Part 1

THE STEEPLE-JACK’S INSTRUCTOR

Showing the Modern Methods Used by Successful Steeple-Jacks

Price $2.00

By CLARENCE JAMES MURRAY

Published by THE S. J. LEE PUBLISHING CO. 160 NORTH WELLS STREET CHICAGO, U. S. A.

Copyrighted 1921 by The S. J. Lee Publishing Co. Chicago, U. S. A.

CONTENTS

Page

Introduction 9

How to Become a Steeple-Jack 9

The Smokestack 16

To Rig a Stack Without a Gimblet Wire 31

How to Change the Riggings 39

Steel Stacks with Brick Lining 40

Smokestacks with Ladders 42

Steel Stacks Decay at Band 43

Reguying 44

Tripping the Riggings 50

Self-supporters 55

Knots 58

Square Knot 60

Bow-line Knot 62

Half-hitches 64

The Black Wall 66

Tanks, Towers and Standpipes 67

Standpipes 69

Water Towers 71

Church Spires 74

The Flagstaff 78

Tops of Poles 85

Names of Knots, Bends, Bights and Hitches 93

How to Become a Steeple-Jack

In this book I am placing before you the secrets of a trade I have followed for fourteen years. I have made as high as $170 a day. It is a poor Steeple-Jack who cannot make at least $25 a day. If you have the ability, the appearance, and can approach a business man, you need not worry about getting his work.

He is aware of the chances you are taking. He has work that must be done, and has an admiration for the man with nerve enough to accomplish what he would not undertake himself.

Steeple-Jacks are always in demand. When I speak of Steeple-Jacks, I refer to men who comprehend that a certain thing up in the air needs attention, whether it is the reaving of halyards on a flagpole, the adjustment of a cross on a steeple, the replacing of a guy wire on a stack, the repairing of the hands of a clock on a tower, or the mere painting of any of these lofty objects which ordinary workmen are not courageous enough to attempt.

I know a great deal of this fascinating game, but I do not want to convey to you the thought that I know it ALL, for that is not the truth. Bear in mind the old adage: “We are never too old to learn.”

I call this work a game, because it appeals to me as a great game, although it is difficult work. People will gather in crowds on the street to watch a Steeple-Jack at his perilous duty. I use the word “perilous” because that is what it would look like to the man on the sidewalk, but to one in the air it is just a trick to the trade, and he would not exchange places with the man who is so eagerly watching every move he makes for fear that he may make a wrong move.

While he is thus busily engaged watching you, the following questions run thru his mind: “How in the world did he ever get up there?” “How can he stay up there so long?” His thoughts finally run something like this: “My, but he certainly is brave.”

From my experience with Steeple-Jacks I am convinced that they never like to be called “brave,” because stunts that are pulled are all in the game, and it is no more dangerous for a Steeple-Jack to climb to the top of a flagpole or smokestack than for the individual to ride in an elevator, a motor car or train, for when we consider the number of people who are trusting to the safety of the above mentioned conveyances, and the proportion of accidents in comparison to the number of Steeple-Jacks and the accidents in connection with this trade, the Steeple-Jacks are not at a disadvantage in respect to casualties.

It is to the credit of the Steeple-Jack, however, that he is less careless regarding the dangers of his profession than the thoughtless traveling public.

The Steeple-Jack considers it no more irksome to go out on a job than the book-keeper to go to his desk or a bank teller to enter his cage. The only difference between the Steeple-Jack and the book-keeper or bank teller is in regard to working hours. The Steeple-Jack’s hours range from two to four a day, while those of the tradesman are from six to ten hours a day. The Steeple-Jack, whose day comprises about four hours (often less and seldom more) makes =more= money in his =day= than the average man makes in a =week=.

As before stated, I have had considerable experience in the line about which I write, and I therefore feel safe in saying that no man is worthy of the title of Steeple-Jack unless he can make at least $20 a day in days when he chooses to work less than the customary two to four hours.

From my past experiences I have come to the conclusion that “time is money,” and therefore my advice to any man who entertains the idea of going into the great game of a Steeple-Jack is to always bear that slogan in mind and never perform for the audience which you will undoubtedly have watching you from the street. Remember it is =your= time that is being taken up by the performance of whatever daring stunts you may be able to “show off,” and no matter how large an audience you may have, there are no benefits derived therefrom.

The work of a Steeple-Jack has a great many assets besides that of being able to earn a great amount of money. With the exception of the money question, here are two that will appeal to every man: First, it is healthful work, because you are always in the open air. Second, you have no boss. You are your own boss and may come and go when you please. However, I would not advise any man who is following this work to assume too great an air of independence. We all concede that it helps to be a =little= independent at times, but always bear in mind that it is the privilege of the “other fellow” to assume an air of independence also, and, after all, YOU are dependent upon his work. By that I do not mean just one individual, but I am taking your trade as a whole. In business we must give and take. Remember that.

The Steeple-Jack’s work is ordinarily performed on smokestacks, flagpoles and church spires. You will agree with me that there are very few who follow this line of work. Just to prove this to you, allow me to ask you a question: “How many Steeple-Jacks do you know?” Perhaps the answer will be “One,” “Two,” or “Three,” and, again, it may be “Not any.” I have worked in this business in every large city in the United States and I can candidly say that I have had very little competition and, in a great many cities, not any.

Another important factor of this work is always to endeavor to please the man whose work you are doing and never to do cheap or skimpy work, for I have been convinced that cheap and skimpy workmanship gains nothing for you. However, on the other hand, if you put forth your best and succeed in pleasing the man who is to be considered, you can always count on a renewed order the following year. REMEMBER: Satisfy the other fellow first and you cannot help but satisfy yourself.

THE SMOKESTACK

To a Steeple-Jack any stack, regardless of whether it is composed of brick, steel or concrete, is a smokestack. Undoubtedly you have heard these stacks referred to as chimneys; nevertheless, from now on we will call them smokestacks.

Steel smokestacks are supported by guy wires. As a general rule two sets of guy wires support a steel stack, but I have often found a smokestack supported by three sets of guy wires. These guy wires consist of four wires to a set.

There is supposed to be a wire which runs through a sheave from the top of the stock to enable the stack man to rig up. This wire is flexible and is called a gimblet wire. Above all things, do not use this gimblet wire for ascending purposes; by that I mean in such a manner as to cause the weight of your body to rest upon this wire, as there is often great danger in an act of this kind.

Read carefully the following few lines and you will be convinced of the risk you are taking by endeavoring to ascend on the gimblet wire.

If the gimblet wire in question has been in that position for a year, in all probability it is rotten at the point where it runs through the hook at the top of the stack, and it would not take much weight to loosen it. So bear in mind, no matter how light or heavy in weight you may be, do not climb up on the gimblet wire.

The following is a more simple and far more safe way of getting to the top:

First of all, get a board from six to nine feet in length and two to three inches in depth. Take one end of the gimblet wire and tie it to the end of your board, and fasten the other end of the wire to the board about three feet from the end. Take your stack hook—a hook of good ⅝-inch steel. This hook should be about fourteen inches long, the hook being six inches long; a five-inch opening with an eye opening of about two inches, so that you can hook your block and tackle to it. Attach your stack hook to the board on the side opposite to where your gimblet wire is fastened. Be sure the hook is turned towards the stack.

When this is done, pull on the wire; that will draw up your riggings, reaving your block and falls out to the size of the stack, so as to enable you to keep them from twisting with the gimblet wire. Now, then, should this board be weak and break while you have your riggings near the top, to prevent them from falling down and one end of the gimblet wire from running to the top, tie a heavy piece of cord to the end of the gimblet wire, running it to the other end of the wire, then fasten to your blocks.

This will prevent a hard day’s work untangling your riggings from the guy wires, should the board break.

After drawing your rigging to the top, the board drawn tight up to the block on top of the stack, pull on the gimblet wire that is attached to the end of the board. This motion brings the end of your board bearing the hook and rigging up. In some cases, the stack being small in diameter and the board being too long, the hook will stick far out from the stack, and with all hard efforts will not lodge it over the top. When you have this proposition to contend with, leave the stack about three or four inches on the gimblet wire that holds the board tight to the block on the stack. In some cases you have to drop the board as far as from two to three feet below the block, in order to get your hook in a position where it will settle over the top of the stack with the hooked part inside of the stack.

This is very important. Be sure that the hook is not only setting on top. This can be determined by twisting all four lines, making them one bundle; then by giving the lines a few switchings back and forth in all directions. When this is done and you have fully convinced yourself that the hook is properly over the top, then your next move is to start for the top.

If it is your first time in a boatswain chair, I would suggest that you sound yourself first as to dizziness. This can very easily be done by the following method:

Stand along the side of the stack, throwing your head to one side and looking up, allowing your eyes to follow the stack and the clouds, shaking the head at different times. This brings on dizziness. Then stand erect, so as to clear your head. After getting into the boatswain chair, you place the fall line of your riggings—that is, the line with which you draw yourself up—between your legs. This enables you and your helper to pull more steadily together, and you get to the top much quicker.

I have noticed that the majority of stack men regard this as the most difficult part of the job—drawing to the top. Once up, the job is half done.

After you reach the top of the stack, the first thing to be done is to cut away the string that holds the stack hook to the board. You then lower the board to the ground. Still tied by the wire to the board for further use in case you want to trip off with it when the job is finished.

There is still an easier way, which I will explain later. Now we will say the work you are to do is paint. For your information I will say that oil paint is preferred by Steeple-Jacks for several reasons, some of which are: It is easy to apply in all kinds of weather; you are bound to get plenty of it in the face, and it is easier to wash off than tar. From my personal experience I have found that graphite and oil preserve a steel smokestack better than any other. You will come in contact with people who will differ with you as to this point; however, when you meet with a difficulty of this nature, give the man what he asks for. If he wants water, give him water; if he desires to have tar, give it to him, but if he wants something good, then suggest an oil paint. Graphite and oil—the preservable.

A great number of men with whom you deal will say: “I want tar on my stack.” I have learned from my own personal experience that the answer which will in nine cases out of ten take with the man with whom you are dealing is something on this order: “If you want tar, all right, but it will cost you =more= money.” He will immediately confront you with a question similar to this: “Why is that?” Your reply should be: “If I put tar on your smokestack and come back next year for your work, you will refuse me, because tar blisters in places and rust forms under the blisters, which prevent the rust from being seen, and in a few years there are holes in the stack, whereas an oil paint wears off, showing the rust spots.”

However, I am running away from my story. We will go back to the top of the stack. You look down, getting straight above a guy wire, reach over as far as you can and paint, leaving the space directly in front clear; drop down about ten feet, painting as you go; draw up to the top again, switching the stack hook over and directly above the next nearest guy wire. In order to accomplish this, take an extra hook similar to your stack hook and about seven feet of ½-inch line. Place the extra hook over the top; tie the other end of the sling to the rope of your boatswain chair, making it good and secure. Then lower your weight from your rigging until it rests on the extra hook and sling. You then draw your regular stack hook up to the extra hook. When this is done you pull your weight again to your riggings and push the extra hook around. Do this until you get to the position you want, just above the next nearest guy wire, repeating the same as you did above the other guy wire, painting about ten feet down. When this is done, draw back to the top, using the same method to get over to the middle of the two spaces you have painted.

Then start to paint between the two spaces already completed. By so doing you are able to make a larger sweep on your way down. In order to make time on a stack it pays to have a helper on the ground, so as to take the end of the fall line or handy line and pull you around and by doing this also help to keep you in to the stack, which enables one to work to a better advantage and much quicker. Remember, “Time is money,” and there is lots of it to be made.

The opportunity is there. Tradesmen of all walks of life say: “Gee, business is dull in my trade. If I only had the opportunity that some people have.” A Steeple-Jack should never say that, because there is always work to be done on a smokestack the year ’round. Don’t be afraid to ask for it, and also a price. Yours is not a common trade. It takes brains, brawn and nerve, so don’t permit your nerve to fail you when you are asking a price.

Another thing to be careful of is not to allow your rope to get caught and tangled in the end of a guy wire attached to the stack at the band. Should this happen, it may put you in a very hazardous position. Give this a glance now and then and, should such a thing happen, do not get excited and start tugging. The more you tug, the tighter it gets. Have someone to switch it out from the ground. It is possible to do this from the air.

High wind is the Steeple-Jack’s greatest enemy. It is only a fool who would attempt to rig a smokestack when the wind is blowing a gale; in fact, it is almost impossible to work in a high wind. More work can be accomplished in one-fifth of the time on a calm day. “Time is money,” but always take time when your life is at stake. Always keep in mind the motto: “Safety First.”

When tying up your riggings for the night, and it might be calm at the close of the day. Weather changes in a very few minutes at times. To safeguard against the rope from wearing against the stack and guy wires, walk out about fifteen feet from the stack, taking a piece of extra sling. Tie the sling to some object that is solid, throw two half-hitches with your fall line around the riggings just above the single block. When this is done, pass the sling which you have tied to some object through the hook of the block, making it fastened to the block. Then pull the slack out of your riggings with the fall line, at the same time keeping the two half-hitches just above the block. Do not take up all the slack; leave some play in your lines, using your own judgment as to whether the lines will come in contact with the guy wires. The weather will shrink the line more or less.

TO RIG A STACK WITHOUT A GIMBLET WIRE

When this proposition confronts you it may look to you like a job not worth fooling with. It can be done and, on some stacks, almost as quickly as with a gimblet wire.

There are a number of ways to rig without the aid of a gimblet, of which I will show you two of the quickest and most simple.

Look over your guy wires and pick out the most solid of the lot running to the top band. Make sure of its anchorage. There are supposed to be two clips at each end of a guy wire where it is connected to the turn-buckle, and at the band place the double block without the stack hook on the guy wire.

Tie a long and heavy line to the block. Take this line, passing it around all the guy wires with the exception of the one the block and falls are attached to. Then reave out your line to what you would figure the length of the stack to be. You then take hold of the line that is around the guys, pulling on it and at the same time switching on your rigging. Unless the guy wire is slanting at about 45 degrees down, your rigging will slide up very easily.

With this system it is possible to get your rigging to within a very few feet of the top band, then tie off your tug line, be sure to some object that is good and solid. Remember your weight will be on that, and also your life.

SAFETY FIRST always. You only fall once. Use every safety device available. Remember this book only tells you how to rig, but it takes common sense while following these methods, and that is, take no chances where you =think= a thing will hold. Be =sure= it holds.

The first thing to do when getting into the boatswain chair is to see that your lines are not twisted. Have your helper walk out some fifteen or twenty feet from the stack. Take the fall line with you on your way up. The stack hook, extra hook, sling string, small stick, hang line, and you are ready.

Quite a load going up! After placing the line between your legs and your helper stands away out, this helps to avoid the twisting of your line. While going up remember this: A very steady pull, the two pulling together. Long grabs and jerks are liable to prove disastrous, as it may cause the line to snap. Half-inch line has tremendous straining power; nevertheless, there are flaws in rope and rope also rots.

My first experience on a stack I remember I wanted to buy 1½-inch line. Now wouldn’t I have had a wonderful time trying to get that ton of rope to the top of a smokestack! Since then I have used ¼-inch rope, but that is too small. At any rate I had the correct idea of “Safety First” at the beginning. However, ½-inch is the proper size for a job not over two hundred (200) feet high.

Now, when nearing the top guy wire, have your helper slack up, allowing you to continue the pull alone. When the two blocks are together tie a safety line to the wire. Tie the extra hook to the stick and the end of the sling to your chair, then in the hook, passing the hook over and in the eye of the band. Pull the stick away from the hook. You then tie the stick to the block attached to the guy wire. After this is done, lower yourself until your weight rests on the line hooked in at the band.

Make sure when lifting the riggings away from the wire that they don’t fall, leaving you up there in a great predicament. If this should happen, you will agree with me on that point.

Experience is a great teacher. I have had this experience: On lifting the block away from the wire, place it in the eye of the band; also draw yourself up close to the band. Untie the sling, tying it closer to the hook, then draw up a long pole—the size you figure you will need to reach the top with. Tie the stack hook to the pole; put the block and falls in the hook; push it to the top.

Now, not in all cases is this as easy to do as to say. If the top is only fifteen or twenty feet from the band, it can be done without much effort, but should it be a reach of thirty or thirty-five feet, I would suggest the following method:

Tie a hook to the pole just so it will stay on. A light hook is required for this. Place your handy line through the eye of the hook. Tie the handy line end down about eight feet from the top of the pole, then lash yourself to the band, pull yourself up and stand in the chair, throwing one leg over the guy wire. Make yourself good and solid, spread your feet out in the chair. Do not have them together. This sometimes prevents the chair from sliding to one side. Above all remember never to let your riggings get away from you. You are in a mighty tiresome position. Always be sure to have a handy line with you in making a reach of thirty or thirty-five feet. Figure your pole, which is only two by two or so, is easily broken in a little wind. I have had poles break eight or ten times before reaching the top of a stack.

Now, in pushing the pole up with a handy line, always wait until the wind ceases for a second, then up with it. This has to be done quickly. With the pole leaning against the stack once over the top, pull the pole away from the light hook, lower the pole until the top end is at the band. Tie on the hook and block, then, with the handy line now over the top, pull on it and at the same time push on the pole with a steady push and pull. The rest is very simple. After this is accomplished, undo yourself from the band, lowering yourself into the boatswain chair. Hook up the riggings to the chair, start for the top, cut away the pole, lower it down and start your work.

HOW TO CHANGE THE RIGGINGS