Carpent Ry for Boys in Simple Language, Including

THE HOW-TO -DO -IT BOOKS

CARPENTRY FOR BOYS

A boo whi ch treats i n a most ra t a and fas nat n manner k , p c ic l ci i g all subjects pertaining to the King of Trades showin g the care and use of to o s dra n des n n and the a n o ut of or l ; wi g ; ig i g, l yi g w k ; the principles involved i n the building of various kinds of strue tures and the rud m ents of ar te ture . It onta ns o er two , i chi c c i v undre and ﬁ t ustrati ons m ad e es e a f or t s or and h d f y ill p ci lly hi w k , includes also a complete glossary of the technical term s use d i n the T a rt . he most comprehensive volume on this subject e ver pub li shed f r o boys .

ELECTRICITY FOR BOYS

The author has adopted the unique plan of setting forth the funda m enta ri n es i n ea ase of the s en e and ra t a l p cipl ch ph ci c , p c ic lly o applying the work i n the successive stages . It shows h w the kno ed e h as een d e e o ed and the reasons f or the ar ou wl g b v l p , v i s enom ena t out us n tec n a ords so as to ri n i t t n ph , wi h i g h ic l w b g wi hi m ass of e r ha e o rm the o e bo . It s a om et ssar of te s and c p v y y c pl gl y , s ra e e r r n i s illu t t d with two hundr d o iginal d awi gs .

PRACTICAL MECHANICS FOR BOYS

Thi s b ook takes the beginner through a c omprehensive seri es of ra t a s o or i n the use s O too s and the stru ture p c ic l h p w k , which f l , c and handling of shop m achinery are set forth ; h ow they are utilized to er orm th e or and the m anner i n i all m ens ona or p f w k , wh ch di i l w k d an i s arr e out . E er su e t i s ustrate d m o e u di n c i d v y bj c ill , d l b il g a It onta ns a ossar om r se s a new s ste expl ined . c i gl y which c p i y m of cross re eren es a eature t at ro e a e ome e arture i n f c , f h will p v w lc d p

us rate . explaining subjects . Fully ill t d

Pri ce 60 cents per volume

THE NEW YORK BOOK COMPANY

147 FO UR TH AVE N UE NE W YO RK

THE HOW-TO -DO -IT BOOKS

CARPENTRY FO R BO YS

i im an ua e i nc udin n s ple l g g , l g

h r o n drawi n la i n o u c apte s g , y g t

i ni n n r hi work, des g g a d a c tecture

W I T H 2 5 0 O R I G I N AL I LLUS T R A T I O N S

ME BY J. S . Z ER E , . . . B AUTHOR O F ELEC TRICITY FO R B OYS PRAC TICAL MECHANICS FO R B OYS

NEW YORK ROOK COMPANY

NE W YORK

CONTENTS

INTRODUCTORY

TOOLS AND TH EIR USES Page 5

K e of oo s F u Ki of oo s Th H no e . t . e at e wl dg T l A ll T l ch t .

— - Th e C a H ammer . ou t S a s Cross cut Ri S aw l w Ab w , p ,

a s—J a ane moot n Pl n Fore S aw. ane S a e B ck Pl ck Pl , hi g ,

n s —F rm r e aw Ga e . se s e s . russes . S Pla e. g Chi l i Chi l T

l n h C m Th r s e . l s x T e t n o r B . a s . n te o l p e G i d o t e. Mi

r n Wo k Be ch .

H ow TO GRIND AND S H ARPEN TOOLS Page 16

r — — S et a o s F r s s HO to . C e o f T ol i st R equisite . S aw W

- E rr r n B F n . Th An aw s s S S ett o . e S et o . aw i g l ck ili g

l P a s F n e of n F n t S aw C m . Su g Fili g . ili g i ch . l p ili g g

s n The Us n th F e . Th r n stone . ge tio s . File. i g e il e G i d

In th e se of Gr n stones orre t ' W a of H o n U i d . C c y ldi g

" r r f e n r a t i n . a I re o T oo l G inding C e o Ston . co ct W y

H o o a o R o r r r n e o W t e e o u n n sto e. Th ld T l . y v lv T G i d

n Th e Ga s n ra O ser at ons a e . e C se . Ge e . Pl g . hi l l b v i

How TO HOLD AND HANDLE TOOLS Page 29

h H n H W o t r h a . O t S a a On t e oldi g of Tools . T e S w t

S aw S a n on a ne The rst S tro e Th e Start . wi g Li . Fi k .

I n r ro - h Str e u t f o ss tt n F or n a S aw . T e o . g O C cu i g . ci g k

P ane n e Th s Th . e n n . e Chi ese S aw. Thi g to Avoid l A gl

f or H o n anes E rrors to be o e . Th e Ga e . ldi g Pl . Av id d g

- H o n th e Ga e The ra n e. ldi g g . D w k if CONTENTS

How To DESIGN ARTICLE S

F un m a enta s o f es n n . The Commer a Inst n t d l D ig i g ci l i c .

F r m n n st Re u re e ts o f es n . Con ent ona S t es i q i D ig i g v i l yl . h S T e ss on t e . Ca nets . H armon of arts H ar Mi i yl bi y P . n mo y o f W ood .

How WORK I S LAID OUT Page 43

Co n rete E am es of Wor . mens ons La n ut c x pl k Di i . yi g O

a a e. Th e To . The ort ses . The a n B ar s T bl p M i F ci g o d .

Th e enons . oo s Used . C am ere enons The T T l h f d T .

Fram Th r er r a S u o t. The e r e . e a e Th D w pp T bl F am . e

To The r r H w An r r i s u t U . a e . o t tu p. D w y S uc e B il p

O ser at ons out a n a Box Po nts Be e n b v i Ab M ki g . i . v li g

n t r Pr ms r r e o ta a n o er er . tu am s . e d Mi e i g . p T Pic e F D v il

n s B x P nts r S t s i et n t t o o . st e n a . Cu Poi . i Fi p Dov ili g

se i n a n ting Out th e S paces . Tools U d L yi g Out Mor

tises and Tenons .

TH U r T H E OMPAS AN D TH E R a 59 E SES o C S S QUA E . P ge

The om ass ete rm n n An es . e n t on of De C p . D i i g gl D ﬁ i i

r m ass Ho e r e r es e ees W t out a Co . w e s are g e . D g i h p D g

r Calculated by the Divide s .

How TH E DIFFERENT S TRUCTURAL PARTS ARE DE S IG N ATE D Page 65

s a H t Impo rtance of Prope r De ign tion . ow o Expla in

s n n S ment and S e t r r n F r e e o . Mecha ical o m . D ﬁ i g g c A

a e r uttress F n uttress C am er Cotter c d , A ch , B , lyi g B , h f , ,

Crene ate Crosses Cu r Roo Cu o a Cro n os t l d, , b f, p l , w P ,

Cor e s ormer o e r etent E tra os E u b l , D , D w l, D ip, D , x d ,

rai led Fa et F ret F ret or Fronta F ru strums F l g , c , , w k, l , , y

fot Gam re Roo Gar o e Gu eon Gu o e . H a , b l f, g yl , dg , ill ch lf

Tim ered Hammer eam H eader Hi Roo H oo b , B , , p f, d CONTENTS iii

o d n In a e Int r a n r In erted In ert M l i g, cl v , e l ci g A ch, v , v ed

r Ke S tone K n Post a e ou er nte Lu A ch , y , i g , L b l , L v , Li l , g ,

M-Roo Mansar Roo Ne e ar uetr een en f, d f, w l, P q y, P , P d

ant Pend ast le e esta nt ort o ate u n , y , P d l , Pli h , P ic , Pl , Q ee

ost u r o n Re-enter n n e Ra ter ar P , Q i k M ldi g, i g A gl , f , S c f

i n S ot a o n S S e a S an re S trut g, c i M ldi g, ill , k wb ck, p d l, ,

Stu St e Ti e eam m er Tramme urret Tr n d, il , B , Ti b , l, T , a

som Va e Roo . , ll y f

DRAW ING AND ITs UTILITY Page 73

un m n s i n ra n r a e ta . Re esent n O e ts F d l D wi g p i g bj c .

o rm n n s and S a o s na s of ne n F i g Li e h d w . A ly is Li s a d

ad n s H ow to S o a n S ur a es o u r S . C n a e S h i g h w Pl i f c . c v

s n ur a s S a s r a e . Co e S e . om a B m F at f c v x f c h dow f ea . l

E f e ts The rect on of t Ra sed S ur a es D . . e f c Di i Ligh i f c .

r ss u r es . u S n Il ustr t n e p e ed S fac F ll hadi g . l a i g Cub

' n a Eﬁ c He ne rs a . S n s S e t. a . e e t es h di g h di g vy Li P p c iv .

ru e rs t e of a u e Isom tr Cu F a e e . e t T P p c iv C b ic be. l

t ne ers e t e e n a es nat ons . S e tor and e d P p c iv . T ch ic l D ig i c

e m n r o An r an u r r S e t. m f es C es d es e s C . I g T gl . i cl v ;

r u ar Cu r s E s and a Fo a P mts Pr e e . es O s . o o g l v llip v l c l .

d uced ne S ra s er en u ar and Vert a . S ns Li . pi l , P p dic l ic l ig

n D n n o In t su reme . e t ons s e t a e ea t . ssa . dic M ﬁ i i Ab ci . A gl

o s s r s s C or . o no d . t e m . e o C Co Ap h g Ap id Ap i . h d ycl id . i

S n E s . E c o E o u e F n Con e t o o . t . ic c i . llip id pi ycl id v l lyi g

But r ss Fo s no s H on H r o a H m e a e . t e . u G e . . c . x g yp b l y

th n n e nt Is s e r n e . ara o a . o e use . I a o e s a p cid l . c l . T i gl P b l

P l l n m R om . r m e e o o o s ra . a a e o ra . l l g . P l c id P yg . Py id h b

S e t r ment. nuso an ent etra e ron . o S e S . c . g i id. T g T h d

Verte x.

X M G H P S T N S N E EL I . OLD S W I AC I AL ILL A IO I MR IN , T R T C U TR LI S H I NG WORK Page 93

n a o n T e S m est o o s Th e s s o f s . h M ldi g . B i M ldi g i pl M ld CONTENTS

Th Astra al Th n s Ca et . Th o T e . e to O . h i g . g v e v lo e m Th r Th A t e m at um Th e . o us e o e . C . e e T . p h g y i Og

e r a Th n O R ta . e R e s e Ree . s m t ee O e e . Th Ca e e g c g v dy e .

Th e Rom n -D r ol n esson rom th e o r a o ic C um . L f D ic

m l n l n s Co u n A ol n Ba s E mbe s m e t . . e. l pp yi g M di g . l i h

S tr - M l n Pl n ol n Ba s D er s a t a e o . a e igh f c d di g i M di g . . iv i

ﬁed Us s S a o s as b o n s C t . e . h d w y M ldi g

AN A ALY S S OF TE O G MO S G RABBET G AN D N I N NIN , RTI IN , IN BEADING Page 104

rt se s De o f M . Wher e Morti ses S hou ld be Used . pth o i

u r r rt s r t s i n ut R f o o t s s . r o S e C le M i e T u e Mo i e W k . p

t r s r n La - and n se n s o A o i n o t s . i g Mo ti . Thi g t v id M i i g p

ﬁn h on u and r o e B a Bu t o nts . S car T e e G o e t J i g . T g v . d

i n rnament Be n s The Bea and Ra et a a . g . O l d Fi i h d bb .

S a n t Bea s a nd Rabbets h di g wi h d .

HOUSE BUILDING Page 1 13

H Bu n h H m n E m s nts eau ou se . T e o e a d e m e B ildi g b lli h .

t N t O rnam entat on P a n S tru tu r s l n e . o a y o i . l i c Co i l

Th Roo th e K e note Bun a o es n e . e . Ge Typ f y g l w Typ .

B l n P ns h ra H u s Bu . u T e l o e ilding i di g la . e Plain

S uare - oo r P an Th e R e tan u l ar P an Room eas q Fl l . c g l . M

r m ents r o nt and S e nes Th e R oo t u e . . Roo . F id Li f f Pi ch .

Th e oun at on . The S s . Th e oor n o st Th e F d i ill Fl i g J i .

Pl Int r h ate . e m a S tu n S ett n U . T e e te Stu ddi g . i g p di d

n He rs Ce l n o st . Bra es Th W a a e . e Ra . t di g ll d . i i g J i c f

r t n r and W o F ra ers Th e Gu tte . S et oo n m es . i g D i d w .

aster n an F n s Wor ) Pl i g d i i h k .

T D L K R S 13 XII B DGES S SED WO K AN I S E . . a e 0 . RI , RU R E TRUCTU P g

-s R s mmon ru sses Th r s S e u ort oo . o B n C . e idge . lf pp i g f T

r s Th W arren r er . Th Bo Vertical Upright T u s . e Gi d e w

r n r r Fun amenta russ orms . st i g Gi de . d l T F CONTENTS v

TH E B S WOOD S F OR TH E BEG NNE a e 134 XIII . E T I R P g

S H r s Th os s Woo . e t o t oo s . a Th e Bes t Wood . f W d d d M

h H r -r Gra n i n oo The o s T e a e W . Difficu lt Wo d . d ibb d i d

fer en es i n h e or n of E asi est Wo rki ng W oods . Dif c t W ki g

oo s For n S a s i n W oo . W d . ci g w d

XIV WOOD T G a e 1 38 . URNIN P g

m u rn n L t A n a e s o f o Tu rnm S e a e . dva t g W od g . i pl T i g h

Th a l h Ra s Th e s enter n B o s . e e . C T e il . L g i g l ck T i

Th e oo Rest ater a s Th e an re . Fl sto . . ck . T l M i l M d l y

e l Th e oo s Re u re . wh e . T l q i d

I 14 ON TH E US E OF S TA NS . . Page 7

f Sta n n I tat ons S o t o se of s ta s as m . U . S W od . i i i i

n r o r s S a n n s n G eat C nt ast Bad . t Good Ta te i n S tai i g . i i g

r t n o s H r o Im tat ns Natu ra ont as W o . a W o o C i g d d d i i . l

s t S u r f N atu ra W oo S ta ns . o n S a ne Ef ects . l d i P li hi g i d

a es f c .

TH E A PE E A ND TH E AR H E 152 XVI . C R NT R C IT CT Page

I U F A C T M K XVI . SE UL RTI LES o A E Page 155

B n P mm o . s r or n r Co n e It o t o s S u a e To S too . ch p i . q p l l o n a n Box. Con en ent E ase H an n F di g Bl cki g v i l . gi g

B r S ad I ron H er B - oo a o . o s box . o a e W oo . k ck ld kc . d

’ ara l e Bar s for Bo s Use ss on r t n D s P l l y . Mi i W i i g e k .

’ r F r m e s S een a . s on C a r ra r G n a . c Mi i h i . df the s Clock

Kno o n and u sta Boo ase Coa S u ttle ckd w Adj ble kc . l c

- ram e or Case . ss on Arm a r Do ou se F Mi i Ch i . g h .

S ett e W t Con en ent S e s o Ra e . e S o a l , i h v i h lv T w l ck . f

F ramew r o k .

VIII SP D X . ECIAL TOOLS AN TH EIR USES Page 170

Bi t and e u r r Ar e ste te d es . S e m U L v l Adj . Mi wiv l p

“ ” r ts o a S o n r d ob . e t s . s O d J igh M v bl p A gle Divide . vi CONTENTS

oo . Bi t ra es . Rat et e an sm I r T l B c ch M ch i . nte locking

rame Br east r s r a s . S tee . H o z onta Bor n J w l F D ill i l i g .

- 3 J aw C u . anes . Ra et n Bea n and a h ck Pl bb i g, di g M tch

i n . Cutter u stment. De t Ga e . S tt n Ga e g Adj p h g li i g g .

on u e and Groo e P an o eta e. Router anes D v il T g v l Pl .

‘ t m S u r a n . oo r r m P n Bo to f ci g D T i la e .

ROOF ING TRUS SE S Page 1 85

C a ra ter st s f russ s Ti ms r o e . B a n m t h c i ic T e e . O a en a

t n O e ts o f eams S truts an Br e o . d a s . Ut n i bj c B , c ilizi g

S a e . es of S tru tures m re Ro url . Ga n p c Typ c b l of . P i

h Pr n r s r Roo . T e ess us . e or Cam er e Ti e f i c T A ch d, b d ,

m r Th a s r r B u ss . n a S ss s B a B o m . r ea T e M d . ci e aced

ar Bea Ri n o ar rus - m . H Coll b a d C ll T s . ammer beam

russ F n Buttress T . lyi g .

ON TH E CONSTRUCTION O F J OINTS Page 197

n o nd Uses . D f er nt es r n e t n a e e J o t . D ﬁ i i if Typ . B idl i

S u r enon S a e o nts n H . . o o t e p T ddl J i J ggle J i . el

ts Stu on u s u J o n en . enon . o e u s enon i . b T T k T D bl T k T .

n h r nts Co e o nts . n o r o ts ee nc o o . gg d J i A ch J i . D p A J i

XXI S OME M S AK ES A ND A L T L ADVI I N CA PE . I T IT E CE R N TRY Page 205

r M n n h E of a oar Lessons F om i stakes . Pl a i g t e dge B d

ra P an n u r l m ens ons . S t t . i t S a e an n to igh l i g q . P i g Di i

H o n th e P ane H ow i S ou be Run on the E e ldi g l . t h ld dg

h Boar ru n t h t o f the ane . o f t e d . T i g Wi h t e W eigh Pl

S an S a Gras In Smoot n BOard s . Corre t A te dy p . hi g c d

u e W or n Rem ovm ur us G . r G u n . S pape i g . l i g g pl l k

r Th S r n and ar n ne . Edge and Wo k S ide. e c ibi g M ki g Li

r S a n a Board S uare. The Fini shing S u faces . wi g q

f rue S S a n Ou o . S troke of the aw. wi g t T LIST OF ILLUSTRATIONS

1 t a ork enc Front s e . A ypic l w b h i pi ce

5 ane . Pl 6 J a ane bi t . ck pl 6a Fore ane bi t . pl F rm er se 7. i chi l

rest e 8 . T l ter ox 9 . Mi b 10 In orre t sa s ett n . c c w i g orre t sa s ett n 10a . C c w i g 1 1 S aw sett n e e . i g d vic

Cross cut saw teeth F iling clamp Grindstone Corr ect manner of ho lding tool Incorrect way of holding too l

Starting a saw

Correct sawing angle Thru st cut C nese saw hi " Movi ng angle for plane H olding gage Laying out table leg The ﬁrst m arking line Scribing mortise li ne 2 vi ii LIST OF ILLUSTRATIONS

The corner m ortises Th e side rail

Cross scor ing Th e tenon Finishing th e tenon Th e tenon and mortise The drawer su pport Drawer cleats Assembled table frame Th e top Th e drawer

Miter j oint Picture frame j oint In iti al m arks for dovetails E nd m arks for dovetails

Cutting out r ecesses for dovetails

R ecess for dovetails Determining angles Marking degr ees Angles from base lines Stepping off spaces Arcad e

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 LIST OF ILLUSTRATIONS 1X

69 eta . D il E tr 70 . x ados 71 Engr ail ed

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O

o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o

H aunches

H i p r oof H ood m olding Inclave Interl acing arch Invected Inver ted a rch

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 LIST OF ILLUSTRATIONS

Qu een post Qu ir k molding Re-entering Rafter

0 0 0 0 0 0

S tile

Turret

Plain line Concave S hading " Convex sha ding W ave Sh ading Light past concave su rface Light past convex su r fa ce Plain su r face Outlines Rai sed sur face D epressed su r face Shading rai sed su r faces Shading depressed su rfaces Pl ain cubical outline Indicating cube Confu sed lines H eavy hor izontal lines H eavy vertical lines I som etric cube Cube and cir cle Flattened perspective Angl es i n isometr ic cube Plain cir cle S ph ere shading xii LIST OF ILLUSTRATIONS

Ovolo ( molding )

Toru s ( molding ) e Apophyges ( molding ) Cym atium ( molding ) Ogee-recta ( molding ) Ogee -reversa ( molding ) Bead ( molding ) Casem ent ( m olding ) Th e Dor ic colum n Front of cabinet Faci a board Molding on faci a board Oge e-recta on facia Tr im below faci a Trim below ogee Tr im above base Tr im above base molding Shadows cast by plain moldings Mortise and tenon j oint Incorrect morti s ing S teps i n m ortising The shou lder s of tenons Lap-and -butt j o int Panel j oint S carﬁng Tongu e and groove Beading Outside beading ﬁni sh Edge beading Co rner beading Point beadi ng Round edge beading Beading and m olding First square hou se plan First rectangu lar hou se pl an Squ are house to scale Rectangular house to scale Front elevation of square house E levation of rectangular house LIST OF ILLUSTRATIONS xi ii

F I G.

22 I u strat n one-t r tc 7. ll i g hi d pi h 28 I u strat n al t 2 . ll i g h f pi ch 229 Th e S ll s at th e orner . i c 230 Th e o st and S s . j i ill 23 1 Th e ate s e . pl plic 32 Th e r a ters 2 . f Th e u tter 233 . g 23 The orn e 4 . c ic 234a Th e n s W t out utter . ﬁ i h i h g 23 Com on ru ss 5. m t

36 U r t truss 2 . p igh

237.

238 Warren r er . gi d 239 E ten e Warren r er . x d d gi d 240 Bo stri n r er . w g gi d Frame details of wood tu rning lathe 242 a ta . T il stock de ils 243 oo rest eta s . T l d il S ection of mandrel 245 V e of tu rn n at e . i w i g l h

246 .

24 en 7. B ch 48 S too 2 . l Blacking box

H anging v book rack Book shelf W ood box Horizontal bars Mi ssi on desk Sc reen frame Mission chair ’ Grandfather s clock F rame fo r bookcase Coal scuttle case Mi ssion arm chair Dog house S ettle xiv LIST OF ILLUSTRATIONS

F I G.

265 ss on so a rame . Mi i f f 266 Bi t and s uar e e . q e l v l 267 eta m ter box . M l i 268 ar s of met m t r ox . P t al i e b 269 n e ers . A gl divid “ ” n o 270 . A dd j ob tool 1 n r s - a ra 27 . U ive al j w b ce 2 2 a er -s an bi ra e 7 . T p h k t b c 2 3 ator - aw ra e 7 . Allig j b c 2 4 Stee ram e reast r 7 . l f b d ill 2 5 Stee rame reast r 7 . l f b d ill 6 S tee rame dreast r 27 . l f d ill 2 eta s of meta ane 77. D il l pl

278 . Ra et mat n and a o ane bb , chi g d d pl 2 9 o n and ea n ane 7 . M ldi g b di g pl eta ton ue and roo e an 280 . Dov il g g v pl e 1 Router anes 28 . pl 82 Router anes 2 . pl 283 oor tr m ane . D i pl 84 Gam re roo 2 . b l f 285 ur n roo . P li f 6 r n ess tru ss 28 . P i c 8 r or am ere eam 2 7. e ti e A ch d, c b d, b 88 Th e mansar 2 . d 289 S ssors eam . ci b 90 ra e o ar eam 2 . B c d c ll b 1 Rib and o ar truss 29 . c ll 9 1 H ammer - eam truss 2 4. b 292 Br e o nts . idl j i 93 S ur tenons 2 . p 294 S a e o nts . ddl j i

96 F ram n o nts 2 . i g j i 9 H ee o nts 2 7. l j i

9 us tenon 29 . T k

1 Co e o nts 30 . gg d j i 02 n or o nt 3 . A ch j i CARPENTRY

A P CTIC COURSE WHICH TE S IN CONCISE AND RA AL , LL SIMPLE FORM HOW TO DO IT

INTRODUCTORY

AR RY i s C PENT the Oldest of the arts , and it has been said that the knowledge necessary to make a good carpenter ﬁts one for almost any trade or Th occupation requiring the use of tools . e

h h he e atchet, t e saw, and t plan are the three

primal implements of the carpenter . The value

I S In knowing how to use them . The institution of Manual Trai ni ng Schools

“ everywhere i s but a tardy recognition of the value _ of systematic training in the use of tools . There i s no branch of industry which needs such diversi

ﬁCati on o fﬁ , in rder to become e cient . The Skill of the blacksmith i s centered in his

ability to forge, to weld, and to temper ; that of the machinist depends upon the callipered dimensions of his product ; the painter in his taste for har mony ; the mason on his ability to cut the stone accurately ; and the plasterer to produce a uni form surface . But the carpenter must , in order ﬁ to be an expert, combine all these quali cations , 2 CARPENTRY FOR BOYS

in a greater or less degree, and his vocation may

K n . justly be called the i g of Trades Rightly, i therefore , t Should be cultivated in order to learn

tr aIni n the essentials of manual g work . But there i s another feature of the utmost im portance and value , which is generally overlooked,

i s and on which there placed too little stress , even

of a The in many the manu l training schools . training of the mind h as been systematized so as to bring into Operation the energies of all the

M eﬁ ci ent bram cells . anual training to be Should, s at the same time, be directed into such channel as Will most widely stimulate the muscular devel o men m p t of the child, while at the sa e time cul ti vati n hi s g mind . There is no trade which offers such a useful

ﬁ va ; eld as carpentry . It may be said that the n ous manual operations bring into play every l musc e of the body.

saw The , the plane , the hammer, the chisel , each

i requ res its Special muscular energy . The car

enter li s p , un ke the blacksmith, doe not put all

i s hi s h brawn into his shoulders , nor develop

hi e torso at the expense of s other muscles , lik It a t the mason . may also be said th t, unlike mos

has -of other occupations , the carpenter both out door and indoor exercise, so that he is at all m h s m or ti es able to follow i occupation, sum er INTRODUCTORY 3

e winter, , rain or Shine ; and this also furth r illus trates the value of this branch of endeavor as a healthful recreation . It is the aim of this book to teach boys the — — pri mary requirements not to generalize but to Show h ow to prepare and h ow to do the work ; what tools and materials to use ; and in what man

“ ner the tools used may be made most serviceable , and used most advantageously . It would be of no value to describe and illustrate h ow a bracket is made ; or h ow the framework of a structure i s provided with mortis es and tenons h in order to hold it together . The boy must ave something as a base which will enable him to d sI n e g his own creations , and not be an Imitator ; his mind must develop with his body . It is the principal aim of this book to give the boy some thing to think about while he is learning how to h bring eac indivi dual part to perfection . If the boy understands that there is a prm ci ple underlying each structural devi ce ; that there is a

e a ﬁ wa r ason for m king certain things a de nite y, he is imbued with an incentive which will sooner or later develop into an initiative of his own . ’ It is thi s phase in the artisan s life which deter mi nes whether he will be merely a machine or an i ntelligent organism . i Th s work puts together in a Simple , concise 4 CARPENTRY FOR BOYS

form, not only the fundamentals which every

e ﬁ m chanic should learn to know, but it de nes every i n ll structural form used this art , and illustrates a terms it is necessary to use in the employment of

I S d r awm s carpentry. A full chapter devoted to g practically applied . All terms are diagrammed

nd ﬁ so a de ned, that the mind may readily grasp h t e ideas involved .

Finally, it will be observed that every illustra

ra W e tion has been specially d wn for this book . have not adopted the plan usually followed in books of this class , of taking stock illustrations ’ a w of manufacturers tools and devices , nor h ve e thought it advisable to take a picture of a tool or a machine and then write a description around “ We the ho it . have illustrated book to explain w ” t d h ork th e o o t e w , also , to teach the boy what

1ve trade requires , and to g him the means whereby ﬁnd he may readily the form of every device, tool , and structure used in the art .

6 CARPENTRY FOR BOYS

TH E A C E - e H T H T . The hatch t Should be ground

. e one with a b vel on each Side , and , not on Side

’ e only, as is customary with a plaster r s lathing

e e th e e th e e hatch t , becaus blad of hatch t is us ed ff for trimming O the edges of boards . Unle ss ground off with a bevel on both sides it cannot be

o c c ntrolled to cut ac urately. A light hatchet is

' e e one e e pr f rable to a heavy . It Should n v r be

e e e c . used for nailing purposes , except in m rg n ies — The pole of the hammer that part which is gen — er ally used to strike the nail with is r equired i n order to properly balance the hatchet when us ed

for trimming material . — TH E CLAW HAMME R This is the proper tool

e . for , driving nails and for drawing th m out

t be th e e i Habi s Should formed with b g nner , which

e c e will be of great s rvice as the education pro e ds . TOOLS AND THEIR USES 7

One of these habits i s to persist in using the

h e e e Th tool for t purpos for which it was mad . e expert workman (and he becomes expert b ecause of it) makes th e hammer do i ts proper work ; and so with every other tool .

— ABOUT S AWS There are four well -d eﬁned

- ﬁat saw . kinds . First, a long, , for cross cutting

saw Second , a Slightly larger for ripping pur

a saw poses . Third, back , with a rib on the rear edge to hold the blade rigid , used for making

o saw. ten ns ; and , fourth, a compass or keyhole 8 CARPENTRY FOR BOYS — CROSS -C UTS The difference between a cross saw cut and a rip is , that in the latter the teeth have less pitch and are usually larger than in

- . the cross cut saw The illustrations ( Figs . 13 and 14 ) will distinctly Show the diff erence In the

e h - te th . W en a cross cut saw is used for ri ppi ng

alongthe grain of the wood, the teeth, if disposed

at an angle , will ride over the grain or ﬁber of the

wood, and refuse to take hold or bite into the

. the wood On other hand, if the rip saw is used

- for cross cutting purposes , the saw kerf will be

rough and j agged . The back saw is used almost exclusively for making tenons , and has uniformly fine teeth so fi as to give a smooth nish to the wood . — PLANE S The plane may be called the aesthetic the ’ I tool in carpenter s kit . t is the most difficult tool to handle and the most satisfactory when

thoroughly mastered . How to care f or and TOOLS ~AND THEIR USES 9 handle it will be referred to in a subsequent chap

e i ts ter. W are now concerned with uses only.

Each complete kit must have three distinct planes,

off namely, the Jack plane , which is for taking the rough saw print surface of the board . The Short

deSI ned th e smoothing plane , which is g to even up Inequalities made by the jack plane ; and the

ﬁ I S In long nishing plane , or fore plane , which tended to s traighten the edges of boards or of ﬁ nished surfaces .

— TH E JACK PLANE This plane has the cutting edge of its blade ground so it is Slightly curved

( Fig . because , as the bit must be driven out so it will take a deep bite into the rough surface of the wood, the curved cutting edge prevents the corner edges of the bit from digging into the planed surface .

the h he h On other and, t bits of the smoot ing and ﬁnishing planes are ground straight across

we their cutting edges . In the foregoing have not f enumerated the di ferent special planes , designed s 10 CAR PENTRY FOR BOYS

and to make beads , rabbets , tongues grooves, but

e each type is fully illustrat d , so that an idea may F . i e . 6 be obtain d of their characteristics ( g a ) . — GAGE S One of the most valuable tools in the whole set is the gage , but it is , in fact, the least

hi i s known . T s Simply a straight bar , with a sharpened point projecting out on one side near

h h or its end, and aving an adjustable Sliding ead cheekpiece . This tool is indispensable in making mortises or tenons , because the sharpened steel point which projects from the S ide of the bar, serves to outline and deﬁne the edges of the mor

S O tises or tenons , that the cutting line may readily be followed . This is the most difﬁcult tool to hold when in w i ts use , but that ill be fully explained under v as proper head . Each kit should ha e two , in making mortises and tenons one gage is required

for each side of the mortise or tenon .

E — CHIS LS . Two kinds are found in every ki t TOOLS AND THEIR USES 1 1

7 one called the firmer ( Fig . ) and the mortising fi chisel. The rmer has a flat body or blade , and a full set ranges in width from three - eighths of an inch to two inches . The Sizes most desirable

re h e - th and useful a t one half inch , the inch and e

- - - inch and a half widths . These are used for trim ming out cross grains or rebates for setting door

locks and hinges and for numerous other uses

- ar r e uIr ed where Sharp end tools e q .

TH E S N E — MORTI I G CHIS L . The mortising chisel

. 7a ( Fig ) , on the other hand , is very narrow and thick, with a long taper down to the cutting edge . They are usually in such widths as to m‘ ake them

. e stock sizes for mortises Never , und r any cir cu stances r m , use a hamme or hatchet for driving

C hisels . The mallet should be used invariably .

E S — e TRUSS There Should be at least two , ach three feet in length and twenty inches in height .

S AW A PS — CL M These are necessary adjuncts , and o should be made f hard wood , perfectly 1 2 CAR PENTRY FOR BOYS

' straight and just wide enough to take in the nar row saw back . The illustration shows their shape and form .

TH E D E - I GRIN STON S . t is better to get a ﬁrst class stone, which may be small and rigged up

ﬁne- with a foot treadle . A soft, grained stone is

s e mo t serviceable , and it should hav a water tray, and never be used excepting with plenty of water .

AN IL i O STONE s as essential as a grindstone . For giving a good edge to tools it is superior to I t . t a wa er stone should be provided with a top , - and covered when not in use , to keep out dust

14 CAR PENTRY FOR BOYS

work, for instance , on trusses , is the disposition of h the saw and square . Our illustration shows eac i m truss with S ide cleats , which w ll per it the user temporarily to deposit the saw or the square so be that it will be handy, and at the same time out of the way of the work and prevent either of f the tools from being thrown to the loor .

he In the same way, and for the same purpose, t work bench has temporary holding cleats at the end and a Shelf in front, which are particularly

saw u i desirable, because either a or a sq are s an encumbrance on a work b ench while the work ul is being assembled, and tools of this kind sho d not be laid ﬂat on a working surface, nor should they be stood in a leaning position against a trus s or work bench . — S tri ctly observe thes e fundamentals Never

wa u place a tool with the cutting edge to rd yo . Always have the racks or receptacles so made t n’ hat the handle may be seized . Do t put a tool with an exposed cutting edge above or below an other tool in such a manner that the hand or the tool you are handling can come into contact with the edge . Never keep the nail or screw boxes the above work bench . They should always be

as b kept to one side, to prevent, much as possi le, h the benc from becoming a depository for nails . K the the h e eep top of benc fr e from tools . AI TOOLS AND THEIR USES 15 ways keep the planes on a narrow sub- shelf atthe rear of the bench . ’ If order was Heaven s ﬁrs t law it I S a good ’ and principle to apply it in a workman s shop , its Observance will form a habit that will soon be come a pleasure to follow . CHAPTER II

H OW TO GRIND AN D SHARPE N TOOLS

R CA E OF TOOLS . Dull tools indicate the charac

e ter of the workman . In an experience of ov r forty years , I have never known a good work Whi man to keep poorly sharpened tools . le it is true that the capacity to Sharpen tools can be

i at acqu red only by practice, correct habits the

l thi s x art of start wil materially assist. In doing p ’ hat the artisan s work , it should be understood t

i s i there a r ght as well as a wrong way. There is a principle involved in the sharpening of every tool, which should be observed . A skilled artisan knows that there is a particular way to grind the bits of each plane ; that the manner of setting a saw not only contributes to its useful

saw ness , but will materially add to the life of the ; that a chisel cannot be made to do good work un less its cutting edge is square and at the right working angle .

R U S -A b t FIRST EQ I ITE . eginner should never a tempt a piece of work until he learns how the dif f erent ar tools Should be sharpened , or at least le n

“ l the principle involved . Practice wi l make per e fe t . GRINDING AND SHARPENING TOOLS 1 7 — SAWS As the saw is such an important part I d of the kit, shall evote some Space to the sub w ce F i rs t sa . j t . , as to setting the The Object of this i s to make the teeth cut a Wider kerf than the thickness of the blade, and thereby cause the saw

“ so - sa to travel freely. A great many called w ” the sets are found in market, of them built

on as wrong principles , will be shown, and these are incapable of setting accurately .

How - S ET . TO saw r To set a accu ately, that is , to h the drive out eac tooth same distance , is the ﬁ h rst requirement, and t e second is to bend out the h h th w ole toot , and not e point only . In the illustration ( Fig . the point is merely b e out. i s nt This wrong . The right way is Shown 18 CARPENTRY FOR BOYS

10 e ShOWl Il in Fig. a. The whole tooth is b nt , g

e the correct way of s tting . The reasons for avoiding one way and following the other are :

e First, that if the point proj cts to one side, each point or tooth will dig into the wood , and produce tooth prints in the wood, which make a roughened surface . Second, that if there are inequalities in setting the teeth ( as is sure to be the case when only the points are bent out) , the most exposed

W Ill c points ﬁrst Wear out , and thereby ause saw s deterioration . Third , a saw with the point s i n and ticking out causes a heavy , dragg g cut, W e means additional labor . her the whole body

run and of the tooth is bent, the saw will smoothly easily through the kerf and produce a smooth-cut surface . 11 h r e Our illustration ( Fig . ) s ows a ve y simpl s rInCI l i s at etting block, the p pa merit of which th h he any boy can make it, and in the use of whic cannot go wrong in setting a tooth .

MP E S AW E E — od SI L S TT R . Take a block of wo , 3 4 4 a by inch studding, four inches long . Get GRINDING AND SHARPENING TOOLS 19 piece of metal one -half inch thick and two inches

square . Have a blacksmith or machinist bore a quarter- inch hole through it in the center and countersink the upper side S O it may be securely fastened in a mortise in the block, with its upper k side ﬂush with the upper surface of the bloc .

Now ﬁle ﬁ off , with a , nish one edge , going back f for a quarter O an Inch, the angle at A to be about 2 1 degrees .

— ANGLE S In its proper place will be shown how you may easily calculate and measure 12 degrees in work of this kind . Fig . shows an a r oxirna i B 11 t on . pp to the right angle . B , ( Fig )

i Should be a pa r of wooden pegs , driven into the wooden block on each side of the metal piece . The teeth of the saw rest against the pegs so that they serve as a guide or a gage , and the

saw e the i n teeth of the , therefore , project ov r

elined a Now p rt (B ) of the metal block . , with 20 CARPENTRY FOR BOYS

an ordinary punch and a hammer, each alter nate tooth may be driven down until it rests

so ﬂat on the inclined face (A) , that it is impossi W ble to set the teeth wrongly. hen you glance s aw down the end of a properly set , you will see

- nn a V shaped cha el, and if you will place a needl e

and saw h in the groove hold the at an angle, t e

needle will travel down without falling out .

—T Two FILING he next step is the ﬁling . h things must be observed : the pitch and t e angle . By pitch is meant the inclination of the il h Note the lustration ( Fig . whic shows the

aw teeth of a rip s . You will see at A that the pitch of the tooth is at right angles to the edge w sa . 14 of the In Fig . , which shows the teeth of a

- saw 0 cross cut , the pitch ( B) is about 1 degrees ff o . The teeth of the rip saw are also larger

than those of the cross - cut — TH E ANGLE OF FILING By angle is meant the ﬁl 1 2 e . cutting position of the In Fig . , the lines

22 CARPENTRY FOR BOYS

ﬁl keep the e at the same angle , and thus Insure accuracy ; then turn the saw and keep the ﬁle con

e set stantly at one angl for the alternate of teeth . Of Give the same number strokes , and exert the

ﬁle same pres sure on the for each tooth, to insure

and uniformity . Learn also to make a free , easy straight movement back and forth with the ﬁl e; — TH E FILE In order to experiment with the ﬁl

sur ing motion, take two blocks of wood , and try fil W facing them off with a e . hen you place the two filed surfaces together after the first trial fi both will be convex, because the hands , In ling, nl m u ess you exert the utmost vigilance , will assu e

- fi S fil a crank like movement . The ling test is O to e the two blocks that they will fit tightly together

n e a without rolli g on each other . B fore sh ping

m e and planing achines were invent d, machinists were compelled to plane down and accurately ﬁn

off ﬁl ish surfaces with a e . ﬁl In using the es on saws , however small the

ﬁle may be, one ha nd should hold the handle and

ﬁle the other hand the tip of the .

ﬁle brush be s A should always kept on hand , a

ﬁ e e it pays to preserve les by cl aning th m . — TH E GRINDSTONE AS most of th e tools require s a grindstone for sharpening purpose , an illustra a tion is given as guide , with a diagram to Show

. 16 u the proper grinding angle In Fig . the p GRINDING AND SHARPENING TOOLS 23 right (A) of the frame serves as a line for the

so t eye , that if the poin of the tool is brought to the sight line, and the tool ( C ) held level , you will always be able to maintain the correct

i s a angle . There no objection to providing rest,

a D D for inst nce , like the cross bars ( , ) but the

artisan disdains such contrivances , and he usually

: avoids them for two reasons First, because habit enables him to hold the tool horizontally ; ﬁ and, second , by holding the tool rmly in the hand

he has better control of it . There is only one

thing which can be said in favor of a rest , and 24 CARPENTRY FOR BOYS

ci rcumf eren that is , the stone may be kept truer

i all . t y, as all stones have soft spots or sides

D E — ar e IN T H E US E OF GRIN STON S . There certain things to avoid and to Observe in the use of stones .

ne Never use o spot on the stone , however narrow the tool may be . Always move the tool from Side

e set to side . N ver grind a of narrow tools suc

cessi vel C y. If you have hisels to grind intersperse

ri e their g nding with plane bits , hatchet or oth r

so broad cutting tools , as to prevent the stone

from having grooves therein . Never use a tool

e a on a ston unless you have w ter in the tray.

C WAY D F OR G D N ORRECT To HOL TOOL RIN I G . There is a correct way to hold each tool ; see illus

trati on ( Fig . The left hand should grasp

ﬁ as the tool rmly, near the sharp edge , shown, and the right hand should loosely hold the tool behind GRINDING AND ‘S HARPE NING TOOLS 25

he a t left hand . There is reason for this which

l a ou f ew wi l be app rent after y grind a tools . The

“ ﬁrm grasp of the left hand gives you absolute

l s o control of the b ade , it cannot turn, and when

ne uali ti es a q appear In the grindstone, the rigid h e m and old will prev nt the blade fro turning, thus enable you to correct the inequalities of the

i stone . Bear In m nd, the stone should be taken care of just as much as the tools . An experienced workman is known by the condition of his tools , and the grindstone is the best friend he has among his tools .

I WAY T O D F OR G D NCORRECT HOL TOOL RIN ING . The incorrect way Of holding a tool is Shown in

Fi 18 i g g . . This , I presume , Is the un versal way f in which the novice takes the tool . It is wrong or the reason that the thumbs of both hands are on to e p of the blad , and they serve as pivots on which the tool may turn . The result is that the corners of the tool will dig into the stone to a greater or less degree, particularly if it has a narrow blade ,

’ like a chisel .

Try the experiment of grinding a quarter- inch chisel by holding It the incorrect way ; and then

ﬁ at grasp it rmly with the left hand, and you will

diﬁ erence once see the . The left hand serves both as a vise and as a 26 CARPENTRY FOR BOYS

i fulcrum, whereas the r ght hand controls the angle

of the tool .

C These remarks apply to all hisels , plane bits

and tools of that character, but it is Obvious that

ni i s a drawk fe, which always held by the handles

lik in grinding, and hatchets , axes and the e, cannot be held in the same manner . A toocommon error is to press the tool too hard

on the stone . This is wrong . Do not try to force he t grinding .

the Then, again, it is practice of some to turn the stone away from the tool . The stone Should

d so as always move towar the tool , to prevent forming a feather edge . AND SHARPENING TOOLS 27

TH E ANE — mi s PL . Indiscri nate use of plane

ould be avoided . Never use the fore or smooth h i planes on roug surfaces . The jack plane s

proper tool for this work . On the other hand, fore plane should invariably be used for ﬁn ing the edges of boards , or for e

A h as i s purposes . S the j ack plane t h i s bit ground wit a curved edge, it admirably adapted for taking Off the rough saw pri nt sur

TH E A E — 1 9 G G . The illustration ( Fig. ) Shows

It i s one of the most useful tools in the kit . used h i . to scribe the thickness of the material w ich s

be to dressed down, or for imprinting the edges

Two of tenons and mortises . Should be provided n in every kit, for co venience . The scribing point should be sharpened with a

ﬁle i ﬁ h , the point be ng led to form a blade, whic

‘

is at right angles to the bar, or parallel with the

movable cheekpiece .

CH IS ELs —I . have already pointed out, in gen

h ow eral , to hold tools for grinding purposes , this

C description applying particularly to hisels, but

several additional things may be added . Always be careful to grind the chisel so its cut l ting edge is square with the Side edge . This wil fﬁ ﬁ be di cult at rst, but you will see the value of

this as you use the tool . For instance, in mak 28 CARPENTRY FOR BOYS

n e e i g rebates for hinges , or r c sses and mortises v run for locks , the tool will in ariably crooked unless it is ground square . The chis el should never be struck with a ham

i e mer or metal nstrument, as the m tal pole or peon of the hammer will sliver the handle . The wooden mallet should invariably be used . — GENERAL O BSE RVATIONS If the workman will carefully observe the foregoing requirements he will have taken the most important steps in the knowledge of the art . If he permits himself to commence work without having his tools in ﬁrst class condition, he is trying to do work under cir cumstances e where even a skilled workman is liabl . to fail . Avoid making for yourself a lot of unnecessary work . The best artisans are those who try to

ﬁnd the h ow out and know which is best tool , or

to make a tool for each requirement, but that tool,

to be serviceable , must be properly made , and that

means it must be rightly sharpened .

30 CARPENTRY F OR BOYS

The man or boy who can make a new labor- saving tool is worthy of as much praise as th e man who makes two blades of grass grow where one grew before . Let us now thoroughly understand h ow to hold

th e and use each tool . That is half the value of

tool itself.

H E AW —Wlth m T S . such a com onplace article

saw as the , it might be assumed that the ordinary apprentice would look upon instruction with a

smile of derision .

ow To A Aw -I H START S . f the untried apprentice has such an opinion set him to work at the task ff of cutting O a board accurately on a line . He will generally make a failure of the attempt to

aw sa start the s true to the line , to y nothing of following the line so the kerf is true and square

with the board . — H OW TO START ON A LINE The ﬁrst mistake he

on the li n h makes is to saw e. This s ould never be

done . The work should be so laid out that the

he saw kerf is on t discarded side of the material .

the li ne The saw should cut alongside the line , and

s hould not t M be oblitera ed in the cutting . ate ﬁ rial must be left for trimming and nishing .

TH E KE — s w FIRST STRO Now, to hold the a in fﬁ starting is the di cult task to the beginner . Once

e mast red it is Simple and easy . The only time in TO HOLD AND HANDLE TOOLS 31

Ch the saw Should be ﬁrmly held by the hand urmg the initial cut or two ; afterwards always hi the handle loosely. There is not ng so tir

r s w saw as a tightly g asped a . The has but

e e be e handle , hence it is d sign d to us d with n one hand . Sometimes , with lo g and tiresome

r two h one jobs; in ipping, ands may be used, but hand can always control a saw better than two hands . — TH E STARTING CUT Tu order to make our un derstandi n w g of the starting cut more explicit, e

20 e refer to Fig. , in which the thumb of the l ft hand is shown in the position of a guide—the end of the thumb being held up a sufﬁcient distance to 32 CARPENTRY F OR BOYS

clear the teeth . In this position you need not

" fear that the teeth of the saw (A) will ride up over th e thunib if you have a ﬁrm grasp of the

saw handle . ﬁ t The rs stroke should be upwardly, not down

rdl W th e O f saw wa y . hile in act drawing up the you can judge whether the saw blade is held by the " thumb gage in th e proper position to cut along the

mark, and when the saw moves downwardly for

the ﬁrst cut, you may be assured that the cut i s

a h the ccurate , or at t e right place, and thumb should be kept In its position until two or three

cuts are made , and the work is then fairly started .

F OR - C - - CROSS UTTING . For ordinary cross cutting f the angle O the saw should be at 45 degrees . For

ripping, the best results are found at less than 45 degrees , but you should avoid ﬂattening down

the angle . An incorrect as well as a correct angle w 21 22 are Sho n in Figs . and . — F ORCING A S AW Forcing a saw through the

wood means a crooked kerf . The more nearly the saw r is held at right angles to a board , the greate TO HOLD AND HANDLE TOOLS 33 Is the force which must be applied to it by the

hand to cause it to bite into the wood ; and , on the

saw and, if the is laid down too far , as fﬁ in the incorrect way, it is a very di cult

. e e to follow the working line Furth rmor , it hard matter to control the saw S O that it will

the Cut squarely along board, particularly when

ripping . The eye must be the only guide in the

saw disposition of the . Some boys make the saw run in one direction, and others cause it to lean

the wa h had ex opposite y. After you ave some

eri ence p and know which way you lean, correct your habits by disposing the saw in the opposite direction .

TH E KE —M the STRO ake a long stroke , using ’ “ ” saw full blade of the . Don t acquire the jerky

If h e style of sawing . t handle is held loosely,

Of and the saw is at the proper angle , the weight f the saw, together with the placement O the handle ufﬁ on the saw blade , will be found s cient to make the requisite cut at each stroke . 34 CAR PENTRY FOR BOYS

You will notice that the handle of every saw is mounted nearest the back edge . ( See Fig.

The reason for so mounting it is , that as the cut

e ting stroke is downward , the lin of thrust is above the tooth line, and as this line is at an

W W CU ?

am a z e s S A w.

n h the e angle to the li e of t rust, tendency is to caus the saw teeth to dig into the wood .

H E H S AW —Th1S saw T C INE E S . is designed to saw with an upward cut , and the illustration ( Fig. 24 ) Shows the handle jutting out below the tooth line , in order to cause the teeth to dig into the material as the handle is drawn upwardly . Refer ence is made to these features to impress upon m beginners the value of Observation, and to de on strate the reason for making each tool a parti cu lar way. TO HOLD AND HANDLE TOOLS 35

O V D - THINGS T A OI . Do not oscillate the sawas h you draw it back and fort . This is unnecessary work, and Shows impatience in the use of the tool . There i s such an inﬁnite variety of use for the different tools that there is no necessity for ren d an ering the work of y particular tool , or tools ,

m . burdenso e Each in its proper place, handled

s intelligently, will become a pleasure, a well as ﬁ a s ource of pro t .

— TH E PLANE The jack plane and the fore plane are handled with both hands , and the smoothing h nl n plane wit one hand, but o y whe used for dressm h g the ends of boards . For other uses bot h ands are required . — ANGLES F OR HOLDING PLANES Before commenc m e co g to plane a board, always Obs rve the dir tion in which the grain of the wood runs . This be precaution will save many a piece of material , cause i f the jack plane i s set deep it will run into the h wood and cause a roug surface , which can 36 CARPENTRY FOR BOYS be cured only by an extra amount Of labor in planing down . Never move the jack plane or the smoothing plane over the work so that the body of the tool is in a direct line with the movement of the plane . It Should be held an angle of about

1 or 5 degrees ( see Fig . The fore plane should always be held straight with the move f ment of the plane , because the length O the fore plane body is used as a straightener for the sur ﬁn face to be ished .

E S BE V DED — RROR TO A OI . Never draw back the hi plane with the bit resting on the board . T s

38 CARPENTRY FOR BOYS

order to hold it down against the material , and to bring it back for a new cut .

K E —It diﬁ cul TH E DRAW NIF . is t for the appren tice to become accustomed to handle this useful It r tool . is much more se viceable than a hatchet for trimming and paring work . In applying it to the wood always have the tool at an angle with

h i s the board , so as to make a Slicing cut . T is

specially desirable in working close to a line , other

O wise there is a liability f cutting over it . — This knife requires a ﬁrm grasp ﬁrmness of i hold is more important than strength n using .

The ﬂat side is used wholly for straight edges , and t the beveled side for concave surfaces . I is the intermediate tool between the hatchet and the

the plane , as it has characteristics of both those " tools . It is an ugly, dangerous too , more to be

feared when lying around than when in use . Put it religiously on a rack which protects the entire “ K ee i t th n h cutting edge . p 0 17 e be c . CHAPTER IV

H OW TO DE SIGN ARTICLE S — U D M S E A. F N A ENTAL OF D SIGNING . great deal of the pleasure in making articles cons1 sts in creative work . This means , not that you shall

new design some entirely article, but that its gen

a eral form, or arrangement of parts , Shall h ve s ome new or striking feature

“ A new desi gn In any art does not require a

h i ts t It fﬁ c ange in all par s . is su cient that there

arti cu shall be an improvement, either in some p lar point , as a matter of utility, or some change in an artistic direction . A manufacturer in put a ting out a new ch ir, or a plow, or an automobile , n adds some striki g characteristic . This becomes

th e his talking point in selling article . — TH E COMMERCIAL INSTINC T It is not enough

i r that the boy should learn to make th ngs cor ectly, n and as a matter of pastime a d pleasure . The

i nce commercial instinct is , after all , the great n ul u tive , and Sho d be gi ven d e consideration . ul It wo d be impossible , in a book of this kind , to do more than to give the fundamental princi

ples necessary in designing, and to direct the mind 39 40 CARPENTRY FOR BOYS

l eavm solely to essentials , g the individual to build

e up for hims lf . R U S F OR E — FIRST EQ IREMENT D SIGNING . First, then, let us see what is necessary to do when you n intend to set about making a article . Suppose we

ﬁx our minds upon a table as the article selected .

: Three things are necessary to know First , the

dimen use to which it is to be put ; second , the

e e sions ; and, third, the material r quir d .

Assuming it to be the ordinary table , and the

ﬁ e dimensions xed , we may conclud to use soft

pine , birch or poplar , because of ease In working .

e Th re are no regulation dimensions for tables , ex

e e e c pt as to h ight , which is gen rally uniform , and 30 usually inches . As to the length and width, you will be governed by the place where it is to be

used .

If the table top is to have dimensions , say, of 36 " x 48 ” , you may lay out the framework six

e i vm inches less ach way, thus g g you a top over

Of e hang three inches , which is the usual pra

tice .

C N V Y S —NOW O ENTIONAL ST LE , if you wish to de part from the conventional style of making a table in you may make variations in the design . For

stance , the Chippendale Style means slender legs

and thin top . It involves some fanciful designs

in the curved outlines of the top , and in the crook HOW TO DESIGN ARTICLES 41 M e legs . Or if, on the other hand, the ission

is preferred , the overhang of the top is very

e e ow ; the l gs are straight and h avy, and of size from top to bottom ; and th e table top

and nearly as broad as it is long . Such e has the appearance of massiveness ; it is

made and most serviceable . — IS SION STYLE The Mission style Of archi tec also lends itself to the making of chairs and

r articles of furniture . A chair is , probably, ost difﬁcult piece Of household furniture to

” a e In bec use str ngth is required . this type

e e t wood may be us d , as the larg legs and back

ces are easily provided x wi th mortises and

ff e a ording great rigidity wh n completed .

i e see how Ign ng, therefor , you may the

e self becom s an important factor .

E S —In N T the making of cabinets , side

dressers and like articles , the ingenious will ﬁnd a wonderful ﬁeld for designing abil because in these articles fancy alone dictates

sizes and the dimensions of the parts . Not

with chairs and tables . The imagination plays an important part even in the making of drawers , to say nothing of placing them with an eye to ff convenience and artistic e ect . — HAR MONY OF PARTS But one thing should be

observed in the making of furniture, namely, har 5 42 CARPENTRY FOR BOYS

mony between the parts . For Instance , a table with thin legs and a thick top gives the appear ance of a top -heavy structure ; or the wrong use of two different styles is bad from an artistic h standpoint ; moreover, it is the heig t of reﬁned

the education if, in use of contrasting woods , they are properly blended to form a harmonious whole . — HARMONIZ ING “ Mon Imagine a chiff onier with

o the base of dark wo d, like walnut , and the top of

a - pine or maple, or like light colored wood . On i n the other hand, both walnut and maple , for s i n the tance, may be used same article, if they are interspersed throughout the entire article . The body may be made of dark wood and trimmed throughout with a light wood to produce a ﬁne ﬁ c ect.

44 CARPENTRY FOR ROYS

leg . Follow the illustrations to see how this is done .

L Y OU T TH E E S — 2 A ING L G Fig . 7 Shows a leg with square cross marks ( A) at each end . These marks in ﬁ dicate the nished length of the leg . You will

se e also e crosses on two sides . Th se indicate what “ ” is called the work sides . The work sides are selected because they are the ﬁnest surfaces the leg .

TH E L H TH E MoRTIS E s — ENGT OF . Then take a 28 tw sm ll try square (Fig . ) and add o cross lin

e th e s e ( B , C ) on ach of inner surfaces , the line (B ) one - half inch from the ﬁnish line and the other line ( C ) seven inches down

A h ereaf the line ( ) . The side facing boards,

are described, seven inches wide

When this has been done for all the legs, 29 pare your gage ( Fig . ) to make the mo scribe, and, for convenience in illust

46 CARPENTRY FOR BOYS

f acm legs , so that the length of two of the g boards , 34 from shoulder to shoulder, must be inches ; and the two 28 e other facing boards inches . Th n , as

1 » e we must add 5 inch s for each tenon, two of the boards will be 37 inches long “ and two of them inches long .

31 The illustration (Fig . ) shows a board marked with the cross lines (B ) - at each end for the of the tenons, or the extreme ends of the board

TH E E - ﬁ T NONS . Do not neglect rst to select work side and the working edge of the bo The outer surface and the upper edges are sides to work from . The cheekpiece (A) of gage must always rest against the working Si d HOW WORK IS LAID OUT 47

oss marks (B , C ) should be made with the

th e a sharp knife , and before small back

e - i is us d on the cross cuts the lines (B ) , wh ch

i cate a d the shoulders , should be scored with

h 33 i s arp knife, as shown in . This furn shes s ﬁ s guide for the aw, and makes a neat ni h for s e houlder .

E D — TOOLS US . The back saw is used for cutting the tenon, and the end of the board appears as 48 CARPENTRY FOR BOYS

e 34 Shown in the enlarg d Fig . . TW O things ar e

now e e e th e e n c ssary to compl te t nons . On the up p er or work edge of each board use the gage to

off - mark a half inch Slice, and then cut away the

e th e m n ﬂat sid of tenon at the end, on its en sur S O face, it will appear as shown in Fig . 35.

CH F D E — AM ERE T NONS . The object of these cham f r e ed or beveled tenons is to p ermit the ends to

e approach each other clos ly within the mortise, s as Shown in the a sembled parts ( Fig .

TH E F E B E D — RAME ASS M L . The frame is n ow r eady to assemble , but before doing so a drawer

O be pening and supports should made . The ends HOW WORK IS LAID OUT 49

of the supports mav be mortised into the Side

e e e pieces or s cur d by m ans of gams .

M e and e ortis s tenons are b tter . — TH E DRAW ER SUPPORTS Take one of the Side 3 acing boards (Fig . 7) and cut a rectangul ar

opening in it . This op enin g should be 4 inches

18 i e S O wide and nch s long, placed that there is 1

inch of stock at the upper margin and 2 inches of stock at the lower margin of the board . At each

m ake a S O lower corner mortise (A) , that one Side of the mortise is on a line with the margin of the

Opening, and so that it extends a half inch past the v m r i ertical a gm of the open ng . n You can easily cut a gai (B ) in a strip , or, as

Fi 38 one in g . , you may use two strips , (C ) an f h inch wide and a hal inch t ick, and on this nail a strip (D) along one margin . This forms the guide and rest for the drawer . At the upper margin of the opening is a rebate or aIn e g (E ) at each corner, ext nding down to the e i top lin of the drawer opening, nto which are

ﬁ e ‘ ui des tt d the ends of the upper cr oss g . 50 CARPENTRY FOR BOYS — TH E TABLE FRAME When the entire table frame is assembled it will have the appearance

39 . shown in Fig . , and it is now ready for the top — TH E TOR The top should be made of three

a bo rds, either tongued and grooved, or doweled and glued together . In order to give a massive

a m ppearance, and also to prevent the end gra of d s the boards from being expose , beveled strip may be used to encase the edges . These marginal cleats are inch thick and 2 inches wide, and j oined by beveled ends at the corners,as shown in i 40 F g . — 41 wn TH E DRAWER The drawer ( Fig . ) sho in A an cross section , has its front ( ) provided with overlapping ﬂange (B) . HOW WORK IS LAID OUT 51

It i s not our object in thl s chapter to show how each particular article is made, but simply in to point out the underly g principles, and to i l

e ow e lustrat h the fast ning elements, the tenons and l mortises, are formed, so that the boy wil

s know the proper step in their natural order .

w N Y U UR Is P —It h Ho A STR CT E BUILT U . s ould

“ mal be observed that each structure , however s l, is

u . sually built from the base up Just the , same as the more p retentious buildings are erected :

First, the sill, then the ﬂoor supports, then the

r posts and top plates , with their connecting gi ders , ﬁ l and , na ly, the roof . The chapter on House Building will give more d h ow etailed illustrations of large structures , and they are framed and braced . At this point we are more concerned in knowing how to proceed in or

to lay out the simple structural details , and if subject of this kind is fully mastered the com 52 CARPENTRY FOR BOYS plicated character Of the article will not be di ﬁ cult to master .

B S RV N S AB U 'A BOX —AS O E ATIO O T . Simple a little article as a box frequently becomes a burden to a nn Tr begi er . y it . Simply keep in mind one thing ; e h six Now a ac box has sides . , suppose you want six — box with equal Sides that is , a cubical form it is necessary to make onl y three pairs of sides ;

two for the ends , two for the sides and two for

h s the top and bottom . Each set a dimensions dif f erent from the other sets . Both pieces of th e

re res enti n z t h e s th e set, p g end , are square ; Side pieces are of the same width as the end pieces , and Slightly longer ; and the top and bottom are

‘ longer and wider than the end pieces . A box equal in all its dimensions may be made M out of six boards , properly cut . ake an attempt

s in order to see if you can get the right dimension .

O IN Ts — J . For joining together boards at right angles to each other, such as box corners , drawers l and ike articles , tenons and mortises Should never

ﬁn e be resorted to . In order to make work the joints should be made by means of dovetails, rab

54 CARPENTRY FOR BOYS

: of hard wood driven in , the whole being glued together .

D VE OIN Ts —It Out th O TAIL J . is in the laying of e more complicated dovetail joints that the highest

skill is _ required , because exactness is of more importance in this work than in any other article

r in joinery . In o der to do this work accurately

follow out the examples given , and you will soon be able to make a beautiful dovetail corner, and do it quickly . P A —In REPARING Box JOINT . order to match a

e Of e box joint for the inn r end a table draw r, the

ﬁrst step is to select two work Sides . One work

e Of th e Side will be the edg the board, and other the side surface of the board, and on those sur

s e e . faces we will put cro ses , as heretofor sugg sted — FIRST STEPS Now lap together the inner sur

of Z faces these boards (Y, ) , so the ends are to i n 45 ward you , as shown Fig . . Then , after meas HOW WORK IS LAID OUT 55 urmg the thickness of the boards to be joined diﬁ er ent e . (the thinn st, if they are of thicknesses) , rovi d set your compasses, or dividers , for inch, p

i n 4 h g the boards are 5 inc thick, and, commencing off at the work edge of the board , step and point,

as at A, the whole width of the board, and with

a square make the two cross marks (B ) , using 56 CARPENTRY FOR BOYS

the two ﬁrst compass points (A) , then skipping

n so . o e, using the next two , and on Z e . When this is don , turn up the board (Fig

so that it is at right angles to the board Y, and

s o the outer surface of the board Z is ﬂush with

r e the end of the board X, and with a Sha p knif point extend the lines B along with the grain

o f Z . the wood on board , up to the cross mark C This cross mark Should have been previously made HOW WORK IS LAID OUT 57 and i s located as far from the end of the board Z as the thickness of the board Y . We now have the marks for the outer surface Z of the board , and the end marks of board Y . For the purpose Of getting the angles of the end Z r of the board and the outer Side of boa d Y, a 47 d cross line (D, Fig . ) is drawn across the boar s the X near the end, thi line being as far from h Z l end as the t ickness of the board , and a vertica line (E ) is drawn midway between the two ﬁrst A cross marks ( ) .

Now h s h the , wit your compas , whic , In meantime, has not been changed, make a mark (F ) , and draw n h h dow the line ( G) , w ic will give you the working

set angle at which you may the bevel gage . Then draw down an angle from each alternatecross line

he i (A) , and turn the bevel and draw down t l nes t (H) . These lines Should all be produced on he

O Of so pposite side the board, as to assure accu

a d the o al r cy, and to this end the e ges of b ard so

‘ should be scribed . — CUTTING OUT TH E SPACES In cutting out the h h a intervening spaces , which s ould be done wit

- O cut Sharp chisel, care should be bserved not to

the mi ou over shoulder lines . To prevent stakes y should put some distinctive mark on each part to e h th b cut away . In this instance E , H S ow e parts 6 58 CARPENTRY FOR BOYS

n 48 tw a d . o to be removed, in Fig of the cutaway

portions are indicated .

e Z Wh n the end of the board is turned up (Fig . it has merely the longitudinal parallel lines b now B . The evel square may be used in the

same manner as on the Side of the board Y , and

he ﬁ i t tting angles w ll then be accurately true . 50 tw This is shown in Fig . , in which, also , o of

the cutaway parts are removed . TOOLS USED I N LAYING OUT TENONS AN D MOR

E —A - TIS S . sharp pointed knife must always be used

for making all marks . Never employ an awl for ﬁ thi s work, as the ber of the wood will be torn up

by it . A small try square Should always be used

(not the large iron square) , and this with a Sharp pointed compass and bevel square will enable you

to turn out a satisfactory piece Of work .

The foregoing examples , carefully studied, will enable you to gather the principles involved in lay

Off ing any work . If you can once make a pre entable s box joint, so that all the dovetails will ﬁt h accurately together, you will have accomplis ed fﬁ i t one of the most di cult phases of the work, and

b e is an exercise which will amply repay you, cause you will learn to appreciate what accuracy

means . CHAPTER VI

TH E USES OF TH E COMPASS AN D TH E S QUARE

A E — Old TH E SQU R . The square is , probably, the est of all tools, and that, together with the com

r h h pass , o dividers , wit whic the square is always ’ i h s raftsman m assoc ated, a constituted the c s e blem from the earliest historical times . So far as

now ﬁat at we know, the plain form, which has least one right angle and two or more strai ght

th e edges , was the only form of square used by n workman . But modern uses , and the developme t

i as of joinery and cabinet mak ng, as well the more v ad anced forms of machinery practice, necessi tated S O new structural forms in the square, that i n the bevel square , which there is an adjustable in blade set a handle was found necessary . —, TH E TRY SQUARE In the use of the ordinary large metal square it is necessary to lay the Short limb of the square on the face of the work , and

the long limb must , therefore , rest against the

e scrib work side or dge of the timber , so that the i ng edge of the Short limb does not rest ﬂat A against the work . S such a tool is defective in

i i work requ r ng accuracy, it brought into existence 59 60 CARPENTRY FOR BOYS

tan what is called the try square, which has a rec ﬁ gular handle, usually of wood, into which is tted at one end a metal blade, which is at right angles

, e to the edge of the handle . The handl , therefore , always serves a s a guide for the blade in scribing work, because it lies ﬂat down on the work . TH E T -SQUARE is another modiﬁcation of the

i i d rau htm try square, its pr nc pal use being for g g purposes . — TH E COMPASS The compass is o ne of the origi " l ’ ff na carpenter s tools . The di erence between compass and di vi d ers is that compasses have ad

ustable n l e j pe or penci points , wh reas dividers are

. M h as without adjustable points . odern work brought reﬁnements in the character of the com

now a ow pass and dividers , so that we h ve the b compass , which is , usually, a small tool , one leg

r two of which carries a pen o pencil point , the

in legs be g secured together, usually, by a spring

ow b , or by a hinged joint with a spring attach ment . 1

P R V DE —A ROPO TIONAL DI I RS . useful tool is called the proportional dividers the legs of which are

th e t hinged together intermediate ends , so tha the

pi votal joint is adjustable . By means Of this tool

the scale of work may be changed , although its

l wi dest ﬁeld of usefulness is work laid off on a

62 CARPENTRY FOR BOYS

e e E curv d lin ( ) than along the curved line (F) .

d e i s di a e nl the e The gree , therefore, to in c t o y spac ,

division or interval in the circle . — TH E MOST IMPORTANT ANGLE Most M portant 45 for one to know at a glance is that of degrees, because the one can the more readily calcul ate the i 45 other degrees , approx mately, by having de

e ﬁ an h gr es once xed in the mind, d impressed on t e

a visual im ge . With a square and a compass it I s a comparatively easy matter accurately to step

off 45 mi dwa b etween degrees , as it is the line C , y

the ma alc A and B , and other degrees y be c u , l n an ated from the li e C d the cardinal lines A or B . — DEGREES WITHOUT A CO MPASS But in the ah sence Of a compass and when you do not wish to

s Off wn tep a circle , you will In such case lay do

ff a the square , and mark o at the outer m rgin of

i the limbs two equal dimens ons . Suppose we 2 The take inches on each limb of the square . angle thus formed by the angle square blade is 45

fin 30 the degrees . To d degrees allow blade of the angle square to run from 2 inches on one limb to 3 4 inches on the other limb, and it will be found that for 15 degrees the blade runs from 2 inches on I one limb to 74 inches on the other limb . t would fix fi be well to rmly these three points, at least, in

as your mind, they will be of the utmost value to

a now you . It is a compar tively easy matter to COMPASS AND TH E SQUARE 63

2 in ﬁnd 1 0 degrees or 5 degrees, or any termediate line .

S AB E AL U D -Tll e W H AT DEGREE C C LATE FROM . question that now arises i s what line one may use o from which to calculate degrees , or at what p int

i n he i s e t circle zero placed . Degr es may be culated either from the horizontal or from the 53 vertical line . Examine Fig. . The working

' margi n i ndi cated by the cross mark i s your base

in e e line, and in specify g an angl you calculat a it from the work edge . Thus , the line A indic tes 30 e 45 an angle of degrees . The dotted lin is degrees . 64 CAR PENTRY FOR BOYS

DE - TH E DIVI RS . The dividers are used not only f r o Scribing circles , but also for stepping and di i n l vid g spaces equal y. There is a knack in the u se i of the d viders , where accuracy is wanted, and

i s where the surface s of wood . Unles the utmost

be care is Observed, the Spaces will unequal , for the reason that the point Of the dividers will sink more deeply into the wood at some places than at others , due to the uneven texture of the wood

i a gra n . It will be better to m ke a line lengthwise, nd s a a cro s line (A) for starting ( see Fig . You may then Insert one point of the dividers at

B and are . the initial mark ( ) , describe a small ( C) Then move the dividers over to the intersection of h in and a e the the are ( C) on t e l e, m k next mark,

and so on. Some useful hi nts along thi s same line will be f i hi ound under the chapter on Draw ng, w ch Should be carefully studied . CHAPTER VII

H O W TH E DIFFE RE NT STRUCTURAL PARTS ARE DE SIG N ATED — TH E RIGHT NAME F OR EVERYTHING Always make it a poi nt to apply the right term to each article or portion of a structure . Your explana t i ion, to those who do know the proper techn cal

eaSI er terms , will render much a thorough under s s tanding ; and to tho e who do not know, your lan f guage will be in the nature O an education . PR R E A — OPE D SIGN TIONS . Every part in mechan

I sm , every point, curve and angle has its peculiar

A mdi ca d . esignation _ knowledge of terms Is an t f r h ion O tho oug ness in education , and, as hereto f s of ore stated, become really the basis art, as well a s i n of the sciences . When you wish to impart formation to another you must do it in terms un d erst ood by both . h Furthermore, and for t is very reason , you should study to ﬁnd out h ow to explain or to de

ﬁne e the terms . You may have a m ntal picture of to the structure in your mind, but when asked e xplain it you are lost . L R H S — EA NING MEC ANICAL FORM Suppose, for

ment s ector . example, we take the words s eg and 65 66 CARPENTRY FOR BOYS

Without a thorough understanding in your own mi nd you are likely to confuse these terms by taking one for the other . But let us assume you are to be called upon to explai n a sector to some

Of eﬁ one who has no idea terms and their d nitions . H OW would you describe it ? While it is true it i s

- i i wedge shaped, you will see by exam n ng the draw o ing that it is not like a wedge . The sector has tw he Sides running from a point like a wedge , but t large end of the sector is curved . If you were called upon to deﬁne a segment you mi ght say it had one straight line and one curve, but this would not deﬁne it very lucidly . There fore, in going over the designations given not

ﬁx i r tr only In your mind the part cula form, but y to remember some particular manner in which the th you can clearly express form, e Shape or the relation of the parts .

h I h as For your guidance , t erefore , ave given, ﬁ becom far as possible, simple gures to aid you in Ing acquainted with stru ctures and their d esig

i s nations, without repeating the more S mple form which I have used in the preceding chapters

55 Arcad —A h . e series of arches wit the col u h h he l um s or piers whic support t em, t spandre s above , and other parts . 67 STRUCTURAL PARTS.

6 Ar ch —A u r e m em er m a e u u su a 5 . c v d b d p, lly, - of se a rate e e s a e so s . K K e p w dg h p d lid , A , y stone S S r n ers C C or or s an . ; , p i g , h d , p — B r ss A ro e t n m ss of sonr . u tt e . a ma 57. p j c i g y u se fo r res st n th e t r u st of an ar or A, d i i g h ch , fo r ornam entat on B a n uttress . i ; , ﬂyi g b r — r a A rm ut n 58 Cham e . Th e su e o e b t . f f c f d y c i g a a th e arr s or an e orme b two a es B w y i gl f d y f c , , f mater a C o . , i l o r or Cott r Pi n —A i n e t er ﬂat 59 C tte e . . p , A, i h , s u are or rou n r en t rou a ro e t n q d, d iv h gh p j c i g n i os to gu e to hold t i n p ition . r el —A r n n ente 60 C en a ted . o m of mo . f ldi g i d d or not e ei t er r e u ar or rre u ar . ch d , h g l ly i g l ly 6 1 Cr oss e —1 at n ross i n th e ur of s . C . L i c , h ch e rr e or B s o 2 u ross om e e s . o e R . ca i d b f i h p D bl c , arr o r r na B s o s 3 r e c ied bef e Ca di ls and i h p . . T ipl ’ ’

r r ss 4 S n r s nd . eter s o a o . t e a S t Pap l c . . A d w P r r S nt on r oss 5 . a tese oss . 6 . t o c . M l c . A h y E an ross Cross o f eru sa m 8 gypti c . 7 J le . . A 9 ro ss a t"or erm e a or rst . ss cro p t f ( he d ﬁ ) . A c aton e t at i s r o ar er at the en s p c ( h , g wn l g d ) . 10 Gree ross . k c . r —A o e 62. Cu b R oo . roo h a n a dou e s f f vi g bl l p , or composed on each s i d e of two parts which a e une ua n nat ns a am r r h v q l i cli io ; g b el oof . — l 63 . Cu o la S o a e on a ount of i ts re p . c l d cc sem an o a cu A roo a n a roun bl ce t p . f h vi g ded

orm . W en on a l ar e s a e i t i s a e a d om e f h g c l c ll d . r o Pos t —S ee Ki n Pos t C wn . g .

64 Con o le —A ra et t ro e t . s b ck wi h a p j ction no more t an a i ts e t h h lf h igh .

5 r ls — m a 6 . o b A s C e . s O ra ets su ort f b ck to pp a. r s ru r ar l sh elf o t ctu e. L gely emp oyed i n Gothic ar te tu re chi c .

66 Dorm er —A n o er i n r a d . . wi d w pi ced a oof n so set as to be ert a W e th e roo s o es v ic l , hil f l p a a rom i t so a e a Gablet w y f . Al c ll d .

6 Dow l i n or t n 7. e . s u i one o or A p d bl ck, o es ne to en a e t o es i n anot er b dy, d ig d g g wi h h l h o to ol t em to et er i n a nm ent b dy h d h g h lig .

68 Dri — at art r r s ou rs . p Th p of a co nice o ill c e or ot er or onta member ro e ts A, h h iz l which p j c

e on th e r est so a s to ert ater . b y d , div w 68 CARPENTRY FOR BOYS

D t nts — 6 e e . R e ess o r 9. c es to l ck o to s erve as a sto or o n l a e p h ldi g p c .

wtr d o —Th er r r r E a s . e e t o u n a 0 . e of a 7 x i c v ch, e s e a th e u er u r e a e A B i s th e p ci lly pp c v d f c , r r o i I n t ad os o S fi t. i le — n n e 1 . E n r a I e t m on a 7 g d . d ed with s all c c v u r es a s th e e e of a bor u r e ben or th e e c v , dg d , d, lik . — 72 . F acet Th e nar ro l a n sur a e as w p i f c , A, e een the fluti n of a ol um n b tw g c . 3 F r et F retwork —O rn am enta or ons st 7 . , . l w k c i i n of sma ets or s l ats nterse t n ea h g ll fill , , i c i g c o er r en a r t an es O en or i n r e th o b t t igh gl . p w k

e en e abo rate and m nute i n all i ts arts . li f, wh l d i p

en e a n m nu te a o f l t and s a e. H c y i pl y igh h d A,

a anese ret or . Green ret. J p f w k B, f 4 r l e e m — . F on ta a so a P di t Th tri 7 en . e , l c ll d an u ar s a e A a o e a oor or n o g l p c , , b v d wi d w. F r s tum s — ar f a so ne h e 5 . u at t o t t 7 . Th p lid x ase orme b utt n off th e to or th e art b , f d y c i g p ; p on r m t b e o f an so as of a e a e c. et en y lid, , c , py id , , w two anes m a e t r be ara e or i n pl , which y i he p ll l r cli ned to each othe . 6 F l at —A re ate ross u se as a se ret 7 . y f . b d c d c em e nd o rn as an o rnam en It i s a so bl m a w t. l a l e Gammad i um and more ommon no n c l d , c ly k w s ti ka a s S wa .

m r l R oo — r r ha n the a b e . u oo 77. G f A c b f vi g same se t on i n all i ts arts t a o er stee er c i p , wi h l w , p an on er art S ee Cur b R oo and st n ui sh d l g p . f di i g f eren e dif c . 8 Gar o le —A S ou t ro e t n ro the 7 . g y p p j c i g f m r oo utter o f a u n o ten ar e ro f g b ildi g, f c v d g tes u el q y.

9 Gud eon — en s a a 7 . A oo t g . w d h ft, A, wi h so et B t n C The nto i s t e a ast . ck , , i which ﬁ d c i g, ast n h as a u d eon c i g g g , D . — 80 . Gui lloche An ornam ent i n the orm o f . f two or m o r e ban ds o r str ings twisted togethe r or o er or t r ou ea o r v h gh ch th e . 8 1 H a l Ti mber ed —Constru te o f a t m er . f . c d i b m l ra e a n th e S a es l e i n t ma sonr . f , h vi g p c ﬁ d wi h y 8 2 H mm r B eam —A m em er o f one d escr i . a e . b p t on o f roo tru ss a l e amm er -b eam tru ss i f , c l d h , which i s so fram ed as not to have a ti e beam

70 CARPENTRY FOR BOYS

9 Li n l —A o r onta ember s an 5 te . m . n n . h iz l A p i g or o en n of a ram e and es ne to arr th e p i g f , d ig d c y a abo e i t W ll v .

L —A ro 96 u . e t n e e s o . a t g p j c i g pi c , A, which an t n i s atta e o r a a nst anot er y hi g ch d, g i which h art e B i s e p , lik , h ld .

-R — n M oo . A o r h e 97. f ki d of ro f fo m ed by t j unction of two comm on r oo fs with a va ll ey be t een t em so th e se t on res embl es the l etter w h , c i M

8 nsar d oo - e u r r o t at 9 Ma R . A o . f hipp d c b f, h i s a roo a n on all s es tw o sl o es th e , f h vi g id p , o er one A e n stee er t an the u er l w , , b i g p h pp ort on or e p i d ck .

99 Newel Pos —Th u r t ost at h e oot . t e p igh p t f

of a sta r a to th e ra l n i s atta e . i w y, which i i g ch d

100 Par u etr —A s e es of o ner or a . q y . p ci j i y c bi n et or ons st n o i an nl a o f eometr o r w k, c i i g i y g ic o t er attern s en erall o f ff er ent o ored h p , g y di c l oo s u se ar t u la r f or oo rs w d , d p ic ly ﬂ .

n e - h - 10 1 Pee a so P i n . T r ou n r n d . e ou d e e , l d, dg o r em s er a end as at o f a ammer h i ph ic l , A, h .

102 P endant —A an n or nam ent on roo s . h gi g f , e l n s etc n m u u se i th e l ater st es . a d n c i i g , , ch d yl o f Got a r e tu r ere i t i s o f stone Imi hic chit c e wh . te r i o and ster or ta d la gely n w od pla w k .

1 n ta t l —A ar ort o n 03 Pe s e . . y . pill A p ic h avi g ﬁve ar s i s a e th e Pentas t le i n tem pill , A, c ll d y l es o f ss a n stru on p cla ic l co cti .

e e t —A u r r 104 . P d s al n t a te tu ra em . p igh chi c l m ber r t-an e i n lan onstr u t ona l a , A, igh gl d p , c c i l y er but re sembln a olum n a n a a ta pi , g c , h vi g c pi l , sh aft and base to agree with th e co lum ns i n th e stru tu re c .

1 n e —An r ot i n r i 05 . Pi l t o h e n t . u t p igh piv p , p o f a n e re res ents th e i ntle of a ru er hi g ; A p p dd .

i - na o r o er e stru e 106 Por t co . A o on e . c l d c v d tu re es e a l i n ass a st e o f a r te tu re , p ci l y cl ic l yl , chi c , a nd u su all a h e r n f b u l n y t t ent a ce o a i di g .

t — r t m r 107. Pla e A o on a t e u sed as h iz l i b , A , a to or ea er f or su ort n t mb ers roo s and p h d pp i g i , f th e e lik . STRUCT URAL PARTS 71

—One of two su s en n osts 8 u een Pos t. 10 . Q p di g p i n a roo trus s o r ot er ram e tru s s o f s m l e f , h f d i p m orm C om ar e t K i n Pos t. A B ti e b ea f . p wi h g , , ; 0 0 u een o sts stra n n e e E r i nf , , q p ; D, i i g pi c ; , p ci al ra ter F ra ter . p f ; , f

109 u i r k Moldi n —A m e e . . s a ann e Q g ll ch l , d ply r e ess e i n ro or t on to i ts t u se to i n c d, p p i wid h , d s u l ate and give r eli ef to a convex roun ded m o ld i n . An e e ent orner os f or urn tu re g xc ll c p t f i . — - 1 10 Re enter i n . The ﬁ u r e s o s an i rre u . g g h w g l ar o on t at i s m an -s e ur e and i s p lyg ( h , y id d ﬁg ) a re -enter n o on The re ess i s a re i g p lyg . c A ' enter n an e i g gl . — 1 1 Ra ter . r na r u 1 . f O igi lly any o gh and heavy

e e of t m er but. i n mo ern ar entr u se pi c i b , d c p y d to es nate the ma n roo su ort a s at . d ig i f pp , A

S ee Qu een Pos t. — 1 12. car i n Cutt n t m er a an e S " g. i g i b t an gl on i ts en h l r nts a t as t e ne . S ca ﬁn o l g l g h , i A g j i ar e ar ou sl m a e Th e o er a n o nts m a v i y d . v l ppi g j i y be straight or r ec essed and provided with a key o B W en tte to et er t e ar e u re bl ck . h ﬁ d g h h y e s c ly e b tes an ts h ld y pla d bol .

1 13 S co ti Moldi n — n . a, A su n g . ken moldi g i n th e ase of a lar so a l e rom th e ar b pil , , c l d f d k s a o w i t asts h d w hich c . — 1 14 . S i d In ar entr th e ase e e o r c p y b pi c , e es on th e sts o a s r r r pi c , A, which po f t u ctu e a e s et.

- — 1 15 . S kew B ck Th a . e ou rse o f m asonr su c y, ch as a stone t an n ne a e rm s , A, wi h i cli d f c , which fo th e abu tm ent f or th e ou sso rs B or e e v i , , w dg s a e stones om r s n th e ar h p d c p i i g ch . 1 16 — . S and r el , Th e r re u ar r an ar p i g l , t i gul s a e bet een the u r e of an ar n p c , A, w c v ch a d th e en lo s n r t an l e c i g igh g .

1 tr — 1 7 . S u t In enera an e e of a ram e g l, y pi c f , su a s a t m er A o r a ra e B wh ch r es sts ch i b , b c , i ressu r e o r t ru st i n th e r e t on o f i ts en t p h di c i l h . — g 1 18 . S tud S tu ddi n Th r . t , g e ve ical timber or s ant n i s one o f th e sm a r c li g, A , which ll u p ights o f a bu ilding to which the boarding o r plaster m at are na e g l h il d . 72 CARPENTRY FOR BOYS — 9 S ti le Th e ma n u r ts a. oor 1 1 . . of as i p igh d , A B B B r a s C C mu ons an , A ; , , , il ; , , lli ; D, D, p els . — en Pos Ti e B ea"m . S ee Que t.

120 Tr amm el - A er u se u too for d ra n . . v y f l l wi g t m r ses a ro ss th r oo es e ses . I o llip c p i c , A , wi g v and a bar t ns 0 a tta e to s n , B , wi h pi , , ch d lidi g lo s i n th e roo es and a en or st u s b ck g v , p yl , D, at th e proj ecting end of th e bar to s cribe the se ellip .

121 r —A t r re u ent on . Tu r et t e to e li l w , f q ly ly an ornam ental stru ctu re at one o f th e angles of a ar er stru tu re l g c .

122 Tr ans om —A or onta ross-bar . . h iz l c , A, above a door o r window o r b etween a door and a n o a bo i t r an s om i s th e o r onta wi d w ve . T h iz l m ember and t er e i s a ert a e h e otted , if h v ic l , lik t d n B i a Ma lli on ti l e i t s e a . S ee S e li , c ll d . — 123 . Va lle Roo A a e o f m eet n of two y f . pl c i g slop es of a roof which h ave their sides r unning i n different directi ons and formed on th e plan o f a re entran n t a gle. CHAPTER VIII

DRAWING AN D ITS UTILITY

K W D so A NO LE GE of drawing, at least far as the fundamentals are concerned, is of great service o to the beginner . All w rk, after being conceived

m e . in the bra , should be transf rred to paper A habit of this kind becomes a pleasure, and, if car ﬁ ried out persistently, will prove a source of pro t .

ow can The boy with a b pen easily draw circles, and with a drawing or rul ing pen he can make straight lines .

EP E E BJ E C — R R S NTING O TS . But let him try to rep

o . resent some bject, and the pens become useless There is a vast difference in the use of drawing

- i tool s and free hand draw n g . While the boy who is able to execute free - hand sketches may become the better artist, still that art would not be of much i serv ce to him as a carpenter . First , because the

e use of tools gives precision , and this is n cessary

th e to the builder ; and, second , because artist l dea s wholly with perspectives , whereas the build er must execute from plane surfaces or eleva tions .

F E AN D H ADow s —It i n ORMING LIN S S . is not my tention to furnish a complete treatise on this sub 7 73 74 CARPENTRY FOR BOYS

e t two j c , but to do things, one of which will be to h ow show, among other features , simple lines form objects ; how shading becomes an effective aid ; h ow proportions are formed ; and, second, how to

how make irregular forms, and they may readily be executed so that the boy may be able to grasp the ideas for all shapes and structural devices .

A E AD —In AN LYSIS OF LIN SH ING . the demonstra tion of this work I shall give an analysis of the

e Simple lines form d, showing the terms used to

e d signate the lines , curves , and formations, so that when any work is laid out the beginner will be

a i e ble , with th s glossary befor him , to describe

an architecturally, as well as mathematically, the w h gles and curves it which he is working . — How TO CHARACTE RIZ E SURFACE Suppose we wi commence simply th straight lines . How Shall DRAWING AND ITS UTILITY 75 we determine the character of the surface of the material between the two straight lines shown in

125 ? I S a ? us Fig . it ﬂat, rounded, or conc ved Let see how we may treat the surface by Simple lines so as to indicate the conﬁguration .

CoN oAVE ACE —I 1 26 SURF S n Fig . the shading lines commence at the upper margin , and are heaviest there , the lines gradually growing thinner and farther apart .

CoNVEx ACE —In 1 2 SURF S . Fig . 7 the Shading is very light along the upper margin , and heavy at the ﬁ . ﬁ lower margin The rst shaded gure , there

a fore, represents concaved surface, and the sec 76 CARPENTRY FOR BOYS ond ﬁ gure a convex surface . But why ? Simply i for the reason that in draw ngs , as well as in na e ture , light is projected downwardly, h nce when a r an beam of light moves past the ma gin of object, u the contrast at the pper part, where the light is in most tense , is strongest .

S - 1 2 The shading of the shaped surface (Fig . 8) i s 1 26 1 2 a compound of Figs . and 7.

AD A D D —W SH OWS FROM SOLI BO Y . e can under s mi 1 29 tand this better by exa ning Fig . , which

Shows a vertical board , and a beam of light (A) p assing downwardly beyond the upper margin of h t e board . Under these conditions the upper mar

of gin the board appears darker to the vision , by l e . u contrast , than the low r part It Sho d also be u nderstood that, in general , the nearer the object th e lighter it is , so that as the upper edge of the board is farthest from the eye the heavy shading there will at least g1ve the appearance of dis tance to that edge .

78 CARPENTRY FOR BOYS

ACES — 133 th e RAISED SURF Fig . Shows it in form b of a block, Simply ythickening the lower and the right - hand lines

EP E ED ACE - If D R SS SURF S . , by chance, you should

- make the upper and the left hand lines heavy, as 134 ul un . a in Fig , it wo d, doubtedly, appe r de pressed, and would need no further explanation .

AD — m sh . f ur a d FULL SH ING But, in order to n a diti onal e the f h exampl of e fect of s ading, suppose

the as h we shade the surface of large square, S own 135 in Fig . , and you will at once see that not only f is the e fect emphasized, but it all the more clearly h . expresses w at you want to Show In like manner , 13 . 6 we in Fig , Shade only the space within t he inner square , and it is only too obVI ous how shad ows m give us surface confor ation .

A CURE AD —I . n 13 ILLUSTR TING SH ING Fig . 7 I Show om ed ll merely nine lines j together, a lines being e k of qual thic ness . AS it thus drawn may represent , for instance , DRAW ING AND ITS UTILITY 79 cu a be, or it may Show simply a square base (A)

two . with sides (B , B ) of equal dimensions

AD E C —NOW SH ING EFF TS . , to examine it proper ly so as to observe what the draughtsman wishes to

138 diver express , look at Fig . , in which the three g C i n h kn ing lines (A, B , ) , are increased t ic ess,

th and e cube appears plainly . On the other hand, 139 in Fig . , the thickening of the lines (D, E , F) ff shows an entirely di erent structure .

It must be remembered, therefore, that to Show raised surfaces the general direction i s to shade heavily the lower horizontal and the right vertical lines . ( See Fig .

EAV E —Bll t H Y LIN S . there is an exception to this

ru e. l See two examples ( Fig . Here two par 80 CARPENTRY FOR BOYS allel lines appear close together to form the edge h t e . nearest eye In such cases the second,

I S . line heaviest On vertical lines , as In the second line from the right is heaviest . These

' e and th examples Show plain g ometrical lines , ose 138 141 from Figs . to , inclusive , are in perspective .

— PERSPE CTIVE A perspective is a most deceptive ﬁ be gure, and a cube , for instance , may drawn So n ff that the va ous lines will di er in length, and

d Or all also be equi istant from each other . the line s may be Of the same length and have the dis tw in tances be een them vary, Suppos g we have two a cubes , one located bove the other, separated ,

obvi say, two feet or more from each other . It is ous that the lines of the two cubes will not be the

-o same to a camera , because , if they were photo h l grap ed they wou d appear exactly as they are,

e i n as so far as th ir posit ons are concer ed , and not

e e e they app ar . But the cubes do appear to the y

82 CARPENTRY FOR BOYS all spaced apart the same distances from each other . — IS OM E TRI O CUBE I enclose thI S cube within a 143 e circle, as in Fig . . To form this cube the circl e (A) is drawn and bisecte d with a vertical lin (B) . This forms the starting point for stepping off the si x points ( 0 ) in the circle, using the dividers with

out resetting, after you have made the circle . Then connect each of the points ( 0 ) by straight lines ( D) . These lines are called chords . From the center draw two lines (E ) at an angle and one line ( F ) vertically . These are the radial lines . You will see from th e foregoing that the chords — ( D) fo rm the outline of the cube or the lines far thest th e from e ey , and the radial lines ( E , F ) are the nearest to the eye . In this position we are — looking at the block at a true diagonal that is , from a corner at one side to the extreme corner on the Opposite Side .

u . 142 Let s contrast thi s , and particularly Fig , DRAWING AND ITS UTILITY 83

with the cube which is placed higher up , viewed from the same standpoint .

E PE VE — 144 h E ED C . FLATT N P RS TI Fig . Shows t e w w ne perspective, in hich the three vertical lines

SD: (A, A, A) are of equal length, and the angularly h disposed lmes (B, are of equal lengt , but

shorter than lines A . The only change has been made is to Shorten the distance across the corner from D to D, but the vertical lines (A) are the same in length as the corresponding lines 143 w in Fig . . Not ithstanding this change the h ﬁ cubes in bot gures appear to be of the same size , in as, fact, they really are . In s forming a per pective, therefore , it would be a good idea for the boy to have a cube of wood wn always at hand, which, if laid do on a horizontal s upport, alongside, or within range of the object to 84 CARPENTRY FOR BOYS

be drawn, will serve as a guide to the perspec

tive .

E C CAL E A —AS T HNI D SIGN TIONS . all geometrical s lines have de ignations , I have incorporated such figures as will be most serviceable to the boy each , fi fi gure being accompanied by its proper de nition .

Before passing to that subject I can better show some of the simple forms by means of suitable dia grams . 145 Referring to Fig . , let us direct our attention to the body ( G) , formed by the line (D ) across the circle . This body is called a segment . A chord

(D) and a curve comprise a segment .

E N D E E —NOW S CTOR A S GM NT . examine the Shape

two of the body formed by of the radial lines (E , E ) and that part of the circle which extends from one radi al line to the other . The body thus formed

sectOr two is a , and it is made by radiating lines in and a curved line . Learn to dist guish readily, in

th e ff ﬁ . your mind, di erence between the two gures

86 CARPENTRY FOR BOYS

ﬁrst the elliptical curve (Fig . The proper ﬁ a thing is , rst, to draw line (A),which Is called ” “ we the major axis . On this axis mark for our i B . W guidance two points (B , ) ith the d viders

ﬁnd a point ( C ) exactly midway, and draw a cross “ ” h s . line (D) . T i is called the minor axis If we

choose to do so we may indicate two point s (E , E )

in s on the m or axis , which, in thi case, for con veni ence so h , are spaced that t e distance along B h the major axis, between , B , is twice the lengt

Now ﬁnd across the minor axis (D ) , along E , E .

- O F one quarter of the distance from B to , as at ,

‘ and with a compass pencil make a half circle (G) .

If now omt , , you will set the compass p on the center mark and the pencil point of the compass on o B, and measure along the minor axis (D ) on b th DRAWING AND I TS UTILITY 87

two sides of the major axis , you will make points ,

e e scrib as at H . Th s points are your centers for

e e ing the long sid s of the ellipse . Befor proceed in ing to strike the curved l es ( J) , draw a diagonal K line ( ) from H to each marking point (F ) .

Do this on both sides of the major axis , and pro u d ce these lines so they cross the curved lines ( G) . When you ink in your ellipse do not allow the cir

i K a cle pen to cross the l nes ( ) , and you will have m echanical ellipse .

E LP E AN D OvALs —It L I S S . is not necessary to measure the centering points (F ) at certai n speci ﬁed distances from the intersection of the horizon

W e tal and vertical lines . may take any point

r along the majo axis , as shown, for Instance, in 149 Fig . . Let B be this point, taken at random .

the e e l Then describe half circl W may, a so , arbitrarily, take any point, as , for instance, D on the minor axis E , and by drawing the diagonal lines (F ) we ﬁnd marks on the circle which l h' are the meeting ines for the large curve (H) , wit

l e the sma l curve ( C ) . In this cas we have formed m an ovate or an oval for . Experience will soon make perfect in following out these directions

CA — Tll e e FO L POINTS . focal point of a circl is its

ocus e e h as center, and is called the f . But an llips two ocz focal points , called f , represented by F , F in 4 148 1 9. Fig . , and by B , B in Fig . 88 CARPENTRY FOR BOYS

A p r oduced li ne is one Which extends out be 14 yond the marking point . Thus in Fig . 8 that part of the line K between F and G represents K the produced portion of line . PIRALs — h o fﬁ l S . T ere is no m re di cu t ﬁgure to bow make with a or a circle pen than a spiral . In

15 r . 0 Fig a horizontal and a ve tical line (A, B ) ,

e e n respectiv ly, are drawn , and at their int rsectio

now o a small circle ( 0 ) is formed . This pr vides for four centering points for the circle pen, on the two lines (A, B ) . Intermediate these points indicate a second set of marks halfway between

now th e the marks on the lines . If you will set 3 the point of the compass at, say, the mark , and m a pencil point of the compass at D , and ake

m - curved ark one eighth of the way around, say, the to the radial line ( E ) , then put the point of

90 CARPENTRY F OR BOYS

e line Is at right angles to some other line . Suppos you put a square upon a roof so that one l eg of the

th e he square extends up and down on roof, and t

l e other g projects outwardly from the roof . In this case the projecting leg is p erp endi cular to the

th e ver ti cal e roof . Never use word in this conn c tion .

D CA E ME A E E — SIGNS To IN I T SUR M NTS . The small

d e r ee circle is always used to designate g .

1 0° e en e Thus m ans t degre s . Feet are indicated by the single mark and two c l c e ﬁve losely a lied marks are for in h s . Thus feet ten inches should be written 5’ 1 0 A large “ ” di e cross ( X ) in cat s the word by, and in express

e two ing the term six f et by three feet inches , It Should be written 6" X 3’ The foregoing ﬁgures give some of the fun da m ental s e necessary to be acquir d, and it may be said that if th e boy will learn the principle s i n volved in the drawings he will have no difﬁculty in producing intelligible work ; but as this is not a treatise on drawing we cannot go into the more

fi e e re n d phas s of the subject . — DE FINITIONS The following figures Show the various geometrical forms and their definitions :

1 51 A s i s — whi . . b c sa . The point in a curve , A , ch

e l is ref rred to by certain ines , such as B , which

h e Z . extend out from an axis , X , or t ordinate line DRAWING AND I TS UTILITY 91

2 An l —Th e n los e s a e near th e o nt 15 . g e i c d p c p i er e two l nes m eet wh i . e — he r n u ar n rom 153 . A o th m T e e e p g . p p dic l li A f n l r l on It the ce ter to one side o f a regu a po yg . r epr esents th e radial line of a po lygon th e s am e as th e radius r epresents half th e diam eter of a r ci cle . 1 si d s or A si s —One of wo o nts 5 A e . t 4 . p p p i , A, of an o rb t o a o r ell se art est rom th e A, i , v l ip , f h f r m ts a s o th e two s a o . xi , ll d 1 55 Chord —A r t lm e as un t n th e . igh , A, i i g re es r r l r u r e ext miti o f th e a c of a ci c e o a —c v . 156 Convo lu te see a so Invo lu te . Usu a . ( l ) lly employed to d esignate a wave or folds i n o p osi te re t ons ou e i nvolut p di c i . A —d bl 15 7 Coni c S ecti on H aving the fo rm o f or r e s embh n orm e b utt n off a one g a cone. F d y c i g c at an an e S ee ne y gl . li A . 158 onoi —An t n r r e . t t h as a o m C d . y hi g ha f semb n t at of a one li g h c . 15 — nt 9 . C cloi d . A u r e enerated b a o y c v , A, g y p i , B i n th e ane o f a r e o r ee 0 en , pl ci cl wh l, , wh th e ee 1 s ro l e a on a stra t ne wh l l d l g igh li . E l i — l f 160 . l s i A sol a l an se ons o d . e t o p id , pl c i w re el ses or r l es hich a lip ci c . 16 1 E i c cloi d —A u r e tra e b a o nt . p y c v , A , c d y p i , B i n the r u mf er en e of a eel C ro ls , ci c c wh , , which l o n th e on e s e o f a e r e c v x —id fix d ci cl , D 62 l e _ r r n r 1 E vo u t . A u e A om t h o . c a t e c v , , f h u r e l e B on ea of th e nner en s o f th e c v , ik , ch i d n s i s m e D i a s oo nd h ne s e C a . s a t e 0 li d p l , li re r sent a t rea at ff er en o s t o ns Th e p e h d di t p i i . t rea h as a m ar er E so t at en th e t rea h d k , , h wh h d i s wound on th e s pool th e m arker E m akes th e e o u ne A v l te li —. 163 . F ocus Th e enter of a r e a so c , A, ci cl ; l o ne of th e two enter n o nts B of an e s e c i g p i , , llip or an o a v l . 164 n om —Th e s a e n u h . G e p c i cl ded b etween t e boun ar nes o f two s m ar ar a el o rams th e d y li i il p ll g , h r n e one t n t e ot e t an a i n o mm on . wi hi h , wi h gl c 165 H er bo la —A u r e A orme b th e sec . yp . c v , , f d y n o f a on th e one i s cut off rt al l tio c e . If c v e ic y on the otte ne th e u r e i s a er o a d d li , A , c v hyp b l . S ee Par a bo la . 16 H th nu s e —The e f t 7 . o e . S o a r yp id , A, igh angl ed tr iangle which i s o pposite to th e r ight an le B O. re u ar tr an e C rre u ar tri g , A , g l i gl ; , i g l an e gl . 92 CARPENTRY FOR BOYS — 168 . I nci d en ce . Th e a n l e A i s th e g , , which sam e an l e a s f or nstan e a r a o f l t B g , i c , y igh , , a ll n m r r o r h s o a 0 . T e ne D i s th e which f i , li er en u lar p p dic . 1 69 I s os cele r i l — t . s T ang e H aving wo s ides or e s t a ar e u al t e . g , A, A, h l — q 170 . Par a bo la On e o f th e o m e s e t ons or m e . c c i f d b u tt n o f a one so t at th e ou t l ne A i s y c i g c h i , , n t er H r er e he u l ne o v tical . S ee ype bo la wh t o t i i s ert a v ic l . — - 1 1 . Par a ll lo r am A r t ne u ad i l ater al 7 e g . igh li d q u r e ose o os te s es A A or B B are fig , wh pp i id , , , , , ar a e a nd onse uentl e u al p ll l c —q y q . 1 2 . Pele oi d A u r om at e 7 c . e s e at t fig , wh h ch s a e bo u n e b a s em r l e A and two i n h p d, d d y ici c , , Verte u a rants and e u a to a s u a re 0 . d q d , q l q , 1 3 P ol ons — an -s e and man t 7 . yg . M y id d y wi h

174 P r amid —A so stru tu re ener all t . y lid c g y wi h a squ are ba se and having i ts s ides m eeting i n an

or ea . Th e ea i s th e erte x p k p k v x . 1 5 u ad r an t —The u arter o f a r e o r o f 7 . Q q ci cl r m r n f r le A or on l n th e u e e e o a . ta e ci c f c ci c h iz l i , A and a ert a ne B m a e th e ou r u a , v ic l li , , k f q d

r ants e 0 . , lik 1 6 ua d r i la ter a —A ane u r e a n f ou r 7 . Q l pl ﬁg h vi g

s es and onse u ent o u r an les . An u re id , c q ly f g y fig orm e b ou r nes f d y f li . 1 R hom b —An e u atera ar all el o ram or a 77. . q il l p g qu adr ilater al figu re who se S ides ar e equ al a nd the O o s te S es B B ar all e l pp i id , , , p . r —A ar f r r e b 1 8 S ecto . t A o a e o m 7 . p , , ci cl f d y two r a a nes B B and boun e at th e end di l li , , , d d b a u r e y c v . m nt —A art A cu t rom a r b 1 79 . S e e . e g p , , f ci cl y r i h n Th e str a t ne B i s th a st a t e B . e g li , igh li , , or r h t l li n ch d o t e s egm en a e . s d — - r I a e 180 . i nu oi A a e o m t m b S . e w v lik f . y re u ar o r r r e ul ar g l i g— . 1 8 1 . Tan ent A l ne runn n ou t r om th e g i , A, i g f u r at r an les f r om r a l ne c ve ight g a adi l i . 182 Tetr a hed r on —A s ol u r e en l o se o r . . id fig c d n b ou r tr n les l r B A l a n ou e a e A o . b d d y f i g , ik p i r e fiv r an l s py amid i s boun d d by e t i g e . 1 83 Ver teaz —Th e m eet n o nt o f two or . . i g p i , A, m ore nes li . 4 l t — S r a s rol u se l ar el i n 18 . Vo u A e. pi l c l, d g y ar te tu r e o rm s one of th e e f ea chi c , which f chi f r h n ta tu es of t e Io ic ca pi l .

94 CARPENTRY FOR BOYS

roduce ' shad ows because the lines and surfaces p ,

and therefore become valuable in an artistic sense . — TH E AGA 186 - ASTR L . Fig . shows the ankle bone

e As tra al molding, technically call d the g . This

and e form is round , prop rly placed produces a

ef good fect , as it throws the darkest shadow of any form of molding .

T — 18 TH E AVE To . 7 C . Fig is the cavetto , or round type . Its proper use gives a delicate outline , but it is principally applied with some other form of molding .

TH E voLo — 188 the O . Fig . , called ovolo , is a quarter round . molding with the lobe (A) pro i j ect ng downwardly. It is distinguished from MOLDINGS—ILLUSTRATIONS 95

the astragal because it casts less of, a shadow above and below.

- 189 i s TH E TORUS . Fig . , known as the torus , b a modiﬁed form of the ovolo , but the lo e (A) pro j ects out horizontally instead of downwardly .

f - i - — TH E APOPHYGE S (Pronounced apo ges ) . Fig.

ca e 190 is also called the s p , and is a concaved type h on of molding, being a ollowed curvature used

columns where its form causes a merging of the ﬁ Shaft with the llet .

TH E A U — 191 the CYM TI M . Fig . is cymatium ( de

- rived from the word cyme) , meaning wave like . h b T is form must e in two curves , one inwardly and one outwardly.

TH E EE — 192 h the . t e OG . Fig , called ogee , is most

two : useful of all moldings , for reasons First,

a it may have the concaved surf ce uppermost, in h — w ich form it is called ogee recta that is , right 96 CARPENTRY FOR BOYS

193 Side up ; or it may be inverted, as in Fig . , with

e e the concav d surfac below, and is then called

e ogee reversa . Contrast th se two views and you will note what a difference the mere inversion of

e . be the strip makes in the app arance Second,

e e caus the oge has in it , in a combined form , the outlines of nearly all the other types . The

advantage there is in usmg the other types is because you may thereby build up and space your work better than by using only one Simple form . You will notice that the ogee is somewhat like

f eIn the cymatium, the di ference b g that the con

o c caved part is not so pron un ed as In the ogee , and the convexed portion bulges much further than

e in the oge . It is capable of use with other mold f ings , and may be reversed with just as good e fect as the ogee .

98 CARPENTRY FOR BOYS

ad o r C o n vex.

Z f 6 1‘ l a ; ” g a y

5 6 5 15 8 0 6 3 MOLDINGS—ILLUSTRATIONS 99

the a r oxi tal ; and length of the column is , pp mately, four times the height of the pedestal .

The base of the shaft, while larger diametrically than the capital , is really shorter measured ver tically . There is a reason for this . The eye must travel a greater distance to reach the upper end of the shaft, and is also at a greater angle to that

part of the shaft , hence it appears . shorter, while i n r it is eality longer . For this reason a capital must be longer or taller than the base of a shaft, nd a it is also smaller in diameter . It will be well to study the column not only on account of the wonderful blending of the various f orms of moldings , but because it will impress you h wit a sense of proportions , and give you an idea of h ow simple lines may be employed to great ad i n ” vantage all your work .

E TH E C O -AS L SSONS FROM DORI C LUMN . an ex a en mple , suppose we take a plain cabinet , and d eavor to embellish it with the types of molding

s e h de cribed, and you will s e to w at elaboration the operation may be carried .

PP M D G — 197 A LYING OL IN Let Fig . represent the ﬁ front , top and bottom of our cabinet ; and the rst thing we shall do is to add a base (A) and a cap B ( ) . Now , commencing at the top , suppose we utilize the simplest form of molding, the band . as This we may make of any desired width , 100 CARPENTRY FOR BOYS

198 shown in Fig . . On this band we can apply the 1 99 ogee type (Fig . ) right side up . But for variation we m ay decide to use the

e 200 ogee revers d, as in Fig . . This will aﬁ ord us something else to think about and will call upon

our powers of initiative in order to ﬁnish off the d lower margin or e ge of the ogee reversa . 201 we . If take the ogee recta , as shown in Fig

u h the 202 s e . we may e t cavetto , or ovolo ( Fig )

' but if we u se the oge e reversa we must u se a con

h e vex molding like t cavetto at one base, and

102 CARPENTRY FOR BOYS

ﬁn F . To ish, apply a small strip ( G) in the cor

e h ner, and you hav an embellished top that as

e the appearanc , from a short distance, of being made up of molding . — PLAIN MOLDED BASE The base may be treated 4 i in the same manner . The main strip ( ) has ts

o off upper c rner chamfered , as at I , and on this ﬁn is nailed a thin , narrow ishing strip (J) . The

has upper part or molded top , in this case , eleven

distinct lines , and the base has six lines . By ex p erimenti ng you may soon put together the most available kinds of molding strips . — DIVE RSIFIED USE S For a great overhang you

‘ e w may use the cavetto , or the apophyges , and b lo that the astragal or the torus ; and for the base the s rvweable casement is the most e molding, and it may be ﬁnished off with the ovolo o r the cyma tium . Pages of examples might be cited to Show the variety and the di ver si ﬁCati on available with dif f erent types. MOLDINGS—ILLUSTRATIONS 103

AD A BY MoLDI N Gs - SH OWS C ST . Always bear in mmd that a curved surface makes a blended shadow . A straight , ﬂat or plain surface does not, and it is for that reason the concaved and i the convexed surfaces,brought out by mold ngs , so n become importa t .

A little study and experimenting will soon teach you how a convex, a concave or a ﬂat surface , and a corner or corners should be arranged rela tively to each other ; h ow much one should project beyond the other ; and what the proportional f widths of the di ferent molding bands should be . An entire volume would scarcely exhaust this sub j ect. CHAPTER X

AN A A OF E ABBE N LYSIS T NONING, MORTISING, R TING AN D BEADING

I N W the chapter on How ork is Laid Out , an example was given Of the particular manner pur i n sued laying out mortises and tenons , and also dovetailed work . I deem it advisable to add some e details to the subject, as well as to dir ct atten tion to some features which do not properly belong to the laying out of work . — WHERE MORTISE S SHOULD BE USED Most im portant of all is a general idea of places and con di ti ons under which mortises should be resorted

e a f mem to . Th re are four w ys in which di ferent bers may be secured to each other . First, by

- - mortises and tenons ; second, by a lap and butt ;

s carﬁn third, by g ; and, fourth, by tonguing and grooving .

EP MoRTISE s —W e D TH OF . hen a c rtain article is ﬁ to be made , the rst consideration is , how the

e joint or joints Shall be made . The g neral rule for using the tenon and mortise is where two parts are joined wherein the grains of the two 104

106 CAR PENTRY FOR BOYS

i i ts t se in edge is much thinner than its width, the

e mortise should go through from edge to dge . The reason for this lies in the inability to sink 20 e . 7 the mortis s through the stile (A, Fig ) per f ectl i s y true , and usually the job turned out s omething like the illustration shows . The side

o f the rail (B ) must be straight with side of

1 the stile . If the work s done by machinery it results in accuracy unattainable in hand work.

E M E K — essense TRU ORTIS WOR . The of good join i ng work is the ability to sink the chis el true with

h e e M e t side of the memb r . or uneven work i s b p roduced by haste than y inability. The ten M ” 10 TENONING, ORTISING, ETC . 7

deney of all begi nners is to strike the chisel too

e e to hard , in ord r the mor quickly to get down h t e bottom of the mortise . Hence, bad work

follows .

EP IN MoRTISE s —E 208 ST S CUTTING . xamine Fig . ,

convem ence 1ves successIve which , for , g six step s

d esI nat . a b e in making the mortise The marks , g

’

. the i . g limits , or the length, of the mortise The C A hisel ( C ) is not started at the marking line ( ) ,

eI h h n but at least an g t of a inch from it . The

ﬁ as 1ves om rst cut , at B , g a starting p t for the

cut W sec next or placement of the chisel . hen the

ond cut (B ) has thus been made , the chisel should d be turned around , as In dotted line , position h ﬁ C , t ereby making a nish cut down to the bottom

e so out of the mortise , line , that when the fourth

has been made along line f, we are ready for the ﬁ out fth cut, position C ; then the sixth , position

s D , which leaves the mortise a shown at E . Then

turn the chisel to the position shown at F , and

s cut down the last end of the mortise square , a

shown In G, and clean out the mortise well before making the ﬁnishing cuts on the marking lines

a b ( , ) . The particular reason for cleaning out ﬁ the mortise before making the nish cuts is , that the corners of the mortise are used as fulcrums

C for the hisels , and the eighth of an inch stock

still remaining protects the corners . 1 08 CAR PENTRY FOR BOYS — THINGS TO AVOID I N MORTISING You must be careful to refrain from undercutting as your chisel

I) com goes down at the lines a, , because if you i m t this error you will make a bad joint . As much care should be exercised in producing

he e t tenon, although the most common rror is apt h h s ul to occur in making the s oulder. T is ho d be a triﬂe undercut .

the Fi h h l e h s See lines (A, g . w ic il ustrat t i .

LAP -AN D- N — -an — i s th e BUTT J OI T . The lap d butt form of uniting members which is most generally h n used to splice together timbers , w ere they joi e ach other end to end .

B olts are used to secure the laps . But the lap - and- butt form is also used in doors nd e a in other cabinet work. It is of great servic in paneling .

110 CARPENTRY FOR BOYS

s I erviceable for ﬂoors , table tops, paneling, etc . n 213 o Fig . , a do r panel is shown, and the door

B so mullions ( ) are also secured to the rail ( C) .

The tongue - and-groove method is never used h itself. It must always ave some support or re nf i orcing means .

BEAD —Thls ING . part of the work pertains to

s ﬁni shi n s or urface g , and may may not be used in connection with rabbeting . 214 215 Figs . and Show the simplest and most generally adopted forms in which it is made and

used in connection with rabbeting, or with the tongue and groove . The bead is placed on one

or both sides of that margin of the board ( Fig . 214 ) which has the tongue , and the adjoining board has the usual ﬂoorl ng groove to butt against

th e and receive the tongue . It is frequently case 215 that a blind bead, as in Fig . , runs through M E T 11 C. 1 TENONING, ORTISING,

the middle of the board , so as to give the appear ance of narrow strips when used for wainscoting, or for ceilings . The beads also serve to hide the joints of the boards .

J E

E A EAD — fi ORNAM NT L B FINISH . These gures show h fi ow the bead may be used for nishing corners , 216 edges and projections . Fig . has a bead at fi each corner of a stile (A) , and a nishing strip of half- round material (B ) i s nailed to the flat

Fi 217 e edge . g . has simply the corn rs themselves

ﬁ f or beaded, and it makes a most serviceable nish the edges of proj ecting members . 21 . 8 Fig , used for wider members , has the cor ners beaded and a fancy molding ( C ) ; or the re duc d the i s ff e edge of stile itself rounded o .

TH E BEAD AN D RABBE - ~A ﬁ m T . more ampli ed for of work is available where the rabbet plane i s u ad r sed with the he e . These two planes together CAR PENTRY FOR BOYS

e e will, if prop rly used, off r a strong substitute for f molding and molding ef ects . 219 ﬁ Fig . has both sides rst rabbeted, as at A

and the corners then beaded, as at B , with the

e th e off reduc d part of member rounded , as at C .

220 th e e . e Or, as in Fig , reduced dge of the memb r

th e may have the corners beaded, as at D , and rabbeted corners ﬁlled In with a round or con caved moulding (E ) .

AD E AD AN D RABRETs —You SH ING WITH B S . will

e t se from he foregoing, that these embellishments are serviceable because they provide the article with a large number of angles a nd surfaces to cast lights and shadows ; and for this reason the boy should stri ve to produce the effects which thi s class of work requires .

114 CARPENTRY FOR BOYS

B or eauty consists in proportions , in proper c ela tion of parts , and in adaptation for the uses to

he which t structure is to be put . — PLAIN STRUCTURE S A house wi th a plain

e facad , having a roof properly pitched and with a simple cornice, if joined to a wing which is not un ﬁ gainly or out of proper proportions , is in nitely h more beautiful than a rambling structure , in whic one part suggests one order of architecture and the other part some other type or no type at all, and in which the embellishments are out of keep

’ the house ing with the Size or pretensions of .

A PE — COLONI L TY For real beauty, on a larger sea i s - h le, there nothing to day which equals t e old Colonial type with the Corinthian columns and b e a . nt lature The Lee mansion, now the National ﬁn e W . C metery, at ashington, is a e example Such houses are usually square or rectangular i n n plan, severely plain, with the whole ornamentatio

f h s , consisting o t e columns and the portico . Thi type presents an appearance of massiveness and grandeur a nd is an excellent illustration of a form wherein the main characteristic of the struc ture is concentrated or massed at one point . M r The Church of the adelaine , Paris , is anothe

c striking example of this period of archite ture . s Of course , it would be out of place with cottage nd a small houses , but it is well to study and to HOUSE BUILDING 115 know what forms are most available and desirable a l to adopt , and particul r y to know something of the art in which you are interested .

TH E TH E KE E —Now ROOF YNOT . , there is one

di sti n uI S thing which should, and does , g h the re si d ence from other types of buildings , excepting

i s churches . It the roof . A house is dominated

I the I by its covering. refer to modern home . t

Colom al is not true with the or the Grecian types . In those the facade or the columns and cornices predominate over everything else .

B A T PE —If UNG LOW Y S . you will take up any book on bungalow work and note the outlines of the views you will see that the roof forms the main In element or theme . fact , in most buildings of this kind everythmg 1 s submerged but the roof s T and roof detail . hey are made exceedingly ﬂat, with different pitches with dormers and gables i n

rmi n led c im n e l te g and indis r i at ly p aced, with cor ff so nices illy assorted and of di erent kinds , that the multiplicity of diversiﬁed details gives an ap

r an M pea ce of g reat elaboration . any of those designs are monstrosities and should, if possible, be legally prohibited . I cannot attempt to give even so much as an outline of what constitutes art in its relation to building, but my object is to call attention to this phase of the question , and as you proceed in 1 16 CARPENTRY FOR BOYS your studies and your work you will realize the value and truthfulness of the foregoing observa

tions .

E E A E B D G —W e G N R L HOUS UIL IN are to treat ,

e ho generally, on the subj ct of house building, w

h h ow t e work is laid out, and built, and in doing I so shall take a concrete example of the work . This can be made more effectual for the purpose m if it is on si ple lines . — BUILDING PLANS W e must ﬁrst have a plan ; and the real carpenter must have the ability to

s to th W e ﬁve plan as well a do e work . want a r o wo o m house, comprising a parlor, dining room, t bedrooms , a kitchen and a bathroom . Just a mod

ca est little home , to which we n devote our spare hours , and which will be neat and comfortable

- ﬁ ~ e s . It wh n ni hed must be a one story house , and that fact at once settles the roof question . W e

e th e can mak house perfectly square in plan, or

e a r ctangular, and divide up the sp ce into the

e prop r divisions . TH E PLAIN S QUARE FLOOR PLAN will ﬁrst be taken up , as it is such an easy roof to build . Of

se e e cour , it is s ver ly plain .

221 e th e Fig . shows our propos d plan, drawn in

e th e f rough, Without any attempts to m asure di fer

e and ent apartm nts , with the ﬂoor plan exactly

e squar . Supposing we run a hall (A) through

11 8 CARPENTRY FOR BOYS

TH E E C A A A —In R T NGUL R PL N . the rectangular

222 the ﬂoor plan ( Fig . ) a portion of ﬂoor space i s

so we cut out for a porch (A) , that may use the end or the side for the entrance . Supposing we Th use the end of the house for this purpose . e entrance room ( B ) may be a bedroom, or a recep

tion and living room, and to the rear of this

n t e room is the dini g room, connected with h recep to tion room by a hall ( C ) . This hall also leads the kitchen and to the bathroom, as well as to the

e other bedroom . The parlor is conn cted with the

e entranc room (B ) , and also with the bedroom .

All of this is optional , of course .

There are also two chimneys , one chimney (D) HOUSE BUILDING 1 19

having two ﬂues and the other chimney ( E) hav e ﬁues so ing thr e , that every room is accomm o dated . — ROOM ME ASURE ME NTS W e must now determine

e h o the dimensions of ach room , and then w we shall build the roof . In 223 224 Figs . and , we have now drawn out 120 CARPENTRY FOR BOYS

s in detail the izes , the locations of the door and

s windows , the chimney and the closets , as well

m a as the bathroom . All this work y be changed or modiﬁed to suit conditions and the taste of the n desig er .

— FRONT AN D SIDE LINE S From th e ﬂoor diagram

e and the door and window spaces , as mark d out, we may now proceed to lay out rough front and side outlines of the building . The ceilings are to

9 we - e be feet, and if put a rather low pitch d

u u ‘ Fi 223 roof on the square str ct re ( g . ) the front

225 e may look something like Fig . , and a gr ater 224 pitch given to the rectangular plan ( Fig. ) will 226 present a view as shown in Fig . .

1 22 CARPENTRY FOR BOYS

—In 227 C . ROOF PIT H . Fig draw a vertical line nd (A) a join it by a horizontal line (B ) . Then ff strike a circle ( C ) and step it o into three parts . hi ﬁ The line (D) , w ch intersects the rst mark ( E )

i s and the angle of the lines (A, B ) , the pitch . 228 15 In Fig . the line A is struck at degrees ,

i s tw which halfway be een lines B and C , and it is , “ ” - a . therefore , termed h lf pitch

he Thus , we have made the ground plans , t ele

vati ons a and the roofs s simple as possible . Let

us proceed next with the details of the building .

TH E DA — Thls be FOUN TION . may of brick, stone

or concrete , and its dimensions Should be at least l t inches further out than the sill .

TH E ILLs -W e om S . are g g to build what is called “ ” ﬁ a balloon frame ; and, rst, we put down the 2” 2" x 8 ” sills , which will be a course of x or 229 joists , as in Fig. .

TH E - FLOORING JOIST . The ﬂooring joists (A) h are t en put down ( Fig . These should ex HOUSE BUILDING 1 23

os th e tend clear acr s house from side to side , if

e 1 e e possibl , or, if the plan s too wid , th y should be e th e e e e lapp d at middl wall and Spik d tog ther . The ends should extend out ﬂush with the outer

th e margins of Sills , shown, but in putting down

ﬁ t be e the rst and las Sill , space must l ft along the sides of the joist of sufﬁcient width to place the studding .

TH E DD - STU ING . The next step is to put the " "

4 4 . e studding into position . x must be us d for corners and at the side s of door and window open 1 24 CARPENTRY FOR BOYS

4 x 6 s re ings . may be u ed at corners , if p

see th e ferred . Consult your plan and where

ar e W Ind ows Me openings for doors and . asure

s the width of the door and window frames , and a Y u make a me suring stick for this purpose . o must leave at least one - half inch clearance for

e s o ufﬁ the window or door fram , as to give s cient r h e oom to plumb and set t frame .

S E UP - TTING . First set up the corner posts ,

bracm plumbing and g them . Cut a top plate for e i ach side you are work ng on .

— TH E PLATE As it will be necessary in our job ” ” to u se two or more lengths of 2 x 4 scantling for

h e be e e e t plate , it will n c ssary to join th m to

- - e e . g th r . Do this with a lap and butt joint ( Fig

Then s et up the 4 x 4 posts for th e Sides of the

h e r o doors and windows , and for t pa titi n walls .

e th e S 111 The plat Should be laid down on , and marked with a p encil for every scantling to corre s ond e p with the sill markings . The plate is th n ” e h e 4 4 o put on and spik d to t x p sts .

E ED A E DD —I INT RM I T STU ING . t will then be an

126 CARPENTRY FOR BOYS ing joist must always be put on with reference

to the roof . 232 . e Thus , in Fig , the ceiling joists (A) hav

s o their ends resting on the plate (B ) , that the rafters are in line with the joists .

RACE s -It h B . would also be well, in putting up t e studding, to use plenty of braces , although for a

one - story building this Is not so essential as

- e e ea two story structures , b caus the w ther board ing s erves as a system of bracing .

TH E RAETERs — e e . These may be mad to provid

e for the gutter or not, as may be d sired . They 2” 4 ” should be of x scantling .

TH E C E —In 233 UTT R Fig . I show a most service

- able way to provide for the gutter . A V shaped u notch is cut out of the pper side of the rafter,

” a hi in which is pl ced the ﬂoor and a side . T s HOUSE BUILDING 1 27 floor piece is raised at one end to provide an in cline for the water . A face - board is then applied and nailed to

d - ur the en s of the rafters . This face board is s

a be mounted by cap , which has an overhang, neath which is a molding of any convenient pat

- e two tern . The face board projects down at l ast

e a inch s below the angled cut of the rafter, so th t

- when the base board is applied, the lower margin

of the face-beard will project one inch below the base .

- horIz ontal This base board is , as you will see .

- an The facia board may be of y desired width, i s and a corner molding should be added . It

Optional to use the brackets , but if added they should be spaced apart a distance not greater than twice the height of the bracket .

A much simpler form of gutter is shown in Fig.

234 V- , in which a shaped notch is also cut in the 1 28 CAR PENTRY FOR BOYS

the e rafter, and channel is mad by the pieces .

cut e The end of the rafter is at right angl s ,

so h e - t face board is at an angle . This is also sur

e an e mount d by ov rhanging cap and a molding . Th e base is naIled to th e lower edge s of the raf

e t rs , and the facia is then applied .

234 . so In Fig a the roof has no gutter , that the end of the rafter is cut off at an angle and a mold

- d a ing applied on the face boar . The b se is nailed

to the rafters . This is the cheapest and Simplest

form of structure for the roof .

E OO AN D W D A E — Tll e S TTING D R IN OW FR M S . next step in order is to set the door and window frames

l In preparatory to app y g the weather boarding. I t is then ready for the roof, which should be put

n f i s o before the loor laid .

LA E AN D DE — r P ST RING INSI FINISH . Next In o der i s e - the plastering, th n the base boards and the

CHAPTER XII

B D ES E D K AN D K E RI G , TRUSS WOR LI STRUCTURE S

D E S — t BRI G Bridge building is not , strictly, a par

’ of the carpenter s education at the present day, becaus e most structures of this kind are now built of steel ; but there are certain principle s involved in bridge construction which the carpenter shoul d master .

" E - PP ma‘s —In i n S LF SU ORTING Ro putting up , for — e stance, self supporting roofs , or ceilings with wid

e r1nc1 le spans , and steeples or tow rs , the bridge p p of trussed members Should be understood . The most S Imple bridge or trussed form is

- A- well known shaped arch .

E — COMMON TRUSS S . One form is shown in 236 235 . . , with a vertical king post In Fig there t i n are two ver ical support ng members , called quee h posts, used in longer structures . Both of t ese 130 W K 1 31 BRIDGES , TRUSSED OR forms are equally well adapted for small bridges or for roof supports .

TH E E CA P TR ss — V RTI L U RIGHT U . This form of truss naturally develops into a type of wooden bridge known all over the country, as its framing

e is simpl , and calculations as to its capacity to 2 . 3 sustain loads may readily be made . Figs 7,

238 and illustrate these forms .

TH E A E DE — s W RR N GIR R . Out of this simple trus

th e W e II ' d er e grew arr n g , a type of bridg partie ularl y adapted for iron and steel construction . This is the simplest form for metal bridge truss , or girder . It is now also largely used in steel buildings and for other work requiring strength with small weight .

’ TH E DE BOWSTRING GIR R . Only one other form of CARPENTRY FOR BOYS

CHAPTER XIII

TH E BE ST W' OODS F O R T H E BE GINNE R

IN this place consideration will be given to some of the features rela ting to th e materials to be em

e ployed , particularly with r ference to the manner

in which they can be worked to the best advantage,

rather than to their uses .

T E — H E W D . B ST OO S The prime wood, and the

e one with which most boys are familiar , is whit

pine . It has an even texture throughout, is gen

erall y straight grained, and is soft and easily

e m e worked . Whit p Is a wood requiring a very

e e e sharp tool . It is, therefor , the b st mat rial for

i e th e the beginner, as it w ll at the outset t ach him

kee In important lesson of p g the tools in a good, sharp condition . — S O F T WOODS It is also well for the novice to do

e his initial work with a soft wood , becaus in join ing the parts together inaccuracies may be e asily corrected . If, for instance , in mortising and ten

e oning, the edge of the mortis d member is not true, “ ” e or, rather, is not square, the Should r of the tenon on one side will abut before the other side

e c the . does , and thus l ave a rack, if wood is hard If the wood is soft there is always enough yield to 134 BEST WOODS FOR BEGINNERS 135

enable the workman to spring it together . There

e fore , until you have learn d how to make a true

joint, use soft wood

f or Poplar is another good wood the beginner, as well as redwood, a western product .

A D VVOODS — Of H R the hard woods , cherry is the ’ most desirable for the carpenter s tool . For work ing purposes it has all the advantages of a soft wood, and none of its disadvantages . It is not apt in to warp , like poplar or birch, and its shr king

e unit is less than that of any other wood, exc pting redwood . There is practically no shrinkage in red

W ood .

TH E M C D —Asll OST DIFFI ULT WOO S . is by far the fﬁ W most di cult wood to work . hile not as hard as oak , it has the disadvantage that the entire board is seamed with growth ribs which are extremely

r hard , while the inte vening layers between these ribs are soft, and have open pores , so that , for instance , in making a mortise , the chisel is liable

r to follow the hard ibs , if the grain runs at an

h e angle to t course of the mortise .

TH E A D- BBE D A I N W D —Tll ls H R RI GR IN OO . peculi arity of the gram In ash makes it a beautiful wood

ﬁ - when nished . Of the light colored woods , oak n o ly excels it, because in this latter wood each ’ n year s growth Shows a wider band , and the i ter sti ces between the ribs have stronger contrasting 136 CARPENTRY FOR BOYS

ash i n ﬁ colors than ; so that lling the surface, be ﬁn fore ishing it, the grain of the wood is brought out with most effective clearness and with a beau ll tif u y blended contrast . — TH E EASIE ST WORK ING WOODS The same thing may be said, relatively, concerning cherry and

h as u ﬁ walnut . While cherry a bea tiful nishing surface, the blending contrasts of colors are not so ff u e ective as in waln t .

m e 1 i Oregon p s extremely hard to work, ow ng to the same difﬁculties experienced in handling ash ; but the ﬁnished Oregon pine surface makes it a most desirable material for certain articles of fur

i tur n e . Do not attempt to employ this nor ash until you

a onﬁn e have mastered the tr de . C e yours lf to pine,

l e pop ar, cherry and walnut . Th se woods are all i a eas ly obtain ble everywhere, and from them you can make a most creditable variety of useful arti cles Sugar and maple are two hard woods which may

’ ul a be added to the list . Sugar, partic arly, is

- fﬁ good working wood, but maple is more di cult .

Spruce, on the other hand, is the strongest and i toughest wood, cons dering its weight, which is n but a little more than that of pi e .

E E CE IN TH E K D —D1f DIFF R N S WOR ING OF WOO S . f erent woods are not worked with equal facility by

CHAPTER XIV

W' OOD TURNING

DVA A E S OF O D G — hi s o A NT G W O TURNIN T is n t, ’ ut strictly, in the carpenter s domain ; b a knowl edge of i ts use will be of great ser vi ce In the n trade, and particularly In cabinet maki g . I urge

in rI - the genious youth to g up a wood turning lathe , for the reason that it is a tool easily made and hi if o h r one w ch may be readily turned by foot, t e i s power not available .

— a SIMPLE TURNING LATHE A very Si mple turning lathe may he made by following these instr uo tions :

TH E RAILs — w 2 4 . Procure t o straight x scant i n . l ng (A) , four feet long, and planed o all sides

- as Bore four ainch holes at each end, shown and 1 0 inches from one end four more holes . A plan of these holes is shown in B , Where the exact spac ” " s 2 x 4 ing is indicated . Then prepare two piece 42 scantling ( C ) , planed, inches long, one end of

' ff a 2 each being chamfered o , as t , and provided with four bolt holes . Ten inches down, and on the 2 3 same side, with the chamfer ( ) is a cross gain ( ) M the same angle as the chamfer . idway between the cross gain ( 3) and the lower end of the leg i s 138 WOOD TURNING 139

4 the t th a gain ( ) i n edge, at right angles o e cros s gain

TH E E - NOW e two h L GS . prepar legs (D ) f or t e 32 tail end of the frame , each inches long, with a mf 5 cha er ( ) at one end, and provided with four e bolt holes . At the l wer end bore a bolt hole f or ” e 4 the cross base piec . This piece (E ) i s x 21

ha h n inches long, and s a bolt ole at each end a d ” one near the middle . The next piece (F ) is 2 x

14 » i i d 6 5 nches long, prov de with a rebate ( ) at

end ﬁt 4 each , to the cross gams ( ) of the legs ( C ) . Near the middle is a journal block — ” ” CE NTERING BLO C KS N ext provide a 4 x4 40 piece ( G) , inches long, through which bore a

- h h 2 and ﬁinc ole inches from the upper end , 1 40 CAR PENTRY FOR BOYS four bolt hole s at right angles to the shaft hole

saw heari n Then, with a split down this g , as Shown

4 i e 9 . at , to a point nch s from the end Ten inches below the upper end prepare two cross gains e ach an inch deep and four inches wide . In these i g a ns are placed the top rails (A) , so the bolt holes in the gams ( 10) will coincide with the bolt 11 10 holes ( ) in the piece A. Below the gains ( ) this post has a journal block intended to be i n line with the journal block ( 7) of the piece F .

Then make a block (H) 2 x4 and 6 Inches l a ong . This also must have Shaft hole (B ) , and a saw kerf similar to the arangement on the upper end of the post ( G) ; also bore four bolt

the holes , as shown . This block rests between

u upper ends of the l gs ( C ) . An 2 x 4 6 other block (I) , and feet long,

e e uIred with four bolt holes, will b r q for the tail end tw e of the frame, to keep the rails (A) o inch s a part at that end .

TH E A C K — i s T IL STO . This part of the structure made of the following described material

142 CARPENTRY FOR BOYS

in 4 and 1 3 cut a cross ga inches Wide ; inches deep . i ma The lower marg n y be cut away, at an angle

n Al l a i s o each side of the gain . th t necessary 8 u now is to make a block ( O ) , inches long, ro nded on e one edg , and a wedge (P) .

' ‘ A a 1 le ther belt or strap (Q) , 3 inches wide, o a formed int loop, as shown In the perspective

e view (R) , serves as a m ans for holding the rest rigidly when the wedge is driven in .

MA E A — T RI LS . Then procure the following bolts

4 1 0 3 bolts, long . 8 g N 6 u 20 g 5 5 a 9

TH AND E - E M . A R L piece of steel tubing ( S) , No .

1 0 1 1 o gage, 9, inch in diameter, 3 inches l ng, will m be required for the andrel . Get a blacksmith, if u ﬁ a machine shop is not convenient, to p t a xed

e e 1 in c nt r ( ) one end , and a removable centering

2 h e member ( ) in t e oth r end . WOOD TURNING 143 On this mandrel place a collar held by a set

c e s rew, and alongside of it a pair of pull ys , each 2 inches wide, one of them, being, say, inches in 3 diameter, and the other inches . This mandrel is held in position by means of the posts of the frame l n whi ch carry the Sp it jour al bearings . This form

will make a durable lathe, free from

chattering, as the bolts can be used for tightening the mandrel whenever they wear. The center point ( 1 ) is d esIgned to rest against 4 t n a metal plate ( ) bolted o the woode post, as

h a s own in the large dr wing .

- EE —It w FLY WH L . no remains only to provide a

- fly wheel and treadle with the communicating belt .

fl - h The y w eel may be of any convenient size , or it may be some discarded pulley or wheel . Suppose it is two feet in diameter ; then , as your small pulley 2 h is inches in diameter, eac revolution of the large wheel makes twelve revolutions in the man drel, and you can readily turn the wheel eighty 144 CARPENTRY FOR BOYS

e m r times a minut . In that case your and

e 960 e mInute revolv r volutions per , which is a

s speed for your purpose .

‘ Th e wheel should be mounted on a pI ece of u 3 i n inch steel t bing, one end having a crank

. C red long This crank is onnected up by a pitman , with the triangularly shaped treadl e frame

Such a lathe is easily made , as it requires but little metal or machine work, and it is here de scribed because i t will be a pleasure for a boy to

c make su h a useful tool . What he needs is the proper plan and the right dimensions to carry out t m the work, and his own ingenui y will ake the

ﬁ e modi cations suitabl to his purpose .

a 245 h The illustr tion (Fig . ) shows suc a lathe assembled ready for work . — TH E TOOLS RE QUIRED A f ew SImple tools will complete an outﬁt capable of doing a great variety 246 ﬁve of work . The illustration (Fig . ) shows

C ﬁ . chisels , of which all other hisels are modi cations

ﬁr hi be A and B are both oblique mer c sels , A S ing ground with a bevel on one ide only, and B with a bevel on each side . a h and C is a broad gage , with ollow blade, a curved cutting edge, ground with a taper on the

un i ro ded s de only .

r D is a narrow gage similarly g ound, and E is a

- e V shap d gage . k w CARPENTRY FOR BOYS CHAPTER XV

O N TH E US E O F STAINS

As thI s subject properly belongs to the painter

I e and decorator, it is not necessary to go nto d tails concerning the methods used to ﬁnish off your ff work . As you may not be able to a ord the lux

a aInted ury of h ving your productions p or stained,

enough information will be given to enable you, if

ﬁ the the character of the wood justi es it, to do work yourself to a limited extent .

S W D — ﬁ OFT OO As, presumably, most of your rst t work will be done wi h pine, poplar, or other light colored material, and, as many people prefer the furniture to be dark in color, you should be pre pared to accommodate them . — USE OF STAINS Our subject has nothing to do with the technique of staining, but has reference , l so ely, to the use of stains . I recommend, therefore ,

o that , since all kinds f stains are now kept in stock , w and for sale every here, you would better rely upon the manufactured goods rather than to en d eavor to mix up the paints yourself . A As A —It re ST INS IMIT TIONS . will be well to member one thing as to stains . Never attempt to stain anything unless that stain is intended to 147 148 CAR PENTRY FOR BOYS

an n produce imitatio of some real wood . There

e are stains mad up which, when applied, do not

e imitat any known wood . This is bad taste and

h OIIld ul S be avoided . Again you sho d know that the same stain tint will not produce like effects

f - on the di ferent light colored woods . Try the

Ine cherry stain on pieces of p , poplar, and birch, and you will readily see that while pine gives a brilliant red, comparatively speaking, pine or birch

ff on l will be much darker, and the e ect poplar wi l

he . In that of a muddy color fact, poplar does not stain cherry to good advantage ; and for birch the ordinary staIn S hould have a small addition n of vermilio . By making trial s of your staIns before apply

th e see ing them to furniture, you will readily the value of this suggestion .

D A E I N A — a GOO T ST ST INING . Oak, mahog ny,

a al cherry, black walnut, and like imit tions are

i n an a ways good artistic sense, but imit tions of un familiar woods mean nothin g to th e average

. m person The too co mon mistake is , to try to imi tate oak by stain ing pine or poplar or birch . It

f in a e . may, with good e fect, be sta ed to imit t cherry

e e - Or gon pin , or some light colored wood, with a strong contrasting grain may be used for stain

ak ing in imitation of o . — GREAT CONTRASTS BAD Violent contrasts in fur

150 CAR PENTRY FOR BOYS

n o ral grain of the wood ; hence , in staini g, y u ul mi a i sho d try to i tate n ture, because in sta ning you will depend for contrast on the natural grain of the wood to help you out in producing pleasin g ﬁ e ects .

A A D AI S —It in N TUR L WOO ST N should be said,

r general, however, that a stain is, at best, a poo

i s n s a t makeshift . There nothi g o ple sing as he natural wood . It always has an appearance of S cleanliness and Openness . To tain the wood shows an attempt to cover up cheapness by a cheap

thI s ul contrivance . The exception to r e is ma ho an h li g y, whic is generally enriched by the app cation of a ruby tint which serves principally to i emphasize the beaut ful markings of the wood .

A ED ACE S —If POLISHING ST IN SURF , on the other

the hand, you wish to go to the labor of polishing furniture to a high degree, staining becomes an art , and will add to the beauty and durability of any soft or cheap wood, excepting poplar .

e e l Wh n the articl is high y polished , so a good,

stamm smooth surface is provided, g does not

the to cheapen, but, on other hand, serves embel lish the article . i t As a rule, therefore, is well to Inculcate this l : esson Do not stain unless you polish ; otherwise, it i s far better to preserve the natural color of the i wood . One of the most beaut ful Sideboards I ever ON THE USE OF STAINS - 151

saw was made of Oregon pine, and the natural

ﬁ . ﬁ h wood, well lled and highly polished That nis gave it an effect which enhanced i ts value to a price which equaled any cherry or mahogany prod t uc . CHAPTER XVI

THE CARPE NTE R AN D TH E AR C HITE CT

A CARPE NTE R has a trade ; the architect a prof es sion . It is not to be assumed that one vocation is

e r o s i s more honorable than the oth r . A p fes i on “ eﬁ as d ned a calling, or occupation, if not mechan ” ical, agricultural, or the like, to which one devotes

hi s t ad ﬁ as himself and energies . A r e is de ned

“ an occupation which a person has learned and en

i n e c as gages , esp cially mechani al employment, th ” distinguished from e liberal arts, or the learned professions .

O or tuni t h pp y is t e great boon in life . To the ’ ambitious youn g man the carp enter s trade oﬁ ers a ﬁeld for venturing into the learned profe ssions by a route which cannot be equaled in any other

h e in pursuit . In his work daily enters to contact with problems which require mathematics of the h the calcul at ighest order, geometry, methods of ing strains and stresses, as well as laying out angles and curves .

This is a trade wherein he must . keep in mi nd n many calculations as to materials , umber, size, and methods of j oining ; he must remember all the 152

154 CARPENTRY FOR BOYS

h w at the hand has heretofore done, that I suggest i this course . The learned profession s yours if

ou ou rv h y deserve it, and y can dese e it only t rough study, application, and perseverance . ’ D on Do well that which you attempt to do . t do it in that manner because some one has done it in

. x er that way before you If, in the trade , the e p i ence of ages has taught the craftsman that some

ul in h 1 partic ar way of do g t ings s correct, there is no law to prevent you from combating that But t method . Your way may be better. you mus remember that in every plan for doing a thing i u there s some partic lar reason, or reasons, why it is carried out in that way . Study and learn to apply those reasons . i n So in your leisure or your active moments , if

K n r . ow o you wish to advance, you must be alert f

urs el the r eas ons or thi n s yo f f g , and you will there by form the stepping stones that will lead you up ward and contribute to your success . CHAPTER XVII

USE FUL ARTICLE S T O MAKE

a As st ted in the Introductory, the purpose of

how to d o the thi n s this book is to Show g , and not to draw a picture in order to write a d escrIpti on M of it . erely in the line of suggestion , we give in this chapter Views and brief descriptions of useful household articles , all of which may be

made by the boy who has carefully studied the pre ceding pages . This ﬁgure Shows a common bench wholly made 1 12 of material inch thick, the top being inches

4 e 14 e wide and fe t long . The legs are inch s high and 13 inches wide ; and the side supporting rails 155 1 56 CARPENTRY FOR BOYS

3 . e ma are inches wide Thes proportions y, of course be varied . You will note that the sides of

the top or seat have an overhang of inch on each margin .

- e be This is a common, square top stool , the s at ” 1 2 4 Two ing x and the legs 1 inches high . of the pieces forming the legs are 10 inches wide

two 8 e and the other inches wid , so that when the

158 CAR PENTRY FOR BOYS permit the upper ends of the legs to rest in recesses thus formed.

h i s c T is a onvenient form of easel , made of

i U four upr ghts . The main front prights are of strips g" x and the rear uprights are of 4” x 1 ” h h material . A t in broomstick will serve as t e bar pivot for the upper end . The rest is made h of two strips , eac 5 x nailed together to form an L , and nails or wooden pins will serve to hold

an u the rest in y desired position . The front p r h be 5 ights s ould at least feet long. A simple hanging book-rack i s illustrated in USEFUL ARTICLES TO MAK E 159

251 two r 4 Fig . . The vertical st ips are each inches 4 1 . wide, inch thick and feet long Four shelves 9 are provided, each s; inch thick, inches wide and

s i s 4 feet long . Each helf secured to the uprights

h so as by inges on the upper Side , to permit it

to be s h wung upwardly, or folded ; and below eac h 1 ﬁ inge s a triangular block or bracket, xed to the h h s elf, to support it in a orizontal position .

- A sad iron holder, or bookcase, Shown in Fig. 252 i s It , another simple form of structure . may be sufﬁciently large to serve as a standing case h by having the uprig ts at the ends serve as legs , or the uprights may have holes at their upper 160 CARPENTRY FOR BOYS b ends , y means of which it can be suspended on a As 30 wall . shown , it is inches long from bottom

20 e to e . e top , and inch s wid The Sh lves are i e -i n inches wid . All the material is , preferably, zt stock .

253 h a - be s ows wood box, or It may readily s be 2 t adapted for coal . For wood it hould fee

1 8 1 1 0 h hi . long, foot inches wide and foot inc es gh It will, of course, be made of such dimensions as to h ﬂat suit t e wood to be stored in it, and both the top as well as the sloping portion of the top

h so e S ould be hinged, that the entir top can be ﬁ opened for lling purposes .

h own x i n 254 A pair of parallel bars is s Fig. .

The dimensions of this will vary, and be dependent

' on the size of the boy i ntending to use it ; but a size best adapted is to make the posts 3 feet high,

162 CARPENTRY FOR BOYS

pieces , both longitudinal and transverse , ” " 2 X 2 also be of material .

255 m Fig . represents a ission of writing ’ desk for a boy s use . All the posts , braces and h 2” x2” orizontal bars are of material , secured s to each other by mortises and tenons . The leg AK E 1 63 USEFUL ARTICLES TO M -

are 27 x inches high up to the table top, and the

i s 12 h t h e narrow shelf inc es above top . The " most convenient size for the top i s 26 x The

top boards may be 1 inch thick and the shelf the h same t ickness , or even inch . It is well braced

and light, and its beauty will depend largely on

the material of which it is made . The 256 th . e , screen ( Fig ) represents simply 1 64 CAR PENTRY FOR BOYS

how i framework, showing simple the structure s . 1 ” 1 ” The bars are all of 5 x 5 material, secured

e tog ther by mortises and tenons . 257 Fig . represents a mission chair to match

h the desk ( Fig . and should be made of t e ” e 2 2 same mat rial . The posts are all of x mate Th 16 rial . e seat of the chair should be inches , and the rear posts should extend up above the seat at l east 1 8 inches 258 h ’ Fig . is a good example of a grandfat er s

1 66 CARPENTRY FOR BOYS

u furniture . The top may be covered in any s it

a f able way, showing roof e fect . The opening for the dial face of the clock should be at one of

the gable ends . A more pretentious bookcase is shown in Fig. 259 , in which the frame is made up wholly of " 2 x 2 - material . The cross end bar s serve as

ledges to support the shelves . This may be lined

- interiorly and backed with suitable casing mate 7

W ﬁber - rial , such as Lincrusta alton, or board, and the front provided with doors . Our only object

1 s e to show the fram work for your guidance , and merely to make suggestions as to structural forms . Another most serviceable article is a case for

e a coal scuttl ( Fig . This should be made of

1 - i nch boards , and the size of the door, which " 1 2” x 16 i n carries the scuttle shelf, should be s ize . From this you can readily measure the di USEFUL ARTICLES TO MAKE 167

of the case itself, the exterior dimensions " of which are 15 x so that when the 1 - inch 21 top is placed on, it will be inches high . The

12 e case from front to rear is inch s , and the

11 e shelf above the top is inches wide , and levated 1 0 inches above the top of the case . This is a

1f most useful box for culinary articles , not needed

for coal , because the ledge , used for the coal scut n tle, can be used to place utensils on , and whe the door is opened all the utensils are expos ed to view, and are , therefore , much more accessible than if stored away in the case itself . 261 A mission armchair . Fig . is more elaborate 257 than the chair shown in Fig . , but it is the same in general character, and is also made of ” " 2 2 i s 1 6 x stock . The seat elevated inches from

the 28 h h . ﬂoor, and the rear posts are inc es igh 168 CARPENTRY FOR BOYS

8 A The arms are inches above the seat . chair

of this character should have ample seat space, so ” ” i s 18 x 18 the seat .

The dog house ( Fig . made in imitation of a 24 1 dwelling,is inches square , and 8 inches high

he to the eaves of t roof. The opening in front is 8 ” x exclusive of the shaped portion of the opening . 263 Fig . shows a simple and easily constructed s ee 1 6 ett with an under shelf . The seat is the 24 from ﬂoor and inches wide . The back

24 The tends up inches from the seat . lo s helf is midway between the ﬂoor and seat,

CHAPTER XVIII

SPE CIAL TOOLS AN D THE IR USE S

IN the foregoing chapters we have referred the

e read r to the simple tools , but it is thought desir able to add to the information thus given , an out line of numerous special tools which have been devised and ar e now on the market

I A E ' E —I B T N D LEV L ADJUST R . t is frequently nec

t 266 . i a d r Fi . B n S ua e leve g q l .

e essary to bore holes at certain angl s . This can be e e e don by using a b vel squar , and holding it

the so one limb will show boring angle . But this ffi is di cult to do in many cases . Thi s tool has three pairs of V slots on its back

the li e edges . The shank of bit will in these slots ,

266 e e as shown in Fig . , ith r vertically, or at an

45 e angle of d grees , and boring can be done with

m a be to the utmost accuracy . It y attached a

’ ‘ e Carpent r s square, thus making it an accurate

plumb or level . SPECIAL TOOLS AND THEIR USES 171

oxns - MITE R B . The advantages of metal miter

i s e a e boxes appar nt, when ccurate work is requir d . 26 T h . 7 s s a l e illustration, Fig , how a met l too

1 s of this kind, in which the entire frame m one

saw solid casting . The guide uprights are

clamped in tapered sockets in the swivel arm and can be adjusted to hold the saw without play, and this will also counteract a saw that run s out of ﬁ true, due to improper setting or ling . A second socket m the swivel arm permits the use of a short saw or allows a much longer stroke with a standard or regular saw . The swivel arm is provided with a tapering i n dex pin which engages in holes placed on th e under 172 CAR PENTRY FOR BOYS

e Th sid of the base . e edge of th e base is gradu

as ated in degrees , plainly shown, and the swivel arm can be set and automatically fastened at any

degree desired .

268 . Parts o Metal Mi ter f Box.

The uprights , front and back are graduated in sixteenths of inches , and movable stops can be set by means of thumb - screw to the depth of the cut desired . 268 Figure shows the parts of the miter box, in which the numbers designate th e various parts

1 01 is the frame ; 1 02 the frame board ; 1 04 frame

174 CARPENTRY FOR BOYS carpenter in ﬁtting moldings where they are ap

at n plied odd a gles . To lay out the cut with an ordinary bevel neces sitates the use of dividers and a second handling

the e of bevel, making thr e operations . “ ” TH E ODD O B n —A f J Too . most use ul special

o c - u t ol, whi h combines in its make p a level , plumb

“ d i . . d ob o F g 270 O J To l .

r - - awl e t y square, miter square, bevel, scratch d pth gage , marking gage, miter gage, beam compass,

- and a one foot rule . To the boy who wishes to economize in the purchase of tools this is an article which should be obtained . 2 0 Figure 7 shows the simplicity of the tool, and how it is applied in use .

IT ACE —Tll es now B BR S . e tools are made with so SPECIAL TOOLS AND THEIR USES 175 many improved features that there is really no excuse for getting poor tools . The illustrations Show merely the heads and

e 2 1 the lower op rating parts of the tools . Fig . 7

e - - e ea e Shows a m tal clad ball b aring h d, so call d, as its under Side i s completely encas ed in metal securely screwed to the wood and revolving

Ins aga t the ball thrust bearing . D represents a conceale d ratchet i n which the

c cam ring governs the rat het, and, being in line

e e with the bit , makes it more conv ni nt in handling

e e than wh n it is at right angles . The ratch t parts

e are entirely enclosed, thus keeping out moistur

r etaInm and dirt, g lubrication and protecting the ’ users hands .

The c and ratchet me hanism is interchangeable, may be taken apart by removing one screw. The

- two piece clutch, which is drop forged, is backed by a very strong spring, insuring a secure lock .

W e hen locked, ten t eth are in engagement, while ﬁv n e are employed while worki g at a ratchet . It has universal jaws ( G) for both wood and metal workers . 2 2 . B In Fig 7 , represents a regular ball bearing h ead , with the wood screw on the large spindle and three small screws to prevent its working loose .

This also has a ball thrust . E is the ratchet box, and this shows the gear teeth cut on the extra 176 CARPENTRY FOR BOYS

v ’ hea y spindle , and encased, so that the user s

ar e hands protected from the teeth .

e are The int rlocking jaws (H) , which best for 2 ’ taper shanks , hold up to No . Clark s expansion,

1 Fi g. 27

T es o i t rac yp f B B es.

and are therefore particularly adapted for car

’ ent r s p e use . 2 3 In Fig . 7 the plain bearing head (C) has no ball thrust . The head is screwed on the spindle and

178 CARPENTRY FOR BOYS

u se it desirable to for small drills, or for use in wood . ‘ A level is ﬁrmly set in the frames of these tools to assist th e user to maintain a horizontal position in boring . Each of the forms shown has a ball

i i an e thrust bearing between the p n on d fram . The breast plate may be adjusted to suit and i s locked

turnm by a set screw . The spindle is kept from g

l e while changing dril s , by m ans of the latch

e e mount d on the frame, and r adily engaging with

h e i s c t pinion . The crank pierced in three pla es so that the handle can be set for three different

a sweeps , depending on the char cter of the work .

274 aw Figure has a three j chuck, and has only

S In le 275 aw g speed . Figure has an interlocking j , and is provided with double speed gearing . Fig

2 6 h aw 7 a s . ure a universal j , and double speed

A E - r PL N S . The most se viceable planes are made

f ew in iron, and it might be well to Show a of the most important, to bring out the manner employed

e to mak the adjustments of the bits . In order to familiarize the boy with the diﬁ er in 2 e 7. ent terms used a plane, examin Figure 7 ’ The parts are designated as follows : 1A is the double plane 1ron ; 1 single plane iron ; 2 plane iron cap ; 3 cap screw ; 4 lever cap ; 5 lever cap screw ; 6 frog complete ; 7 Y a djusting lever ; 8 adjusting nut ; 9 lateral adjusting lever ; 11 plane handle ;

180 CARPENTRY FOR BOYS

j ustable depth gage ; 71 the depth gage which goes

85 r through the screw ; and the Spurs with sc ews . — MOLDING AN D BEADI N Or PLANE A plane of the

279 an character shown in Fig . will do immense

e of vari ty work in molding, beading and dado work, and is equally well adapted for rabbeting,

ﬁlletsters for and for match planing . The regu l ar equipment with this tool comprises ﬁfty-two cutters .

do Pl ne Rabb Ma chi n and a a . 2 . et t D Fi g. 78 , g

279 AS shown in Fig . , the plane has a main stock

e e (A) , which carri s the cutt r adjustment, a handle,

e a depth gage, a Slitting gage, and a ste l bottom

ari n o f forming a he g for the other end the cutter, i and slides on arms secured to the ma n stock .

“ be e e This bottom can raised or low r d, so that, i n addition to allowing the use of cutters of differ

182 CARPENTRY FOR BOYS

The four small cuts in the corners Show h ow the bottoms should be set for different forms of cut

th e he ters , and great importance of having t

e e fenc s adjust d so that the cutters will not run . The samples of work illustrated Show some

i . i n F 280 . Doveta l To ue and Groove Plan g g e.

the moldings which can be turned out with plane . — DOVE TAIL TONGUE AN D GROOVE PLANE This is

e e e e r ecom a v ry nov l .tool, and has many f atur s to

e e ‘280 h ow m nd it . Figur shows its form, and it

e is used . It is designed to make the dov tail

e e tongu as w ll as the groove . It will cu t any size groove and tongues to w t S e e e e f e e i h id s of tw nty d gr es lar , wh re the SPECIAL TOOLS AND THEIR USES 183

the neck is more than one - quarter of an inch

th e e e ick, and the depth of groov not mor than

— a ree quarters of n inch . The tongue and groove

e e e e cut s parat ly, and can be mad with parallel

tapering Sides . The operation of the plane is

ery Si mple .

Router Pla nes .

— ROUTE R PLANE S This is a type of plane used for surfacing th e bottom of groove s or other d e pressions parallel with the general surface of the work .

l . The p anes are made in two typ es , one , like Fig 2 81 h e r the e . ,w ich has a clos d th oat , and oth r, Fig

282 e e , with an op n throat . Both are serviceabl ,

l e l e but the atter is pr ferable . These p an s will 1 84 CARPENTRY FOR BOYS

e off lev l bottoms of depression, very accurately, i and the tool is not an expens ve one .

“ — DOOR TRIM PLANE This is a tool for makl ng

e mortises for butts , fac plates , strike plates , l escutcheons , and the ike, up to a depth of

3 i and a width of inches . The pr ncipal feature in

e the plan is the method of mounting the cutter, which can be instantly set to work from either o f the plane or across

r ri m P 2 3 . oo T l . e Fi g 8 D an .

F i 283 cushi one The cutter, as shown in g , is by a Spring which prevents taking a heavier chi

can e A e than be asily carried . fence r gulate po sition of th e cut and Insures th e Sides of th

e b ing parallel . The depth of the cut is go h by a positive stop . By removing t e f enc locking the cutter post with the thumb s ore

e the a e u rI st ad of using spring, v ry s pe Or

e plan is obtained .

186 CARPENTRY FOR B OYS

i e . m in are bew ld ring in their formation The old gs, beaded surfaces , and the carved outlines of the sofﬁts s in , of the arche , and of the purl s , are won d erf ul in detail . in The wooden roof of Westm ster Hall, while very Simple in structure, as compared with many others , looks like an intricate maze of beams , struts and braces , but it is , nevertheless, so har moni z ed that the effect is most pleasing to the

im essi on eye, and its very appearance gives the m of grandeur and strength . Nearly all of the forms shown herein have come

‘ ae down to us from medi val times , when more stress was laid on wooden structures than at the present time, but most of the Stone and metal build ings grew out of the wooden prototypes . Now the prime object of nearly all the double roofed trusses was to utilize the space between the rafters so as to give height and majesty to the interior . A large dome is grand, owing to its great sim

li ci t p y, but the same plain outlines, or lack of orna mentation, in the ceiling of a square or rectangular

» building would be painful to view, hence, the braces , beams, plates , and various supports of the

e and roof d truss served as ornamental parts , it is in this particular that the art of the designer

hi m s I ra i on ﬁnds s p t . ROOFING TRUSSES 187

Before proceeding to apply the matter of orna m n atI O e t n, It might be well to develop these roof forms , starting with the old type Barn Roof, where the space between the rafters must be ~utili z ed for the storage

The Gambrel R oo 284 f, Fig . , requires a tie beam,

(A) , as Shown, but the space above the beam i s free of all obstructions , and gives a large storage space . The roof has two sets of rafters (B , C) , f and of di ferent pitch, the lower rafters (B ) hav 30 ing a pitch of about degrees , and the upper ones 45 ( C ) , about degrees . 1 88 CARPENTRY FOR BOYS

A tie bar (D ) joins the middle portion of each

and e - E of the rafters (B , C ) anoth r tie bar ( ) joins the middle part of the rafter (B ) , and the support

e ing post (F ) . The cross tie beam ( G) complet s the span , and a little study will show the complete interdependence of one piece upon the other .

The Purli n R o of is a type of structure us ed very

e e largely throughout the Unit d Stat s , for wide barns . (A) is the cross beam ; (B, B ) the purlin

i e posts ; ( C , C ) the purl n plates ; (D , D ) the raft rs ; and (E , E ) the supporting braces .

The rafters (D ) are in two sections , the distance from the eaves to the comb b eing too great for

e single l ngth rafters , and the purlin plates are not

“ designed to make what is called a self- support ” e e th e ing roof , but m rely to serv as supports for regular rafters .

190 CARPENTRY FOR BOYS call attention to one more type which permitted ornamentation to a considerable degree, although th it still required the tie beam . In fact e tie beam itself was the feature on which the architect de pended to make the greatest eff ect by elaborat

Ing it . 28 This is Shown in Fig . 7, and is called the

ZArche amb red Ti e B eam T russ d . , or C e , It is a

7 aa mverec YZe-ﬂewm 7 3 8 7. ﬁ nned or z 59 , w very old type, samples of hich have been found which take it back to a very remote age .

l n The tie beam A, in wide spans , was made two ometM es sections, properly tied together, and s the outer ends were very wide, and to add to the

ﬁ ect e of the arch, it might also be raised in the middle, something in the form shown by the dotted line (B ) . The Mansard is what may be called a double

how mounted roof, and it will be seen it was ' ROOFING TRUSSES 191

evolved from the preceding types . It will be noted that th e Si mple truss formed by the m em

e th e b rs (A, B , C ) is merely superposed on lean

, th e i n s ing posts , tie beam also being necessary thi construction .

But the most elaborate formations are those which were intended to provide trusses for build ings wherein the tie beams were dispensed with . The simplest form known is called the S ci ss ors

Beam 289 , illustrated in Fig . . This has been util h i z ed . for small spaces , and steep pitches Eac rafter (A) has an angled beam or brace (B ) , springing from its base , to the opposite rafter (A) , 1 92 CAR PENTRY FOR BOYS

e e to which it is joined, midway b tw en its ends , as at C .

’ Where the two braces (B) cross each other they

As are secured together, as at D . a result

1 2 3 three trusses are formed, namely, , , , and it possesses remarkable strength .

BRAOED A EA - ﬁ COLL R B M . This is a modi cation of the last type, but is adapted for thick walls o nly . The tie rod braces (A, A) have to be brought down low to give a good bracing action, and this

1 94 CARPENTRY FOR BOYS important structural arrangement which permitted

the architect to give full sway to embellishment .

- The inwardly projecting members (A, A ) are e called H amm r B eams . They were devised as

R 26 a nd , Col l a r Tru ss. substitute for the thick walls used in the Braced

Collar Beam Truss , and small brackets (B, B) were placed beneath as supports . as The short tie beam (C ) , near the apex, serves the member to recei ve the thrust and stress of the curved ribs ( D , D ) . It forms a most graceful typ e ROOFING TRUS SES 195

£291? H ammer Beam

of roof, and is capable of the most exquisite o rna mentation, but it is used for the high pitched roofs only.

The acme of all constructions , in which strength , beauty, and capacity for ornamentation are

H mm r B e m Tr ss a e a u . blended , is the Here the hammer beam projects inwardly farther than in ﬁ the preceding gure, and has a deeper bracket (B) , and this also extends down the pendant post ( C ) a greater distance . 1 96 CARPENTRY FOR BOYS

The curved supporting arch (D) , on each side, is not ribbed, as in the Rib and Collar Truss but instead, is provided with Openwork (not shown

headi n s n herein) , together with g and moldings , a d other ornamental characteristics , and some of the most beautiful architectural forms in existence in are this type of roof . What are called Flying Buttresses ( E ) are some times used i n connection with the Hammer Beam h h h h e ns Truss , w ic , wit eavy roofs and wid spa , i s un fo d to be absolutely necessary .

198 CARPENTRY FOR BOYS

i i r forms , but pr nc pally with such as a e used in heavy building work, and in cases where neither

ﬁsh s carﬁn e plates nor g will answ r the purpose .

D E — i BRI L JOINTS . This is a form of jo nt where

i n e permanency is not des red, and where it is ec s

e th e sary to readily seat or uns at vertical timber . It is also obvious that th e socket for th e upright i s of such a character that it will not weaken it to

e any great ext nt .

P E — S UR T NON . This tenon can be used in many places where the regular one i s not available .

the e e s This , like pr c ding, is used where the part CONSTRUCTION OF JOINTS 199

e a th e e r are desired to b det chable , and s cond fo m

i n e i s one which is used many structur s . — nn SADDLE JOINT . This is still another ma er in which a quickly detachable joint can be con

Th e e structed . saddl may be mounted on the main ﬁ o . e va base, or cut int the base piece An in nit

ri et e y of forms of saddles are made, most of th m

e n b i g used in dock work , and for framing of that

e e e r e th e character wh re larg timb rs a used, as in

building of coal chutes , and the like .

J O GGLE ‘ —Thls JOINT . joint is used almost ex elusively for brace work where great weight must

be supported . The brace has a tenon, and the end 200 CAR PENTRY FOR BOYS must also be so arranged that it will have a direct bearing against the upright, which it braces and two i n supports , or it may have faces , as the second

c ﬁgure, which is an exceedingly strong onstruction .

i N Ts - FRAMING J O . These are the simplest form in which two members are secured together . They

ﬂ y . e s z

are used almost wholly in rafter work, and have f ew ﬁ very modi cations . The depth of the cut, for the toe of the rafter, depends on the load to be carried, and also on the distance the end of the rafter is from the end of the horizontal member on which the rafter rests .

202 CARPENTRY FOR BOYS

K E - TUS T NON . Two forms of tusk construction

are given . Any number of forms have been de vised, all for special purposes , and designed for

f e o di f rent kinds of wo ds . These Shown are par ti cularl y adapted for soft woods , and the prin ci pal feature that is valuable lies in the fact that they have a number of Shoulders within the mor h tise, eac of which, necessarily adds to the

It strength . should be observed that in the con

struction of the tusk tenon, the greatest care must ﬁt be taken to have it the mortise tightly, and this has reference to the bottom and shoulder ends as well .

DOUBLE K E — TUS T NONS . The distinguishing dif ference between this and the precedi ng i s i n the

tusk, which in this form of construction goes

through the upright member, and is held by a cross

key . The double tusk is intended for hard woods, CONSTRUCTION OF JOINTS 203

ﬁn and it is regarded as the est , as well as the

strongest , joint known . — COGGE D JOINTS This differs from the regular

tenoning and mortising methods , principally be

2 cl i nche r J o i n t. m 6 0 . cause the groove or recess is in the form of an in open ga . It is used where the member is to be inserted after the main structure is put together .

C — i AN HOR JOINT . Th s form of connection is de signed for very large timbers , and where great care must be taken in making the parts ﬁt together

r . nicely, as eve ything depends on this This style 204 CARPENTRY FOR BOYS i s never used where the angles are less than 45 Of the degrees , and the depth gain in the timber receiving the brace is dependent on the thrust of the brace .

l nc J i nt. 7 2?5 0 :3. ﬂ 86p ﬂ z or o

The Deep Anchor Joint is an extension of the n f tongue of the A chor tenon , so that it a fords a

f or greater support the end thrust . To clearly dis ti n ui sh g between this and the preceding form, it might be said that the Anchor Joint is one de m signed to protect the ember containing the gains , while the Deep Anchor Joint favors the brace, by giving it a greater power .

206 CARPENTRY FOR BOYS h ow carefully it is guarded to veer it toward one

" i t side or the other, will be found a most di ﬁ cult task .

ﬁ i s and If the fore, or nishing, plane used, im which is the proper tool for the purpose, the pression seems to be, that to square up the edge and make it cut off a thicker Shaving on one side

the h than on other, requires that the plane S ould

s make ' i t di be pressed down with force, o as to g i n and cut a thicker Shaving . When this is resorted to the board i s liable to get out of true from end to end . A much better plan is to put the plane on the edge of the board true and straight . If it is too high on the edge nearest you, bring the plane over so the inside

i edge is flush with the nside edge of the board . Then use the fingers of the left hand as a gage to keep the plane from running over . Now a , the weight of the plane in such condition i s sufficient to take off a thicker shaving at the h fi ort igh edge, and this will be done without any e . and will enable you to concentrate your thoughts on keeping the plane straight with the board . The weight of the plane will make a thicker

and shaving on one side than on the other, correct inequalities , provided you do not attempt to force the plane . It requires an exce edingly Steady hand to hold CONSTRUCTION OF JOINTS 207

ne ﬁ - rmly for squaring up a half inch board .

e fﬁ Sin ar as it may se m, it is almost as di cult a

o - a job with a tw inch pl nk . In the case o f the thin

t e board h e plane will mov laterally, unless the ut most care i s exercised ; in the truing up the thick plank the constant tendency i s to move the plane

a i s along the surface at slight diagonal, and this sure to cause trouble em It only phasizes the fact most clearly, that to he ﬁ e do a good j db t plane must be rmly h ld, that it must move along th e board with the utmost pre ci si on , and that it should not be forced into the wood . In smoothing down a board with the short smoothing plane , preparatory to sandpapering it , the better plan is to move th e plane slightly across

s the grain . Thi will enable the bit to take hold better, and when the sandpaper is applied the course of the movement should be across the grain Opposite the direction taken by the smoothing l p ane . It is never satisfactory to draw the sandpaper directly along in the course of the grain . Such a habit will cause the sandpaper to ﬁll up very rapidly, particularly with certain woods . Wh en gluing together joints or tenons , always wipe off the surplus glue with warm water taken

ad from the glue pot . If you do not follow this 208 CARPENTRY FOR BOYS vi ce the glue will gum up the tools and the s and

e ﬁ paper us d to nish the work . Never try to work from opposite sides of a piece

rk i e . wo s d e r d e of mat rial Have a and a wo k e g ,

e m M and make all measurements th refro . ark e ach piece as you go along . Take a note mentally

h ow just each piece is to be placed, and what must be done with it .

e The carp nter, above all others , must be able to carry a mental picture of his product . m Never saw out the scribing or arking line, i either in cutting or n ripping . The lines should l ﬁn be obliterated by the p ane, when it is being

hed i s . , and not before Make it a habit to ﬁnish off the surfaces and edges true and smooth before the ends are cut, or the mortises or tenons are made . This is one of

er the most frequent mistakes . No job can be a p f ect one unless your material has been worked down to proper dimensions . s Learn to saw across a board squarely . Thi

i n m ay be a hard thing for the nov ce to do . A lo g, easy stroke of the saw Wi ll prevent it from run-l un ﬁ l ning, less too badly set or led, and will a so enable you to hold it more nearly squ are wi th the

o b ard . If you ﬁn d that you invariably saw out of ” e s own true, then tak some awing lessons for your

GLOSSARY OF WORDS

USED IN TEXT OF THIS VOLUME

S ar t th o nt o e . h p, p i A tool which measures distances and relative

s a p ces .

E sth e i c h r n t . T e theo y of taste ; scie ce of th e beautifu l i n

natu re and art

Tha t which exi sts i n th e mi nd only ; separate from

m a ter t n f r te s t ; to hi k o sepa a ly a a qu ality. A term used to designate a pa ir of serrated bars

are e to et er i n a ea e e and ca which h ld g h h dpi c ,

m ts m pahle o f cla ping bi between the .

r r r ina arts S eparated into i ts p imitive o o ig l p . Any device f or holding an object i n a ﬁxed posi

t on i . A s ort of double bevel tool so arranged that an

di vi der an e can be m a e at th e same t me on ot s es s. gl d i b h id

n o f a base li e . Forming an angle wi th reference to some part o r

o s on p iti . The architectu ral member surrounding the cu rved

r ommon th e mo n opening of an arch . Mo e c ly ldi g or other ornaments wi th which th e wall face of

n r i s an e a a ch ch g d .

’ r e One tr ained i n som e mechanic s art or t ad . A piece of wood o r iron having rounded creases on its surface Z ﬂ CARPENTRY FOR BOYS

eam com a A ra n B p ss . d wi g compass i n which th e po ints are arranged

to s e on a rod nstea o f e n e o lid , i d b i g ﬁx d n divi d

ers .

- e r . e to er u sua atta e to a u r B lf y A b ll w , lly ch d ch ch .

e e s uare. A an le to w i s ota atta e a a e B v l q h d hich piv lly ch d bl d ,

which may b e swung and held at any desired

n a gle .

mar or To e cut nto two ort ons . divid , k, i p i

sm a too e t er f or r n or f or utt n a s a A ll l, i h d illi g, c i g,

plane iron.

rac r m ed co a . or of roo n tru ss in th e u er ross B ll A f ﬁ g , which pp c

m m r i or e be s supp ted by a pair of angled braces .

l ve reast d ri . too f or o n or n too s and es ne to a B ll A l h ldi g b i g , d ig d h the head held aga inst the breast f or fo rcing i n the

r n o bo i g t ol .

i nt orm f or se ur n e ements to et er ro Bri dle j o . A f c i g l g h which p

es a s a o e res s on i n one m em er and a. vid h ll w d p i b ,

r m r i chamfe ed embe at ts end to ﬁt therein.

n al ow Ben a ese term or na l a t at e or t ed Bu g . A g l ; igi l y h ch d il

ou se or otta e s n e stor u sua surroun ed h c g , i gl y, lly d

b eran a y a v d .

i n su stan e of an n nter ose as f or i n Bush g . A b c y ki d i p d, ,

stan e a ear n sur a e et een a m an re and c , w i g f c b w d l

i ts r n bea i g.

u ts A term a e to erta n in es u su a o f the B t . ppli d c i h g , lly

r t la ge ype .

measured ort on h as i ts S e or t ness Callipered . A p i which id hick

nstr n ﬁxed by a ﬁnely graduated i um e t .

S t r s n i n th e m l e ort on . An u ar Cambered . ligh ly i i g idd p i pw d

en or ro e t on . b d, p j c i

sm a ea or to of a o umn th e ea or u er Capital . A ll h d p c l ; h d pp

m ost membe r o f a pilaster .

214 CARPENTRY FOR BOYS

oncen ra T r n m C t ted. o b i g to a co mon center ; to bring together i n

one mass .

ad a n ﬂa su r D o. A pl i t face between a base and a surbase

m S om t m a nt or n r o lding . e i es a p i ed e c usted S kirt

n a s i ng on i ter ior w ll .

e th a e too b m eans of th e e t s of roo es D p g g . A l y which d p h g v

an esses r measure d rec a e d .

r r f an m nt u t n s Deg ee. Measu e o adv ce e ; q ali y ; exte t ; a divi ion

or s a e p c .

‘

Di s arde Cast oﬁ to re e t or ut a a . c d. j c p w y

Deteri orati on To ro orse m a r n i n u a t . g w w ; i p i i g q li y.

e ressed . sun en sur a e or art D p A k f c p . Di agram A drawing m ade to illu strate th e working or the

mati cal s eme t out S o n all the arts o r n . ch , wi h h wi g p givi g

r r t os t ons or m easur em ents thei ela ive p i i .

m r o ar h en er o r a ross th a etri ca . d e t on t t e t e m e Di lly A i c i w d c c iddl ,

r r n of a ﬁgu e o thi g .

n re t on i s not ara e t or er en Di ago al . A di c i which p ll l wi h p p

l n di cu ar to a li e .

omina e To o ern ontro n . D t . g v ; c lli g

oor trim Th e ar ar e i s atta e to a oor . D . h dw which ch d d

- orm of roo stru ture ere t ere i s an nner Double roofed . All f f c wh h i h t frame t o supp ort t e raf ers .

ro or ed eta orm s are stru u b means of D p f g . M l f which ck p y

ea ammers i n are th e m o s or at h vy h , which ld p

t rn h art o b orm e e s of t e icle t e f d .

r s e r at are W rought with labo ; ﬁni h d with g e c .

The act of raising from a lower to a higher degree ; a proj ection of a bu ilding or other Obj ect on a

r n u r o h e r on plane pe pe dic la t t ho iz .

l h r f n se E t a H a n t e o m o a e . lip ic l . vi g f llip

m e i shm n The act of a orn n t at a s eaut or E b ll e t. d i g ; h which dd b y

elegance. GLOSSARY 21 5

r Th e stru tu r e es or onta u n h l Entablatu e. c which li h iz lly po t e co

Be n at an e u a stan e rom a o nt i g q l di c f p i . An ornam ental plate l ike that part abo ut a key l ho e .

s or u nr e an an To unfold o ll ; to o p n d exp d .

h ront of a u n th e r n a ront a n T e f . b ildi g ; p i cip l f h vi g

r te tu ra r etens ons som e a chi c l p i .

“ Faci n -b oar s n of h e a e f o f r g d . The ﬁnishi g t f c o a wall diff e ent m ate

r ia l than th e m ain part of th e wall ; th e wide

r o h e orn or eneat th e n s bo a d be l w t c ice b h wi dow .

Factor. One of the e ements r um stan es or n u en es l , ci c c i ﬂ c

ontr ute to ro u e a r esu t which c ib p d c l .

A term u sed to designate a m etal barr ier or guard

o o n a part o f a to l .

Fi sh ate a r o f ates u sua a e on o os te S es pl . A p i pl , lly pl c d pp i id

of th e e es to be se ure to et er and el b pi c c d g h , h d y cross b olts

‘

t an an e an n nat on . Flare. A pi ch gl ; i cli i

Un ro en or e en i n sur a e on a e e t th e b k , v f c ; l v l wi h

a ent su r a e adj c f c .

' Frog clampi ng A screw which i s designed to hold or adju st two

scre an e e es . w . gl d pi c m Fu cru . a t b a e er i s su sta ne or on a l Th y which l v i d, which

n lever rests i n tu rning or m ovi g a body.

F u n h n r a ne n a o as th e roo es l ti g. T e chan el o ch n ls i b dy ; g v

i n a o um n c l . A squar e o r beveled notch or groove cu t out o f a

r er eam ost or o t er m a ter a at a o rner . gi d , b , p h i l , c

Gam r l roo a n two ff erent t es the u er m u b e . A f h vi g di pi ch , pp ch

ha h o er greater t n t e l w .

Geom r r a ra f m a mat s i n et y . Pe taining to th t b nch o th e ic which 216 CARPENTRY FOR BOYS

vesti ates th e re at ons ro ert es and measure g l i , p p i

ments of so s su r a es nes and an es . lid , f c , li gl

r ma n eam 3 . stra t or onta e am to s an an Gi rd e . A i b ; igh h iz l b p

O en n or arr a e t su as the en s of p i g c y w igh , ch d

r ms ﬂoo bea .

sar o e t on or e anat on o f or s and as sa es Glos y . A c ll c i xpl i w d p g

of th e or s o f an aut or a art a nar w k h ; p i l dictio y.

u nt te s e n o e ua t C t up i o s p ; divid d i t q l p ar s .

m em er i s th e ma n ort on o f the too A b which i p i l,

and rom all m easurements are ta en f which k .

A m em er i n a tru ss roo stru ture at the as e b f c , b

o f the roo ro er ons sts o f an n ardl f p p , which c i i w y

’ ro e t n art on h th e roo rests and rom p j c i g p , whic f , f

i i ra which t s b ced .

m - Ham er o e. The eon or roun end of a amm er i s u se p l p , d h which d

f or r n na s d ivi g il .

P rta n n to a o or s re e i i g half gl be phe .

On the leve l ; at r ight angles to a line which points

o th n r of h e rt t e c e te t ea h .

Un te i n one o i d b dy. A small mo vable m ember which i s designed to limit the m ovem ent of th e Operative part of a ma

n chi e .

n a To m a e a e nn n t th e rst of a ser es of I iti l . k b gi i g wi h ; ﬁ i

s n s act or thi g .

T a i n eta e os n o se ar r o pl ce a d ch d p itio ; t p ate f om .

One f or th e other .

A S pace between things ; a vo id space ; between two

o e ts bj c .

In r s T en a e h ttent on of o a a en or attra t at te e t. o g g t e a i t w k c

on tenti .

218 CARPENTRY FOR BOYS

n Pla n ton u i on m mb r Matchi g . ci g g e n e e e and a corresponding

roo e i n ano t er m e mb er so t at t e l o n g v h , h h y wi l j i

ea o t er erf e tl ch h p c y .

Of o r rel at n to the l e A es i g Midd g .

A too l f or th e pu rpose o f ho lding a s aw tru e at any

es re a u stabl e an l e d i d dj g .

r - uare t oo ro es a u stm ent at an e s re Mite sq . A l which p vid dj y d i d an l e g .

A s l en er bar o r er f o rm s th e ert a M ull ion . d pi which v ic l divi

s o n bet een th e l ts o f n o s s reens etc. i w igh wi d w , c ,

a l so n oo rs th e m a n u r ts a re s ti les and th e , i d , i p igh ,

nterm e ate u r ts a r e mu lli ons i di p igh .

E r a se or l ot e ou t d b t d . N o t po inted ; bent . Th e p ath m ade by a h eavenly body i n i ts travel

a ro u n an ot er bo d h dy.

Ord nate i . Th e di stance o f any poi nt i n a cu rve o r a s tr aight

ne m eas u re on a ne all e th e axi s o ord i li , d li c d f

na tes o r on a ne ar all e t o i t r om an ot er ne , li p l f h li ,

l o s i s s at r t an es t er eto all e th e acci s ab c s a . igh g h , c d f

O rnamentat o T em an o l s m r i n ear e . i n . b el i h ; to i p ove app c

O s ll c ate . To S n n u lum i wi g lik e a pe d .

er an . In a ener a se nse t at r o e ts o ut Ov h g g l h which p j c .

P aneling . A su nken compartm ent o r po rtion with r ai sed m a r

ns m o e o r o t er se as n oor s e l n s gi , ld d h wi , i d , c i i g , t a ns o n etc. w i c i g,

Parall el o ram r t- l ne u a r l atera ur e ose o os te g . A igh i d q d i l ﬁg , wh pp i

s e s a r e ar a e and onse u ent e u a . id p ll l , c q ly, q l

n i n ll rts P arall e . E ten e i n th e sam e re t on a d a a l x d d di c i , p

e a l s a qu l y di t nt.

Pers h f stan e u n th e a pective. A vi ew ; a vi sta ; t e eff ect o di c po p

ear ance of ob e ts b me an s o f th e e e p j c , y which y recognizes them as being at a m ore o r less m easu r

bl stan a e di ce. GLOSSARY 219

ﬁ e in o r s o rt a s on th e end of vot. a Pi A x d p , h xi , which

r ot r o ur s wheel o h e b dy t n .

S o e escent e t e th e S lo e of a ro o l p ; d ; d clivi y, lik p f.

The act of a n i n the state of be n l a ed pl ci g ; i g p c .

To be su er or i n number s tren t n uen e o r au p i , g h , i ﬂ c

r n r n th o i ty ; co t olli g .

e To lengthen o ut ; to xtend .

The or na t at rom ater orm s s ran igi l ; h f which l f p g.

on tu na ece o f t m er u n er a roo mi d A l gi di l pi i b , d f ,

wa et een the ca ves and om to o the ra t y b w c b, h ld f

ner f utt n r oo s or re esses The man o c i g g ve c .

ee bar o r ot er o rm o f member a n teet A wh l , , h f , h vi g h or recesses

R e re tan u ar lon tu na re es s or roo e cut i n ebat . A c g l , gi di l c g v ,

h e o rner o r d e of a. bo t c e g dy.

or z onta e e i n a ram e or ane n A h i l pi c f p li g.

Right-angl ed ; h aving one or more angles of ninety

re s r - r n r t deg e ; a , fou s ided ﬁgu e havi g only igh

a n gles . A form o f roo f truss i n which the collar between rafters i s u sed as the thrust bea ring f or the ribs

r m which p oj ect up from the hammer bea .

’ too f or utt n roo es or re es ses A l c i g g v c . A fo rm o f connection i n which one part h as a por

t on cut a a res em n a sa e and i n i w y, bli g ddl , which the part to be attached has i ts end out s o as to

ﬁt the sa us ormed ddle th f .

“ rﬁn The utt n a a h o f m ers to be S ca g . c i g w y o f t e ends ti b

o ne so the two arts on a n un te j i d , p l ppi g will i

en ev ly.

S ci ssors bea orm o f truss i n t ere is a a r o f nter or m. A f , which h p i i i

ra s orm e e s ears and se ure to the b ce f d lik h , c d

t s es m ain rafters hem elv . Z N CARPENTRY FOR BOYS

S r u t e a so not n o r m ar n hea ; c ; divid ; l chi g ki g.

A ar - o nt an s e too t a e . h p p i d l, wi h h dl

To cut n ent or m ar t a too su as a n e , i d k wi h l , ch k if ,

awl o r om ass so as to orm a u tt n ne for c p , f c i g li

th or m an e w k .

H eld by itself ; not depending u pon outside ai d .

Usuall th e an e or ort on to th e an e y h dl , p i which h dl

i s attac hed .

tt n a A too i s es ne to cu t a on a erta n n e S li i g g ge. l which d ig d l g c i li

gu ided by an adj u stabl e fence .

h r r T e unde side o f an a ch .

Not ho ll ow ; fu ll of m atter ; h aving a ﬁxed form ;

u r ﬂu h ar d ; o ppo sed to liq id o id .

sma m an re n ar or a turn n s a t A ll d l ; a b ; i g h f .

Th e post or point at which an a r ch rests u pon i ts

r i m r su ort and om t see s to s n . pp , f which p i g

r o or s a e ont nu e un er a s n l su r a e S phe e. A b dy p c c i d d i g e f c

i i n e er art i s e u a stant rom a wh ch , v y p , q lly di f

o nt t n a i ts n e r p i wi hi c lled ce t .

sma art utt n ro m ano A ll p j i g f ther .

A plate serving as a keeper f or a beveled latch bolt

and a a ns h g i t which t e latter strikes i n clos ing .

S tee u i n es m a e rom st b n i a su re r ss l T b g. Pip d f e el ; tu i g s m e d ac o

from outside to outs ide ; piping i s m easu red o n th e

ns e i id .

- S te ed e. ed e a n one stra t e e and th e ot er p w g A w g h vi g igh dg , h

e e ro e t a su cces smn of ste s b m eans dg p vid d wi h p , y

of the e e ra u a r s r which pi c g d lly g ow wide .

To act u pon i n any way so as to cau se change of

orm or o ume as or es on o en f v l ; f c a beam t b d i t.

222 CARPENTRY FOR BOYS

A jo int wherein one m embe r i s m ade to turn with

anoth er a t ou th e tw o tu rn n m embers are , l h gh i g

i l t a t not n a ine wi h e ch o he r .

E r r ss on u s nes m ploym ent ; t ade ; p ofe i ; b i s .

One of the wedgelike ston es of which an ar ch i s

om ose c p d . THE W O NDER ISLAND BO YS

Y OGE T FIN B R R . LAY

Thrilling adventures by se a and land of two boys and an aged Professor who are cast away on an i slan d with

absolutel nothi n but thei r clothi n . B radu al and y g g . y g natural stages they succee d i n co nstructi ng all fo rm s o f devi ces used i n the m echani cal arts and learn the

i n iﬁc h ori es i nvolve d i n ever wa k o lif hes sc e t t e y l f e . T e subj ects are all treate d i n an i ncid ental and natural way i h ss o f events fro m the m o st fu n m l n t e progre , da e nta n i n itho ut techni caliti es and i nclu de e v r sta dpo t w , e y l ll i departm ent o f know edge . Numerous i u strat ons accompany the text

Two Tho usand th n s e ve r bo o u ht to kno w a e i g y y g . p g ro m anc E e r n e a fact a e . v y li — S i x ti tles 60 cents per volume

THE W O NDER ISLAND BOYS Th e Castaways THE W O NDER ISLAND BOYS Exploring th e Island THE WONDER ISLAND BOYS Th e Mysterie s of th e C averns THE WONDER ISLAND BOYS Th e Trib e smen THE W O NDER ISLAND BOYS Th e Capture and Pursui t THE W ONDER ISLAND BO YS Th e Conquest of th e S avages

PUBLIS HE D BY THE NEW YORK BOOK COMPANY

147 FOURTH AVE NUE NE W YOR K THE HICKO RY RIDGE BOY Scours

A SERIES O F BO O KS FO R BO YS

Whi ch , in ad di ti o n to th e i nte re sti n g bo y s c o u t s to ri e s by CAPTAIN ALAN

DO UGLAS S c o u tm aste r c o nta in arti c le s o n n atur e lo r e n a ti e anim als , , , v a fund o f o th e r - - and i n fo rm a ti o n p e rta in i ng to o u t o f d o o r life , ’ th a t w ill a p p e a l to th e b o y s lo v e o f th e O p e n

1 The Ca m fire s o f the W o f Pa tr . p l o l T heir ﬁrst campi ng experience affo rd s the sco uts splendid o ppo rt unities to Use

‘ eir re cen l ac uire k nowled e in a rac i cal w a Elm er e no e a . C w a l d th t y q d g p t y h th , fro the nort es w o o s as o nis hes e er o ne b his fa iliari i ca m hw t d , t v y y m ty w th mp fe A cl an ol o r e er bo h o ul rea li e w e so e s s . . , h m t y v y y d d

r r ll . W o o dc aft ; o r, Ho w a Pa t o l Le a de r Ma d e Goo d This tale presents m any stirri ng sit uati ons i n which so m e o f the boys are called u o n to exercise all eir i n e nui and unselﬁshncss A s o p th g ty . t ry ﬁlled with h al ful exci e e nt e th t m .

in i in lll . Pa thf de r ; o r, The M ss g Te nde rfo o t

So e s er es are cleare u i n a os unex e c e w a rea l to the cre it m my t i d p m t p t d y, g t y d frien s A ariet o f inci en s fo llo fas o ne af of our oun . er the o t er y g d v y d t w t , t h .

h le lV. Fa st Nine ; o r, a C a l ng e Fro m Fa irfie ld

a e - o rk ere a n he T hey sho w the s me t am w h s when i camp. T description of the ﬁnal a e it the ea o f a ri al o n and the o u co e hereof for a g m w h t m v t w , t m t , m i e ne of the best base ball s ories o f recen e r narrat . O ars sti ring v t t y .

a Hike o r The Pride o f The Kha V. Gre t ; , ki Tro o p

Af er ee s of re ara io n th e sco u s s ar out o n t eir reates un erta i n t w k p p t t t t h g t d k g. T he r arc akes e far fro o e and th e o o - na ure ri alr of th e i m h t th m m h m , g d t d v y n a ro ls furni es an i n eres i n and a usi n si ua io ns differe t p t sh m y t t g m g t t .

r nce s o r Ho w Cle a r Grit W Vl . Endu a Te t ; , o n the Da y “ ” Few stories get us more than illust ratio ns o f pluck i n the face of apparent r O ur heroes s o the s uff e are a e o f and sur rise t eir o failu e . h w t th y m d p h m st i r ne of the be s s ories C a ain Do u las has wr ar en a re s. O t en d t dm t t pt g i t .

Bo y S co u t Natu re Lo re t o b e Fo u n d i n Th e Hi cko ry Ridg e Bo y S co u t S e ri e s

W il A ni als of the nite S a es—T rackin —in N u ber 1 d m U d t t g m . d il Flo ers o f the ni e S a es in u ber II T rees an W d w U t d t t N m . e iles o f the Uni (1 S a es i n N u ber Il l R pt t t m .

F s es of the ni e S tates in N u ber IV i h U t d m . nsec s of the ni e S a es in N u ber V I t U t d t t m . Bir of the nite S a es i n N u ber V I d U d t t m .

Clo th Bi n d i n g C o ve r Ill u s t ra ti o n s i n F o u r C o lo r : 4 0 C . Pe r Vo l u mc

T H E N E W Y O R K B O O K C O M PA N Y h N u 1 4 7 F O U R T H A V E N U E (nea r 1 4 t S t. ) E W r o x

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The narrative deals with the

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