Part 1

Transcriber’s Note Italic text displayed as: _italic_

THE

TURNER’S COMPANION:

CONTAINING INSTRUCTIONS IN

CONCENTRIC, ELLIPTIC, AND ECCENTRIC TURNING;

ALSO VARIOUS

Plates of Chucks, Tools, and Instruments:

AND

DIRECTIONS FOR USING THE ECCENTRIC CUTTER, DRILL, VERTICAL CUTTER, AND CIRCULAR REST;

WITH PATTERNS,

AND INSTRUCTIONS FOR WORKING THEM.

PHILADELPHIA: HENRY CAREY BAIRD, INDUSTRIAL PUBLISHER, No. 406 WALNUT STREET. 1868.

CONTENTS.

PAGE

Preface 11

History of the Lathe 18

Arc patterns described 105

—— ——, how worked 107

—— ——, observations upon 108

Balls, Chinese 68

Balls, how turned 111

Balls and hollow spheres 68

Black dye for ivory 64

Bleaching ivory 63

Boring collars 53

Boring tools 55

—— ——, how to use properly 56

Bottle 91

Box, how made 44

——, how polished 45

——, lined with orange-peel 124

—— —— —— tortoise-shell 124

Brass wheel 72

Catgut, advantage of 32

Cement for ivory 111

—— for turners 131

Circular rest 86

—— saw 38

Circles, how to begin 73

—— with eccentric chuck 97

Chain 111

Chisels 35

Chucks 39

——, to make in wood 42

——, choice of wood for 42

——, centering wood for 43

——, for work 46

——, traversing 52

——, how to use 53

Copper tools 36

Drill 80

——, shape and uses 80

——, description of tools belonging to 83

Eccentric turning 71

—— cutter described 74

—— ——, its uses 76

—— ——, its tools 76

—— —— patterns 77

—— —— chuck 94

—— —— ——, how to use 97

—— —— —— patterns 98

Eccentric cutter and chuck united 115

—— —— patterns worked with them 115

—— —— pillars 109

Elliptic machine 65

Flowers turned in ivory 69

Glue, to make 39

——, to use 39

Goneometer 85

Gouge 34

Hand saw 38

Handles of tools 37

Holly used for ivory 58

Hook and eye, how to use 32

Impressions of turning patterns 114

Ivory preferable to wood 63

——, how to polish 63

——, proper tools for turning 37

——, to cleanse from grease 64

——, to dye red 64

——, to dye black 65

Lathes 29

——, metallic and wooden 29

——, construction of 30

——, proper situation for 34

Lighter case 90

Lining patterns 73

Lines in ivory filled with ink 114

Mandrel described 31

Mastic, for turning ivory thin 128

——, to cleanse the ivory from 129

Milling tools 47

Moulding tools 37

Needle cases 90, 112

Overhead frame 74

Ornamented stoppers 92

Parallel rest 71

—— ——, how to use 72

—— ——, to move for side work 74

Pen-holder 81

Point tools 36

Polishing soft wood 45

—— hard wood 62

—— tortoise-shell 127

Printing in the lathe 69

Puppet 30

Rest 33

Regulating the chuck wheel 95

Right-side tools 35

Rings, to make 110

Snuff-box, lined with tortoise-shell 126

Saws 38

Scraping tool 36

Screws 48

——, tools for cutting 48

Spiral turning 112

Table of numbers 79

Tap 43

Tenon saw 38

Tools 34

——, proper method to sharpen 63

Tool rack 37

Tortoise-shell 124

Traversing mandrel 49

—— chuck 51

Turned temple 109

Turning patterns 77, 98, 105, 115

Twisted pillar, support for 133

Vertical cutter 88

Vandyke pattern 84

Varnish used in the lathe 129

Woods, English 57

——, foreign 58

——, to imitate mahogany 57

——, to stain red 60

—— —— yellow 61

—— —— black 61

—— —— purple 61

—— —— mahogany 32

PREFACE.

The primary object of the author, in offering THE TURNER’S COMPANION to the notice of the public, is the hope of explaining, in a clear, concise, and intelligible manner, the rudiments of this beautiful art; an art immortalized by the pen of Virgil, practised by the Greeks and Romans, and, as we are told, still existing in those exquisite _chef-d’œuvres_ of former years, so much admired and sought after in our century.

A short treatise on this subject is much wanted, and the author has endeavoured to give such correct and comprehensive information as will, he hopes, render the following pages useful as a book of practical instruction to the beginner, and of reference to those already advanced in the study of this beautiful science. The activity of mind requisite for the attainment of perfect success in all the various branches of Turning, by exercising the inventive and reflective powers, cannot fail of producing a beneficial effect on the character of youth, which must prove a lasting advantage; and the minute accuracy necessary for handling the tools, serves to confirm a steadiness of sight and hand that must, in after years, and in other branches of science, be highly appreciated.

From a long experience in the endless sources of interest and occupation derivable from this pleasing and salutary employment, the author feels assured that whoever has once patience and perseverance to overcome the first difficulties, will speedily, like himself, become an enthusiast in the art. And why should not our fair countrywomen participate in this amusement? Do they fear it is too masculine and laborious for a female hand? If so, that anxiety is easily removed; the rough work can be executed by any carpenter, and when once prepared, what occupation can be more interesting and elegant than ornamenting wood or ivory in delicate and intricate patterns, and imitating, with the aid of the lathe, the beautiful Chinese carving, so much and so justly admired? Besides, the taper fingers of the fair sex are far better suited than a man’s heavier hand, to produce the requisite lightness and clearness of effect. To our charitable countrywomen, who employ so much of their time in raising funds for the diffusion of Christianity in far distant lands, and for augmenting the comforts of the poor in our own happy land, the lathe will prove a most useful auxiliary, as well as to those who are anxious to bestow beautiful and cherished remembrances on absent friends.

Another very forcible argument in favour of the amusement of Turning being cultivated by the ladies and gentlemen of our free and independent country, and one which will, I am sure, plead most strongly with all parents and guardians, is, that all occupations within doors being usually of a sedentary nature, the exercise attendant upon the use of the lathe must prove highly beneficial to health; and one moment’s reflection will point out the incalculable advantage to be derived from instilling the love of useful employment in every youthful mind; or, when freed from the irksomeness of graver study, may they not seek companions and pursuits to whom they would ever have remained strangers, had their idle hours not hung heavy on their hands?

Should this little work prevail upon any of my readers to commence the study of this truly beautiful science, and should the occupation, as no doubt it must, prove a source of pleasure by adding to their amusement, it will amply repay the labour it has required, and bestow sincere gratification on the Author.

THE LATHE.

“The pride of arts from fair Ambition springs, And blooms secure beneath her fostering wings,”

Among all the many descriptions of the varied, beautiful, and useful inventions that owe their discovery and perfection to the genius and hand of man, inventions that in so wonderful a degree assist and facilitate the operations of the mechanic, no one has ever written the history of the Lathe. It seems strange that in a land where mechanism is carried to its greatest extent, where science of every kind is fostered and encouraged, the beautiful machinery, the easy management, and wonderful precision obtained by the aid of the Lathe, have never yet, in our language, found a pen willing to describe them. And yet, to the architect, the mathematician, the astronomer, and the natural philosopher, Turning is as useful, nay indispensable, as to the watchmaker, the goldsmith, the joiner, and smith. And it is not by these alone that its powers are appreciated; many of those who by birth, station, and riches are not in a situation to require its aid in their scientific and mechanical operations, still find this art, from its great simplicity, from the perfect ease and accuracy with which the most delicate and intricate workmanship is performed, the agreeable occupation it gives to the mind, and the beauty, elegance, and utility of its products, one of the most interesting and healthful that can be followed.

The treasures of all lands are converted into various and beautiful articles by the aid of the lathe. Gold and silver, brass, iron, and copper,—the magnificent trees that grow in the deep forests of the West, and those that flourish on the burning plains of Africa—the ivory obtained from the tusks of the elephant and hippopotamus,—the coal, jet, alabaster, and marble, dug from the bowels of the earth—are all of the greatest value to the turner. A kind of cocoa nut has also lately been brought from the West Indies, which, being hard, white, and tough, renders it excellent for working in the lathe; when polished, it has the appearance of a substance between ivory and mother-of-pearl.

To the Greeks and Romans (for the exact place of its origin is not known) the invention of this ingenious machine is ascribed; and though, doubtless, in our time it has been greatly improved and perfected, still the ancients, to whom we owe so much, first discovered and used it; and by them its powers were so well appreciated, that we are told it became a proverb among them to say any thing was formed in the lathe to express its justness and accuracy.

The Greek and Latin authors frequently mention it in their writings, but they have not clearly handed down to posterity the name of the first inventor; indeed, on this point there are many and varied opinions. The Sicilian historian, Diodorus Siculus, informs us that the first person who made use of the lathe was a nephew of Dædalus, by some authors named Talus, by others Perdix. This youth, we are told, invented the saw, compasses, and other mechanical instruments; and to him we possibly are indebted for the lathe also, for we are told, in ancient mythological history, so great were his ingenuity and talent for invention, that his genius soon surpassed even that of his uncle, who, enraged at his celebrity, and jealous of his rising fame, scrupled not to sacrifice him to his feelings of rage and hatred: some say he was poisoned; others, that he was precipitated from a high tower in the citadel of Athens; and the same authors assure us he was changed into a partridge.

Pliny, however, (and his words are great authority), ascribes the invention of the lathe to Theodore, of Samos, an artist who discovered the method of melting iron, of which he made statues. The same author also mentions a man of the name of Thericles, who was celebrated for his dexterity in Turning; and Virgil says—

“Lenta quibus torno facili superaddita vitis.”

These testimonies, of ancient poets and historians conjoined, prove it to be an art of the greatest antiquity. Cicero also mentions it; and it is affirmed that, with this machine, the Greeks and Romans turned all kinds of urns and vases, and adorned them with ornaments in basso relievo. If to Turning we really owe those treasures of other days which are found buried among the ruins of Herculaneum and Pompeii—treasures so valued by the antiquary as a memorial of former ages; by the lover of the fine arts as beautiful and graceful additions to his cabinet of curiosities; and by the rich and opulent as ornaments superior to any that modern hands can produce;—surely we must confess the workmanship of the lathes of our times is not to be compared with that performed by the more simple machinery of centuries ago. It seems, indeed, almost miraculous, that the beautiful figures and elegant and graceful designs here spoken of should be produced by a potter’s wheel, so was the lathe anciently denominated; but the testimonies of so many learned historians agree in declaring that to its aid we owe those exquisite productions, that it is impossible for even the most skeptical to deny it. Before we quit, what may not unaptly be denominated, the romance of the history of the lathe, we will add, that the saw, which we have already said was invented by Talus, is supposed to have been first made by him in imitation of either the jaw-bone of a snake, or else the back-bone of a fish; and in a painting still preserved among the antiquities of Herculaneum, is a saw exactly resembling our frame saw, with which two genii are dividing a piece of wood.

It is, however, certain, that could these Roman and Grecian artificers see a modern lathe, examine its complex yet beautiful mechanism, and the almost endless additions and improvements it has undergone since the days of Virgil and Pliny, they would hardly recognise it in its more finished state, and would be much puzzled to discover in what manner to manage its machinery. Among the numerous apparatus adjusted to it is a machine, by the aid of which medallions have been executed; and in the British Museum is a profile in basso relievo of Sir Isaac Newton, wholly worked in the lathe; but how different from the turning of the ancients! The medallion machine requires much labour and very expensive apparatus, while the potter’s wheel cannot have possessed much mechanism or great quantities of tools: most of those now in use being unknown in former days.

Having now established the great antiquity of the lathe as a useful and classical employment, we will briefly mention a few of the improvements it has undergone in latter years. The potter’s wheel is, of all lathes, the most simple; it merely consists of an iron beam, or axis, a small wooden wheel placed on the beam, and a larger one fastened to the end of the same beam, which turns by a pivot on an iron stand. With this simple contrivance the workman still forms the body of the vessel of clay, but never attempts to turn the handles, feet, mouldings or ornaments. In latter years, various and important tools and improvements have been made; chucks have been invented, which enable the turner to accomplish with speed and facility an almost innumerable variety of circles, lines, ellipses, and arcs, all so delicate and true in their form and design, that they cannot fail exciting the admiration and wonder of all who contemplate them. The screw also, once a formidable difficulty to the uninitiated, is now rendered perfectly easy of execution by means of the traversing mandrel; those, too, who are very learned in this art, can out of a piece of ivory or mother-of-pearl, produce in the lathe beautiful brooches, ear-rings, and studs, worked in raised flowers; chessmen in imitation of carving, and ornamented vases full of detached flowers; while fluted and spiral columns, delicate mouldings, and fanciful beadings, are of comparatively easy execution.

To form patterns upon wood or ivory, various descriptions of chucks are employed; one lathe serves for all, as they are made to screw on to the nose of the mandrel. By the aid of the concentric or common chuck, every article you turn is circular; the lines forming the circle are enlarged or decreased as the tool approaches or recedes from the axis. The oval chuck, as its name signifies, works designs of an oval or spherical shape; the eccentric turns patterns of a circular form, but its peculiar properties enable the workman to alter the centre of his work at pleasure: the geometric and compound eccentric produce beautiful geometric and carved designs; the oblique and the epicycloidal also turn curious and intricate patterns, and the straight line chuck performs all its work in direct lines. These are the chucks most in use, but many of them are expensive and complicated, and they only execute the ornamental work; the shape and size of the object are accomplished by the lathe, without any aid but that of a common chuck and common tools.

The curious and varied mechanism of the above-mentioned chucks are truly wonderful, and the patterns they perform very beautiful; one of peculiar form, and exceedingly intricate, has been invented for bankers’ checks, to prevent forgery. There are also two rests, which are necessary appendages to them; the sliding rest, that moves in a direct line at any angle, and the circular rest, which enables the turner to ornament balls, spheres, and round objects. We must not omit, too, to mention the eccentric cutter, the drill, and the universal cutter, all exceedingly useful, and enabling the turner to execute a great variety of designs and patterns. The rose engine, also, is much admired for all kinds of ornamental work, but it is very expensive, and new inventions are daily adding to the machinery of the lathe, and rendering its powers more extensive.

The wonderful discovery of voltaic electricity, by which copper-plates, plaster casts, wood engravings, and medals may be copied, can also be applied in various ways to turning, either in wood or ivory. For instance, by its aid a wooden thimble may be changed into the resemblance of gold, or a box take the appearance of silver; thus, while your work retains its first beauty and delicacy, the material is apparently of much value. It would be going beyond the bounds of a work on turning, to give any directions for this transmutation, particularly as there are so many already published on the subject. We must also add, that by a careful and steady management, the drill may be made almost to take the place of the graver; by holding a plate of copper steadily against it, and using various tools, (not letting the lathe go too quick,) portraits and landscapes can be executed for printing.