it

FURNITURE FOR THE PARLOR

191

for a grandfather's clock, while in fact the clock is simply screwed
to the reverse side of the small swinging door covering the upper
compartment as shown, marked by a false mold on the sides and
projecting in like manner to part the lower and larger door.
The attractiveness of this cabinet depends upon the use of well
selected wood in either quarter or figure of grain. This cabinet

Fig. 203.— Plan at Top

: MouLd A ^B

■ ml — ^ t W-i^v vl; J ? xm^

Figs. 201 and 202. — Front and Side Elevations of Folio Case.

is plain white oak with a pronounced figure which is interrupted
only by a mold blind screwed to the sides, and the stiles of upper
door are cut from same length of material as the long lower stiles.

Finish of the Cabinet

The entire cabinet being finished in a rich nut brown wax
finish makes a very handsome hall piece. The long panel of the
lower door is spoke shaved into a fiddle-back shaped from a J^-in.
board until it is reduced to 3^ of an inch in thickness along the

192 FURNITURE FOR THE CRAFTSMAN

eclgesand slooping into a pretty curve to middle of board, When
making the frame, provide a groove in the center of the inside
edge to receive the panel, but in gluing up the frame under
clamps or clamping device, leave the panel ungluecl to come and
go without danger to future cracking. The disposition of parts
is shown in the plan of under part of top, Fig. 203, which is a plain
board, 14%^ x zz^ in., with the back construction frame con-
tained within the solid board sides, and the front door overlap-
ping these as shown, the sides being screwed to i x 1^4 in. cleats
■'D," which have been glued and screwed to the top. The
molding "A," which is secured from % x i 3^-in. stock, is then
framed around two sides and front. It is again used in a re-
verse manner to trim the front part of "C", which is an extended
and exposed part of framed-up bottom contained within the con-
struction as shown in the plan, Fig. Z03.

The Back of the Cabinet

The back of the cabinet consists of a construction frame with
stiles the entire length and with top and middle rail. The bot-
tom rail is raised from floor to be on a line with bottom frame
"C" The frame consists of material 3 in. wide, with a rabbet
on inner side to receive thin filling in the panels. While the
carved claw feet make a very desirable base treatment, the
shape of the foot "E" may be used without the carved detail,
although a trial block may demonstrate that you have more
skill than you think in this direction. After the block is sawed
out both ways to shape, mark out the five toe points and cut in
the deep gullies by a very quick curve gouge, or large V tool,
then proceed to give the rounded form by using a low curve
gouge giving form and expression to each division and finally
imitating the claw in front of each ball. Amateur effort in
carving will show^ less in imitating a bear claw by not attempt-
ing fine detail, rather let it be reasonably rough and rugged to
indicate strength, which is the purpose.

The Clock in the Folio Case

The beveled rim shown by the two diameters on the middle
panel of the upper door was produced on a large lathe, screwing

FURNITURE FOR THE PARLOR

193

a I 5-16-in. board to the face plate and turning a flat bevel from
io>^ to 7 in. in diameter doun to within % of an inch of back,
when the inner part was removed by sawing out on a jig saw.

Fig. 204. — General View of Folio Case.

The panel was then fitted with a tongue on each end and the
stiles with corresponding grooves, the three parts being glued
up and faced off smooth and fitted with hinges to swing like
lower door.

A good clock works was secured back of an etched copper
dial plate. The clock figures were from stock pattern in cast
brass.

The cabinet has been considered up to its final completion as
an open case, and it now remains to provide at least fifteen light
loose panels ^^ x 1 1 >^ x i7}i '^^- of bass, or white wood, which
when sanded all over should immediately be shellacked to keep
them straight. These are the "unit" divisions which are sup-
ported on four hardwood 5-16 in. dowel pins on both sides of the
cabinet. The boring of the holes should be done before the
cabinet is put together, boring them at a vertical distance of 3>^

194 FURNITURE FOR THE CRAFTSMAN

in. centers and to a depth of ^-in. Pins may be sawed 1 3^8 ^^■
in length and round pointed. After your loose-leaf matter finds
a temporary resting place on these sliding panels, later rear-
rangement will naturally follow, when neatly printed labels can
be glued to the panel edge, indicating that particular shelf panel
is for certain pamphlets, another for catalogues, another for
plans. One or more should be set aside for the use of the family,
upon which may be stored from time to time the really beautiful
and meritorious pictures, poems or other instructive matter
which might be removed from magazines or other sources. The
children should have a shelf or two for their cut-outs, their bird
and nature pictures. Make it a cabinet not only of "last re-
sort, "' but an ever available consulting point for every one, and
when once installed, there will be no doubt of its value to all.

CHAPTER IX

THE DINING ROOM

T is a fact that cannot be gainsaid that we are, and
probably always will be, creatures of habit. The
point is well illustrated by Rover who, after the
plate is cleaned, moseys back of the stove to rumi-
nate; the old gentleman retires to the kitchen cor-
ner for his after-dinner smoke and the children rally about the
sitting-room table with their books and games, while Mary at
the piano gives a quickened impulse for the evening's enjoyment.
We are happily getting over the habit, however, of eating in a
chilly dining room where there are just table, chairs and one
helpful or admonishing motto on the wall. A uniform tempera-
ture now as a rule pervades all rooms and the mother takes
pride in all her dining-room possessions; the china closet holds
safely all her valuable breakables and the plate racks about the
walls display the ware and family plate. The children have
helped purchase suitable articles for the sideboard, so where
else could the home feeling be more strengthened than about the
table of such a congenial room?

Pretense, expense and extravagance may readily be evidenced
in the sideboard, for this is a matter to be individually dealt with
as befits circumstances. Without doubt many dining rooms
would look better with a sideboard less lavishly designed and the
form and detail more in keeping with other articles about the
room. Many a woman you know will keep saving her ' " stamps' '
or go without an extra occasion dress to buy a certain showy
sideboard which afterward does not keep company with the old
chairs and table; in fact it stands out too much in relief that is
bold.

195

196

FURNITURE FOR THE CRAFTSMAN

THE DINING ROOM

197

It may be with some people the plain is little sought after, but
in furniture the plain has the stamp of quality and is growing in
favor, looking just right wherever it is placed. All the attention
it is given in dusting and after-polish tends to improve its ap-
pearance. Fig. 205 the reader may see is severely plain — on

24*56

Fig. 205. — Front and End Elevation of Sideboard, Showing Dimensions of Various Parts.

paper — and for this reason it is offered as a model, for within
its measurements other forms lighter or more ornamental may
be drawn embodying also features or compartments according
to individual needs. Right here consult the lady of the house,
for you are not supposed to know how few folds she may put
into her table cloths, and the top drawer is intended for this
purpose, giving as much space as possible. This drawer is the
width between outside pilasters and carries with it when open a
false cap — a portion of the middle pilaster. The drawers at the
bottom run between the three pilasters and can afterward be
partly subdivided for small tableware and table linen. The
disposition of large space between drawers may also be made
"elastic" by notched shelve strips in each corner to accomm.o-
date two shelves regulated by the height of the dishes or silver-
ware intended to be placed therein.

198 FURNITURE FOR THE CRAFTSMAN

It is a matter of fancy or later addition whether a back board
be secured on top or some form of hanging shelves be added in
keeping with the style of the lower case work. A broad sheet of
beveled plate mirror glass gives tone and a reflecting surface for
all the cut glass one expects to buy for the house as time goes on.
It is a sort of rising barometer of a couple's prosperity.

The back consists of a one-mullion framing of J^ x 4-inch ma-
terial paneled with ^ g-inch clear matched and beaded boards.
The framing over which the lower drawers slide also has a mul-
lion or rail and a straining rail or board joining the middle pi-
laster to the back framing. There should be no division back of
the middle pilaster in the cupboard proper. The bottom of the
cupboard over the lower drawers should be particularly clear
and carefully smoothed over for the after-finish. The long top
drawer slides over an open framing similar to the bottom frame.
The use of a neat three-corner strip is recommended here and
under similar supporting places, well glued and bradded. Under
the bottom framing in the corner the stock should be built up by
gluing in corner blocks substantial in character for heavy casters.
Heavy corner blocks should also be glued in the corners of the
pilasters and the ends on the opposite side of the drawers.

For this style of case plain, solid cast brass hardware should
be used, the new "brush finish" or "satin finish" adding greatly
to its final appearance. It is recommended here to provide each
drawer on the bottom in the middle with a wide-tongued sliding
strip corresponding with a grooved strip glued to the under
framing. This when carefully fitted avoids the sticking of the
drawers and allows of their being readily pulled with one hand.

The use of veneers for the under panels will undoubtedly be
the most satisfactory for strength and a fine display of figure or
quarter should be used. Where veneer can be obtained it is
evident that by using the thick whitewood rotary cut veneer
as a "filler," say Ya, inch thick, facing the inner side to be with
rotary cut and the outer side with a select figure of sawed or
sliced veneer, a cheaper and more durable panel will result.
The whitewood filling should run crosswise with the oak veneers.

THE DINING ROOM

199

The use of veneers has grown so general that there should be
little difficulty in obtaining flat or curved veneer panels in many
sections of the North, South and West, made up to order. As
an equipment of heavy presses, however primitive they may be,
is required for gluing surfaces of large extent, it is not recom-
mended to attempt anything of this kind unless with serious
intent of making many articles where veneers could be used to
cheaper advantage. A more attractive and well matched figure
would result for such a handsome piece as this sideboard by
using plain oak or inferior grade for the top and facing it with
well selected sawed veneer, which in a finished condition would
have every indication of representing the board to be high grade.

The pattern shown in Fig. 206 has been prepared with the
idea of showing the buffet, so-called, and which shorn of the top
trimming and lower drawer would make what is generally sold
as a serving stand — two pieces which will suit modest require-

Fig. 206.— The Buffet.

ments. The serving stand, however, does duty in a well equip-
ped establishment as an adjunct to the sideboard.

The size of the buffet or serving stand appeals naturally to
those occupying small homes, and for this reason they are ex-

200 FURNITURE FOR THE CRAFTSMAN

tensively sold to flat dwellers. The buffet illustrated may be
made to do greater service by putting the lower drawer 3 inches
from the floor and building within the intervening space a two-
glass door cupboard, which would truly make it as a miniature
sideboard of great use and beauty. The sketch, Fig. 206, is
sufficiently explanatory in its outward form to dispense with a
detailed description. The legs are i 15-16 x i-inch material
with end board of same thickness jointed and flush faced. The
top and end material is i inch dressed, the drawer fronts and
mirror framing may be J^-inch dressed.

The framing between the drawers and a similar framing under
the large lower drawer, which does not show, are made without
panels 3 inches in width with one middle stile. The back may
be neatly filled with any thin material.

Plain turned drawer knobs in wood with sunk brass escutch-
eons would look well.

A wax or oil rub gives a refined finish which will be far more
satisfactory than maintaining a high polish.

Dining Room Table

The dining table is the central object in the study of the dining
room, and just how much attention will be given this piece of
furniture will depend upon circumstances, for it is desirable to
have a table that is "elastic," accommodating either the slow
growth of a family or the sudden dropping in of your wife's
brother's family, or mayhap making it under other conditions
small and cozy. This feature of pulling apart the main con-
struction or contracting it is usually pretty thoroughly covered
by patents and so well made that it probably would not be
profitable to make a similar device. If, however, a person in
already in possession of a dining table it might be well to remove
the expanding and contracting device and apply it to such a
table in contemplation. The round top table is now more m
evidence than the square top and is no doubt more to be desired
by the housewife in the setting and general effect.

In the illustration, Fig. 207, is shown a modern pedestal table
which may be equipped with the usual sliding device under all
dining tables. The more massive tables frequently have a

THE DINING ROOM

201

small turned or square center leg, which when the table is closed
to the minimum size is completely enveloped by the hollow

30'

Fig. 207.— Modern Pedestal Dining Room Table.

pedestal. The method of constructing this table is sufficiently
shown in the illustration to preclude the necessity of any extend-
ed comment. The rim under the top is generally steamed and
bent to shape, although many makers saw kerf at frequent in-
tervals and over a drum or form glue and clamp on a face veneer
yi inch thick. When this has been edge-surfaced fasten to the
glued up top by means of screws at frequent intervals sunk in
counterbored holes. On the inside place corner blocks glued at
intervals. The two pieces are exact halves of the surface, either
48 or 54 inches in diameter, with the edges treated with a plain
mold. The intervening and loose "leaves" are squared to the
length of the top diameter and provided on one edge with 7-16
inch pointed dowels projecting ^ inch. The opposite edge of
each leaf is bored with holes corresponding in position to the
dowels, each hole having the edge countersunk to permit of the
pins readily centering.

The square pedestal is best described by calling for a mitered
box 24 inches long by q inches square of well figured stock care
being given to place the figure to view. This box should be re-
inforced on the inside by stout corner strips set in glue. On the
lower end lay out to insert by exact fitting the 4 feet of the table

202

FURNITURE FOR THE CRAFTSMAN

at an angle of 45 degrees. On each corner provide the lower
edge with a plain suitable mold, then remove the fitted legs and
saw the pedestal from end to end in the middle. This had best
be done on a rip saw. Now the feet may be glued and inserted
in their proper places and fortified by corner blocking, and with
screws well directed to produce as near as possible the equiva-
lent of a mortise in solid wood.

The Plate Rack

The hanging plate rack, Fig. 208, until recently has been
an expedient of what the permanent wall melding is for

Fig. 208.— Plate Rack.

the same purpose. Even with this there is a liability of
the housewife continuing to acquire more fancy dishes than
closet or wall molding will adm.it and the rack proves to be a
desirable adjunct. The two end views shown in Figs, zoq and
2 1 o, together with the sizes given will readily suggest other out-
lines. Frequently small brackets on the outside are worked in
the construction as a lodgment for a particular mug stein or odd
shaped piece. In this, as in all such work, the embodiment of
that which is particularly fitting to one's personal requirements
puts the work on a different plane. The question will arise
among one's friends — your helpless friends, those who do not

THE DINING ROOM

203

know how to do things — where did you get it? who made it?
what made you think of it? etc. You who are able to wield the
tools of the wood trade can easily excite enthusiasm of a sub-
stantial character, for it is a time when patrons are easily culti-

4-i

...^ jf.

Fig. 209 and 210.— Suggestive Outlines for Ends of Plate Rack.

vated if you can offer them something that fits their needs and
is given an individual stamp.

Swing Top Table

The swing top table, or "English breakfast table," is pa-
ticularly useful in more ways than as a dining room accessory.
The writer has found such a table constructed from his draw-
ings most serviceable for writing and the ample surface it
gives in laying open many papers makes it more desirable
often times than the more restricted writing desk. This table,
Fig. 211, proves to be the embodiment of utility and when out

204

FURNITURE FOR THE CRAFTSMAN

of service with the top swung into a vertical position it is just
one of the pieces to break the angularity of a room, for with the
tripod form of base one
foot can be placed to the
wall corner and the top
shown to the front as a
presented shield. This
particular top led to a
happy thought as to the
disposal of a certain rare
piece of ash burl veneer of
an unusual size, or, more
correctly stating the fact,
the possession of the ve-
neer required thought as
to how best to use it
its full surface, and

the
the

oval table top was

Fig. 211.— Swing Top Table.

result. The shaft consists of a turning from lyi inch

(,/-v^^-«J

i:;^

Fig. 212.— Under View of Table Top.— The Part D Represents Side
View of Batter Showing Position of Dowel Hinge C and Catch B.

squared stock. This draw to your own fancy, bearing in mind
that a long, smooth, plain part with few finicky dips and knuck-

THE DINING ROOM 205

les will be most satisfactory. The post stands, with the three
feet attached, 17 yi inches to the squared top, upon which is se-
cured with four screws a block i inch in thickness shaped at the
end and the width of the post, as shown at A of Fig 212. At
the straight end of this block is secured by two screws a i-inch
straight round pin, C, which has been previously inserted in
corresponding holes in the lengthwise battens, as shown at D.
The table top operates on this pin, permitting it to be turned to
a vertical position if desired to stand somewhat out of the way.
In order to lock it in a level position a turn block of maple se-
cured at B and operated as shown at D securely holds the top
against the projection of the immovable block A. To deter-
mine the position of the two holes in the battens the top should
be set squarely in the middle over the post, when the hole center
may be marked and the battens removed for boring.

Make sure that the stock for the table top is perfectly dry.
This should consist of not more than three widths selected to
have the joints match well. After gluing reduce to a full inch
in thickness and fasten with glue and screws immediately, the
two cross battens. Furthermore, if possible put on the first
finishing coat in order to doubly guard against any chance of
warping while the other work is being carried on. The edge
should be treated to a half round mold, an ogee or a part half
round with a slight undercove mold.

The Dining Chair

The pattern shown in Fig. 213 is offered because it is little
seen in furniture stores selling at a popular price and is a type
more made to order, with specially selected upholstery covers.
It is viery true in furniture that the solid and substantially plain
is expensive. Good reason why if one is able to produce such
work that he confine his efforts to that which will always sat-
isfy— the plain and direct in construction.

Two ways of treating the back and seat are indicated, the
leather on the back and the heavier padded seat being the more
desirable but more expensive treatmen:. One may choose to
make the back with three flat splats, as shown, and the flatter

206

FURNITURE FOR THE CRAFTSMAN

padded seat, and at some future time change the style of the
chairs by the more sumptuous over-stuffed treatment, as shown.
This chair without the upholstery in the back could be fitted

3 1

Fig. 213. — Front and Side Views of Dining Chair.

with a I -inch saddle shaped seat if no upholstery is desired.
Should the chair be made for an all-over covered seat, as shown,
the front seat and rear rails may be of some solid inferior wood.
Before the final gluing the edges of the legs and back posts and
top of strainer rails should be treated to a decided chamfer.
Di not fail to reinforce the seat rails by corner blocks firmly
fitted, glued and screwed.

One or two arm chairs will be a desirable part of a set of dining
chairs. With this particular pattern, and as would apply to
most any arm chair, the front should measure 4}i inches wider
and the back 3^2 inches wider than the dining chair, and the
depth of the seat 2)4 inches, with the back post 2 inches higher
than the diner. The front leg is extended to the curved front
post, as shown in Fig. 214. In laying this out on the drawing
aim to combine the arm and post so that the scroll end does not

THE DINING ROOM

207

project beyond the face of the post, as it is annoying to have the
arm strike the table. The top of the arm joins the back post
1 1 yi inches from the top of the seat rail. The arm is secured

Fig. 214.

-Side View of Arm Chair.

from stock 3>^ x i8>^ x 2 inches in width. Finish the top with
a low round dressing. The front and back posts from the seat
down should be i ^ inches square.

Upholstery

The upholstery admittedly gives tone to such a pattern as
shown in Figs. 213 and 214 and this work is not very difficult.
Assuming that the back and seat are allover covered, the
manner of giving a workmanlike edge to the seat is by fitting
and nailing a J^-inch dowel on the seat rails, as shown. Miter-
ing the three pieces at the front corners with the slight overhang
as shown in the side view of Fig. 2 1 3 gives when covered a de-
sirable effect, as will be understood from an inspection of the
front view. On the bottom of the seat rail stretch very tightly
burlap upholstery bands, weaving them from side to side and
from front to back so that a solid cover is formed. This is done

208 FURNITURE FOR THE CRAFTSMAN

by heavy tacks, doubling the ends before nailing. Upon this
surface evenly space six double upholstery springs and with a
curved upholstery needle and twin sew them in this position to
the burlap. From the top rail nail down with a staple and knot-
ted end of heavy cord and begin tying down each spring from
side to side and front to back. This must be done with an eye
to the form of seat — that is, having the outer springs pressed
down more than the center ones and maintaining that crowned
form peculiar to all chair seats.

First efforts may not prove entirely satisfactory and the work
should be cut out and done over in order to secure a well bal-
anced frame work, upon the top of which lay a piece of bagging
or burlap cut a little larger than the frame and from the back
proceed to tack over the cord work. When fastened along the
back railing pull over and tack along the front rail, turning one
edge in double, then in like manner the seat and finally tack
down the other side. The work should now loo . balanced and
not too highly crowned. Herein a little observation and judg-
ment should be used to decide this part of the work. Upon the
top of this covering is placed a generous quantity of well picked
hair. Mold this about to the form as much as possible and with
the curved upholstery needle secure it by a few well placed
stitches so that it will not shift in after use. A sheet of cotton
batting is very often used — laid upon the hair — and the work is
then ready for the leather covering. Brown Spanish leather
should be used for the covering. In order to ascertain the cor-
rect size a trial should be made, using some cheap material,
stretching and tacking it sufficiently with small tacks, which may
easily be afterward removed, and then a paper pattern can be
cut for use in securing the leather without waste. The smaller
headed nails are proper should the very large nail be found too
expensive. Whatever nail is used aim to so place the four or
five tacks on each rail that they will be finally hidden by the
heads of the finishing nails.

Now start the leather from the back and proceed to place a
few starting tacks along the back rail and then finally pull for-
ward, meanwhile pressing with the hand. Pull down over the

THE DINING ROOM 209

dowel edge and secure with four or five tacks along the lower
edge of the front rail. Then after cutting out a corner of the
leather against the back post double and tack neatly about the
post and proceed to form down to the side rail. Then secure the
other side in a similar manner. Possibly a smart blow with the
hand will be necessary to correct any unevenness before the
cover is at last held to place. The finishing tacks should now be
correctly spaced and driven to place. At the corner a small
square should be cut out to avoid an extra lump at that point.

In concluding the subject of furniture pertaining to the sitting
room, parlor and dining room the matter of stain and finish has
been treated in detail in other chapters. The finish which
continues to be popular is the dull finish with which every one no
doubt is familiar and which is exemplified in connection with the
so-called "mission," "quaint," "arts and crafts" furniture,
while the color is under as many more terms — "weathered,"
"Antwerp," "cathedral," etc. Fumed oak, however, which is
standard and generally seen under wax finish, is a most pleasing
tone. Such a finish will always be satisfactory and its appear-
ance will be improved every time it is rubbed over with a cloth.

China Cabinets and Tea Cart — Certain Well Established Needs —
Great Help to the Housewife

Very frequently provision for placing and displaying choice
table ware, and cut glass in the built-in sideboard is inadequate,
and also without proper light to show to good advantage the
features of some newly acquired bit, for it is well-known that a
woman is about as eager for a new plate or bowl as a boy is to ac-
quire some strange foreign postage stamps to add to his col-
lection. The chief aim then will be to have the parts trimmed
down as light as possible consistent with strength, for there
should be no great barrier of framed woodwork to obstruct the
view ; rather will it be a set of frames set up in case-like form con-
taining well selected sheets of glass; in fact, many cabinets have
the shelves of 5-16 in. plate glass, which adds much to the display
of cut glass ware, and in place of the plain paneling of the back
filling, a full sheet of mirror is often used to apparently multiply
and add to the brilliancy of the displayed ware.

210

FURNITURE FOR THE CRAFTSMAN

Fig. 2 1 5 consists of practically four frames, the sides and back
being blind screwed to a top and bottom board each 1 5^ x 30^
X J^i in. and a finished panel 5 in. wide fitted on the back edge as
shown. The entire case is raised on a simple form of square
cabriole leg in front, obtained from a block 4^ in. square, sawed

out in shape as suggested
from a pattern made from
your drawing. The back
foot is 4>2 in. long by 2
in. square, slightly tap-
ered. Both feet are at-
tached by two dowels each,
set in glue and further
fortified by corner blocks
placed in back where they
will not show.

Before the door has been
laid out on your drawing,
allow for a ^ in. wide
strip set in under the top
board. All these frames
may be made up to have a
finished size of stiles and
rails of ^4 X 2 in. The
inside edge is rabbeted
to take a good grade of
single thick glass, and deep
enough to allow the glass
to be set in with a neat
^4 or 3- lb in. square strip instead of putty. The filling of
back frames, shown in Figs. 215, 216 and 217, may be of well
selected tongued and grooved material, or some of the new
brands of composition board may be covered with veneer paper,
if a regular laid-up veneer panel cannot be conveniently secured.
The shelves can be fixed permanently at even spacing or frequent
holes bored on the inside of the frames into which the little metal
shelf rests may be used as in bookcases.

Top s "BoT Tom
Fig. 215. — One Form of China Cabinet.

THE DINING ROOM

211

In laying out a preparatory drawing for Fig. 2 1 6, consider ttiat
the top and bottom board is secured by four i yi in. square posts
placed within 17x40 in. The back post, it will be observed,

17x40

Fig, 216.— Another Style of China Cabinet.

sets under the top shelf and the front slightly projects above.
Place on the ends a 3 in. cross rail under the top shelf and in
front of the lower shelf, while a rYi in, apron goes across in
front of bottom board, and under doors.

Before provision is made for the shelves, )4-in. strips are glued
and secured with headless brads to the inside of the posts at the
side, against which the side glass is set in and held on the other
side by y^-in. strips, also invisibly secured by glue and brads.
The front doors have a full sheet of glass up to the muUion under
the glass panel divisions. The top rail cut out in the three-arch
manner may have one piece of glass set in across and behind the

212

FURNITURE FOR THE CRAFTSMAN

lijx 24

two divisions, if it is found difficult to cut the glass to the round
shape, although an ordinary ten cent glass cutter will readily cut
this. The cutter is run around a stiff pasteboard pattern with
a firm hand and then tapped from the back of the glass until it is
severed. Material :?4^-in. thick is used for doors, top and bottom
to be J^ in. while the shelves may be ^ or ^ in. thick, well
dried.

Fig. 2 1 7 will be found to be a very dainty shape in the size
given — I 5 X 24 in. — but this width may be doubled if the style is

desired for a more roomy cabinet.
This size will be found more effec-
tive than a larger cabinet often-
times when placed in a certain
wall jamb or put diagonally in a
corner. This, too is built some-
what in the same manner as Fig.
2 lb within four lYi in. square
posts, except it has a 3^-in. apron
framing under the top finished be-
tween posts by some simple suit-
able molding as suggested, the
apron to be set 3^ in. back from
face of posts. The back frame
and front door frame is made of
^4^ X 2 in. material for stiles and
bottom rail and in your drawing
plan to make the top rail a full half
circle with sun ray effect as shown,
the strips or ribs having an exposed
width for this interior framing
of Yi in. The larger and lower
part of door consists of three
long divisions of glass.

This door treatment is an easy suggestion of many modifica-
tions that can be given which are now so popular, influenced
greatly by the practice of Chippendale, and later so much used
by Colonial cabinet workers. An arched top rail may be made

SeCTlON OF

SKelF-

FiG. 217.— A Dainty Pattern
of Cabinet.

THE DINING ROOM 213

for the sides to conform to the arch of the front, leaving out the
grille work. To reduce the cost of a full mirror back panel, if
mirrors are desired, the back framing may be divided by cross
rails which are spaced to go back of the shelf division , and four
mirrors may occupy the place of the usual wood paneling.

In order to reduce the thickness of shelf edges without re-
ducing the thickness, mold the ends and front edges with a wide
ogee mold, which when adjusted in place, molded side down,
resting on shelf supports, cause them to have a very light ap-
pearance. Provide also on the upper side of shelves two well
cut grooves one i in. and the other 2 in. from the back edge.
These are to stand plates on edge, preventing them from falling.
The new style of cabinet door handle will be the proper thing for
such cabinets, consisting of a plain half hoop brass handle with
a small thumb knob above, which when pressed in, releases a
positive spring catch. This is more to be desired than escutch-
eon knob and key.

Tea Cart

It is not so very many years ago that if real "plain folks"
were seen using a tea cart they would be regarded by certain
neighbors as "putting onairs" or getting "tony. " Considering
the many articles which have heretofore been classed among the
luxuries of life the tea cart when used will be found to greatly
lighten the labors of the housewife, particularly if she is at-
tempting much or all the labors of the home. From the kitchen
many meals may be carried entire, while there will be a great
reduction in the labor of removing the dishes and at the same
time it gives the housewife greater composure at the table that
her dessert prepared before the meal needs only to be wheeled
to her place at the table by some other member of the household.

This is one of the many items of conserved energy which our
women are adopting and it will not be long before few homes
will be without a tea cart, and where the outdoor life on porch
and lawn is being given so much attention the tea luncheon is
readily carried about on the cart wherever desired.

214

FURNITURE FOR THE CRAFTSMAN

In Fig. 2i8 is shown a tea cart which provides ample space for
the needs of an average family. It may be found on looking
over this illustration that it would be desirable to provide other
features. Some have a knife box arranged under the tray be-
tween the handles, but whatever these additions may be, aim to
embody them in the preparatory detail drawing which should
always be made. This drawing does not need to be elaborately

Fig. 218.— Details of a Modern Tea Cart.

19^" 5

Fig. 219. — Details of One of the Pusher Supports.

detailed, as the main thing is to obtain the constructional out-
lines or boundaries and whatever bevels will be required to know;
also to draw any part of the varying forms, such as the pusher
supports, shown in Fig. 2 iq that it came from a board 14, x 4%

THE DINING ROOM 215

X iq% in., then trace this on a heavy piece of paper, so that it
can be cut out to the mark on the prepared board for sawing out,
the two being sawed out together if done on a band saw.

Considering that the removable tray on top is made first we
will proceed to construct the cart to hold it. The tray having
an outside measurement of 14^ x 22 in. sets in another frame
17 X 243:4 in. which is screwed to the frame of the cart through
the under side of the side rails, the end rails providing a rest-
ing place for the tray. The plan of the rails and four posts
of the cart will be found to be 16^ x 15 in. This detail being
known it will not be difficult to proceed with drawing up the
rest of the cart from the measurements given.

The wheels may be made in several ways but the form con-
structed after the manner of a wagon wheel will give the great-
est satisfaction. A drawing should be made of this. The di-
ameter of the wheel for this cart is 14 in., including yi in. rubber
tire such as is used on a child's carriage. This tire is not ab-
solutely essential and I mention this in case it is not readily ob-
tainable. A piece of very heavy felt or flat band of rubber glued
on neatly in a similar manner to the rubber on a band saw
wheel will answer. The felloe should be not less than Y% in. in
tread and ^ in. wide jointed in the same manner as in a wagon
wheel.

The spokes are worked to an oval and round shape from a Y%
in. square and are fitted into a ry^ in. hub with a long tenon.
Avoid turning the hub of a pattern which will project too greatly
on the outside of the wheel as it should be just a low round to
avoid striking the door jambs. Have the journal bearing in the
hub bored and counter-bored to receive the nut on the axle in a
flush manner. The axle which is held by screws to the bottom
of the under shelf should be Y% in. square with a 2>^ in. journal
and proper washers at each end of the hub.

The wheels should represent careful workmanship and if it is
possible have them so that they can readily be detached by a
spring catch on the axle and an inserted flange bushing within
the hub rather than the old style of threaded axle and nut which
too frequently allows grease to collect on the outside of the hub.

216 FURNITURE FOR THE CRAFTSMAN

The new "steel glides" or "domes of silence" will be found
very smooth terminations driven in on the bottom of the front
legs. These are now largely supplanting the unsightly and
objectionable casters on most all kinds of light furniture.

CHAPTER X

BEDROOM FURNITURE AND CONVENIENCES

The Bedroom

N other chapters the principal main floor rooms of
the dwelling have been considered; the sleeping
room however, while less elaborately furnished,
should be given our careful attention in that it
should be simply furnished, the furniture being
free from excessive ornament in the way of carvings and elabo-
rate moldings, for the aim should be to show the beauty of the
grain of the wood under a tinting or stain that needs no exces-
sive drapery to set it off.

As the "Mission" style, or now properly known as the "Arts
and Crafts, " is very much in favor, Fig. 220 is offered as a sug-
gestion on which to work. The size intended is 4 ft. 6 in. x 6 ft.

220.— Bedstead with Chest.

4 in. long, with the back 51 in. and the foot 41 in. in height.
It would be well to get other points and information from a
standard bedstead. The posts are 2>^ in. square; top rails lyi

217

218

FURNITURE FOR THE CRAFTSMAN

in. X 2 in. and tine splats yi in. thick, witii edges and openings
smootl-ily sanded. The chest is framed into the front posts as
shown, with the lid lifting. This will
be found very convenient for extra
sheets or blankets. Naturally no cracks
or crevices should be allowed to go un-
filled in any bedroom furniture, so for
this purpose a mixture of glue and saw-
dust will be found good to "putty" into
all such places previous to finishing.

Little need be said concerning the
side table shown in Fig. 221, which

Fig. 221.— Bedroom Table.

will always be found serviceable
for a clock, lamp or book. The
top is 1 7 in. in diameter and stands
2q in. from the floor; the posts
being i Y^ in. square. A suggestion
is made here which would turn
this pattern to double use by box-
ing in three sides to a height of 10
in. above the bottom shelf and pro-
viding the fourth side with a
hinged door, and a top over all,
thus making a suitable bedroom
commode stand if so desired.

The value of the clothes stand
and costumer heretofore has been
little appreciated, the apparatus
consisting usually of a few hooks
here and there, or a chair seat
and back was utilized to hold the
clothes discarded for the day.
Either method gave little chance

l|Sc

Fig. 222.— a Clothes Stand.

BEDROOM FURNITURE AND CONVENIENCES

219

for proper airing or an easy disposal of them to the hallway
or unused room for the night.

The arms entering the standard transversely as shown in Fig.
222 permit of eight double hooks
being used; a 12-inch dowel
may be centered just above the
braces for hosiery. The total
height of the stand is 62 inches.
The intersecting base is halved
with the standard entering joint
with a ^-inch tenon, well fitted
and glued. The braces may be
doweled to the standard and
secured to the base by screws
from underneath, counterbored.

Nine pegs are indicated in Fig.

-Costumer.

223, although the number and dis-
position is entirely optional, the main
I % I [ point being to stagger their position

1 % ■ so that one garment will not overlap

li % fl\ . another when hung up. The posts

and arch are made of i>^ x 2 in.
material, the posts being q in. apart
and the distance from the fioor to top
of arch measuring 6 ft. The top
cross bar measures 40 in. and the
lower bar 30 in. in length, each is i
X 2 in. wide, slightly halved out to
fit the posts, the faces of posts and
bars being rounded as shown. The

base is i >2 x 2 x 6 x 24 in. raised at the corners by fiat turnings

as shown, the pegs to project 4 in.

Fig. 224.— Cheval Mirror.

220

FURNITURE FOR THE CRAFTSMAN

Occasionally a man may wish to view himself full length
in his proud clothes — but a lady always — so a full length
mirror must be a part of the furnishing, materially adding in its
usefulness to the attractiveness of the room. In Fig. 224, the
mirror shown, 20 x 52 in., is set in a frame of i)4 x 2 in.,
and swung within a stand consisting of i^ in. square posts
mortised into bases 1^4 in. thick, and 21 in. long, and cut
within a width of 4>^ in. according to this or similar pattern,
the two parts being securely mortised and tenoned. The
hanging pins may be turned in some hard wood, or be of
metal, so placed, by experiment, between temporary posts to
swing to stay either tipped forward or thrown back as wanted.

The shoe and slipper chest might be dispensed with if no fur-
ther use was made of it, but as the one shown in Fig. 225 is in-
tended outwardly as a window seat it forms a finish to the room
and a place to put on shoes, or keep in proper bounds shoes and

Fig. 225. — Window Seat Shoe Chest.

slippers when not in use. This chest is built of i in. material,
the top and front side swinging forward to the floor on hinges as
one piece when the chest is open, as shown. A corner bracket
holds the top and front at each end.

It will be noticed that the top of the chest is of panel con-
struction, over which a light padding of cotton and hair may be
placed in an even manner, this in turn to be covered by a piece
of colored sheepskin cut somewhat larger than the exposed pan-
el size, this to be neatly tacked down just within the outer
framing by brass headed nails.

BEDROOM FURNITURE AND CONVENIENCES

221

Refinement in outline should be the first suggestion of the
dresser. We think of it more as the ladies' work table, in fact
there is little room left for the dear man to share it in. Possibly
Sundays he takes a flash light of himself in the mirror to see that
his outer rigging is extra satisfactory for an off day. In the il-
lustration, Fig. 226, the Colonial style is uppermost. The after-
finish is a delight to the eye and pleasant to the touch. With
the figures given on the sketch no difficulty will be experienced
in making the one-half drawing of the front elevation, and in

^36'

Fig. 226. — Colonial Dresser.

drawing the end view it is well to keep within an over-all width
of 22 in., having for a back leg a i^/i-'^n. square post reduced to a
slight taper. Between the front and back posts draw a framed

222 FURNITURE FOR THE CRAFTSMAN

panel, the width of framing being 3 in. — the panel, a well se-
lected piece set in either a rabbet or a groove in the framing. A
similar paneled construction constitutes the back. This should
have one or two upright mull ions between the distance of the
back posts, the frame and filling being of course of a cheaper
wood. The first, second and bottom drawer divisions are simi-
lar unfilled frames with a center mullion. The top frame is of
the same character except that it shows a ^ in. projection over
posts and is molded % round. This framing is glued and
screwed onto the top, which is ^ in. longer on the ends and
front, treated with a more than quarter round finish.

We now have the various parts of the carcase to assemble ac-
cording to the plan which should be prepared in connection with
the front and end views, which will show just how much is to be
cornered out on the drawer divisional frames to bring them into
contact with the inside face of end and back framing, where at
the proper place they are to be secured by diagonally counter-
sunk screws, and further fortified by three-cornered glue blocks.
The dividing board between the two small top drawers is now
put in place and held by screws through middle mullion into
bottom edge and glue blocked against back frame. The rein-
forced top may now be put in position o\"er posts and brought
down tight by screws diagonally placed through framing and
also into post corners. The corner posts should not be reduced
by the spoke sha\"e to a full quarter round, but in the final sand-
ing and finish no evidence of flatness should be apparent.

The drawers should properly be dovetailed and be made of
exceptionally dry material.

The stanchions are turned from stock i -''4 in. square, a square
base being left to mortise with a i >^ in. cross bar immediately
under swinging mirror. This mirror stanchion is held to top of
dresser by a lag machine bolt secured in the ends of stanchion
posts and passing through top of dresser to be held by a nut
and washer. The beauty of the narrow mirror framing de-
pends greatly on the even roundness given it, and when oak
is used the display of quarter is everything here and on top,
as well as on the drawer fronts. A\"oid selecting o\'erlarge

BEDROOM FURNITURE AND CONVENIENCES 223

and ornamental hardware, as the plain remains good through
all changes in style.

Convenient Bedroom Furniture

It is a matter of progression rather than of unrest which cre-
ates the desire to have about us much that is convenient and
conducive to our comfort. The time was when the gourd dipped
into the running stream or spring permitted the morning face
wash right on the spot, or, later, with more shifting and appor-
tioning of the precious fluid, the ablution was performed within
doors. Time and even the wind mill have produced such a
change that the small boy has no excuse to skip the wetting of
his face because the pitcher is empty. The harnessing of the
wind with a system of simple plumbing will give a city man's
comfort to the ranchman on the plains. We, however, have not
universally advanced to the time when cold, much less hot, wa-
ter will be found in every room of a dwelling. Some have gone
so far as to invite the pump into the kitchen, which seems by the
way a more hospitable, as well as modern, show of civility than
to leave it to freeze outside.

For the rooms unprovided with the luxury of running water
the portable wash stand, illustrated in Fig. 227, is suggested as a
substitute for the permanent wash bowl and faucets. The main
purpose is to avoid the always objectionable feature of lifting
and emptying the contents of the bowl into the slop jar. This is
accomplished, as shown in the engraving, by procuring a regular
lavatory bowl and having a short length of drain pipe to enter
the top of the cupboard, where the waste water is allowed to fall
into a pail hidden from view by the cupboard door. In this
inclosure may also be placed other articles objectionable to the
order of the bedroom. It would be well to have a few apertures
bored into the back paneling for the purpose of ventilation.

The top of the stand may be made of almost any i}{-inch.
material and covered smoothly with copper or zinc, the metal
extending over the front edge and partly under the edge of the
opening. The size of the hole should, of course, be determined
after the bowl is obtained, as size, shape and make are apt to

224

FURNITURE FOR THE CRAFTSMAN

vary. The vessel, of sheet copper, for holding the water is
readily constructed by a tinsmith and will add much to the

Plan of Top

Fig. 227.— Front Elevation and Side View of Portable Wash Stand.

Stand when the finish is in fumed oak. The shape is a q-
inch cylinder provided with 4-inch trunnions soldered on each
end as axles to hang on the ends of the stand as shown in Fig.
227. A grip handle makes it convenient to carry from the

BEDROOM FURNITURE AND CONVENIENCES

225

source of supply and the water may be directly heated in this
vessel. Either an outlet, as shown, or a drinking fountain fau-
cet may be provided. The material throughout, with the ex-
ception of the bowl top, would make up well from y^ dressed
boards; if it is to be the still prevailing fumed finish use plain
oak; this is a wax finish desirable for such a piece of furniture
subject to some extent to water marks.

Another form of stand closing up entirely after using is repre-
sented in Fig. 228 of the drawings. The construction consists
of four 1 5^-inch square posts with paneled frames at the sides

24'

-n

^ •

~ 0

' U-

Fig. 228.— Front and End Views of Another Style of Wash Stand.

and back and two swell paneled front doors conforming to the
shape of the bowl top as shown. The inside of the lid and sur-
face, as well as the edges of the bowl top, are to be covered with
zinc or copper. Ample room will be found on the upper shelf
for brushes, mugs and other articles of the toilet.

226

FURNITURE FOR THE CRAFTSMAN

An accessory to the wash stand is the towel stand, which is of
infinite variety of form. The style shown in Fig. 229 is given as
a companion piece to the wash stands presented in the preceding
illustrations, and with the firm narrow base it occupies but little

Fig. 229.— a Towel Rack or Stand.

room. ' At right angles with the ^^-inch dowels two ^ x q-inch
dowels may be set into the front of the post on which to hang the
wash cloths. The post centers on a block J^s x 8 inches square.

Bedroom Furniture

Toilet conveniences — the modern dressing table — the shav-
ing stand — the wash stand.

Everything which adds to our comfort — assisting in our daily
process of refinement — is certainly to be welcomed, and the few
bedroom accessories which are here to be considered, in addition
to some previously dealt with, should not be considered as more
of vanity's machinery, but rather as furniture forms for the bed-

BEDROOM FURNITURE AND CONVENIENCES

227

room which meet the needs of the more modern exaction of the
toilet. Our conventionaHties more than ever require the wife
and daughter to look their best if not their prettiest, and the
dressing or toilet table is the lady's work bench. Shaving
among men is a daily matter of toilet and a compact and con-
venient place for shaving articles soon creates a demand for a
place other than the window sill or medicine cabinet. The
open character of the present-day furniture appeals to the or-
derly sense of the housewife, as it has recently from a cleanly
reason appealed to the office man in the introduction of the so-

FlG. 230.— General View of Toilet Table,
called "sanitary desk" and other large articles of furniture
which formerly were the means of harboring so much dust under
the low-built structure.

The Modern Dressing Table

It will be noticed that the dressing tables shown in Figs. 230
and 231 are quite approachable affairs from their open char-
acter, and greater comfort and deliberation are to be given the

228

FURNITURE FOR THE CRAFTSMAN

hair dressing and other toilet operations by the use of the type of
chair shown in front of the table in Fig. 230, which is distin-
guished from other chairs by the low back and different height
of seat.

To the craftsman the construction of the articles shown in
Figs. 230 and 23 i is obviously apparent and it is only necessary
to call attention again as in former articles to the almost in-

Fig. 231.— a Toilet Table or Dresser and Its Low Back Chair.

variable use of what is referred to as a "construction frame" il-
lustrated in Fig. 232. The outer size of this is determined on
the detail drawing, for be it known that the worker should lay
out some sort of drawing showing at least half of the length and

BEDROOM FURNITURE AND CONVENIENCES 229

width of the article. In this case the plan is determined by the

size of the top, which is 20 x 34 in. Now in the drawing 20 x 1 7

in. is sufficient to put in all needed

detail of half the construction for

purposes of location of posts,

which in this and usual cases

should set in ^ to ^ in. Then

proceed to draw in on tie half Fig. 232.— Plan of Construction
plan the position of the ^ in. side Frame,

and back rails, together with the drawer front, which is also ^
in. thick. The rails should set in from the face of the posts 3^
of an inch.

Having made this part of the plan, it will be easy to draw in
this structural detail suggested in Fig. 231, the thickness for the
ordinary case work for this frame being ^ in. and the width of
both stiles and rails 2 or tyi in. Such a frame is usually jointed
with dowel pins, and the corners to receive the posts cut out
after the frame is made up, as indicated in Fig. 231. Here,
again, as frequently happens, the front part of the frame is ex-
posed to view, as will be noted under the drawer in Fig. 230, and
this part of the frame must be of the same wood as the entire
construction. Usually when it is not in view the frame is of
bass wood.

The "construction frame" is a means not only of giving a
stiff construction, but also affording a place to secure sliding
strips of a harder material upon which the drawers are to slide.
The turned form of leg and mirror pillar shown to the right in
Fig. 2 2q is offered as equally appropriate if the plain post is not
desired.

Fig. 230 has the added attraction of the swinging side mirrors
so much desired in dressing the hair. A certain delicate char-
acter and finish should be given to the making of these mirror
frames and material of J^ in. thick and having a finished width
of 1 3^ in. will make frames amply strong, yet light in appear-
ance. Make the rabbet for the glass 3^ in. deep and treat the
face of frame to a low round shape. Cover back of framing
with Yz ii^- paneling or veneer, neatly secured with round head

230

FURNITURE FOR THE CRAFTSMAN

brads. As thin stock is hard to secure, a certain quality of hard-
pressed straw board is being used very generally for such pur-
poses. The middle mirror is held and stiffened by two cleat
strips screwed firmly to the frame and to the back rail of the
table. Material pressed to a thickness of ^4 or 3-16 of an inch
is universally used for most all forms of furniture, while post
stock for the lighter carcases is secured from 1 34 to 2 in. squares,
which when reduced to a finished size generally measure i ^ to
1 3^ in. respectively. This allows for roughness or squaring up
of other imperfections. The posts in Fig. 230 are dressed to a
square of i }4 in. at the top and reduced to a curved taper of J^
in. at floor.

As to the chair shown in Figs. 230, 232, and 233, it is a dis-
tinct part of the table, and when not in use it is placed directly
under the table out of the way. When in use the low back af-

-._-ia:-

Fig. 233 and 234.— Details of Toilet Table Chair Shown in Fig. 231.

fords sufficient back support, yet does not retard the use of the
arms in dressing the hair — considerations which give these two
pieces of furniture growing popularity among women. As the

BEDROOM FURNITURE AND CONVENIENCES 231

back posts of this chair are secured from a 14, in. board 2>^ in.
wide, sawed to a pattern made from shape indicated, it will not
be a difficult chair to make as the two posts are screwed to the
seat in a vertical outside width of i z in. and square to the front.

The curved and tapering front legs are obtained from i yi in.
square stock and are secured by two dowels each to the under
side of the seat, having an outside width of 15^ in. The
stretchers are ^ in. square.

The seat is of a solid or jointed board dressed to a thickness of
1 3^ in. and hollowed out in the deepest part to ^ in., forming
the saddle effect indicated.

The top slat may be secured by using a draw-knife and spoke
shave in producing an even sweep of J/g in. in depth in its length
of 13 in., and by a pattern or template previously made, mark
out the back curve to produce a curved slat which shall have an
even thickness of % in. and have a finished width of 3 in. and
length sufficient to project well over the shouldered-out ends of
posts. After the chair is set up ready to receive the slat and
banister the excess of length may then be marked and cut off to
have an overhang of Y^ in. on outside of posts. Use a depressed
screw on each post and fill up after with flush plugs.

The banister may be flat, measuring 4 in. in width and % in.
in thickness.

Figs. 232 and 233 will give further information about the
building of this chair, and in passing it may be mentioned that
the same directions apply in building a reception, or light hall
chair, except that the back would be continued to a customary
height of 20 in. from top of seat, and 18 in. would be the height
from floor to top of seat, instead of iq in. as shown.

The Shaving Stand.

The purpose in describing the dressing table was that with
the comforts of the ladies so well provided for, you may go on
undaunted in providing yourself with an equipment for the bed-
room or the bathroom, which will make the operation of shaving
a real pleasure. The shaving stand, Fig. 235, showing front
appearance and side view, will, I am sure, house all a man's
toilet articles, and from its light open construction permit him

232

FURNITURE FOR THE CRAFTSMAN

to move it about to secure favorable light. In these days of
lighting by electricity a cord and a bulb stand will put the
shaving operation into a real luxury.

i^S5V

Fig. 235.— Front and Side Views of the Shaving Stand.

For its height over all, of 66 in., the foot and shaft are in this
instance made of 134 in. material, the shaft being tapered on
four sides from bottom to top, to i yi in. square, where it is firmly
doweled with a large long dowel to the ends of the case which

BEDROOM FURNITURE AND CONVENIENCES

23:

are also \}i in. thick. This shaft properly, however, should
continue through the center of these end panels and be planed
off, and scraped smooth with the main surface. This method
would give unquestionable strength and well pay for the added
care of producing good work.

Make use of the "construction frame" referred to in Fig. 231
for constructive strength and for the drawer to slide upon.

The mirror standards are made of i in. squares of well selected
stock for strength and are secured in the manner shown. They
can be left straight or given a taper as shown with a neatly
turned ball at the end. The mirror frame is plain like a picture
frame, with the top ornament added, such as the open pediment
shown, or some other simple Colonial feature. The foot, while
it may properly be left smooth and square edged in its final
finish, may be safe-
guarded from damage
and mar in use by giv-
ing the top edges a well
rounded form. In place
of the single swinging
mirror a tripple form
mirror similar to that
provided for in Fig. 231
is often desired for shav-
ing operations.

The Wash Stand.

For guest room or a
room not provided with
running water, a wash-
stand and somnoe will
be found to be a most
necessary form of fur-
niture. Fig. 236 indi-
cates sufficiently the
construction and man-
ner of making it. This

Fig. 236.

-General View of Wash Stand
and Somnoe.

form is very frequently in harmony

234 FURNITURE FOR THE CRAFTSMAN

with other furniture in a bedroom when made in basswood
or maple and given an enamel or old ivory finish. A y^ in.
plate glass is now much used for the top of such furniture, giving
a surface easy to clean and permitting a lace or embroidered
doily or scarf to be laid under as an added attraction of neatness
and daintiness.

Clothes Chests and Wardrobe

The disposition and care of wearing apparel is an important
one despite the fact that very frequently little attention is given
to the subject by those having to do with the planning of homes.
Men do not take this into serious account, and too often a house
is turned over to the wife as a monumental gift of the husband's
thrift and affection — a house of roomiS, with the usual meager
closet allowance — in many instances a room or two without a
closet, or one the depth of which is controlled by the size of a
chimney stack, which must be there, and were it not there pos-
sibly the closet of one room and that of the adjoining room
would be minus also. This is a niggardly idea, cheating the
occupant of that room ever after, and calling for some form of
portable wardrobe, chest or chiffonier. This subject therefore
is dedicated to the closetless many, the sufferings of whom only
the housewife it seems will ever intelligently know about.

Assuming a chimney jamb closet has a depth only sufficient
to hang up garments of daily wear, time soon develops the ne-
cessity of a place for extra garments, suits or dresses; the sit-
uation is relieved by making a clothes chest. Should the room
be of ample size such a chest may be after the old fashioned
proportions; in other words, about the size and pattern of your
grandfather's tool chest or the chest of some seafaring grandsire.
These chests are coming into vogue, not only as the chest for the
bride's trousseau, but they have a satisfying amplitude which
no chiffonier ever possessed. The drawing. Fig. 237, illustrates
the construction. Three or four easy fitting tills, Fig. 238, give
ready access to the contents and relieve the pressure from such
dresses and clothing that may have been put away ironed or
pressed.

BEDROOM FURNITURE AND CONVENIENCES

235

The "unit system" so much in use in modern office fixtures is
being applied to the development of present-day wardrobe fur-

FlG. 237.— General View of Clothes Chest.

niture, the predominant idea being that the outer casing or pro-
tection is necessary, but the immediate accessibility of all parts
within is of greater necessity. The objects sought are accom-
plished by dividing the interior space with light removable tills
or partitions, permitting garments of a certain kind or weight to
occupy a certain till. There is no proof obtainable that red
cedar repels moths or insects, but from its beauty and light
weight it is to be recommended, as the same size of chest of oak
or other hardwood becomes an unwieldly article to move about
or transport from one place to another.

Fig. 238.— Tray for Clothes Chest.

The idea indicated in Fig. 238 suggests an easily removable
till, the corners of which it would be well to dovetail, although
glued up in box-like manner with neatly fitted triangular corner

236

FURNITURE FOR THE CRAFTSMAN

pieces would make a firm joint. The material for such a tray
should be soft wood not over >^ in. in thickness, and the trays
set one upon another.

Restricted floor space in some bedrooms apparently prevents
having a clothes chest, yet a very ample chest may be construct-
ed after the manner indicated in Fig. 239. The height from the
floor is shown, or rather it should be determined by the space
from the bottom of the side bed rail to the floor ; 4 or 5 in. wheels
sawed or turned from i in. stock are hung on projected axle
stumps turned nicely to fit with a square left or inner end which
is tightly mortised to the sides of the chest as shown. The
chest then becomes a wheeled affair, permitting of its being

Fig. 239.— Another Style of Cloth Chest.

easily run under the bed out of the way and as easily drawn out
for use. Two tills similar to that shown in Fig. 238 should be
provided and made of a size to fit easily. The width and
length for this form of chest may be greater if desired than that
shown, thus permitting of the placing away of pressed trousers
to the full length, also coat and vest laid out, few creases being
required.

Now the modern wardrobe is suggested. This should appeal
particularly to the masculine mind, for it proves to be a mute
valet looking after the master's clothes with unconscious care,
for in its appointments it provides for and gives quick access to
everything a man wears in the nature of outer garments, with
tills for washable apparel. To make this case complete and
convenient a generous supply of coat and trouser hangers should

BEDROOM FURNITURE AND CONVENIENCES

237

be purchased, otherwise the idea is somewhat defeated. A few
single hangers for odd garments and two or three sets of the com-
bined coat and trouser hangers permit of an entire suit to be

Fig. 240.— Open View of Wardrobe.

hung and withdrawn very readily, while occupying a minimum
of space. As these articles are and have been written for the
progressive carpenter it is useless to go over the standard form
of case construction considered in former articles, and in dealing
with the construction of the wardrobe we may be permitted to
state that the carcase is built after the manner of all bookcases,
wardrobes, etc. — that is, a frame and panel construction, back
and sides, with solid top and bottom, doors being framed in the
usual manner.

238 FURNITURE FOR THE CRAFTSMAN

It is quite necessary to draw up a one-half working detail, and
from measurements given or setting down such measured
changes as individual requirements suggest. The object aimed
at when departing from given measurements is to reduce or en-
large proportionately. The dimensions given are ample for the
hanging of coats, vests and trousers or skirts at their full length
in the division marked i, while 2 represents light removable
tills or drawers for underclothes, shirts and laundered goods.
These tills slide on thin parting cleats. The part marked 3 pro-
vides two drawers for cuffs, collars and small dressing materials,
while 4 will hold two or three hats. Immediately above 4 is a
I in. space, which allows for a light mirror, 5, to be drawn out
and turned up into the position shown for shaving or dressing
purposes. A loose pin joint will readily suggest itself for with-
drawing to a definite stop.

In Fig. 240A is shown two turn balls and wooden or metal rod,
which is secured to the door stiles of an opposite door not shown
in the illustration. On the bottom door rail a wooden strip
like that shown in Fig. 240B is fastened. These two parts
provide for an umbrella rack, which closes in with the door of
the clothes closet. A similar rod, like Fig. 240A, may be
secured on the upper portion of a door for a rail upon which
to hang ties.

After staining and filling, the usual three-shellac and three-
varnish coat finish is most desirable. The interior is usually
oiled natural color, with three coats orange shellac and an after
oil rub.

CHAPTER XI

BATHROOM ACCESSORIES

The Bathroom

O improvement has excited our desires for nicety

more than the introduction of porcelain in the

bathroom. It has put an entirely new aspect on

the matter of personal cleanliness. We now aim

to have every appurtenance in simple keeping with

the chaste white tub and bowl — not to say we have hitherto

shunned the room and skipped a bath now and then because the

tub was of zinc.

Despite predictions, the day has been postponed when metal
and other material displaces wood entirely in the bathroom and
kitchen of the modest home, however refreshing and in accord-
ance with sanitary ideas, enamel and marble facing would be.
The furniture, however, for the bathroom — whether fixed or
portable — should be made with easy lines and smoothly rounded
or plain flat surfaces; dust will always find lodgment in sharp
angles and creased moldings, and become hard set by the vapor
from hot water, and for this reason should not be a part of the
baseboard and window trim. The bathroom has generally
been the designated place for a medicine cabinet, and in later
years it has been quite properly a thought-out part of the
room, or rather a recessed portion of it, thus avoiding un-
necessary projection and additional cleaning surface.

Medicine Cabinets

Figs. 241 and 242 are suggestions for the portable cabinet
where no such built-in provision has been made, or where per-
manency is not desired. The interior planning and arrange-

239

240

FURNITURE FOR THE CRAFTSMAN

24*

- --^-r^-z— — -^1 1

/
f

/■

^^-^

1 1'

- "ISJ^-

|^^^,..^,.,i,^-^

f'i

i. 6'

ment of shelving will be left to individual requirements. The
spacing of shelves should, however, be made with some refer-
ence to the length of vari-
ous sized bottles likely to
find their way there in
bringing up a family, con-
taining remedies for the
croup, to preventatives of
nervous dyspepsia. The
drop-down shelf shown
under the cabinet in Fig.
241 may be found of ad-
vantage as a resting place
in preparing mixtures.
Back of this cover shelf
may be fitted a nest of small drawers to receive staple rem-
edies or powders, which should not be allowed to lay around
promiscuously, and in passing, such a compartment should un-
doubtedly have a lock, for too often deadly candy -like pills at-

FlG. 241. — Front View and Section of
Medicine Cabinet.

54"

Fig. 242.— Front and End View of Another Style
of Medicine Cabinet.

tract childish curiosity and fancy — press notices are frequent
of death to children from finding coated pills on high shelves.
The material for the designs shown in Figs. 241 and 242

BATHROOM ACCESSORIES

241

should be surfaced to %-in. in thickness. The back of such a
cabinet would properly consist of a mortised framing with thin
tongue and grooved paneling or a laid-up veneer panel inserted
in rabbet. The door is suitably brightened by a beveled mirror
as shown, although a bevel panel of selected stock would look
well if mirrors are plentiful elsewhere.

The door shown in Fig. 242 is treated with an arched frame
and shaped mirror, while the spandrel treatment is made from
yi or 5-16-in. material, jig-sawed to such a shape suggested,
glued and braded to the door
frame. This should be smoothly
carved or molded in a full half
round or oval manner, making it
free and smooth to wipe over
with a cloth. The consol or brack-
et-like support will add very much
to the appearance of Fig. 242.

Whatever finish is given to
medicine cabinets, the same care
should be given to the inner sur-
faces also.

Towel Rack

Fig. 243 shows an original sug-
gestion for towels and wash
cloths. It consists of turning ^y^
in. in thickness and 48 in. in the
clear, with a ^-in. pin turned at
each end which sets easily in cor-
responding holes in wall supports

as shown, thus allowing a swing

^ ^ ^, , T^, ,, Fig. 243.— Pivot Towel Rack,

movement to the rack. I he wall

brackets may be of such a length not objectionably in the way.

Other Shaving Stands

The feminine portion of the household has heretofore had
pretty much its own way, or rather, a man's brush and comb and
shaving outfit had scant resting place on the dressing stand, and

242 FURNITURE FOR THE CRAFTSMAN

more frequently were placed on a window ledge or open bracket.
To interest the man in having "a place for everything and every-
thing in its place," as it should be, the drawings of shaving
stands herewith shown in Figs. 244, 245, 246 and 247 may lead
to turning over a new leaf and emancipating man from being
of so small importance about the toilet room. You will notice
that each one shown is solely for his use, as there can be little
room for others moving in when once razor, strop and other
necessities are put away, and re-
awakened interest in making himself
fine will return, for you know when a
man gets around forty he is likely to
forget himself for others.

Considering first Fig. 244, the less
pretentious of the four, this is designed
as a table stand, or to go on some
forms of dresser tops. Where the bath-
room is small, as frequently is the case,
a wall side giving the best light for
shaving purposes, a swinging about
device may be attached to bring the
Fig. 244. — Small Shaving mirror before either natural or artificial
^^^"^- light. The drawer is for shaving and

other toilet articles. The mirror is centered and pivoted Vv ith
somewhat tight-fitting turned pins, or provided with steel pins
and ornamental thumb screws or wheels.

A clean-cut outline of shaving stand is shown in Fig. 245, with
a pivoted mirror at standing height. Access to the case is by
lift-up lid, shown in detail A, which operates over the case shown
in plan B. A lower shelf, one-half of 17 in. in diameter, is pro-
vided which will be found useful.

The three curved legs are secured from 1^x3^ in. -stock,
slightly rounded on outer edges. The two bulged sides of case
B may be secured from solid or glued-up stock, band-sawed or
shaped out to a diameter of 17^4 -in. or two cauls representing
one-half of a i/J^-in. circle may be made. Within these
glueing cauls a curved veneered panel may be produced which

BATHROOM ACCESSORIES

243

for this purpose should have a thickness of about q/i6 in.,
usually five veneers consisting of the selected front veneer of
I -20 in.; a 3^-in. for the second; a }i-in. for the third; a 3^-in.
for the fourth, and a i-20-in. for the fifth and last veneer. The

Fig. 245. — Shaving Stand, with Details of Construction.

under veneers may be of an inferior character, generally such
"filling" being of poplar, bass, elm, gum or chestnut. Poplar
and elm, however, are the most satisfactory in holding their
shape. The two cauls, concave and convex, can be cut from
a squared glued-up block of pine or poplar about i in. greater
in width than the veneer will be when trimmed. Scribe on the

244 FURNITURE FOR THE CRAFTSMAN

edge of the finished block the outer half circle and the inner
circle, representing the space to be taken up by the pack of
veneers. This block will have' to be sawed on a band saw
following the two lines thus marked, and removing the equiv-
alent of the veneer thickness. Before the cauls thus made
are put to use as conforming blocks, coat the curved surfaces
with raw oil or grease, allow it to soak in and then wipe off.
This will prevent any excess glue from sticking or going through
the veneers holding down the work when you are ready to re-
move the pressure.

The veneers should now be laid out on a table or bench in the
order in which they are to be bent. In passing it might be re-
marked that the all-important point to be remembered is that
veneer work should be carried on in a very warm room, and
everything coming in contact with the veneers, and the veneers
heated to a decided warmth also; then with the concave caul
uppermost in readiness, the first or outer veneer with grain hori-
zontal is quickly brushed over with the hot glue, not too thick,
and laid on a little in excess. Upon this the first filling, one-
twentieth, with grain running horizontal. The upper surface
of this is now treated in like manner to glue; then lay over this
the M-in. veneer, grain vertical, apply glue to this, and lay on
the other 3^-in. veneer horizontal, glue and follow by the fifth
and last veneer, a 1-20, with grain running vertical. All this
having been done without waste of time, or any draft playing on
the work, lift the flat pack of veneers and press them into the
concave caul, keeping them squared and reasonably well to-
gether; then insert the warmed upper or convex caul and have
ready some means of pressure which can be maintained for a
period of 1 2 hours or more. For temporary purposes this may
be effected by rigging up some form of lever which may be held
down by a chain or notched timber in place of the more effective
screw press used for such work. When proper time has been
given for the veneer shell to dry, remove and trim to the 6-in. width
required for the case. This curved panel can either be cut in
two and parted by the front leg, as shown in B, or that leg may
be relished out from behind and the full half circle of veneer be

BATHROOM ACCESSORIES

245

used. This will make a smoother inner surface to the case, and
for this reason there is much to be said in favor of using laid-up
stock for many forms of case work, while beauty of figure, low
cost and strength are also in its favor.

The curved mirror frame is 1 2 in. in diameter and shows an
exposed wood rim of i in. in width. The frame is made of four

Fig. 246.— Front and End Views of Toilet Shaving Stand.

pieces, felloe jointed. Various devices may be adopted to per-
mit of the mirror being tilted up or down, or on either side of
pillar or stanchion. A simple way would be to bore out end of

246

FURNITURE FOR THE CRAFTSMAN

pillar and turn a hard wood pin and ball to fit firmly but loosely,
the ball part cut with a saw kerf to insert a metal lug fastened to

frame as shown in C. A small bolt
land thumbscrew passing through
three parts will hold the mirror at
any up and down angle, when it
then may be swung to the right or
to the left. The stand represented
in Fig. 246 will be found a most
serviceable one for the bathroom and
bedroom, as all space is made use of.
Little need be said about this to
enable those interested in making a
full working drawing. Much of the
lesser detail is left out in this and
many other illustrations heretofore
accompanying these articles, for the
purpose of allowing individual ex-
pression to assert itself in preparing
the working drawings of either this
or modified forms. A craftsman
frequently has hoarded up stock, or
possibly other parts of furniture
which will lead to creating a structure
on original lines — this should be the
uppermost idea — putting yourself into
-Another Design of the work. In doing so, however, do
not create or borrow ornament or
features having no reasonable excuse for their application.

The toilet stand shown in Fig. 247 is expressive of the present
style of absolute serviceability arrived at in the most direct way.
One will never tire of such a piece through changing styles, as
there is nothing about it to offend — honestly made and well
finished it improves every time it is rubbed over with a polishing
cloth.

Fig. 247.-

Toilet Shaving Stand.

CHAPTER XII

CERTAIN KITCHEN ACCESSORIES

The Kitchen

YSTEM and convenience should be the dominant
idea in the kitchen, for without it there is just as
much waste of time as would probably occur in a
poorly equipped office. In times past it has not
been so much a lack of woman's inventive ability
as it has been a want of interest on the part of her handy husband
to give ear and put into execution many ideas which have lain
dormant, for who should know better what was wanted to light-
en and facilitate the repeated operations in and about the kitch-
en than the good housewife?

The card file system is now in use in the kitchen, and while
the skilled housewife from home training may smile at this way
of keeping in touch with her many possessions, or the where-
abouts of the true and tried recipe passed along verbally from
mother to daughter, yet given a fair trial the small drawer of
file cards should have a place in the kitchen as well as in the
office, even though solely used for recipes and not for statistics
of living expenses.

Many manufacturers have in recent years recognized the
hitherto helplessness of the housewife as to her kitchen appoint-
ments, and really the thought has been considered more by the
manufacturer than by the architect or builder, with whom it
should have had first attention. The kitchen cabinet is the re-
sult, a "much in little idea," which certainly is a welcome ad-
dition to the working equipment of a kitchen, for how often is a
rear room designated as a kitchen, the only indication that it is
such being the sink and water supply with a few misplaced
shelves insecurely arranged in a closet styled the pantry?

247

248

FURNITURE FOR THE CRAFTSMAN

For a small family, and those who rent, the kitchen cabinet,
Fig. 248, is a welcome accessory to preserve order. Bringing
the necessaries into immediate focus, as it were, for the prepara-

FlG. 248.— Kitchen Cabinet.

tion of meals. Forethought should be observed in the purchase
of a cabinet that one of ample proportions be obtained to pro-
vide space for working equipment without over crowding, other-
wise the orderly idea is defeated. Were it not that these ar^

CERTAIN KITCHEN ACCESSORIES 249

tides are addressed to the artisan — the man who is desirous,
apart from the economical consideration, to furnish his home
with furniture of his own design and construction — the cabinet
obtained from a dealer would be very satisfactory, as generally
they are well made. The mechanic, however, has great per-
sonality and inventiveness, and has little patience with made up
"boughten" affairs which do not meet with his ideas and possibly
do not come up to the requirements of his family needs. Ana-
lyzing the kitchen cabinet, it is found to be an evolution of the
common kitchen table making all one can out of the space under-
neath, and adding to, from the top, as much as fancy and sense
of proportion will dictate. Herein some study must be made,
laying out the general lines on paper, and arranging spaces not
according to your whim, but guided by the requirements of the
better half — her ideas should prevail. Every housewife be-
comes attached to certain kinds and sizes of utensils, and would
feel handicapped, as the carpenter would, were she compelled to
use an unfamiliar implement. With this in view the various
drawers and compartments should be made in consideration of
this thought.

It will be found on examination of some styles of cabinets
that the drawer idea has been overdone, frequently drawers
being so small that they become awkward square holes for some
unspecified objects to go in and a matter of great difficulty to
get it out. They may on first sight be considered "cute", but
are soon found to be valueless. It is better in caring for some of
the smaller articles or supplies, to arrange for a larger sub-
divided drawer.

Special cleats and hooks will be suggested as the personal idea
of the cabinet is evolved. Spice boxes, tea and coffee canisters,
may now be bought in uniform sizes and patterns, which will
add materially to the general orderly effect, and should be con-
sidered in preparing shelf space. In some compartments a
movable shelf will be found convenient, that is, resting on a
cleat fitting at intervals into vertically notched side strips as in a
bookcase. A one-piece sheet of zinc will be found a more satis-
factory table covering, being more readily kept clean and bright

250 FURNITURE FOR THE CRAFTSMAN

than the bare wood top. The apron or top rail under table top
should be cut out the width and thickness of the pi jposed bread
or moulding board which when not in use finds a place well out
of the way, or may be pulled out two-thirds its length as a table
extension for various cooking operations. It might be well to
provide an inserting pin or some check to avoid the board being
accidentally pushed in. The small bins made for the different
kinds of flour should have a rounded bottom of veneer or zinc,
so that the last dipper full may be readily picked up, the flour
always settling to a center.

Owing to the scarcity of bass and white wood, gum has been
much used in making kitchen cabinets and other fixtures, the
greatest objection to it, however, being its disposition to warp
and twist if not quickly finished. It is a pleasing finish to leave
it natural, giving it a coat of boiled oil, two coats of shellac and a
final coat of varnish.

The movable cabinet will always find a place in the kitchen of
many homes. As a complete repository, however, it will be
found inadequate where extensive work is to be done and will
fall short of expectations as did the small writing desk before it
gave way to the better adapted form of home desk.

As a solution to the most concentrated disposal of all that
pertains to the kitchen, aside from a possible chair and movable
towel rack, the illustration. Fig. 249, of a part interior is offered.
This is submitted to the carpenter and builder as a suggestion
which may in most cases be installed in many kitchens or be
provided for in the plan. It would be a matter of appropriating
from 16 to 18 in. of floor space, in building a battery of cup-
boards and drawer divisions as indicated, or according to re-
quirements, and personal judgment. It will be seen, and great-
ly appreciated by the housewife, that on sweeping and scrubbing
days the floor space is entirely free from furniture moving, and
everything up in its place guarded from dust.

Several divisions in the illustration are shown without doors
to suggest their possible use. Herein feminine counsel should
be sought that the most frequently used articles be located with-
in free reach, and such things as fruit jars and infrequently used

CERTAIN KITCHEN ACCESSORIES

251

supplies and utensils find storing space on the upper shelves and
drawers. As indicated in the illustration an open compartment

Fig. 249.— Partial Interior View in Kitchen, Showing Equipment.

might be found better for the coffee and tea pots to receive all
the airing possible between meals. In this instance it is imme-
diately over an open space above the sink drainboard. In es-
tablishing such a system of shelving it should, of course, be built
about a window, and a wide working shelf set in front of the
light whereon bread making and other operations will be carried
out under the best light possible. Supplementary to this a draw-
out board shown on the left will always be found serviceable.

252 FURNITURE FOR THE CRAFTSMAN

This should have a strengthening and extension device similar to
a table expanding fixture, or in place of this, as the board is
drawn out to a proper stop, two light iron rods or sticks come
with it, which can be inserted in catch or over pins thus sup-
porting the board as a bracket.

A proper covering for the window table is of one piece of zinc.
In fitting this it can be so cut full between the jambs of cup-
board, that when pressed down to the surface, the two side
edges are given a slight up curve, tacking with brass-headed up-
holstery nails. This provides a smooth, rounded edge which
will wipe out clean, far better than if a square corner were made.
Sufficient margin should be allowed to turn down in front and
around the projecting ends. A paper pattern tried in this man-
ner over the proposed surface should at first be cut out. As
zinc responds very readily to bending, this will insure the exact
size to give a workmanlike result. Brass-headed nails properly
spaced along the front will add a pleasing finish. As will be
seen, the main construction consists of upright boards gained
out to receive the horizontal spacings. A cove moulding had
better be turned out as a proper finish under ceiling and from
this put in headings. Seven-eighths-inch lumber will be suffi-
cient for the framing and door frames. Where veneer panels
can be obtained they will be found desirable for door filling and
add much to the beauty of the finished work on account of the
varied figure in the veneer. These panels may consist of two
outer i-i6-in. and one middle J^-in. filling; they may be cut to a
rabbet size for the frame, using a one-quarter round mould to
hold it in place, or they may be glued into grooves when the
frames are made up.

As to the small drawer ends, a neat way to provide a pull is to
turn it in as is frequently done, brass or bronze pulls being used
for the drawers and turn pulls for the paneled doors.

For temporary needs or to supplement a well furnished kitch-
en, Fig. 250 is offered, suggesting the ordinary kitchen table
converted to a cabinet containing compartments suitable for a
small family need of having the unsightly articles away from

CERTAIN KITCHEN ACCESSORIES

253

As these tables generally have turned legs a squared filling-in
strip is screwed to the turned part from which the carcase work

Fig. 250.— Cabinet Built Under Kitchen Table.

may be added as shown. This is a beginning for a fully de-
veloped cabinet, as shown in Fig. 248. The upper portion can

Fig. 251.— Kitchen Table Seat.

be added at any time, and following out a well studied plan
of personal requirements.

254 FURNITURE FOR THE CRAFTSMAN

The kitchen settle in Fig. 25 1 will be recalled by many as hav-
ing a double purpose, when on ironing and baking days the top
was turned down, converting it into a substantial table, and
again at night it became Bridget's Davenport for her gentleman
friend. The top is usually 28 x 46 in., and stands 29 in. from
the floor, the seat being i 5 x 32 in., and at a height of 17^4 in.
The entire construction may be made of i-in. dressed lumber, or
the feet, arms and top of 1 3^in., and the other portions of i-in.
stock. Loose pins secure the top to arms or allow it to swing
back as shown.

CHAPTER XIII

BOOKCASES AND HOLDERS

The Bookcase

T was a happy thought that brought about the book-
case of finished units, or sectional device, for stor-
ing books in a protected way with the thought of
adding in height or walling the room, if desired, as
the number of books increased. Of this form of
construction little but a commending foreword can be written,
as the idea is at the present time protected by patents, and the
success of the thought has brought about the usual crop of in-
fringement suits. However, no idea is from the first perfect and
from someone an even better case might be evolved

Fig, 251A.— Family Bookcase.

The family bookcase is well illustrated in Fig. 25 1 A, and should
the said family be of a bookloving trend, two or more of this type
will probably be needed, or a room as a library, fitted with the

255

256

FURNITURE FOR THE CRAFTSMAN

sectional cases, be considered a necessity. In a way it is unfor-
tunate that the magazine habit is so time-consuming that good
enduring reading in bound form is less sought after by the pres-
ent generation, with the result that a magazine rack is more to
the purpose than a case for books. With this thought Fig. 252
is offered, giving book space in upper portion and a greater
depth to the carcase below for all average-size monthlies. With

Fig. 252. — Combination Book and Magazine Case.

two framed glass doors, the unsightliness of thumbed-over peri-
odicals may be altogether shut from view by securing a piece of
shirred silkaline or other goods of pleasing figure fastened by a
light rod over the glass on the inside of door frames. Immedi-
ately over the doors above the top framing of lower case a draw-
out board may be planned for, which will be convenient for
resting books or papers when drawn out in case of consulting
several volumes.

BOOKCASES AND HOLDERS

257

One of a studious disposition will find the combination case
and writing desk shown in Fig. 253 will meet his requirements,
or be useful in making up his accounts and transacting other
business. Under the desk will be found drawers on each side of

Fig. 253. — Combination Case and Writing Desk.

the middle knee space which are deep enough to hold the al-
phabetical letter-file books of such convenience in filing away
letters, contracts and other papers. One or two drawers may be
fitted with filing cards, for there is hardly any line of business in
which these very accessible cards cannot be used to very great
profit. Spacing and size of drawers must be decided by indi-
vidual requirements. The lower bookcase division should
properly be spaced for a set of encyclopedias or larger dictionary,

258

FURNITURE FOR THE CRAFTSMAN

confining weight and size to the lower shelves. No bookcase
should be made without several of the shelves resting on mova-
ble cleats, permitting of raising or lowering or removing. The
saw-edged strip shown in Fig. 254, with loose cross strip fitting

Figs. 254 and 255. — Showing Two forms of Shelf Supports.

the notches, or a form similar represented in Fig. 255, on which
the two strips are given the half circle notches by clamping
them edge to edge together, and boring at intervals 1 3^in. holes
along the line of joint. The supporting strips are then rounded
on ends to closely fit the strips when fastened on the inside of
ends.

Several pigeon holes and a drawer for writing materials may be
fitted within the writing desk portion confined to the width of
the case only and suspended 5 or b in. above the writing table, of
which the slant cover shown when drawn out level gives the
greatest surface. The under drawer may be arranged to sup-
port this lid in a writing position by drawing it out, or the lid
may have an elbow metal joint fitted to both sides closing in out
of view with the cover.

The form of construction in general use for such structures as
Figs. 25 I A, 252 and 253, as well as most all case work, is to build
in the outside against a made-up framing indicated in Fig. 256.

BOOKCASES AND HOLDERS

259

Fig. 256. — Showing Panel Back.

The material used for the back is of an inferior wood, and the

thickness commonly used for the framing is 13-16 in. for the

stiles and rails, which, after being mortised and tenoned, are

grooved out from end to end on

the inner edges, into which, in

setting up the framing, yg-in.

bass or whitewood panels are

slid, forming a quickly made and

very light backing to all classes

of construction. The ends of

paneled framing are treated to a

long tenon to fit coreresponding

groove in posts. One or more

13-16 in. stiles should be grooved in properly spaced frames

of considerable width, as shown in back of Fig. 251. This

gives rigidity and prevents wide panels of cheaper wood from

warping and shrinking into open cracks.

In chiffoniers and dressers having considerable depth, the
sides are built after the same manner as the back. The book-
case, however, does not require any greater width than average
board width, and a one-piece effect is sought for, so that the case
is made much after the manner of a box with the inner back edge
rabbetted out to receive the back frame, and the top and bottom
boards fitted on a line with this rabbet permits the back frame
to be set in neatly and tightly screwed-through rails in edge of
top and bottom and into rabbet of ends.

Little need be said about the door frames as there is only one
recognized method. For bookcases the framing should be nar-
row to properly display book titles. The trimming at top of
doors in Fig. 251 is a superficial ornament cut in ^<+-in. material
and glued in after the glass has been set in back of glazing strip.

To bar out behind apparently locked doors every book in the
house is to rob the home of much of its hospitable character, but
for those who truly love books as well as for the children who are
acquiring the habit of reading, many books will surely find their
way about the table. Three forms of stands which will be found
convenient for use are shown in Figs. 257, 258 and 259, those in

260

FURNITURE FOR THE CRAFTSMAN

Figs. 257 and 259 being elastic, and that shown in Fig. 258 fixed,
and more frequently being utilized for some specified set of

Fig. 257.— Book Stand.

Fig. 258.— Another Style of Book Stand.

books. A few suggestions as to Fig. 257 will probably be all
that is necessary. The easier way to cut a groove or saw cut in

BOOKCASES AND HOLDERS

261

projected ends of bottom boards, B, to receive metal projections
shown on botii ends of middle, A, would be to joint up three
pieces in the shape of B, allowing such a kerf to be cut on the in-
side edge of the two outer pieces shown in the cut. When A is
inserted a neatly set rivet brad enters the wood through slots
shown in A, preventing slide passing a fixed position. In a full
opened position there is of course no great lifting up strength to
this rack, it being intended to lengthen or shorten the rack by
the adding or removing of a volume as it stands on the table.
The books are generally placed with title hinge up, or they may

Fig. 259.— Closing Book Stand.

stand erect with titles facing out. The construction of Fig. 259
will no doubt be stronger and have greater extension. C is a
board tenoned into molded end D. This board may be made of
three pieces, making a full thickness of i in., the middle piece
3^8 in. thick, terminating at the letter X or dotted line, and a
similar filling piece 3 in. wide glued and closing up the end and
projecting to fill up the groove marked in dotted lines on outer
pieces E, tenoned at one end in molded end D, and slotted out
to receive a 3^ x 3-in. strip to slide loosely in slot in board C.
This strip is to be glued into ends, E, C, and E to be parted
sufficiently to slide smoothly. Soapstone or soap will permit of
a fair joint and smooth action to such work. F shows a drop-
down hinged end secured to ends D. Many modifications may

262

FURNITURE FOR THE CRAFTSMAN

be given to this end — a solid board with some suitable outer
shape, a little interior cutting, or applied ornament, suggested
or adapted.

A Combination Bookcase and Writing Desk

Mission furniture is now so prevalent in many homes that
Fig. 260 is introduced as embodying important features that a
busy man or woman finds necessary when some of the day's work
of writing or checking over accounts must be continued during
the home hours. As shown in the sketch there are two book-

FiG. 260. — General View of the Combination Bookcase and Writing Desk.

shelves at each side of the writing desk with an overhead con-
tinuation of book shelving having a set height for smaller books.
According to the half carcase plan in Fig. 26 1 , the position of the
corner and intermediate posts are clearly indicated, leaving an
open foot space in the middle front under the desk as may be
seen from an inspection of big. 2(30.

BOOKCASES AND HOLDERS

263

The connection between the four book posts is made by con-
structing three paneled frames of ^-in. material and stiles and
rails 2^ in. wide. The stiles project and are fitted with tenons,
the top and bottom to enter mortise cuts in the posts, which are
i]4 in. square and 56 in. long. In laying out a rough working
drawing the outside measure of the case will be 14 x 65 in. and

Fig. 261.— One-half Carcase Plan.

the top board arranged to fit in about the top of the posts and se-
cured to the top of the back and side framing, will measure when
finished i x 1 3 % x 64^ in.

The end rails of the bookcase, top and bottom, are provided
with sufficiently long tenons to pierce the thickness of the posts
front and back and be chamfered off with a dull taper. To
further secure the framing holes may be bored after gluing up to
provide for two dowel pins to each joint, these being smoothed
off flush in the final finish. The end filling consists of a middle
mullion over-laying the joint of two thinner panels or it may be
a panel of one thickness as may be desired. After the bottom
boards are fitted over the curved apron under the bookcase the
construction will then be far enough along to make and fit two
doors which are frames made }i x ^^^ in. when finished. Above
the desk compartment it will be noticed there is a continuation
of the book shelf space measuring q in. in height provided also
with two glass doors q x i5>^ in., meeting in the middle of the
entire case. These doors are made of the same framing as the
two larger side door frames; that is ^ x 2^ in.

Four loose fitting shelf boards K in. thick will about divide
the space properly for books of varying heights, the shelves being

264

FURNITURE FOR THE CRAFTSMAN

adjusted and held to different spacing by the small metal rests
inserted in holes in the posts or on the inside of the ends.

The writing table is 30 in. high (if casters are used allow for
them) and the writing flap proper is the front cover of the desk
set on hinges to the writing bed and let down, being held in a
horizontal manner by elbow-joined brackets made for this pur-
pose.

As a becoming cover for such a piece of furniture a framed-up
panel door J^ x 1 5 x 30^2 in., the framing of an even width of 3
in. for stiles and rails, could be made, which, before gluing up,
fit with an inserted panel having the front face treated with a
long low ogee shape similar to the back of a violin — see section
in Fig. 262. This can be brought about by the use of a paper
template and a curved spoke shave or gouges and a steel scraper.

The two side compartments measure 7 x q in. outside with a

WV-K I T I N S^ S U"RFA C E

Fig. 262. — Showing Section of Writing Panel.

depth of q in. They are made of 5-i5-in. material and have two
lower drawers with a front width of 2)4 ^^- The center com-
partment, ^}i X i6>^ in., may be divided into vertical compart-
ments by }i-'\n. panels suitable for holding the larger size busi-
ness envelopes or some of this space may offer room for two more
smaller drawers, according to individual desire.

CHAPTER XIV

FURNISHINGS FOR THE PORCH AND GROUNDS

HILE the American people pursue their business
with great intensity, there is much evidence in
every direction of real interest in the study of com-
fort and bodily relaxation in out-door life. The
marked reformation in park management, the
working together of landscape gardener and architect in pro-
viding attractive and suitable benches and settees of a durable
and attractive character, has influenced greatly the makers of
portable summer furniture as well as creating a desire for other
forms which are more massive and fixed, of which this article
will treat.

The benefits of out-door life can be enjoyed much later in the
fall and even during some rare mild sunny days in the winter if
a sheltered nook or angle is taken advantage of for a permanent
seat or settee. This is one of the features left out of the modern
home and its surroundings — a feature which gave such a rare
charm to the Colonial place, with its door stoop, settees, or the
seat under the grape arbors.

A primitive form of bench seen in old Germantown, Phila-
delphia, inspired amplifying the original mechanical idea until
it resulted in detail shown in Figs. 264 and 265, and the com-
pleted bench pictured in Fig. 263.

The original stood weather-beaten yet inviting out on the
open lawn nearby a box hedging. It consisted of two wide end
planks and cleats placed V-shaped on the inside above the seat,
so as to allow the loose bolted stanchion supporting the back to
be swung either way. This feature was attractive as it allowed
one to enjoy the view in two directions.

265

266

FURNITURE FOR THE CRAFTSMAN

In Fig. 263 is shown the improvement on this simple idea by
having the back rack A of Figs. 264 and 265 hang loosely on a
lag screw at E of Fig. 265 at top of the swinging stanchion B,

Fig. 263. — General View of a Garden Bench Having
a Reversible Back.

Fig. 266, the bottom being controlled to a more comfortable back
inclination by a loose fitting steel strap C, of Fig. 266, which has
a screw-head slot which slips over a round head screw in the
lower part of the stanchion as shown. Such an adjustable back
does not require the seat to be wider than 1 5 in. The seat con-
sists of a 1 3^-'m. thick plank with a number of 3^-in. holes bored
to drain off the rain, and the 3 in. wide front aprons stand off the
width of >^-in. cleats, leaving several long slits for snow and
moisture to pass off. The bench was given four coats of white
lead and provided with four well painted 1^4 -in. square pointed
pickets, carefully driven in deeply into the ground, so that they
lined up true with the front and back edges of the plank ends of
the bench, which also were i3< in. thick. A hole was properly

OUTDOOR FURNITURE

267

bored through each picket and a smaller hole into the bench end

to receive a 5-in. lag screw drawn up tightly against the washers.

When it is desired to change the position of the back to the

opposite direction the two iron catches C are disengaged from

Stake

Fig. 264.— End View of Garden Bench Fig. 265.— A Portion of the Front
with Reversible Back — Scale % Showing Dimensions of Various

in. to the Foot. Parts — Scale % in. to the Foot.

2li'

faj^

I8t*

k 7i ^ C

cs:

the slot and drawn over round head
screw, when the entire back, together
with the swinging stanchion B, may
be swung over until it rests on the
opposite back support block D,
shown in dotted line on Fig. 264.

These blocks are iV^ in. square, andFiG.266.— Plan of the Swinging
1 , , , .... Stanchion "B with Various

have the same bevel as the mclina- Dimensions, Also Details of
tion of stanchion B. They are, of the Iron Catch "C"—
, . c , Scale ?i in. to the Foot,

course, the important part or the

construction, and are secured firmly by two countersunk screws
in each block. A quarter round should be given the edges of
these blocks, as well as to the edges of the seat on both sides,
the arms and the edges of the stanchions, so that they will

268

FURNITURE FOR THE CRAFTSMAN

not be unpleasant to the touch after being painted. To safe-
guard spliting from exposure, a piece of No. i8 sheet brass was
fitted over the rounded ends of B and secured by small screws.
A thin carriage bolt was also run clear through on the inner side
of the loose bolt holes. This prevented any possibility of split-
ting. The stanchion was made of maple i in. thick. The
back boards of the back A, shown in Fig. 265, are \}i in.
thick and are secured by long countersunk screws to hard wood
end strips i x \}4 x ii^^ in. Through this and into the top
panel a lag screw at E enters from B and is drawn up against
intervening washers just tight enough to allow the back panel
frame to operate easily. A cross cleat and heavy wood brace,
as shown under the seat, give the bench added strength.

As to the length of the bench, it may properly be 42 or 48 in.
Pine is a suitable wood or well selected cypress with oak arms.

TO'

....^^/^^^ ,

Fig. 267. — General View of a Garden Settee.

The garden seat which has been in use in England many cen-
turies is shown in Fig. 267. There is nothing trifling about it as
it is made of heavy parts and so constructed as to throw off
water. When kept painted it presents a dignified and restful
appearance along the garden walk, or placed in some particularly
attractive place against a hedge on the lawn. Many modifica-

OUTDOOR FURNITURE

269

2>O'<40

tions can be made from the general measurements given, as
shown on the end view drawing, Fig. 268. Four horizontal bars
may take the place of the splat back filling, as shown in Fig. 267,
or two panels of criss-cross bars may
occupy the back. A varied top line
to the top slat may suggest itself as
indicated in the bottom edge of the
front seat rail. Some old English
settees had a bunker space immedi-
ately under a hinged seat, where a
croquet set would be at hand if
wanted. This could very well take
up the space down to cross strainers
on the ends. Well selected timber
should be used, cypress being good
wood for the front and back posts,
as it withstands rotting better than
most woods.

If it is possible the back posts
should be secured from a pattern
drawn within a surface of 3 x 5 x 40
in. and the front post within a sur-
face of 3 X 4 X 25 in. drawing and cutting out patterns to
shapes shown. They can then be marked out on a plank 3
in. thick with a reasonable reference to position of grain.

The seat consists of slats i yi x xyi in., kept apart about yi of
an inch, the latter being secured by countersunk screws to the
seat cleats, taking the shape of end rails, as shown. The splats
shown in back should be 3^ in. thick and 2>^ in. wide, mortised
with a heavy tenon to the top slat and back seat rail. All ten-
ons should be long, or go clear through posts, set in white lead
and secured by dowel pins. Heavy corner blocks should be
placed at each corner under the seat. Before painting several
coats of white lead it might be well to have posts stand in a pan
of creosote or tar.

Time was, not long ago, when the worn-out old sitting room
chair relegated to the attic was dusted off every spring to do

— 20" —

Fig. 268.— End View of Set-
tee Shown in Fig. 267—
Scale ^ in. to the Foot.

270

FURNITURE FOR THE CRAFTSMAN

crippled service on the porch during the summer. As much of
such furniture depended originally on the honesty and integ-
rity of glue under sheltered conditions, they often proved un-
equal to many summer showers or even the dews. Fig. ibq
shows two simple forms of easily constructed out-door pieces,
intended to be bolted and treated to spar varnish, or, better

Cj)_i^ y "" "iii^'^'^d^

Fig. 269. — General View of a Garden Table with Appropriate Armchair.

still, made in pine or cypress with good fitting tenons and heavi-
ly painted. It is unnecessary to go into much detail except to
say that the table would look well 30 in. high and with a top 25
X 36 in. and posts 2 in. square.

The chair should measure 20 in. between front posts and 18
in. between back posts, both set parallel. The back is to be 22
in. high from top of seat. The seat is iq in. deep and to stand
18 in. at front edge from floor. Cut off the back posts ^ in. at ■
floor when finished, to give the proper pitch. The arms are q}4
in. high at front and sawed out as shown from stock z}^ in. wide.
The front and back posts are sawed out of 2 in. stock. The
seat slats are J^ in. thick by about 2 in. wide, parted by )4 ^^■
Corner blocks should go against the 4 in. seat rails underneath
the seat.

OUTDOOR FURNITURE 271

It is frequently desirable to have a settee which possesses a
feature such as the criss-cross in table and chair of Fig. 269.
Such a settee with a total length of 48 or 60 inches may readily
be planned, having three or more cross panels similar to the arm
chair shown.

Furniture for Porch and Lawn

Each year that passes witnesses greater comfort in the ar-
rangement and equipment of the porch of the modern dwelling
and about the lawn, or shall we say the grass plot, for many of us
are within the high-priced territory of the city or town, where
the usual 25 x 125 feet marks a man's estate. On this fixed
boundary there is little space in front of the porch or in the rear
to furnish with portable or fixed furniture, such as one may see
about a large estate. Indeed it would be pretentious and un-
restful to say nothing of the extra work a cluttered-up space
always requires. There are, however, a few pieces which may
be made and properly placed within a small area, which in con-
nection with a well groomed grass plot gives us pleasure in our
summer walks along a residence street.

The chairless porch does not create the impression of restful-
ness and hospitality; here there is no implied invitation to "come
up and sit down." Across the way, though, there is always
"open house," or rather open porch, chairs a plenty, husk mats
and rugs, ever ready to lure a passing friend to tarry in comfort.
This hospitable spirit is so much embodied in the modern plan
that the porch is not a mere covered bracket, but has grown to
be a room with three open sides, deep enough that special-made
furniture will not be subject to so much damage from moisture
as under the narrow porch. It is no doubt true that with the
contracted porch, the carrying out and back again each night of
the favorite chair discourages many from courting nature and
all the benefits of the "open air treatment."

The outdoor chair or piece of furniture has no glue in its con-
struction, as it depends on tight mortise and tenon joints, with
pins, or in many cases rivet nails. There would be no harm in
gluing some joints if it is intended to heavily coat the surface

272

FURNITURE FOR THE CRAFTSMAN

with paint, but even then a nail should pass through the side of
the mortise into the tenon. Naturally large parts should be
used in the construction of exposed furniture. The general pro-
portions of the Mission style are more appropriate for porches
than for some interiors of limited space.

In Fig. 270 of the illustrations is shown what in its essential
features is an outdoor chair, and following the prevalent fancy
might be made larger in its parts than indicated on the drawing,
but this, however, is entirely a matter of individual preference.

||&*

Fig. 270. — Porch Rocker, Showing Front and Side Views.

Plain oak is the favorite wood for this style, treated in a dark
brown tone, which now is designated as "weathered." This
character of chair, made in ash or chestnut and treated with a
transparent green stain, looks very attractive for the porch.
Avoid by all means a water stain for porch furniture, for should
a chair intended to remain for the season on the porch or one
accidentally left out over night become wet by a heavy dew or a
night shower much damage might be done to dresses when next
it is used. An oil stain is preferable ; and furthermore do not use
shellac for a preparatory coat for a wax rub; rather use the chair
for a time with the oil stain well rubbed dry and bright. To
brighten the piece from time to time go over it with a rag filled
with half boiled oil and turpentine, then polish with a dry cloth.

OUTDOOR FURNITURE 273

Now as to Fig. 270, the measured illustration is easy to follow.
In beginning such work it is of course the proper and reliable
way to make a rough half-size detail drawing, when no false cuts
ensue and the various bevels may be transferred to the material
from the paper without guesswork.

The comfortable inclination of the back is secured by holding
the lower ends of the back posts at a properly determined po-
sition on the side stretcher by means of a carriage bolt, and at
the arms also. Small head stout wire nails should be driven
where mortise and tenon come together, and this should be done
while the parts are held together by bar clamps. On the inside,
where posts and rails join the seat frame, triangular corner
blocks should be held by stout screws and one long screw should
enter the block and the corner of each post. For outdoor re-
quirements a slatted seat will be the most reliable, unless the
more comfortable double cane or a splint bottom seat can beob-
tained. A cleat must be nailed on inside of the side rails ^ s-in.
below the edge and upon this y^ x i >^-inch slats may be nailed,
slightly parted. The slats should have the edges well rounded
and the top slightly crowned. Naturally a loose leather bag
cushion would add to the comfort, and this could be readily
taken in at night. The rockers come from a plank lyi x ^yi x
30 inches.

There are certain chairs which are typical of our American
life, public and private. They have a sturdy look that sug-
gests primitiveness. The chair shown in Fig. 271 is such a
pattern. We would miss it if we did not see it in a country law-
yer's office or in rows along a hotel veranda and the home porch.
It is recommended as a good chair to make, being readily put
together. It is very seldom made in oak, maple or walnut being
used, although that again is a matter of individual taste. In
maple the club arms by use become smooth and polished, which
properly would not be the case should chestnut or ash be used.
A frame with a slat seat is shown in lieu of the usual and more
desirable double cane seat. The three slats, each 3 inches
wide by 13-16 inch thick, are worked out of stock 2>^ inches
thick, conforming to an arc of a circle within ^]/7. x i5>^ inches

274

FURNITURE FOR THE CRAFTSMAN

in length. This and the post should be laid out and paper
patterns made.

The seat is secured by a square shoulder in the back, and the
front corners are turned out in conformity with the heavy

I5',nside bjareacL

Fig. 271.— Details of Porch Arm Chair.

turned post, as shown, then secured by long, heavy screws on
the sides of the back posts and diagonally through the front
posts.

The porch swing appeals to many after experiencing the hor-
rors of a hammock. However alluring these bright fish nets
have been, they are not what they look to be, and are traps to
double one up out of all dignity. The swing, it is true, is not
altogether comfortable without pillows, but if care is used to
firmly adjust the back a little greater than a chair bevel it will
in itself be restful, with its slight swaying motion from chains
suspended from the ceiling beams. A welded link chain of 5-1 6-
inch iron should be used — a single chain suspended from the
roof beam and running half the length to a double chain — as
shown. This back adjusment to swing, shown in Fig. 272, is
secured as directed for the back of the rocker in Fig. 270. Ar-
range the arms so that they are 10^ inches from the top of the
seat to the top of the arm. This will be proper support for a

OUTDOOR FURNITURE

275

pillow placed in the corner. Bolted construction is the best for
such a piece of furniture held in suspension. Two bolts pass-
ing through the front pillar along the side rail and into the back
pillar, with washers and nuts in the rear, will make a reliable

Fig. 271.— Porch Swing 4 or 6 Feet in Length.

framing. The front and back rails may be secured by shorter
carriage bolts through pillars and into holes in the ends of the
rails, with a sunken place to receive and draw up the bolt with
a nut. Stout corner blocks should also be placed under the
slat seat.

As the swing fulfills a purpose in the summer, it could also
do service for a hall or den settee by providing an under rack or
leg and stretcher parts, to be fitted and fastened by underscrew
blocks. This is mentioned here as it might be found desirable to
make a complete settee, putting in double stretchers or strainers
between posts under the seat. When completed saw off the
posts a half inch from the under edge of the seat rail. This
lower part may then be put away until the winter months,
when the two parts may be reunited by loose dowel joints and
held firmly by a tie plate or block at each post under the seat.

276

FURNITURE FOR THE CRAFTSMAN

Many people find pleasure in having a "Dutch lunch" on
the lawn, and for this a few tables appropriate for outdoors
should be made. While there can no glue enter into the con-
struction of the table and chair shown in Fig. 273, the fitting
of parts should not be carelessly done. The legs, dressed to
i^ inches square, should be fitted to the proper bevel under
the top plate or batten, which will answer also in holding the
top from warping too greatly. For this use plenty of screws.
Two stout square sticks may be halved to support the lower

Fig. 273.— Lawn Table and Chair.

shelf and this is to be held down by screws from underneath.
By a proper selection of hickory branches a rustic effect may be
produced, while adding greatly to the strength of the table.
The slant of legs shown in the picture may be marked on the
drawing at 4 inches under the ends and 3 inches under the sides,
spreading them in line with the outer edge of the top at the
floor line, which is iq inches under the top. Incidentally the
German chair shown would give a good setting to the lawn.
The companion chair, Fig. 274, should be part evidence of one's

OUTDOOR FURNITURE

277

hospitality, not to say that in it one can become in a summer
thoroughly acquainted with one's wife. The dimensions of
the seat frame are i7>^ x 42 inches, 1% inches thick, provided
with slightly parted slats. The posts, straight and curved,
should be dressed to i >2 inches square; a sufficient curve may be

Fig. 274. — Companion Chair.

secured from a plank 4}4 inches wide. The height of the back
should be 22 inches from the top of the seat. In other particu-
lars as to bevels one may be guided by almost any house chair,
as the one under construction should be a chair of comfort and
the back therefore may have a greater bevel than an ordinary
table chair.

Sufficient size is in the posts to fit the seat into a diagonal
gain, sawing off the corners of the seat to fit the groove firmly
when drawn up by a long, heavy screw or lag screw. In this
piece, which will have no doubt greater exposure, lag screws
with washers on all the important joints would be the best to
use. The arms, i>i inches thick, should be set in the post
about y^ of an inch, which will materially stiffen the construction.

In all furniture it is better to strike off all edges either by a
clear-cut bevel or a smooth quarter round. It is pleasing to
the touch and guards against future dents and corners breaking

278

FURNITURE FOR THE CRAFTSMAN

off. Should wood of no pronounced figure be used in the con-
struction of this piece, it had better be given three coats of
paint, the seat, arms and back being sandpapered after each coat
to avoid a fatty condition in the hot sun. Bright red, green,
dove or dark tan are suggested as a range to select a color.

Fig. 275 leads us more away into that particularly shady
place where possibly it has never occurred to us to establish
a permanent tarrying place of some comfort for a party of six or
eight. This may suggest to some reader who has the work of
fitting out a picnic grounds an inkling of further ideas along this
line, for most people nowadays have realized that "a day in a

Fig. 275. — Lawn Settee.

beautiful wooded grove" is a myth as far as comfort for the
tired body is concerned. Direct construction is here used, and
by having the seat 20 inches deep the proper back rest may be
given by nailing the slats onto the top rail as shown and pulling
them out at the seat 3 inches from the back edge. A bevel
strip may then be used to nail them at the bottom. The side
rails, I X 3 inches, extended to the corner posts of the two chairs,
forming the rail for the small middle seats, the slats for which

OUTDOOR FURNITURE

279

may be nailed to cleats nailed to the back rails of the two
settees. It would be just as well in settingup this double forma-
tion to keep off i inch on each side of the tree trunk to allow
for expansion in growth.

It is hoped, in conclusion, that the few pieces shown may act
as an incentive to the creation of that which represents individ-
ual taste and requirements about one's home.

In a little town, tucked away in the bay along the Atlantic
Coast, this subject was suggested by the lamp post shown in
Fig. 276. In the mind of the genius who spied the tree as a
likely support for one of the vil-
lage lamps it no doubt was thought
a mere makeshift — handy, how-
ever, as it needed no ladder to
attend to the light. Years ago the
summer house and other forms of
rustic construction were much a
part of a well conducted estate —
then a long period — when out-
door accessories, useful or artistic,
were little seen; even the dog was
denied his special house and was
consigned to the barn or allowed
the warmth of the house, to grow
lazy and unmindful of intruders.

Now a return to these out-door
comforts is very noticeable, being
mainly due to the rapid acquire-
ment of farm and suburban homes
by the city man. His ideas of
comfort and adornment are in
evidence within the home, and
without there is a seeking after
landscape effects, if the extent of ground permits — the loca-
tion by some prearranged plan of certain fixed features that
will be pleasing to the eye from the central point, the
dwelling.

Fig. 276. — A Rustic Lamp Post.

280

FURNITURE FOR THE CRAFTSMAN

These features are much in the province of landscape garden-
ing, but as accessories the artificial, the constructive, must be
made use of, which require the ever necessary carpenter. We
would all be living in tepees were it not for the carpenter.

There is a certain dignity in having some of the outdoor pieces
of furniture fixed, immovable, as a seat inheriting the stump of a
tree, a bench ever inviting one to tarry awhile in the sun, for
even in February there are often exceptional days when,
wrapped in overcoat, a seat out-doors in a wind-protected
place is a great tonic.

With the suggestions offered in the illustrations there can be
no fixed dimensions accompanying them, as they will depend on
the material in hand. Inspiration to produce the odd or quaint
piece of rustic work must arise from the fact that a condemned

Fig. 277.— a Quaint Settee.

tree has upon it sections which will answer for the main mem-
bers of the proposed construction. Take as an example the
settee. Fig. 277. It is quite possbile to find two members which
will ' ' pair, " giving a ready-made support to seat and back. In
this instance, being a fixed seat, sufficient length should be left

OUTDOOR FURNITURE

281

to set in ground, as a fence post, previously coating the buried
portion with coal tar.

It is more often accidental that the favorable location for a
seat, or fiower stand, is immediately over the stump of a tree,
which may be converted to the purpose of a support, to be more
substantial than any other. Where such is the case, and other
conditions congenial to establishing a seat, such a chair illus-
trated in Fig. 2/8 may be constructed at a very comfortable
height by sawing off at a somewhat extreme angle, making the
front height of seat board 1 7 inches from the ground. Into this
board, which should not be less than i ]/2. inches thick, bore holes

Fig. 278.— Chair with Tree Stump for a Base.

in a slanting manner near the edge, into which the spindles are
inserted. These spindles and the bow should be, properly, of
hickory. A young green sapling can be bent and conformed for
the bow to an enlarged shape of the seat, securing the two ends
to the front posts, which are natural curves, first being inserted
in holes in the stump and secured by nailing to corner of seat.
Spacing off the under part of bow, bore the same number of holes
as in seat for the spindles, giving them more flare at the top.
The spindles being selected from green hickory, averaging ^
inch in diameter, may now be cut. The measure of each being

282

FURNITURE FOR THE CRAFTSMAN

regulated by the bow slanting to the front, each end is then
trimmed by a chuck to fit the holes into which they are inserted,
and held by wire nails driven and clinched against an iron. A
"fitching" may now be easily worked in and out between each
spindle, pulling them well up under the bow, securing at inter-
vals with a nail, and at the ends against front stakes. This is
done with a much lighter and more pliable hickory stick; it not
only reinforces the appearance of the bow, but strengthens it
materially when thoroughly set and dry to shape. This is re-
ferred to in detail, as the use of the withe assists greatly in bond-
ing together what is at first
pliant construction. The
barrel hoop today is still
the hickory strap, however
primitive.

No home is complete
without sharing part of it
with the birds. It is true
since the importation of
the English sparrow the
little rascal has it all his
own way; he and his fel-
lows constitute a union
unto themselves; no other
bird carpenter or home
builder is allowed to set
up a home short of the
woods. The purple mar-
tin, a respectable citizen
and "man of the house,"
has little chance, how-
ever plucky, against this
selfish horde. We fear the
shotgun is the only thing to clear the way for him, but the mar-
tin, once a tenant, will renew the lease every spring on his return
from the South, besides bringing a fine selection of songs to en-
tertain you at the breakfast table. The illustration. Fig. zyq, is

Fig. 279.— An Ornate Bird House.

OUTDOOR FURNITURE

283

away from the conventional pattern of years ago, when the at-
tempt was generally to make, in miniature, a dwelling. The
overhanging rain and wind-protecting roofs, it is thought, will be
appreciated by the occupants, and the bark slab sides be more
appropriate to bird nature. The plans for this house, when pre-
pared, call for seven rooms ; the basement consists of a hoop or
ring to accommodate visitors. The "elevation," 25 feet from
the ground on top of a planted pole, or, if possible, a tree cut off
at about this height. The situation, 75 or 100 feet in front of the
windows of the living rooms, is everything in giving enjoyment
to the housed-in or the invalid.

In constructing out-door furniture the aim should be to have
the parts sufficiently stocky to stand the sun and rain without
warping or cracking. Therefore, very little inch material
should be put into such work. Factory-made furniture, for this
reason, is undesirable and will weather few seasons, although of
late many substantial patterns are made that stand well under
the protection of the porch or veranda.

Fig. 280. — A Heavy Piece for the Lawn.

In addition to the light, portable furniture of the piazza, a
substantial heavy piece located, for the open air season, at a
nearby point on the lawn will save much nightly carrying-in of
chairs and rockers. Such a piece, Fig. 280, will give welcome
dignity, placed just off the driveway or walk leading to porch

284

FURNITURE FOR THE CRAFTSMAN

Steps. A roomy bench or settee, Pig. 281, permanently placed
in view of the tennis court, should not be overlooked. Here, or

Fig. 281.— a Tennis Court Bench.

near about, might be constructed a luncheon table. It may,
however, be a matter of individual desire where the table shall

Fig. 282.— Table for the Lawn.

be located, as one spot at a certain time has a greater attraction
over another. The artisan and we plain people may favor the

OUTDOOR FURNITURE

285

level, grassy lawn, but the feminine portion of a wealthy man's
household seek to give a proper setting to their functions, or
lawn parties — the scene to look bright and gay by locating the
table and benches in front of a bed of flowers or a hedgerow; the
position at another time, toward the fall, transferred to the vi-
cinity of the ripening grapes on the arbor. Once meals are par-
taken in the open air there will be many repetitions; even at so
late a day it is hard to shake off Adam-like habits. The table
then. Fig. 282, should be built in no flimsy way. The under
structure may be mortised and tenoned, then nailed, while the

Fig. 283.— Rustic Support for
Rose or Honeysuckle Vines.

Fig. 284. — Seat with End Serving as
a Lattice for Vines or Creepers.

top is made of heavy stock, strengthened by battens. Hooks
are then provided to catch into staples in the under part.

Out-Door Furniture

There are few seats made entirely of tree limbs which are com-
fortable, unless by a rare combination of parts and considerable
care given to whittling off the bumps. From observation rela-

286

FURNITURE FOR THE CRAFTSMAN

tive to the durability of any kind of open frame work the car-
penter is well experienced, and should use rustic work in a re-
strictive way, knowing well that material which has been milled
and surfaced will, like the duck's back, shed water freely when it
has been treated with oil and paint. With this thought in mind,
tree limbs should be used in a subordinate way, and a structure
for strength made up of framed parts with joints should, before
being brought together, be freely coated with white lead or coal
tar. Neither should broad surfaces be brought in close contact
to absorb and retain moisture, but rather relish out, if possible,
leaving sufficient stock for a good bearing. Then, as in the case

Fig. 285.— The Rustic Writing Desk.

of many pieces illustrated which are portable, they may be put
under cover of the barn or outbuilding at the close of the sum-
The pieces shown in Figs. 277, 278, 280 and 281 may be

mer.

considered as fixtures, as Fig. 285 and particularly Fig. 283 are
intended as a support to the rose or the honeysuckle vine. There
is a certain charm in making nature still more eccentric by rus-

OUTDOOR FURNITURE

287

tic work. If it is used, as at the end of Fig. 284, as a lattice for
vines and creepers, it is more in conformity than using smooth
lath arranged in conventional shapes.

The writing desk pictured in Fig. 285 will no doubt be con-
ducive to a flow of thought, and — and — ink likewise, should one
happen, which is very often the case, to have two trees standing
about 6 or 7 feet apart. A board, reinforced underneath with
cleats, can then be fitted between the trunks at the proper height
and angle for a swivel chair, which may be easily constructed, as
shown, to set over the post. A heavy bolt welded to the iron
plate secured to the bottom of the seat may be dropped into the
hole in the post, having several wrought-iron washers to inter-
vene, so as to allow the chair to swing around underneath the
desk, while at the proper height is placed a rest for the feet.

The swinging settee shown in Fig. 286 will be a source of
genuine comfort on a hot afternoon, when reading is the in-
tention, but sleep the usual ending. Devoid of padding on the

Fig. 286.— a Swinging Settee.

arms, there is no especial attraction for an afternoon nap. It
is predicted, though, many fancy pillows will be found there.
This, with the swinging motion from the chains, will make a
more desirable resting place than the hammock. The chains
hang from hooks in the rafters of the porch, or heavy limb of a
tree, are secured by plates bolted to the ends of the settee, the
front chain secured to the seat frame, while the rear chain is ad-

288

FURNITURE FOR THE CRAFTSMAN

justed at the proper balancing point near the arm or back post.
Heavy No. ooo German chain should be used. The size of the
seat should not be less than 23 x 72 inches, the framing consist-
ing of I ^4 X 5-inch stock, the inner edge rabbetted out to receive
slats ^8 X ^ inch, to be nailed at intervals of ^ inch. The
upper face of these slats should be slightly ground. Another
form of seat may be put in, like an old-time sack bottom bed-
stead, and heavy duck, with seam and eyelets, worked in along
the edge, through which rope is inserted in and out and around
slots cut into the framing, stretching the material as the rope is
pulled through the eyelets. The front and back legs are ex-
tended 1 2 inches below the top of the seat, in so doing making
the settee useful in the dining or smoking room as a general
lounging couch.

Fig. 287. — Bench for Driveway or Along a Hedge.

In Fig. 287 is seen a very readily constructed bench for the
driveway or along the hedge. The settee. Fig. 288, will be con-
venient when located along the edge of the water or other place
where the ground remains damp, the footboard being placed on
a slight angle convenient for comfort. Should one possess a
lake or river frontage, benches and other seat forms should be
plentifully provided and located at positions giving the best
view. Where the viewpoint is at an elevation toward the west,
the greatest amount of pleasure is to be had watching the setting
sun. This is a sentiment appreciated by all. A comfortable

OUTDOOR FURNITURE

289

seat in nature's theatre will remind one that the last act of the
day is the best and most beautiful of all.

Fig. 288. — Settee for Borders of a Lake or River.

In continuing the consideration of the subject, it may be
stated that the construction shown in Fig. zSq is intended for a
lounging settee, and if the head rest and sloping end be adjusted
at the proper angle it will be found not uncomfortable for re-

FlG. 289.— Lounging Settee.

dining. Children are well satisfied with the ground and grass
upon which to scamper and roll about, and the older people or

290

FURNITURE FOR THE CRAFTSMAN

the mother welcome such a resting place. In time the old tree
and bench become the recreation ground for the family. Fre-
quently two trees have grown from the same root, and it is found
desirable to remove one of them. The stump may then be con-
verted into such a seat as that shown in Fig. zqo. A comfort-
able back is improvised by hewing out slightly two wings for the

Fig. 290.— Stump of Tree as Used
for a Seat.

Fig. 291.— Support for
Jardiniere.

top slat, supported by a brace from behind, and under the edge
of these are nailed two slats on each side of the portion of the
tree trunk forming the middle of the back. The stump should
be sawed off at the proper inclination for comfort. In order to
prevent hasty decay, treat the surface with paint or other pre-
servative. In Fig. zqi is a suggestion for a stand supporting a
jardiniere, which is usually brought from the living room during
the summer. Many other forms will no doubt suggest them-
selves as this interesting subject of out-door life develops in the
mind of the home builder.

OUTDOOR FURNITURE

291

The flower pyramid shown in Fig. 292 possesses a certain in-
terest when a limited space is given to the disposal of many
flowering plants.

The frame is made of four 2 x 4-inch pieces placed in the form
of a pyramid. In the illustration the construction is partially
exposed, showing the intermediate studding of 2 x 4-inch lumber,

^'^Vi1i*y.ii«f.V,1--f:

Fig. 292.— The Flower Pyramid.

with extended brace nailed on the ends of them, while on the
outer face of the studding is a covering of rough boards, upon
which, when the structure is finished, the earth will be thrown,
filling in from the bottom box up to the top, which has a sepa-
rate boxing. The face of the boards is finally covered with
bark, thus obliterating all evidence of carpentry work.

At this point, it may not be out of place to refer to the varied
points concerning the preservation of wood work, which is a mat-
ter of great importance. In its bearing on rustic fixed furniture,
however, it is well to let time and the elements treat it as they
will. It would, indeed, be like "gilding the lily" to paint it,
although some portions may be treated with boiled oil, par-

292

FURNITURE FOR THE CRAFTSMAN

ticularly the end wood where decay first sets in. All benches,
settees and other furniture of made-up stock should be painted,

Fig. 293.-

Settee with Lattice Back.

and painted underneath as
carefully as in the exposed
port ions. Buff and shades
of green would no doubt
be most satisfying, while
a settee with lattice back,
or Chippendale style, as
in Fig. 293, painted pure
white, affords an agreeable
marking point on the
lawn. The double-back
settee with flower sup-
ports, such as indicated in
Fig. 294, would also be
appropriate in cream or
white.

Fig. 294.— Double Back Settee.

CHAPTER XV

FINISHING

HEN the builder of furniture has carried his work
along to the point of final finishing, he has probably
given each piece that forms part of it such careful
smoothing with plane and steel scraper that the
work in its entirety needs but the clearing off of
certain glue streaks or particles, that the last rubbing over
with No. GO sandpaper prepares it finally for the staining oper-
ation. It is presumed he has attended to this in real loving in-
terest to experience that rare sense, finally, of the satisfaction of
accomplishment, for reducing the work to the smoothest pos-
sible condition, reduces also very consideraby the various
stages of after finish.

The definite object of putting wood into an immediate con-
dition of representing what the mellowing influence of time ac-
complishes, should be the desire — and indeed it would be far
better to leave furniture to go without stain or finish what-
soever and allow time to finally produce that rich depth of color,
than to stop off time coloring action by some passing furniture
finish like so-called "antique" or "natural" which holds the
wood in a most unnatural color for all time.

The charm of the old furniture is in the freedom of that
enamel, glossy, varnish finish which fills up the depth and de-
stroys natural texture.

In the "Arts and Crafts" and "Mission" style, a greater ap-
preciation has developed for wood in furniture and interior
finish which is free from the overlay of varnish or its substitutes.

So great is oak held in favor and real sentiment that attention
will be directed more to this wood in reference to finishing than
to the closer grained woods. To secure this much desired

293

294 FURNITURE FOR THE CRAFTSMAN

warmth of color in oak and chestnut one need but observe the
rich coloring in brown tones imparted to oak which has been
used in the construction of horse stalls, where time and the
fumes of ammonia have played such an important part, this
then was the suggestive thought which years ago, in England,
was worked out in a practical manner by inclosing furniture pre-
pared for coloring in a tight box or cover to receive the fumes
from ammonia which had been poured out in shallow dishes.
For ordinary application of this method, when work is infre-
quently made, a well plastered or papered closet may be made
use of, taking care to have the door close perfectly tight against
temporary sealing strips. Upon this air-tight condition depends
the quality of color, as the operation requires about forty or
fifty hours' exposure. The liquid is properly termed aqua-am-
monia, and is about 26 per cent, strength; much stronger than
ordinary household ammonia.

A quicker method and one resorted to by manufacturers is the
use of ammonia brushed on by a sponge or brush. After the
first coat is well dried, sandpapering is necessary to remove the
fine particles of grain which have been raised. This should be
carefully done with fine sandpaper, and then a second coat of
ammonia applied, and as carefully sandpapered as before.
This operation as well as the fuming method is rather trying to
the nostrils, and the former method is recommended as one can
quickly close out the odor. If from the difference of open and
close character of the wood some parts show lighter, give such
places a third brushing. After the entire work is well dried and
in smooth condition, apply thin coat of orange shellac; let dry
and sandpaper lightly with fine paper; then give another coat of
shellac treated in the same way. Finally apply one or two coats
of floor wax of some well-known make, used according to direc-
tions given.

As in other work, so it is in finishing wood, that it does not
consist in the use of a certain method, formula, or preparation
merely, but quite as much in the intelligent handling of the sub-
ject, for chemical action in the wood itself enters largely into
creating an unevenness of result, the close or open character of

FINISHING 295

one piece of wood in its relation to another, and herein indi-
vidual judgment should be used to match up or modify for the
desired even blending to overcome unpleasant contrasts or
streaky condition as it might occur, as in a portion containing a
certain amount of sapwood. However with such experiences
met with and overcome by certain preparatory tests on scrap
wood, which is always advisable, it is quite safe to make use of
finishes for oak, or close-grained woods which have been pre-
pared by reputable color and varnish makers, who give you the
benefit, in their directions, of many years' experience in pre-
paring their products for exacting requirements.

Mahoganizing

Maple and birch enter so frequently into mahogany furniture
so called that a mahogany stain must be used to create an even
coloring. It will be found more advantageous to make use of
the preparations or powders for mixing put up by some of the
reliable color mixers when the mahogany stain is to be used in-
frequently. When it is used extensively and the aim is to keep
one established color the mixture or the proper shade should be
prepared from one formula. Every finisher has his pet secret
formula, which may vary as do the stains from the color houses.
For this reason intelligence and patience must be a part of the
mixture, frequent tests being made and finally a note as to the
proportions when the satisfactory tint has been produced. The
two ingredients frequently used are the aniline powders known
as seal brown and French red. It is generally unsatisfactory to
state how much of the red should be added to the brown in the
water solution, as it is much a matter of testing the strength of
color on a surface of wood similar to that which is to be stained.
In a tin pan or vessel of very warm water sift in, while stirring, a
small quantity of the brown, then follow with the French red,
making a test, which should be allowed to dry before diluting or
adding more color. The brown should be used sparingly at first,
as it colors quickly. The red should not be too pronounced,
suggesting that cheap Christmas toy red seen on low-priced fur-
niture. By confining the experiments to scrap wood and match-

296 FURNITURE FOR THE CRAFTSMAN

ing with a sample of genuine finished mahogany no trouble
should be found in imitating the recognized color. When the
desired shade is obtained it is not necessary to apply it hot to the
wood. The surface should be finished and free from any grease
or glue spots which would hinder the stain from being absorbed.
Some parts on the entire surface might be benefited by a second
coat. Allow the work to stand a day before treating to a coat of
shellac, which is allowed to dry for half a day, when it may be
rubbed over with No. o sandpaper. With a medium-priced
first filler varnish coat the work and allow as long as possible to
dry, or give it not less than two days to harden. Judgment in
this, as in everything, should be used, and plenty of time should
be given between coats. After the surface is thoroughly hard
rub down with sandpaper, and give a second coat with an equal
amount of time to harden before applying the third and final
coat of good furniture varnish. This last coat should be allowed
to dry not less than five days, when prepare to rub down with
pumice stone and water, using a heavy strip or square of felt,
dipping it in a saucerful of stiff pumice stone powder and water.
This also is an operation the information for which is secured
solely by practice. Remove the chalk line deposit with a damp
cloth and wipe dry with cheese cloth, after which proceed to go
over the work with white waste dampened with a preparation for
furniture polishing consisting of half and half of turpentine and
raw linseed oil and plenty of elbow work. A drop of alcohol
added to the rubbing cloth will very frequently facilitate the
operation.

CHAPTER XVI

UPHOLSTERY

Some Suggestions Touching Upholstery Work

LAIN upholstering of furniture may be very readily
accomplished by following a few instructions and
taking care to keep form and outline true and
evenly balanced. A chair frame is taken as an illus-
tration, and the operations necessary to upholster

it may be enlarged upon for a settee or larger piece; practice

and the article itself suggesting more than could be told.

The first illustration shows the usual custom of upholstering.

The work starts with putting on the webbing or bands on the

bottom of the seat framing, and this should be done in a very

firm way. For a chair seat, three strips from front to back rail

and three interlaced through these across the width of the chair

will be sufficient to make a firm support for the springs. Fold

the ends of the webbing sufficient to have

the tacks hold and then stretch across to

the other side by hand or by means of a

steel stretching tool, folding and tacking

and cutting off the webbing to start

another strip. For this use lo-ounce

tacks. Five springs of the shape shown

in Fig. 2q5 will be sufficient for the usual

size of chair seats. This spring is 3^4

inches high, and is of io>^-gauge wire.

The position of the springs on the webbing

should be about i inch from each corner, with one placed in the

center. They are then held in place by stitching through the

webbing sufficient to hold them to one position, and for this use

an upholstering curved needle and good twine.

Fig,

295.— Shape of the
Springs.

297

298 FURNITURE FOR THE CRAFTSMAN

The tops of the springs are now held in the same relative po-
sition, and for this, use heavy cord, securing the end to the top
of the seat rail with a matting tack or staple driven inside of a
hard knot ; then engage the outside wire of the spring with a loop
knot drawn so that it does not compress the spring too much.
From here loop across the spring and then to the opposite spring
and down on to the rail, making a hard knot and holding the
cord down snug with a staple. In this manner do the other
springs and then criss-cross, so that they are all bridged together.

Cover this network with burlap or muslin, tacking the first
edge sufficiently folded to have the tacks hold on to the edge or
the back seat rail, and stretch forward and tack down on front
rail, then on side rail, folding the edges as you tack. Upon this
distribute in an even manner about 2 pounds of moss, tow or
hair. The way it is put on is a matter of a little judgment, the
idea being to maintain an arched shape. When this is placed to
your satisfaction, stitch over with long stitches with a curved
needle and twine to prevent the material from shifting. Over
this tack down the muslin securely. Frequently this operation
is repeated by another layer of moss, tow or hair, but this is not
necessary where a good quantity of hair is used. Always place
a layer of cotton batting over the muslin, covering to prevent
the hair from coming through, and also on the edges, that may be
sharp and liable to wear. The final outer covering being a mat-
ter of one's own selection, nothing can be said as to this, except
to caution when using figured goods to adjust the figure to the
shape with some idea of balance. As to the backs of chairs when
springs are used the same operations apply with a smaller spring
used.

Most chairs have backs filled in against a webbing applied
along the inner edge of the frame, the moss or hair being care-
fully stuffed in under a muslin covering tacked down as the work
proceeds, then the leather or figured goods is laid over cotton
batting intervening and tacked carefully to the rabbett on the
outside of the framing, over which is neatly stretched gimp to
match the material. When a corner is turned, lap the gimp
while stretching it, so that it strikes the corner with a good miter.

UPHOLSTERY 299

The custom is so general to use quite large metal or leather-
headed tacks as a border finish, that care should be used to
evenly space them and have the corner button hold down the
miter neatly. The back of the chair is usually covered with the
same goods, but may have a cheaper grade of the same tone
neatly tacked on the rabbett and lined with gimp. To hide the
unsightly webbing on the bottom of the chair, tack, with edges
folded, a piece of chintz of suitable color, hiding all the rough
edges on the rails.

The spring and wire illustrated in Fig. 297 is used in later-day
upholstering, the wire taking the place of the webbing. This
style of creating a spring foundation is coming into great favor

Webbin3

Fig. 296. — Showing Usual Method of Upholstering.

for its general simplicity and is well adapted for square frames
such as Morris chairs, settees and built-in hall seats. The scal-
loped wires shown cross each other at the base of the spring, a
"half" spring being used. The wires aresold indifferent lengths,
bent with a crook at each end, as partly shown in the cut, having
a sharp point which is driven into the top of the seat rail. As an
extra precaution a stout staple should be tacked over the wire.
It will be seen that with the peculiar shaping of the wire the
springs, when placed and secured by a similar intersecting wire,

300 FURNITURE FOR THE CRAFTSMAN

occupy about the same level as though the webbing were tacked
on the bottom of the rail. In a chair all that is necessary is to
cross diagonally two of these formed wires of proper length, so
that the points are driven into each corner block, then screw in
to catch the middle spring over the intersection and place the
four other springs about 2 inches from corner blocks, securing
them on to the main wire by in-
serting a cut-off section of the
scalloped wire used for the pur-
pose. The upper part of the
springs are then tied with heavy
cord, as shown in Fig. 2q6.

Much more could be said of '^^--*^^~nN!i^^^5^ lljiriven

upholstering. Practice on the ^J/^ bio'lT*^

plain work will give one many

suggestions relative to a trial on

more pretentious work of the Fig. 297.— Shape of Springs Used

over-stuffed class, and dissecting i» Modern Upholstering.

an old piece having tufted work and spring edges will add to

one's store of information.

Leather will always be the suitable material for the dining
room, the den, and for library furniture on account of its wear-
ing quality and that it does not show soil so quickly; other
fabrics however are being used in these rooms, and particularly
in the living room such a fulness of color and warmth may be
had by the use of tapestries, chintz and cretonnes that they
will always be used.

INDEX

Subjects illustrated are denoted by an asterisk.*

PAGE

"Adam Style" 25

Antique Models 7

Arm Chair 164, 206, *207

''Art Nouveau" Style 70

'■ Arts and Crafts " ' Style 29, 7 1 , * 1 6q, * 1 70

"Ball and Claw" *iq

Bandy Leg 45

Bed 25, *27

Bed Chest *2}b

Bedroom Commode *2 1 8

Bedroom Table *2 1 8

Bedstead , *2 1 7

Bench *288

Bird House *282

Blacking Stand *i23

Book Case *'^55, *256, *257

Book Holders 1 1 o, * 1 1 1 , * 1 1 2, *26o

Buffet *io2, *iqq

Cabriole Leg 15, *i8, *iq, *65

Carving 11, 12, *i3, *qi, *ii9

Chairs. . *i3, *i4, *i8, *iq, *2o, *2i, *23, *24, *28, 148, 162

Arm 1 64

Corner * 1 76

Desk * 1 79

Dining *i55

Dressing *23o

Garden *27o

301

302 INDEX

PAGE

Chairs

Morris *i82, *i83

Rocking *2 7, *i4S, i4q, *i^o, 164, * 165

Roman * 1 76

Side *i62

Charles II 13

Chest 103, * 104, * 105

China Cabinet 20Q, *2io, *2i i, *2i2

Chippendale 1 8, * i q, *2o, *2 1 , *22, 1 54

Clawfoot *b'y, *c)o, *i 18, i2q, *i5q, *i6o, *iq2

Clock Cabinet *i66, *i67, iq2, *iq3

Clothes Chest *io4, *io5, 23, ^235, *236

Clothes Stand 4 *2 1 8, *2 1 q

"Colonial" Style * 186, 188

"Commonwealth" Period *i i , 1 2, 1 3

Console Table 1 40, * 1 4 3 , * 1 44

Construction Frame *37, *22q, 233, *25q

Corner Chair * 1 76

Corrugated Fasteners 100

Costumer *2 1 q

Couch *i 5q

Court Cupboard *i 2

Cushion 83

Desk Chair *i 7q

Dining Chair *i55, 205, *2o6

Dining Room * i q6

Drawings, 42, 68, 71, 7^, jb, *8q, *qi, 151, 170, *i75, 214

Dresser *22 1, 222

Dressing Table *227, *228, *22q

Dressing Table Chair *228, *2 3o

"Elizabethan" Style 10, *i2

"Empire" Style 25, *26

English Breakfast Table 203, ^204

Finishing 52, 53, 54, 70, 74, 124, 125, 205, 2oq

Flower Pyramid *2qi

Folio Case i8q, iqo, *iqi

French Leg * i q, 20

Fuel Chest *8o, *8 1 , *82, *&$

Fumed Oak 30

INDEX 303

PAGE

Garden Bench *266, 267, *268, *i6q

Garden Chair *27o

Garden Table *27o

"Georgian Period" 18

Glueing Press *56, *57

Gothic 20

Hall Frames 135, * 136

Hall Seat *4i, *6q, *i3i, *i32, *i34

Hall Stand * 1 3q, * 1 40

Hall Tree 137, *i38

Handy Tools *')'), *^6, *57, *58

Hat and Coat Frame 135, *i36

HePPELWHITE 18, 22, *23, *24

"Jacobean" Style 11, *i4, *i5, *32

James 1 11

K. D. "Knocked Down" 180

Kitchen *25 1

Kitchen Cabinet *248, 249, 250

Kitchen Table *253

Kitchen Table Seat *253

Lamp Post *27q

Stand *io8, *ioq

Lawn Bench *284, *285, *28q

Lawn Chair ^276, *28i

Lawn Settee ^t-??, *^7^, *2.8o, *283, *28q, *2q3, *2q4

Lawn Swing *287

Lawn Table *276, *284

Louis XIV 20

Louis XV 20, 21, 22

Louis XVI 22

M
Mahoganizing 2q6

304 INDEX

PAGE

Magazine Stand q7, *q8, *i67

Magazine Stand and Book Case *256

Medicine Cabinet 239, *240

Millinery Stand *io6

Mirror *i8, *2iq

"Mission" Style 28, 61, i6q

Morris Chair 182, *i83

Music Cabinet *iio, *i86, *i87, 188, *i8q

O
Ornament 60, 61, *62, *63, *64, *65, /q

Parlor 173

Pedestal * 1 84

Piano Bench *i 30

Piano Stool 127, *i28

Plate Rack *202, *203

Plant Stand *io7, *io8, ^285, *2qo

Porch Chair 273, *274

Rocker *272

Porch Swing 274, *275

Portable Wash Stand 223, *224, *225

"Queen Anne" Style *i6, *i8

Reading Table *i25

Reception Chair * 1 7q, 2 3 1

Rocking Chair 164, *ib^, *i48

Roman Chair *. * 1 76

Routing Tool *58

Rush Seat 156

Saddle Seat *i5o, 152, * 162, 163

Sanding Stick *S7

Scraping Tool 45, 48, *58

Screen *86

Serving Stand 100, *ioi

Serving Tray *3 5

INDEX 305

PAGE

Settee i8o, *i8i, 275, *28o

Settle *i i, *i8, *253

Sewing Table 1 1 2, * 1 1 7, * 1 2 1

Shaving Stand 231, *232, *242, *243, *245, *246

Sheraton 18, 22, *24

Shoe Chest *225

Side Board *q, *24, *iq7

Side Chair .' * 1 62

Sitting Room * 1 58

Table * 1 5q

Slip Seat *i55

Stand, Flower *i 24

Millinery *io6

Plant *io7, *io8

Smokers * i oq

Tray *36

Umbrella *io6, *io7

Stock Dressing *45, *46, 47, *48, 4q, 50, *$i

Stools 1 17, *i 18, 120, *i2i, *i23

"Stuart and Tudor" Style 15

Table

Bedroom *2 1 8

Breakfast *32

Center *22, *26, *8q, *qo, *qi, *q2, *i75

Chair *2q

Dining 200. *2oi

Garden *27o, *284

Gate Leg *32, *33

Living Room *3q, *q2, *q3, *q4, *i5q

Reading *i25

Serving *34

Sewing Table *36, *37, 203, *204

Settle *3 1

Side Table *3q

Telephone *4o

Tray *3 5

Tea Cart 213, *2 14, 215

Towel Rack *226, *24i

Tray Stand *36

U
Umbrella Stand *io6, *io7, 145, * 146

306 INDEX

PAGE

Under-Bed Box * 1 05

Upholstery *i7, 83, 84, *iiq, *i33, 155, 161, *i62, 165, 176,

182, 207, 208, 2oq, ALSO Chapter XVI.
Utility Box 104

Veneer Work 185, iqq, 242, 234, 244

ViCTROLA Cabinet *i86

Wardrobe 234, *23 7

WaSHSTAND 223, *224, *225

Wash stand and Somnoe *2.33

Wedge Machine *5q

"William and Mary" Style *i3, *i6

Windsor Chair * 1 7, *27

Window Seat *6q, *8o, * 1 22

Work Stand *2b, 112, *i 1 3, *i 1 5, *ii6

Working Drawing 42

Writing Desk *iS, *bq, *i78, *286

Table *q5

Writing Desk and Book Case *257, *262

]

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