Chapter 3

The upholstering on the under side of the top--the back of the davenport--is to be built upon a stout frame made of some suitable common wood, and the whole set in the recess formed as shown in the detail drawing--the whole being fastened from the back before the slate bed is put in position.

Effort should be made to select leather of a color that will harmonize with the wood finish which is to be applied.

EASILY MADE BOOK SHELVES

Very cheap but useful and attractive book shelves are shown in the accompanying drawing. The vertical strips, A, may be 3/4 in. by 2 in. and are screwed to four shelves, B, each cut to the shape of a quarter circle. The screws are all countersunk and as the heads all come on the side next to the wall, they do not show. The design might be varied somewhat to suit the fancy of the builder, although the appearance of the shelves constructed as shown is very pleasing, especially so if the workmanship is good and the wood carefully stained and varnished. The total cost of construction was less than 75 cents.

A BLACKING CASE TABOURET

A substantial piece of mission furniture which may be used as a tabouret or plant stand as well as a blacking case, in which there is a receptacle for brushes, blacking and a shoe rest, is shown in the illustration. The stock can be secured mill-planed, sandpapered and in lengths almost ready to be assembled. The stock list consists of the following pieces:

4 posts, 1-1/2 by 1-1/2 by 17 in. 4 side rails, 1 by 6-1/2 by 9-1/2 in. 2 top pieces, 1 by 8-1/4 by 16-1/2 in. 1 bottom, 1/4 by 9-1/2 by 9-1/2 in. 1 cleat, 1 by 1 by 18 in.

The posts and cleat are surfaced on four sides, while the other pieces are surfaced on only two sides. The allowance of 1/2 in. on the side rails, top and bottom, is for fitting the joints. Be sure the surfaces of the pieces for the posts are square and the ends sawed square off, making the posts exactly the same length when they come from the mill.

Square up the four side rails to 6 by 9 in. Cut one end of each post tapering with a chisel; face and sandpaper the posts and side rails before making the joints. The side rails are attached to the posts with three dowels to each joint. The place for each dowel is located by making a line exactly in the middle lengthwise on each end of each side rail. Three lines are made to intersect this middle line, as shown in the detail. Drive a 1/2-in. brad in each intersection allowing a small portion of each brad to project, and cut off the heads. Gauge a line in the middle of each post at the top where the joints are to be made and press the end of a side rail containing the brads against the post. This will mark the places to bore holes for the dowels. Pull out the brads and bore holes for the dowel pins.

When gluing up the side rails and posts, first put on a coat of glue on the ends of the side rails and let it dry. This will fill up the pores in the end grain of the wood which will make a strong joint when finally glued together. The dowel pins are made 3/8 in. square with a slight taper at the ends. These can be easily forced into the holes, when the ends of the side rails are coated with glue and ready to be put together, by clamps pressing on the outside of the posts.

The bottom is held in position with narrow strips tacked on the lower edge of the side rails. Square up the top pieces to 8 by 16 in. and fasten one piece to the top with cleats and screws as shown in the drawing. The other piece is hinged to the first one with two 2-in. hinges.

The shoe rest can be made from a block of wood and covered with sheet tin, copper or brass, or a cast-iron rest can be purchased. The rest is fastened to the under side of the hinged top. Stain the wood any dark color and apply a very thin coat of shellac. Put on wax and you will have a finish that can be renewed at any time by wiping with a little turpentine and rewaxing.

HOW TO MAKE A ROLL TOP DESK

The materials for this roll top desk can be purchased from a mill dressed and sandpapered so the hardest part of the work will be finished. The wood must be selected to suit the builder and to match other articles of furniture. The following list of materials will be required:

68 lineal ft. of 1 by 3 in. hardwood. 65 lineal ft. of 1 by 2 in. hardwood. 3 lineal ft. of 1/4 by 24 in. hardwood. 45 lineal ft. of 1/4 by 10-1/2 in. hardwood. 36 lineal ft. of 1 by 12 in. hardwood. 35 lineal ft. of 3/8 by 9 in. soft wood. 100 sq. ft. of 1/2 by 12 in. soft wood. 1 piece 34 in. wide and 54 in. long hardwood. 30 pieces 1 by 1 in. 48 in. long.

The upper and lower back panels are constructed very similar, the only difference being in the height. The inside edge of the 3-in. pieces is plowed with a 1/4-in. plow 3/8 in. deep exactly in the center and also both edges of each 2-in. piece. The 16-in. pieces in the upper back panel and the 24-in. pieces in the lower back panel must be cut 1/2 in. longer and a 1/4-in. tongue made on each end to fit into the plowed groove and form a mortise joint.

The upper back panel is filled in with four boards 9-1/2 in. wide and 16-1/2 in. long, while the four boards in the lower back panel are 9-1/2 in. wide and 24-1/2 in. long cut from the 1/4-in. hard wood. When the grooves are cut properly, the joints made perfect and the boards fitted to the right size, these two panels can be assembled and pressed together in cabinet clamps. This will make the outside dimensions as given in the drawing.

The end panels are made very similar to the lower back panel, the only difference being in the width of the filling boards, which are 10-1/2 in. for the outside end panels and 10 in. for the inside panels. One end panel and one inside panel make the sides of one pedestal. As the end panels are 1 in. wider than the inside panels they overlap the back panel and cover up the rough ends of the boards. A 1-in. piece 2 in. wide is fastened at the top and bottom of each end and inside panels as shown by the dotted lines. The lower back panel is fastened on by turning screws through the back and into the ends of these pieces. The bottom pieces have 2-in. notches cut out, as shown, into which to fit two crosspieces across the bottom of the pedestal for holding the casters. The top end panels are made as shown in the drawing, the inside edge of the pieces being plowed out, making a groove the same size as in the other pieces of the panels. The panel board is cut to the proper shape from the 1/4-by 24-in. material. The length given in the material list will be sufficient if the pointed ends are allowed to pass each other when laying out the design.

Instead of cutting a groove for the roll top curtain, one is made by fastening a 1/2-by 3/4-in. strip 7/8 in. down from the edge and on the inside of the panel. A thin 1/4-by 1-3/4-in. strip is bent to form the shape of the edge and fastened with round-headed brass screws. A 1-in. piece is fastened at the back and a groove cut into it as shown by the dotted line into which to slide a 1/4-in. back board. The top is a 12-in. board 54 in. long.

As both pedestals are made alike, the detail of only one is shown. The partitions upon which the drawers slide are made up from 1-in. square material with a 2-in. end fitted as shown. Dimensions are given for the divisions of each drawer, but these can be changed to suit the builder. The detail of one drawer is shown, giving the length and width, the height being that of the top drawer. The roll top curtain is made up from 1-in. pieces 3/4 in. thick and 48 in. long, cut in an oval shape on the outside, tacked and glued to a piece of strong canvas on the inside. The end piece is 2 in. wide, into which two lift holes or grooves are cut and a lock attached in the middle of the edge. A drawer lock can be made as shown and attached to the back panel and operated by the back end of the roll top curtain when it is opened and closed.

The top board, which is 34 by 54 in., can be fitted with end pieces as shown or left in one piece with the edges made rounding.

At this point in the construction of the parts they can be put together. The sides of each pedestal are fastened together by screws passed through the 1-in. square pieces forming the partition and into the sides of the panels. When each pedestal is put together the lower back panel is fastened to them with screws turned into the pieces provided as stated in making the end panels. The top board is now adjusted with equal edges projecting and fastened in position with finishing nails. As the top panels cover directly over where the nails are driven, the heads will not show. The upper back panel is fastened to the curved ends and the whole top held to the top board with cast corner brackets that can be purchased at any hardware store. The top should not be drawn together too close before the 1/4-in. back board is put in the grooves and the roll top curtain placed in position.

The detail showing the pigeon holes gives sizes for 30 openings 3 by 4 in., two book stalls at the ends, 3 in. wide, and two small drawers. This frame is built up as shown from the 3/8-in. soft wood, and fastened in the back part of the top with small brads.

HOW TO MAKE A ROMAN CHAIR

In making this roman chair, as well as other articles of mission furniture, the materials can be ordered from the mill with much of the hard work completed. Order the stock to make this chair as follows:

4 posts, 1-7/8 by 1-7/8 by 30 in. 2 top rails, 7/8 by 2-3/4 by 20 in. 2 bottom rails, 7/8 by 2-1/4 by 20 in. 2 rails, 7/8 by 4 by 16 in. 2 side rails, 7/8 by 4 by 28 in. 1 stretcher, 7/8 by 3 by 30 in.

Have all these pieces mill planed on the four sides straight and square, also have them sandpapered on the four sides of each. Plain sawed white or red oak finishes nicely and is easily obtained. The sizes are specified exact as to thickness and width, but the lengths are longer than is needed. This is to allow for cutting and fitting.

Begin by squaring one end of each post; measure the length 28 in. and, placing all of them side by side, square a line across the four, saw, then plane these ends square. The top and bottom side rails are treated in a similar manner, their length being 19-1/8 in. each. These pieces extend right through the posts projecting 5/8 in. beyond the surface. The mortises in the posts must be cut smoothly and of exact size. Wood pins fasten these rails and posts together. The other rails have tenons 1/2 by 3 in. shouldered on the two edges and one side. The mortise in the post is placed central. On the ends of the chair the shouldered side is turned in (see photograph), while on the front and back they are turned out. Miter the ends of these tenons. These tenons are to be glued and clamped--the ends of the chair being put together first. When this is dry the sides are clamped. The stretcher should have its ends shouldered on the two edges so as to make a 2-1/2-in. tenon. Allow the tenons to extend 1-1/8 in. beyond the cross rail and cut mortises in these tenons for the keys.

All projecting tenons, as well as the tops and bottoms of the posts, should be chamfered about 1/8 in. For the seat, screw cleats to the insides of the rails and place a platform of thin boards so that its top surface is 1/2 in. below the top of the rails.

A cushion can be made, as shown in the photograph, by lacing with leather thongs two pieces of Spanish leather cut to proper length and width. When nearly laced fill with any of the common upholsterer's fillings.

For a brown stain, dissolve by boiling in 4 oz. of water, extract of logwood the size of a walnut. Apply hot and repeat until the desired color is obtained. Stains can be bought ready prepared, however, and are quite satisfactory. Finish by applying several coats of wax.

HOW TO MAKE A SETTEE

This handsome piece of mission furniture is designed to be made up in three different pieces as desired, the only changes necessary being in the length of the one front and the two back rails. The settee can be made into a three-cushion length by adding the length of another cushion to the dimensions of the one front and two back rails. A companion piece chair can be made by using suitable length rails to admit only one cushion. The following stock list of materials ordered mill-planed and sandpapered will be sufficient to make up the settee as illustrated. Oak is the most suitable wood which can be finished in either mission or a dark golden oak.

3 rails 1 by 4 by 52-1/4 in. 4 end rails 1 by 4 by 24-1/4 in. 4 posts 2-1/4 in. square by 34-1/2 in. 13 slats 1/2 by 5 by 21-1/4 in. 2 cleats 1 in. square by 51 in.

All the rails are mortised into the posts for a depth of 5/8 in., also the slats are mortised 5/8 in. into the rails. The material list gives the exact dimensions for the rails and slats as they will not need to be squared for entering the mortises, provided you are careful to get all lengths cut to dimensions. When cutting the mortises take care to get them square and clean. The posts have 1/2 in. extra added for squaring up and cutting the corners sloping on the top ends.

The joints are all put together with glue. Nails can be driven into the posts intersecting the tenons of the rails on the inside, as they will not show and will help to make the settee more solid.

The cushions can be made with or without springs as desired. If made without springs, 15 slats must be provided in the material list 1/2 in. thick, 2 in. wide and 24 in. long to be placed on the cleats fastened to the inside of each bottom rail. The two cleats are fastened one on each inside of the front and back rails with screws. The location as to height of these cleats will depend upon the kind of cushions used. The parts necessary to make the cushions with springs are as follows:

4 pieces 1 by 2-1/2 by 26 in. 8 pieces 1 by 2-1/2 by 24 in. 4 pieces 1 by 2-1/2 by 22 in. 32 8-in. springs. 2 pieces leather about 29 by 31 in.

An open box is made from two 26-in. and two 22-in. pieces, and across the bottom are mortised and set in four 24-in. pieces to form slats on which to set the springs. The tops of the springs are tied or anchored with stout cords running in both directions and fastened to the inside of the pieces forming the open box. These should be tied in such manner as to hold each spring so it cannot slip over and come in contact with another spring.

Roan or pebbled leather are very popular for cushions for this style of furniture. The leather is drawn over the springs and tacked to the outside of the open box frame. When complete the cushions are set in loose on the cleats, which should, in this case, be placed about 1 in. from the top of the rails.

HOW TO MAKE A PYROGRAPHER'S TABLE

Any pyrographer will appreciate the construction of the table and cabinet as illustrated. Anyone doing burnt wood work will know the annoyance of building up a steady support for the arm to the level of the article on which the work is to be done. The size of this table may be made to suit the surroundings and the space of the builder. Figure 1 shows the table with a slot cut in the side support in which to place the thumb screw of the bracket as shown on top of the table. It will be noticed, Fig. 2, that while both drawer and cabinet are available for storing the apparatus, they are not in the way of the operator while sitting at his work; the drawer overhangs the knees and the cabinet is far enough back not to interfere with sitting up close to the work. The bracket shelf slides in the slot at the side of the table, and is fastened to any height by the thumb screw There is also a smaller slide bracket on the shelf to clamp irregular objects to the side of the table. The thumb screws, hinges and drawer pulls can be purchased from any hardware store. When the table is not in use for pyrography it can be used for a writing table or a round top provided and attached on which to play games. When used for this purpose the bracket, as well as the pyrographic outfit, is stowed away in the cabinet as shown in Fig. 3.

MISSION STAINS

What is mission oak stain? There are many on the market, with hardly two alike in tone. The true mission oak stain may be said to show a dull gray, the flakes showing a reddish tint, while the grain of the wood will be almost a dead black. To produce such a stain take 1 lb. of drop black in oil and 1/2 oz, of rose pink in oil, adding a gill of best japan drier, thinning with three half-pints of turpentine. This will make about 1 qt. of stain. Use these proportions for a larger quantity of stain. Strain it through cheese cloth. Japan colors will give a quicker drying stain than that made with oil colors, and in this case omit the japan and add a little varnish to bind it.

One of the most popular of all the fancy oaks has been that known as Flemish, and this in spite of its very somber color, says Wood Craft. There are several ways of producing Flemish finish; you can fill the wood with a paste filler strained with raw umber, and when dry apply a stain of transparent flat raw umber, and for the darker shades of finish use drop black with the umber. Varnish and rub down.

According to a foreign technical journal, French workmen mahoganize various kinds of woods by the following method: The surface of the wood to be stained is made perfectly smooth. Then it is given a coating of dilute nitric acid which is rubbed well into the wood fiber. Then it is stained with a mixture made by dissolving 1-1/2 oz. of dragon's blood in a pint of alcohol, this solution being filtered, and then there is added to it one-third of its weight of sodium carbonate. Apply this mixture with a brush, and repeat the coats at intervals until the surface has the appearance of polished mahogany. In case the luster should fail it may be restored by rubbing with a little raw linseed oil. The description of the process is meager, and hence he who would try it will have to experiment a little.

A good cheap mission effect for oak is to mix together equal parts of boiled linseed oil and good asphaltum varnish, and apply this to the wood with a brush; in a minute or so you may rub off surplus with a rag, and when dry give a coat of varnish. A gallon of this stain will cover about 600 sq. ft.

FILLING OAK

A very good hardwood filler for oak, either for a natural or golden effect, may be made from two parts of turpentine and one part of raw linseed oil, with a small amount of good japan to dry in the usual time. To this liquid add bolted gilder's whiting to form a suitable paste, it may be made thin enough for use, if to be used at once, or into a stiff paste for future use, when it can be thinned down for use, says Woodworkers' Review. After applying a coat of filler, let stand until it turns gray, which requires about 20 minutes, depending upon the amount of japan in the filler, when it should be rubbed off with cotton waste or whatever you use for the purpose. A filler must be rubbed well into the wood, the surplus only being removed. The application of a coat of burnt umber stain to the wood before filling is in order, which will darken the wood to the proper depth if you rub off the surplus, showing the grain and giving a golden oak effect. The filling should stand at least a day and night before applying shellac and varnish.

WAX FINISHING

In wax-finishing hardwoods, use a paste filler and shellac varnish to get a good surface. Of course, the wax may also be rubbed into the unfilled wood but that gives you quite a different effect from the regular wax polish, says a correspondent of Wood Craft. With soft woods you first apply a stain, then apply a liquid filler or shellac, according to the quality of work to be done. The former for the cheaper job. The usual proportion of wax and turpentine is two parts of the former to one part of the latter, melting the wax first, then adding the spirits of turpentine. For reviving or polishing furniture you can add three or four times as much turpentine as wax, all these proportions to be by weight. To produce the desired egg-shell gloss, rub vigorously with a brush of stiff bristles or woolen rag.

THE FUMING OF OAK

Darkened oak always has a better appearance when fumed with ammonia. This process is rather a difficult one, as it requires an airtight case, but the description herewith given may be entered into with as large a case as the builder cares to construct.

Oak articles can be treated in a case made from a tin biscuit box, or any other metal receptacle of good proportions, provided it is airtight. The oak to be fumed is arranged in the box so the fumes will entirely surround the piece; the article may be propped up with small sticks, or suspended by a string. The chief point is to see that no part of the wood is covered up and that all surfaces are exposed to the fumes. A saucer of ammonia is placed in the bottom of the box, the lid or cover closed, and all joints sealed up by pasting heavy brown paper over them. Any leakage will be detected if the nose is placed near the tin and farther application of the paper will stop the holes. A hole may be cut in the cover and a piece of glass fitted in, taking care to have all the edges closed. The process may be watched through the glass and the article removed when the oak is fumed to the desired shade. Wood stained in this manner should not be French polished or varnished, but waxed.

The process of waxing is simple: Cut some bees-wax into fine shreds and place them in a small pot or jar. Pour in a little turpentine, and set aside for half a day, giving it an occasional stir. The wax must be thoroughly dissolved and then more turpentine added until the preparation has the consistency of a thick cream. This can be applied to the wood with a rag and afterward brushed up with a stiff brush.

HOW TO MAKE BLACK WAX

When putting a wax finish on oak or any open-grained wood, the wax will often show white streaks in the pores of the wood. These streaks cannot be removed by rubbing or brushing. Prepared black wax can be purchased, but if you do not have any on hand, ordinary floor wax can be colored black. Melt the floor wax in a can placed in a bucket of hot water. When the wax has become liquid mix thoroughly into it a little drop black or lampblack. Allow the wax to cool and harden. This wax will not streak, but will give a smooth, glossy finish.

THE 40 STYLES OF CHAIRS

There are 40 distinct styles of chairs embracing the period from 3000 B.C. to 1900 A.D.--nearly 7,000 years. Of all the millions of chairs made during the centuries, each one can be classified under one or more of the 40 general styles shown in the chart. This chart was compiled by the editor of Decorative Furniture. The Colonial does not appear on the chart because it classifies under the Jacobean and other styles. A condensed key to the chart follows:

$Egyptian.--3000 B.C. to 500 B.C.$ Seems to have been derived largely from the Early Asian. It influenced Assyrian and Greek decorations, and was used as a motif in some French Empire decoration. Not used in its entirety except for lodge rooms, etc.