Part 26

These two castings, 401 and 402, are bolted together with two bolts and nuts through the holes 5 and 6, as shown in Fig. 400. Fig. 403, is a back view of the additions, showing the cog wheels and their connections, also the brass bearings for the lower mandrel required when allowed to traverse. This was a solid piece of brass with a hole bored out and ground to fit the mandrel. It was then drilled the whole depth in two places, for two steel steady pins, _b_, _c_, made to fit quite tight, and at both ends for bolts and nuts, _a_, _d_, afterwards sawn in two with the circular saw, and when put together and two holes drilled through the thickness for fixing it was put in its place, adjusted, and re-ground on. The holes for fixing were very carefully continued through the cast iron upright, and the whole was finally fixed with two screw bolts and nuts.

Fig. 404, is a front view, showing the eccentric chuck, R, on the upper mandrel, the slide of which when used is connected with the bracket in the wall, Fig. 406, causing the whole apparatus to oscillate in proportion to the eccentricity of the chuck on its centres one of which is marked at S. The chuck has a circular movement for laying the waves in any position with one another, but which also is effected by another plan to be presently described. The whole poppet with its fittings is hung on centres similar to the rose engine described in this work. The top part of the bed T removes, and the two screws, one shown at V, are taken out to allow the oscillation. The large cog wheel has 192 teeth.

The whole of the additions to my headstock were all of my own fitting up. The brass cog wheels were bored out and ground to fit an arbor made on purpose, exactly corresponding in diameter with the ends of the spindles so that they might fit indiscriminately on either spindle. When turned up, the teeth were cut with a circular cutter, which I made just of the exact shape and thickness required for the space between the teeth. The cutter was turned of steel; then wrapped in leather and enclosed in sheet iron. It was then put in the fire, made red hot, and left for the fire to go out, the next day being soft, it was cut with sharp chisels into a circular file and hardened, and with it in the cutter frame the teeth of the wheels were cut. The central boss of each wheel has a notch cut across the face to receive a pin in the arbor and in the spindles, which prevents the wheels from turning round on the latter when screwed up.

This rose engine works beautifully smooth and easy, and ornamentation can be done with it with greater rapidity than with the ordinary engine, by arranging the connecting wheels so that the upper mandrel makes so many waves and one-half, one-third, one-fourth, one-fifth, one-sixth, or any other part of a wave, on each revolution of the lower mandrel, because then it requires certain revolutions of the lower mandrel before the tool comes into the same cut again--say, for instance, it makes 4-5/6 waves on each revolution, then it takes 29 revolutions of the upper mandrel to complete the pattern, whereby certain patterns are completed without stopping the lathe, which is an advantage that the rose engine proper does not possess. Another great advantage is, that the waves can be either flat, sharp, or intermediate, as required for large or small work, by altering the eccentric chuck on the upper mandrel.

I give a few specimens, not for the beauty of design, but to illustrate the working of the engine. The centre of Fig. 407 is performed by having a wheel of 80 teeth on the upper mandrel, connected with one of 25 teeth on the intermediate spindle, which has another of 50 teeth connected with the large wheel of 192 teeth on the lower mandrel; thus, 80/25 50/190 = 1-1/5 producing on each revolution of the lower mandrel one wave, and one-fifth of another wave, requiring six revolutions to complete the pattern.

The remainder of the pattern is completed by wheels, 16, 50; 48, 192 making 12-1/2 waves on each revolution of the lower mandrel, requiring 25 waves to complete the pattern, and laying the waves over each other, and with the slide rest movement of the tool.

Fig. 408 is produced by wheels 32, 48; 24, 192 making 12 waves. The centre is done by altering the eccentric chuck each time. It was purposely executed askew, by the tool not being placed in the centre, to show the importance of doing so for some patterns. The rim was executed with the same wheels, and with the slide rest movement of the tool, and, after two cuts, the chuck turned half round, to lay the waves over each other for the other two cuts.

Fig. 409 is all executed with wheels 96, 30; 25, 192 making two waves and two-fifths of another wave, requiring 12 waves to complete the pattern. The two centre rims produced by placing the tool above the centre. The outside by four movements of the slide rest tool, illustrating how soon patterns are produced, and when well cut up look very pretty.

Fig. 410 is executed with wheels 80, 50; 25, 192 making four waves and four-fifths of another wave, requiring 24 waves to complete the pattern. The centre is all done without stopping; the outside rim by altering the eccentric chuck four times, to make each successive wave flatter.

Fig. 411 is an illustration of the upper mandrel, making 5-1/3 revolutions to one of the lathe, requiring 16 revolutions to complete the pattern and slide-rest movement.

Fig. 412. The outer pattern of this figure is produced by the upper mandrel making 12-4/5 revolutions to one of the lathe, requiring 64 revolutions to complete the pattern. The centre is a rosette of 5 waves, slide-rest movement and placed across each other.

Fig. 413. The whole of this pattern produced by the upper mandrel making 3-3/5 revolutions to one of the lathe, producing 18 waves across each other with slide-rest movement for the middle rim.

Fig. 414 illustrates a rosette of nine waves with slide-rest movement, and 3 divisions of the circular movement of the eccentric chuck for each successive line, producing the waved appearance.

Fig. 415 illustrates a rosette of 24 waves with the slide-rest movement.

Fig. 416. Another illustration of a rosette of 24 waves, rather more sharp than in Fig. 415, with slide-rest movement and 9 divisions of the circular movement of the eccentric chuck, giving it a pleasing circular waved appearance.

Fig. 417. Also another illustration as the last, but with the waves much sharper, the slide-rest movement and only two divisions of the circular movement of the eccentric chuck producing the star-like pattern.

Fig. 418 illustrates also a rosette of 24 waves, with the eccentric chuck turned half-way round with each movement of the slide-rest, producing the pattern so often seen on the back of watches, only being on wood it is on a larger scale.

The above illustrations are sufficient to give a distinct idea of the working of my engine, and the last four show how easily patterns are multiplied and varied.

The whole of the preceding patterns were executed by the wood being chucked in the lathe in the usual ordinary way without any particular chuck whatever, but in combination with any of the ornamental chucks innumerable patterns can be produced.

Fig. 419 is one illustration with an eccentric chuck on the lathe mandrel.

That my description may be complete I will now give drawings of my eccentric chuck for the upper mandrel. It requires to be constructed differently to the ordinary eccentric chuck, as the circular movement requires to be always _central_, and only the slide carrying the pin to receive the rod must move eccentrically.

Figs. 420 and 421, are full-size drawings of my eccentric chuck on my upper mandrel, used for producing the foregoing specimens. In this case I have preferred a wood foundation, as not being so likely to run off as metal, on reversing the motion which is sometimes necessary on account of idle wheels for the connections. I used a piece of well-seasoned Spanish mahogany, taking care that the grain of the wood was at right angles with the length of the screw of the mandrel. A piece of brass is screwed at the back to prevent the screw cutting into the wood. Fig. 420 is a section, and Fig. 421 a front view of the chuck, and I think all sufficiently clear. I will just say the long fine threaded screw I cut up with the stocks and dies in the lathe, using steel wire of the necessary size. This I manage easily, and keep the wire straight _by allowing it to expand in length_. I chuck the steel wire concentrically, and removing the centre from the back poppet, substitute a brass centre with a hole the size of the steel wire, which is allowed about a quarter of an inch entry. I then turn down a little below the depth of the intended screw thread for about half an inch in length next the back centre, to allow the dies to come back to be tightened up, and which must only be done at the commencement and not on the return motion of the dies. The collar on the screw is a piece of brass with a hole of a size to drive on the wire tight, and is then pinned on and turned up true, and finished with the division marks.

OVAL TURNING AND ROSE CUTTING WITH TEMPLATES WITH MY APPARATUS.

Figs. 422 and 423 are full size drawings of my chuck, with circular movement for templates for my upper mandrel, which has also a wood foundation. Fig. 422 is a section, and Fig. 423 is a front view.

By removing the eccentric chuck from the upper mandrel, and substituting the chuck Figs. 422 and 423 with a circular movement, to receive templates of any pattern, OVALS with the oval template can be turned and also with any irregular templates, patterns cut and placed in any direction over each other, by causing the templates to work against a rubber or roller as most desirable, with an india-rubber spring to keep them together.

The following illustrations will give some faint idea of productions from templates.

Fig. 424, is the production of an oval template and slide-rest movement, both mandrels making equal revolutions.

Fig. 425 the same as Fig. 424, with the patterns laid across each other by turning the circular movement of the chuck 12 divisions.

Fig. 426, is from an oval template, which is caused to make two revolutions to one of the lathe mandrel producing 4 waves and undulations and with the slide-rest movement. It will be perceived in this case the form of the _oval_ is superseded by another pattern, and shows how great a change in the form of patterns from templates my rose engine with change wheels effects.

Fig. 427, is also from an oval template, caused to make 5 revolutions to one of the lathe, and with the circular movement of the chuck and the slide-rest movement, and in this case the form of the oval is also superseded. Indeed, none but those who have made the matter their study would have the slightest idea that this pattern could be produced from an oval template.

Fig. 428, is also from an oval template, it is finer than 427, but is done in the same way by the template making _nine_ revolutions to one of the lathe mandrel.

The above are a few specimens of the oval, but sufficient to draw attention to the great variety of patterns that can be executed, and these illustrations have only been made to go even revolutions with the lathe mandrel; but of course can be made to go, as already described, uneven revolutions, laying the lines over each other for variety of patterns.

Fig. 429, is a curiosity from a square template with equal revolutions, the outside rim and inside pattern by the circular movement of the template chuck.

Fig. 430, is also from a square template made to go two revolutions to one of the lathe and with the slide-rest movement. The centre pattern with the circular movement of the chuck.

Fig. 431, is the production of a heart-shape template, and with the slide-rest movement and the patterns laid across each other, the mandrels making equal revolutions.

Fig. 432, is also from a heart-shape template made to go two revolutions to one of the lathe and the slide-rest movement. But in this case the slide-rest tool is used _on the opposite side of the lathe bed_ to the roller against the template, and therefore reversing the pattern, that is, the projections of the pattern are the hollows of the template, and _vice versa_. I have introduced it to show how easily patterns are multiplied in the most simple way. It will also be observed that the form of the template is superseded.

Fig. 433, is another illustration of the heart-shape template, but made to go five revolutions to one of the lathe, with the circular movement of the template chuck, and the slide-rest movement, and in which case the form of the template is entirely superseded.

Fig. 434, is also a similar illustration to 433, only finer; they can be of course as fine as desired.

The above are, I think, sufficient to illustrate the productions from templates, some very pretty patterns can be executed. My object is more particularly to exhibit the use and extended application of my rose engine, and it will be perceived the last two are not the most easily working templates.

The variety of patterns that can be executed with this engine are so innumerable that one may say they are infinite. Well may you in your article quote what Bergeron says of the rose engine, "that it is necessary to know thoroughly the particular one in use."

I also make use of the cogwheel on my mandrel, by connecting it by a spindle and the change wheels with a large compound slide rest, for executing spiral turning, and also with my slide rest for ornamental turning, for small spiral work; and with a chuck with a circular movement I can cut several spirals to one stem.

In concluding my description I will say the specimens given have all been cut on a plain surface, and this has been unavoidable on account of printing, but for the information of those unacquainted with the rose engine, the very great advantages of which over the eccentric and geometrical chucks are that the work can be executed on concave or convex surfaces. I make use of mine for ornamenting the roofs of temples and Chinese pagodas, either domed, curvilinear, or circular pointed, by representing them covered with shingles, &c. The geometric chuck will produce very beautiful intricate lacework, but not more so than my apparatus, as they both are on the same principle of change wheels, and can both produce equally fine work; but with my apparatus the work is always concentric with the mandrel, and therefore much more pleasing to execute.

ELIAS TAYLOR.

Hartford Villa, Patcham, near Brighton, Sussex.

JUDD & GLASS, PHOENIX PRINTING WORKS, DOCTORS' COMMONS, E.C.

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