The Lost Scrolls of

HANDWORK
An Illustrated Magazine of Practice and Theory
FOR ALL WOODWORKERS, PROFESSIONAL AND AMATEUR
HANDWORK is an amateur woodworking magazine [All Rights reserved.] [Link]

Issue. 10 SATURDAY, JULY 4, 2020 FREE

D ominos Box Project

Benchtop Vice Appliance

Final Issue
The Lost Scrolls of

HANDWORK
ARTICLES
A Brief Practical Treatise on Hardwood Finishing
Page 9

A Talk About Shellacs, Gums and Varnishes

Page 13

The Norman Landry Benchtop Vice

Page 17

Bolts in the Ends of Wood Rails

Page 25

Breast Drill with Right-and Left-Hand Ratchet Move-

ment Page 29

Dominos Box
Page 31

Grinder Wheel Alignment

Page 49

1 [Link]
The Lost Scrolls of

HANDWORK
The Sharpening of Bits
Page 52

The Mortise and Tenon Joint in Woodworking

Page 55

Tea Chest
Page 61

The Lost Scrolls of HANDWORK 2

About Me
My name is Salko Safic, founder of “The Lost Scrolls of HANDWORK” magazine. Husband,
father of five, three boys and two girls. I live and work wood in Australia on the Gold Coast
in sunny Queensland and am a third-generation woodworker working wood with hand
tools.
I was first introduced to the craft by my father at seven. He was a toy maker who made
rocking horses, cradles and other childrens’ toys for retail outlets. I worked with him on
weekends and built my first cradle a few weeks later. I hadn’t realised then I had been
bitten by the woodworking bug, and have been infected with the joy of working wood ever
since.
I began making clocks professionally in 1998 and ceased operations in 2017 to spend
more time with my family. This also freed me to explore other areas of the craft. I have a
deep-rooted passion to build 18th century style furniture. This is something I’ve wanted to
do for a very long time, but never had the time to do it.
Somewhere along the way I decided to write about my journey in the craft. It started with
the blog, then keeping a journal for my future generation and now this magazine. I’ve
always felt that there was a need for a magazine that would cater to hand tool enthusiasts
like myself. Since I’ve always worked with hand tools and ran a successful business using
mostly hand tools, I was confident that there would be other like-minded craftsmen who
would appreciate such a magazine. So, I took it upon myself to begin this magazine know-
ing full well just how challenging it would be, especially since my writing skills are not quite
up there with the rest; just ask my editor Matt McGrane how he got those greys.
Many times I wanted to throw in the towel; the challenge is enormous. But if I did, there’s
currently no one out there willing to shoulder this enormous responsibility due to it not
being “profitable” enough. I feel it’s my moral obligation to keep this magazine alive in
order to reintroduce skill into the hands of those who want it so that those skills can be
passed on to our future generations.
In a nutshell, I’m just a regular guy who is trying to do his part for humanity and the craft I
love so dearly.

3
Editor’s Notes
“The Lost Scrolls of HANDWORK” is intended for Editor In Chief
the hand tool enthusiast. In these pages I hope Salko Safic
to fill a void in today’s woodworking publications. handworkmagazine@[Link]
I want to share with you the joy of working wood
with hand tools, the ease with which hand tools Contributing Editor
can accomplish a task, the wisdom that came Matt McGrane
from centuries of working wood and the tech-
niques that are rapidly being lost to antiquity. Art Director
Working wood with hand tools has grown expo- Salko Safic
nentially in the last ten years. More and more
people are turning towards the handcraft move- Graphic Artist
ment for various personal reasons. Salko Safic
It’s from this movement that this magazine was
born. I hope to deliver many articles of a variety Circulations Officer
of projects throughout the years ahead, by way Salko Safic
of contributing authors/artists. It’s my sincerest
wish this magazine will bring out the best in all Positions Vacant
of us and introduce to you artisans never seen Authors Wanted
nor heard from before, the ones who are tucked
away in their workshops from all the corners of
the world.
“The Lost Scrolls of HANDWORK” is an am-
This magazine is about our craft, it’s about you ateur woodworking eBook magazine publica-
and me, it’s about our unsung heroes of the yes- tion.
This publication may not be reproduced or
teryears. It’s all about woodworking. sold but the projects I have written in the
I am constantly on the hunt for contributing articles may be used for commercial use.
authors. If you feel you’re up to the challenge Project blueprint/working drawings may not
be copied, sold and redistributed through
to write an article for the Lost Scrolls of HAND- any physical or electronic means. Any texts,
WORK, please feel free to shoot me an email. video, sound and artwork are the property
of the respective contributing authors. They
Your generosity and expertise would be greatly may not be used in any manner including re-
appreciated. As always, dear readers, I welcome producing items for sale without the express
your feedback, comments and questions. written consent of the individual writers. Our
authors control their work at all times. Any
of the content/s found within HANDWORK
have been freely given to be published in
HANDWORK free of charge by the contrib-
uting authors or are public domain. The Lost
Scrolls of HANDWORK eBook Magazine ac-
cepts no responsibility in respect of the con-
tent of any site to which a hypertext link from
this eBook exists. The links are provided with
no warranty, express or implied, as to the in-
formation provided within them.

The Lost Scrolls of HANDWORK 4

 which will be discussed and moulded into law
at the earliest opportunity. Our Universities
TO OUR READERS and great Public Schools are awakening to
the necessity of teaching the hands to work
as well as the brain to think. In every large
In memory of Ed Francis Young. The Creator,
town, and in London itself – the head as well
Author and Visionary of Work
as heart of the Empire – a craving is springing
up for the establishment of technical institutes
“Read you, and let us to our WORK”
and workshops, in which any and every man,
2 King Henry VI., i. 4.
whatever may be his social station in life, may
obtain improved knowledge of the leading
ALTHOUGH no apology may be needed for
handicrafts that are practised by men, or even
the appearance of WORK, an explanation of
to learn their very rudiments, if he so requires.
its Why and its Wherefore-its rasion d’etre,
In these amateur workmen are already as-
as our friends across the Channel would put
sembling, that they may better know through
it- is certainly desirable, and a little space in
practice under trained teachers how to carry
this, its first Number, may be usefully taken up
out the work they may have adopted as a hob-
in showing the causes that have led up to its
by; and professional workmen that they may
introduction; the persons to whom it chiefly ap-
become better conversant with the theory that
peals; the objects at which it aims; the special
underlies the work they do; and by this, and a
features by which it will be marked; and the
quickening of their taste and perception of the
field of operation that it seeks to cover.
beautiful in form and perfection in execution,
First, then, let it be shown why and wherefore
gain greatly in skill, and capacity for carrying
WORK has been called, and has come, into
out the work by which they have to live.
existence. What, let us inquire, is the great
And all grades of workmen are alike led to
demand of the time; for what are most men
seek self-improvement, because they have
chiefly asking and seeking in the present day?
realised the truth of the grand old saying –
To this question the right reply is by no means
Knowledge is Power.
difficult to find. It is, and must be- “Better and
fuller means of Technical and Practical Educa-
To meet, then, at a most critical period of our
tion.”
national existence, the needs of workmen
Never, indeed, it may be said, was the de-
belonging to each and both of the two great
mand for technical education greater than it is
classes into which workmen are naturally
at the present time! Never was it heard more
divided – professionals on the one hand, and
that it is now among workmen of British nation-
amateurs on the other – WORK has been
ality! And why? Simply and solely because
brought into being. That WORK will prove
of late years it has become painfully apparent
the most useful and most complete serial of
that by means of increased facilities for obtain-
its class that has yet been given to the world,
ing technical knowledge the foreign workmen
there is every reason to believe; and, without
have been stealing a march upon them.
doubt, it will be eagerly sought after, read,
Never, forsooth, at any time has the necessity
and followed by those for whose benefit it
for sound technical education for the workman
has been produced, as the first, the best, the
been so thoroughly impressed upon the minds
most helpful, and the most reliable practical
of men as now; and never has it been so ea-
instructor of the times in which we live. Nay,
gerly desired and demanded by all grades and
more than this, it may be regarded as being
classes of the people.
verily unique in itself through the comprehen-
siveness of its scope, for although efforts may
At the present moment, there lies in the pi-
have been made, prior to this, to help and in-
geon-holes of the British Government a Bill for
struct the amateur, never yet has any attempt
the Promotion, Extension, and Elaboration of
been made to regard all workmen, whether
Technical Education in the United Kingdom,

5
workers for gain and daily bread or workers for every source from which I can derive some
amusement and recreation, as one great fam- knowledge of them.”
ily possessed of common aims ad actuated by
common interests, who enter the lists of com- Every man, indeed, has, or ought to have
petition in friendly rivalry alone, to provoke one his hobby whether he be professional or not,
another to the execution of work of greater and therefore, in seeking to administer to the
excellence than either the one or the other has improvement of one class and to build up and
yet produced. Each class has much to learn augment the knowledge of its members, pre-
of the other; each class can teach the other cisely the same thing is done in the interests
much. Time, it is to be up and doing, and, of the other.
with regard to those who write in the pages of
WORK, it is to lead and help their fellow-men This has been said to show that the pages of
to better things that they are banded togeth- WORK are intended for both groups of work-
er. They, verily, are first afield to guide where men alike, and to point out, on the good old
assistance and lend a helping hand wherever principle that what is sauce for the goose is
aid may be sought. sauce for the gander, that that which is desir-
And this they will ever do in the spirit of Sol- able and useful and desirable for the other. If
omon’s mingled counsel and command – there be any difference at all, it will be found
“Whatsoever thy hand findeth to do, do it with to consist chiefly in this – that the profession-
thy might.” al workman requires and desires to gain in
Mention has been made, well-nigh in the comprehension of theory, and the amateur
same breath, of the amateur and the profes- conversely, in practice, and thus each will be
sional workman; but are they not more closely brought on pari passu to the same goal – per-
akin than superficial thinkers are disposed to fection in execution.
allow? Are not all men amateurs alike? Are
not all professionals? Verily, yes; each and We must now pass on to consider briefly the
every man in his own order. What, indeed, objects of WORK, and the subjects that are to
is the difference between workmen, amateur receive treatments in its pages. On this it is
and professional, save that the latter practic- only necessary to say that in the papers which
es his craft or calling for gain, and the former will appear from week to week will be found
loves and cultivates an art for his amusement. a clear and practical exposition of the modus
The distinction is very much like that which operandi to be followed in every art, craft, or
has been drawn from time immemorial be- science that bears directly or indirectly, on
tween those who live to eat and those who handiwork of a constructive or decorative
eat to love; and the comparison runs far more character, the directions being supplied and
closely in parallel lines than may appear at comments made, either in short single papers,
first sight, for if the professional works to live, or in series of articles tersely and comprehen-
does not the amateur in an equal degree live sively written.
to work? Even a professional workman is an If the reader presses for a more accurate defi-
amateur in everything else except the one nition of the nature of the articles that will be
particular handicraft by which he lives; so that, treated in WORK, let him attempt to sum up
speaking fractionally, every man, if he be one- in his mind for a moment the handicraft trades
fourth professional, is very likely three-fourths that are most familiar to himself, and endeav-
amateur and so may be regarded as being in our to realise that instruction will be given on,
point of fact more of an amateur after all than or notice taken of, every one of them sooner
he is of the professional. Said a working man or later. To catalogue them would be simply
to a writer one day, “I look upon myself as to make a list of every kind of constructive and
an amateur in every man’s trade except my decorative work that is practiced by man. Let
own, and as I like to know something about us take this as done, and so avoid the waste
all trades besides my own, I hail with pleasure of time, space, and power that would be in-

The Lost Scrolls of HANDWORK 6

volved in its preparation. Number 1 and Part 1
will sufficiently serve as samples of the whole.
It is impossible, manifestly, to touch on every-
thing at once, but everything nevertheless, will
be touched on in time.

In general character, WORK will be purely

technical and instructive. Nothing that comes
within the region of polemics will be touched
on in its pages, and discussion will be permit-
ted on such subjects only as are processed of
common interest for all readers. Safety is the ultimate responsibility of every wood-
With reference to the special features by which worker; hand tools are safe as long as they are used
WORK will be marked, it may be said that ev- as per manufacturer’s instructions. Keep all blades
ery paper that requires it will be fully illustrated sharp; blunt tools are dangerous and will result in
with sketches, diagrams, or working drawings poor work. Mind where you place your hands when
to scale as may be described. This alone will using your tools. Never work wood when you’re
tend to render WORK invaluable both to the tired or intoxicated, even the smallest amounts of
workman himself and those at whose bidding alcohol can result in poor vision and judgment.
and for whose benefit he may work. When operating machinery, read and follow the
New machinery, new tools, new appliances, recommendations of your machines’ owner’s manu-
new arts, new processes, new modes of treat- al, using appropriate guards and safety devices, and
ments will always find exposition in its pages, maintaining all your tools properly. Use adequate
and a special feature will be made of sight and hearing protection.

OUR GUIDE TO GOOD THINGS,

in which notice will be taken of tools, machin-

ery, technical works, etc., And all things useful
and novel that manufacturers and inventors
may produce in the interest of those who
labour with the hands. Manufacturers and
others are requested to send the Editor timely
notice of any new tool, machine, or appliance
that they are about to introduce as a new
claimant for public favour.

7
[Link]

The Lost Scrolls of HANDWORK 8

A Brief Practical Treatise on Hardwood Finishing
BY A. ASHMUN KELLY

f all the woods employed in architectural finishing and furniture making oak is the most

O popular, possessing as it does all the virtues looked for in a wood desired for those
purposes.
The kinds commonly used are the white, the red, and the black oak. Straight sawed and quar-
ter-sawed oaks give us a great range of choice as to appearance and adaptability for finishing.

Birch, Mahogany and Ash

Birch comes straight and curly, and may be finished natural or stained to look like mahogany.
Mahogany may be had in several varieties, the finest coming from South America, but very
much, some say 75 per cent, of what passes for mahogany here is "bastard" mahogany or
baywood. Still, when the two are used together and finished together as in furniture, it is very
difficult to tell them apart. Then there is a mahogany from Mexico and some that grows in this
country. Also there comes from Africa mahogany, a very beautiful specimen being known as
"crotch" mahogany. A fault of African crotch mahogany is checking in fine hair lines after the fin-
ishing. My attention was lately called to an advertisement of some pianos, which said: "These
have just been received and are among the last lot that we shall get," because of the checking
here mentioned. The wood was beautiful, but frail.
American ash is a coarse-grained wood, useful either by itself for low priced sets of bedroom
furniture, or in union with oak for the same purpose. Stained and filled antique, it makes a very
good substitute for oak in furniture. Hungarian ash is of course in another class as regards
beauty. It is beautifully marked.

Maple, Walnut and Redwood

Maple comes straight and curly grained. From time far back it has been a favourite on account
of its beauty, its hardness and durability, and its abundance. There are many varieties of this
wood, one from Oregon being very fine, but our Eastern maples leave nothing to be desired in
the way of what the wood finisher requires of it. It is very light in colour, and takes a first-class
finish.
American walnut, or more commonly called "black" walnut, one of the very best of native
woods, is susceptible of the highest finish in several ways and when properly finished produc-
es the handsomest effects known to the art. It is easily grown so there seems no reason why it
should be so scarce.
Several woods and their scope for the finisher, the line between the hard and soft
woods, preparing the surface prior to the finishing process, the methods of treating oak,
matching the new and old oak, bleaching of wood
Redwood from California is thought by some to be the very finest wood in the world for interior
finish and certain other purposes. In some respects, it is not much unlike mahogany. It should
not be confounded with red cedar which is quite another species of wood.

Sycamore, Cypress and Pine

Sycamore or buttonwood is a hard wood of good grain. When quarter-sawed it is one of the
handsomest woods the finisher has ever applied his skill to adorn. Cypress is a wood of great
durability under exposure. It has a good colour but it is very hard to work and to finish, hence
will prove useful only for the construction rather than the finish and adornment of homes. It is
also difficult to paint, owing to its uneven and often spongy texture. Cypress is a member of the
cedar family and is durable. Select specimens of this wood are very handsome and make very
fine doors, etc.

9
Yellow pine comes from North Carolina and Georgia, mainly, and they are unlike one another.
The former variety is known by its curly figurings, being very handsome; the other is of straight
grain, making a very good flooring, especially when quarter-sawed.
White pine has become practically extinct in the East, but there are some very good specimens
of it left in the great forests of the far Northwest. It is the most satisfactory wood for house finish-
ing the world has ever known.
Poplar, Rosewood and Beech
Poplar or white wood is a fairly good substitute for white pine, having close texture and straight
grain making it easy to work. Yellow poplar is the best, not being inclined to warp as is the other
variety.
Rosewood, once so popular, has now nearly ceased to be used in furniture and cabinetmaking.
It has its weak points, yet there is no denying its beauty under the finishing process.
Beech is one of the later introductions in the furniture factory and with it might be named several
others also.

What are Hard and Soft Woods?

As another finisher has put it, it is difficult to draw the line between the hard and soft woods, so
called, and really there is no need for making the distinction at all, it serving no practical pur-
pose. It is well, therefore, to call them all by the name of hardwood, by that term meaning just
woods that the finisher has to deal with.
When we come to the filling or surfacing of woods, we find that the lines overlap, so that on
some so-called hardwoods, say oak, we have to both fill and surface to get a result. Any wood
having a very open structure will of course require a paste filling, and often over this a surfacer
or liquid filler, the same thing. In some cases, it will be necessary to apply two coats of paste, or
one coat of paste filler and one of liquid filler. The paste is to fill or level up with, the liquid: sur-
facer is to saturate the cellulose matter with oil so that it will not rob the varnish when it goes on.
Preliminary Work
The first thing to do is to see that the work that is to be finished is smooth and clean, free of
dust and grease. If we start the work smooth, it is easy to get the next coating smooth, and
so on to the finish. It is a mistake to leave the smoothing until the last for it will save time and
labour to make each progressive stage of the job smooth. Besides which; it is very difficult to
make it smooth at the last if it has been rough up to that time.

Finishing the Oaks

Finishers know many ways for finishing oaks, and also there are ways that they ought not to
know. Many of the sins of oak finishing may not be laid at the door of the finisher, however, for
public taste, so called, is to blame.
Golden oak leads, of course. The very best effect is obtained with asphaltum stain, using the
best that can be had. What a pity that asphaltum is not perfect, that it does not dry, or that it
softens the varnish or sweats up under it. In colour it is perfect. It gives the best known golden
oak finish. Its brown tint over the flakes is a true golden tone.
First the wood must be filled with a paste filler, which to darken with burnt umber. After this has
dried and the surface has been prepared apply a stain, asphaltum if you will, or with Vandyke
brown, a very transparent pigment, the most transparent of all the painter's pigments, indeed,
being also a very rich brown. The stain is applied liberally, then at once it is wiped off clean. This
fills the pores of the wood, but removes all stain from the surface. When dry, sandpaper with 00
paper, getting the flakes bright.
Another method calls for staining the wood before the filling. Let it stand overnight, say, then
sandpaper with 00 paper and fill with a filler made by thinning ten pounds of paste with one
gallon of thinner, turpentine or benzine; the latter will do very well. Colour the filler with drop

The Lost Scrolls of HANDWORK 10

black in oil, making the filler only slightly dark. The stain is to be made quite thin and is not to be
wiped off but allowed to remain on the wood overnight.
It is well for me to say here that pigment or colouring matter is not a filler, hence the less you put
in the more paste filler can get in. The filler is to be rubbed well into the grain of the wood, which
will make the wood very dark in its pores but the flakes will remain bright. After the staining
and filling the work is ready for the varnish and finishing. Vandyke brown and burnt umber may
be mixed together to get a certain shade of brown, or be mixed with asphaltum. In fact, many
shades can be made by various admixtures of the colours, including drop black.

Antique, Flemish and Mission Oaks

Antique oak is simply plain oak made as dark as the fancy may dictate, using burnt umber, Van-
dyke brown, asphaltum or drop-black.
Flemish oak is a very dark effect, almost black, and is first stained with a chemical, as follows:
Dissolve one-half pound of bichromate of potash in one gallon of water; strain, then apply with
a bristle brush. Let it dry, then sandpaper with 00 paper. Now mix up some japan drop black to
a thin stain with turpentine and apply it to the work. In a few minutes you may wipe off the stain,
let it dry, then give a coat of thin shellac which is allow to dry perfectly. Shellac seems to be dry
as soon as applied, really it is not as it requires some hours to get hard dry. Then smooth with
fine paper. Finish with wax, made by mixing bees wax one pound to one gallon of turpentine,
and adding four ounces of best ivory drop black. After waxing rub with cheese cloth, wiping off
clean.
Another method calls for a paste filler made from equal parts of burnt umber and Vandyke
brown, with a small quantity of lampblack. This is hardly a paste filler, however, though it will
give a very dark effect. Any degree of darkness may be obtained by the increased use of drop
black in the filling and staining.
Mission oak has many different colour effects so that no standard can be made. As a rule, it
should show a dull grey effect, the flakes being a reddish cast, but the grain is a dull or almost
dead black. To make the stain take one pound of drop black in oil and one-half ounce of rose
pink in oil, add one gill (unit of volume in British imperial) of japan and thin with three half pints
of turpentine. This will give you about a quart of stain. By using japan colours in place of the oil
colours, you may omit the japan. Strain through cheese cloth. Finish with wax. Always when
using japan colour add a little varnish as a binder.

Green and Primrose Oaks

Malachite or green oak may be produced with a green oil stain. Green paint will not do because
it will obscure the grain. Dissolve aniline green crystals in boiling water, about an ounce to the
gallon or stronger, and reduced according to depth of colour wanted. When the staining is dry,
coat it over with white shellac to which add a little of the stain to tinge it green. Give one or two
coats, according to body desired, and then wax it.

Forest green oak

Make and apply this stain: Mix together one pound of chrome green and one-half pound of
chrome yellow, both medium shades. Now add together in another vessel three pints of turpen-
tine, one pint of raw linseed oil, and a little white japan. Thin the colours with this and give the
wood one coat of the resultant stain. Now colour some white shellac with a little turmeric and a
few crystals of green aniline, then you may finish it with wax.
Plain green oak is an effect that may be produced by giving the wood a coat of the stain used
for golden oak. When this has become dry coat with orange shellac to which has been added
some aniline green crystals.

11
Finish with wax
Primrose oak is about the same as the green oak, only it has a more yellow cast. Bog oak is
very much the same as Flemish, being a very dark, almost black, effect. Royal oak is produced
by a staining with ammonia, bichromate of potash, and Vandyke brown. This will antique oak
to a beautiful brown, and may be described as follows: Soak some dry Vandyke brown in liquid
ammonia to form a paste. Thin this with a saturated solution of bichromate of potash. Apply as
a stain in the usual way. Diluted to a certain degree, this solution makes a good walnut stain on
any suitable wood.

Matching Dark Oak

If called upon to make a new piece of oak match the old, try a weak solution of bichromate of
potash, say an ounce to five pints of water. Use a sponge preferably, though a brush will do.
In this sort of work, as indeed in all staining, it is well to avoid allowing any part of the staining
to become dry before all is done for there would be the danger of double coating and darker
colouring. When doing say a chair, or any piece that has several small parts, to avoid getting
some stain, as from running down, from getting on to the part already stained is difficult. The
best thing to do is to go over all with a weak stain, apply liberally and work fast, until every part
is wet before any part is dry; then wipe off with a cloth or rag.
It may be noted here, while I think of it, that when a surface has been wetted first with clear
water it will not only take the stain more readily but will show up darker also. This latter result
is doubtless due to the stain not getting so far away from the surface, owing to the fact that the
wood has been well saturated with the water. Carved work and mouldings may be rubbed with
a stiff brush after staining, as sandpaper cannot so well be used; for very small parts a tooth
brush does very well. Sandpaper should not be used on mouldings and carved parts, on ac-
count of danger of cutting through the stain and also injuring the fine lines of the work.

Bleaching Dark Wood

Some time ago someone asked for a method of treating the black parts of gum, and making
them less conspicuous. I then told him about the bleaching qualities of oxalic acid, dissolved
in water and applied by a brush. This is sufficient to bleach oak and some other woods, and is
a standby for the wood finisher. But whether it will bleach out the black heart of gum I do not
know, but would like to learn from our inquiring friend.
Furthermore, right here it may be well to suggest that where such inquiries receive attention it
would be useful to the readers generally to learn something of the matter afterwards and hence
if the inquirer would be kind enough to tell us about it after he had made some experiments,
with results gained, he would certainly confer a favour.
When using oxalic acid for bleaching out wood, add a little spirit of niter (ethyl nitrate) also
called “sweet spirit of niter.” After the acid has become dry, wash off thoroughly with clear water.
Apply the acid hot. Chloride of lime is another good bleacher for wood, and you might try this
recipe, though it is intended for objects that can be immersed in the solution, yet its application
to the surface of wood may also be efficient. It is worth trying. Dissolve 17 ¼ ounces of chloride
of lime and 2 ounces of soda crystals in 10 1/2 pints of water. Wet the wood with this and see
that it remains wet for at least thirty minutes. Wash off and neutralize with a solution of sulphuric
acid, then wash again, and let dry. This we find in the "Scientific American Encyclopaedia."
Chloride of lime is a well-known and much used bleaching agent for other materials, and I see
no reason why it should not bleach the black heart of gum, or any discoloration, whereby the
beauty and intrinsic value of the wood may be enhanced.

The Lost Scrolls of HANDWORK 12

A Talk About Shellacs, Gums and Varnishes
BY A. ASHMUN KELLY
and a rubbed finish made. Piano finishers
have for years endeavoured to find a cure for
it, but, so far as I can learn, without success.
The unsightly exudation was once supposed
to come from the oil used in the polishing but
some two years ago it was rightly located with
the shellac in which vegetable wax exists in
rather large amount. It may be explained that
this vegetable wax combines with the oil used
in the polishing process, and with it forms a
soft, greasy compound that prevents the polish
from hardening properly; also, it causes the
finish to be very sensitive to changes of the
atmosphere, while any abrasions also add to
the trouble. This greasy matter exudes after a
time, as indicated by our correspondent, in the
form of an efflorescence, greatly impairing the
beauty of the finish. How can the difficulty be
Fig. 17. Carrier System Delivering Crates to overcome? The answer is simple and the rem-
One of the Packing Departments edy obvious-remove the wax from the shellac
Cause and cure of a failure in French pol- gum before making the varnish. How may we
ishing, a discussion of lac, colourless solu- effect this desirable result? In answer I shall
tions of shellac, rosin and varnish, water, have to give you the process as described
shellac in a German technical publication. These
Germans are the greatest chemists in all the
Can you give us some information as to the
world. According to the German process the
cause of the grey or milky appearance which
wax may be separated from the gum by agitat-
often shows on French polished surfaces, on
ing a strong alcoholic solution of shellac with
which white shellac has been used, and also
fresh stick lac or seed lac or filtering on this
can you give us an idea as to how this can be
lac. Thereby the readily soluble resin, as well
prevented? “We frequently have this to occur
as slight quantities of colouring matter con-
shortly after the goods have been rubbed, and
tained in the fresh lac, are abstracted from it,
again it will not show until several weeks have
while the more slightly soluble vegetable wax
elapsed after the rubbing. In almost every
is separated from the solution. By one or more
case the goods look very clear before rubbing,
treatments of the concentrated shellac solution
and even after the rubbing, and we have tried
with fresh seed lac a clear alcoholic solution
many ways to overcome the difficulty but sel-
free from wax of the shellac resins is obtained,
dom with any degree of success. Any informa-
which is not practicable by simultaneously
tion will be very much appreciated.”
dissolving the shellac and seed lac in a suffi-
This question was asked over 100 years cient quantity of alcohol. Such a shellac resin
ago. This is a rare opportunity to go back solution freed from vegetable wax has hereto-
in time to learn how they tackled this fore not been employed as a furniture polish,
problem. neither would it be satisfactory for the purpose
Trouble in the Piano Factory as it is too "short" and lacks in pliancy, render-
The trouble complained of is an old one, es- ing it unsuitable for being readily and uniformly
pecially in the piano-finishing factories, though rubbed into the wood. So far it would seem to
it will occur wherever shellac varnish is used indicate that we are no nearer the end of the
trouble than we were at the beginning. But the

13
chemist comes to the rescue again and tells by passing a roller over it, crushing the gum
us how the difficulty may be overcome. and leaving the twigs clean of it. Then the lac
Shellac Solution Without Wax is thrown into tubs of water and natives get
To the shellac solution separated from the in and tread the gum into a mass, the water
vegetable wax, a medium is added which fully being warm. After a time, the water becomes
takes the place of the wax as regards pliancy quite clear, the colouring matter having been
and polishing qualities, without exhibiting its removed. This gives us "seed lac." The liquor
undesirable after effects. Such a medium has is boiled down dry, and the resulting mass,
been found in the essential oils, especially solid, is made into cakes and sold as lac dye.
in oil of rosemary. The production of the new Formerly this was used for dyeing purposes
polish is, for instance, as follows: Dissolve 20 but with the advent of the aniline dyes it fell
kilos of shellac and 4 kilos of gum benzoin in into disuse. Seed lac is mostly made into the
as little 95 or 96 per cent spirit as possible, other lac products.
with the addition of 1 kilo of oil of rosemary. Seed Lac and Shellac
The concentrated solution is now repeatedly Shellac (shell lac, being in the form of scales
filtered over fresh stick lac until the vegetable or shells) is the principal lac product and the
wax contained in the solution is complete- variety used in making the commonly known
ly abstracted and the solution has become shellac varnish. Shellac is made from seed lac
perfectly clear. A description of lac may not be in this way: The seed lac is dried and placed
amiss in this connection. "Stick lac" is one of in bags made of cotton cloth of medium tex-
the five grades that are known to commerce, ture. Two men take hold of the bag of seed
the others being seed lac, shellac, button lac, lac, one at each end, and hold it in front of a
and garnet lac. Stick lac is the crude product charcoal fire; the heat soon melts the lac, and
as it comes from the trees. By this it is not it flows out of the bag, the men assisting the
meant that it is a product of any tree, although operation by twisting the bag so as to squeeze
the tree or trees upon which it is found does out the liquid lac. The lac drops out into a
give a gummy or resinous sap. An insect, trough placed in front of the fire, a cylinder
scientifically called the Coccus lacca, and the of wood or other material, with the upper half
female only, punctures the bark of the tree, covered with brass, or it is made of porcelain,
and the sap is utilized by the insect to form or perhaps of the finely polished stem of the
cells with and in which it lays eggs and itself plantain. This cylinder is placed in a some-
becomes embedded, breathing by means of what inclined position, and the operator, taking
fine filaments which are sent to the surface up a ladle full of the molten shellac from the
for the purpose, because the insect becomes trough, pours it on the upper surface of the
buried in the gum, head and all. After having cylinder, while an assistant by means of a leaf
laid its eggs the insect dies. In due course the of plantain spreads the melted material over
eggs hatch out and the young insects swarm the surface of the cylinder. It soon cools there,
out and over the neighbouring twigs, and after which it is stripped off with a knife and is
repeat the round of egg laying and dying, until ready for sale as shellac gum. Button shellac
finally an end comes to the race on that par- differs from shellac only in form. Garnet lac
ticular tree when its vitality has been drained is similar to button lac. Neither is as good a
and it succumbs. As with the San Jose scale, quality as the shellac variety. Either of the lacs
the lac insects are transported from place to may be used for shellac varnish making but
place by birds and other agencies. The twigs the orange shellac is best. The best quality of
covered with lac are gathered and broken into shellac has a pale and bright orange colour,
bits about two inches long, and are carried being known as orange shellac. Crude stick
from the jungles to the nearby towns, where lac contains 66 per cent resin, 6 per cent of
the gum is removed from the wood in a crude wax, 6 per cent of gluten, and 10.8 per cent
manner by the natives. The lac is very brit- of colouring matter after being freed from the
tle; hence it is easily removed from the sticks wood. Five distinct resins have been separat-

The Lost Scrolls of HANDWORK 14

ed from shellac: resin soluble in alcohol and Diluting the bleached shellac alkaline solution
ether; resin soluble in alcohol, but insoluble in water. Preparing the sulphuric acid for neu-
in ether; resin slightly soluble in alcohol; a tralizing the alkaline solution of shellac.
crystallizable resin, and an uncrystallisable Neutralizing the shellac alkaline solution by
resin. These constitute about 80 per cent of the use of diluted sulphuric acid, which coinci-
the shellac There are in addition fatty matter, dently precipitates the bleached shellac.
wax, gum and colouring elements. Bleached Filtering the precipitate, or pulp, of bleached
shellac, or white, may be made in two or three shellac. Malaxing the neutral pulp of bleached
ways. One method is to boil orange shellac in shellac to develop whiteness and elasticity.
a weak solution of carbonate of potash, and Hardening and whitening process of the sul-
when dissolution is affected to collect the shel- phuric acid bath, which prevents to a very
lac, melt it under water, and while soft to pull it great extent the white shellac turning yellow
until it assumes a satiny appearance. Another when exposed to the light.
way is to boil the shellac in a weak solution Drying the bleached shellac.
of potash and while it is in a melted state pull Crushing the bleached shellac.
and work it like you would taffy candy until the Thus, it may be seen that to make a good
desired degree of whiteness is obtained. Then quality of bleached or white shellac on a com-
remelt the shellac and repull it in clean warm mercial scale requires something more than a
water. White shellac always contains more or taffy-pulling match. Of course, you will know
less water, hence for many purposes is not that when bleached or white shellac is bought
as good as the orange. Always dry bleached it comes in a granulated form. Recent years
shellac before using. Another thing is not saw much adulteration of shellac varnish
generally known and that is, bleached shellac in which rosin, the common North Carolina
deteriorates with age, becoming insoluble in copal, so called, played a leading part, while
alcohol or borax. A good recipe for making the use of wood alcohol added insult to injury.
a colourless shellac solution for varnishing One of the severest tests of a shellac varnish
paintings and prints is as follows: Dissolve 150 is made in the hands of the common house
grams of shellac in a litre of alcohol by the aid painter, on sap and knots. In by gone days the
of gentle heat in a water bath. Stir in about painter could carry the bottle of shellac with
150 grams freshly burned animal charcoal and him and shellac or "kill," as he called it, the
bring the mixture to a boil, maintaining it at the knots and at once apply the priming coat of
boiling temperature about ten minutes. Filter a paint, and the knots would be killed. It was not
small portion and, if not absolutely colourless, the best way, for it gave the shellac no time to
add a little more charcoal and boil again. After get dry hard. Apparently, the shellac is dry in a
again testing, if found to be quite free from few moments but really it is not. Now when he
colour, first strain through silk and subsequent- tries such a trick the knots show through any
ly filter through paper, and add a little castor number of coats of paint that he may apply. I
oil, to insure elasticity. While the process for had such a thing occur with me last summer.
bleaching shellac is easily described and for I shellacked some white pine knots of large
individual uses easily accomplished, yet on size, using white shellac varnish that had been
a commercial scale it is rather more difficult. on hand for some time, though well stoppered.
There are at least twelve operations essential The knots all showed through the pure white
in shellac bleaching, namely: paint, it being a parlour job.
Crushing the raw material to a powder, so that Success in Varnishing
it will become more readily soluble in the alka- There is another fact that wood finishers as
line solution. well as painters should be cognizant of when
Separation of the colouring principle from the using shellac varnish. It is this, that unless the
gum resin. Preparation of the bleaching agent, lumber is decidedly dry there will be bad work.
or hypochlorite of potash or soda. Treatment It is bad enough to finish or work right over
of the liquefied shellac by the bleaching agent. freshly applied shellac varnish, but the trou-

15
ble is greatly increased if the wood is not dry. matter worth considering—it will not raise the
And when undry lumber is placed where heat grain of wood as badly as the alcohol shellac
can work on it, then the dampness will work to will. For cheap work it will make a very satis-
the surface and woe then unto the shellac or factory coating under the varnish coats. Not
any other varnish. This is the cause of many setting quickly like alcohol shellac; it may be
a trouble in the finishing room. An article is brushed out smoother and hence will take less
finished and placed in a warm room. The heat rubbing. Mixed with a strong solution of brown
brings to the surface the moisture in the wood or white glue, according to the nature of the
and there is a dimming of the finish. Pure work in view, half and half, water shellac gives
shellac varnish gives a harder surface than a good filler on cheap work, bearing out the
one that is adulterated with rosin. The amount varnish nicely and giving a good clean job with
of rosin in a doctored shellac may be any- one coat of filler and one of cheap varnish. For
where from one-fourth to one-half the quantity finer effects, use two or more coats of varnish.
of gum shellac. The rosin is finely pulverized,
say five pounds of orange shellac gum and
five pounds of pulverized rosin of good quality,
dissolved in two gallons of wood alcohol. Bet-
ter still, of course, for it is cheap enough now,
use denatured alcohol. Such a varnish must
be used as soon as possible after being made.
Otherwise the alcohol evaporates and the
gums fall to the bottom like a mass of rubber
and this mass never can be redissolved. Any
good shellac may become very dark with age.
Certainly, it will if kept in a metallic vessel for
a time. In such a case the original colour may
be restored by dissolving one quarter ounce
of oxalic acid in ten parts of water and adding
this to one gallon of dark shellac. Nor will this
treatment in any manner injure the shellac.
Water shellac is useful for some kinds of work,
and may be made thus: Take powdered white
shellac, one pound, and powdered borax,
one-half pound. Place in one gallon of soft
rainwater and boil in a porcelain kettle until the
shellac has nearly all dissolved. There will be
a residue which cannot be dissolved. Strain
through a cheese-cloth, then boil down to the
desired consistency. The addition of a little
alcohol will not be amiss, though it is not nec-
essary. Eight ounces of alcohol to the gallon of
varnish will give it the usual odour and help it
in other ways.
Water Shellac [Link]
You may mix, if you like, equal parts of the
water shellac with orange alcohol shellac.
This water shellac dries much slower than the
pure alcohol shellac, but when dry it may be
rubbed easily and save lots of sandpapering
as compared with the real thing. And another

The Lost Scrolls of HANDWORK 16

The Norman Landry Benchtop
Vice
By Salko Safic

This is an invaluable benchtop appliance if you’re into carving period furniture legs and other
parts. It’s designed on the same principle as a lathe. It holds the work in between two points,
one being a clamp to hold it securely in place. The work is raised, meaning less crouching, less
back pain. You can carve reeds, flutes, acanthus leaves on legs and anything else that suits
your fancy. You can also carve a finial flame for the top of a grandfather clock or tall boy.
The inspiration for this benchtop appliance came from Mary May’s website. Norman Landry built
it for her and kindly provided the dimensions for it to be reproduced.
The appliance is about 45” long and 6” wide. The height of your workbench will determine how
much you will have to bend to work on your carvings.
I used construction grade pine mainly to keep the costs down, but use any timber you like.

Press Clamp

Adjustable End

Rail
Base
Vice
Chuck
Plate
Omitted
Side Plate
17
 Cut all the parts to size and plane all four sides. On one face of the base, plough a ½” wide, ¼”
deep groove centred on the top face.

To help the plough plane make a cleaner cut, I like to score a line before ploughing a groove.

Then set the fence, aligning the left edge

of the blade to the scored line.

Next, plough a centred ½” wide, ½” deep

groove into the top edge of the rail. The
rail is 1 ¼” thick, so measure in 3/8” to
find the edge of the groove.
Now flip the rail to form a tongue on the
bottom edge. I don’t have a blade to form
the ½” tongue, so I will reset the plough to
rabbet both sides to form it. Measure and
score a line where the tongue will be.

The Lost Scrolls of HANDWORK 18

Then set the plough plane to the scored line
as done earlier, only align the right edge of the
iron with the scored mark.

This can also be done with a rabbet plane. I

feel it best though when rabbeting to use a
depth stop to make the bottom of the rabbet
even provided you don’t tilt the plane.

The appliance has an adjustable end which

will have a tongue that slides in the rail’s
groove. To hold the adjustable end in the
proper position for clamping a workpiece, a
series of holes are drilled across the rail’s
groove so that a bolt can be used to fix the ad-
justable end in place. Bore 41 holes, each ¼”
diameter and spaced 1” apart, beginning 1 ½”
from the end where the adjustable end would
be when fully extended.

To avoid breakout on the inside of the groove,

insert a piece of offcut planed to fit into the
groove.
The business end of the appliance includes a
vise screw. A vise chuck plate will house the
vise. This vice is called a press clamp and
is a very effective and inexpensive holding
device perfectly suited for this appliance.
The vise chuck plate can be square or shaped
to the Chippendale pattern in the drawing I
have provided. The diameter of the hole in the
drawing is for reference only. Bore your hole
to accommodate the screw of your specific
press clamp.

19
Locate and drill 3 holes for
screws, centred on the end
of the thickness of the base.
These will attach the vice
chuck plate to the base.
The joint will be reinforced
with side plates (shown
later).

Now work on the adjustable end. This part will

slide up and down the length of the appliance to
hold the various lengths of timber to be carved.
Form a ½” wide, ½” deep tongue on the bottom
edge in a similar manner as done previously for
the rail.

Test fit the tongue into the groove in the rail. The
adjustable end should slide up and down freely.
If the tongue needs to be thinned, use a Stanley
no.79 or a rabbet plane to take a few shavings
from the sides.

The Lost Scrolls of HANDWORK 20

Cut the arch in the lower front of the adjust-
able end and smooth it. I found the best tool
for smoothing the curve is a scraper. It’s a
lot faster than trying to sand it smooth from
the rough state. Complete the part by drill-
ing a 3/8” hole at the location indicated on
the plan.
Next, make a couple of side plates that will
serve as brackets for holding the vice chuck
plate to the base. I used some plywood I
had laying around.
Cut the side plates according to the dimensions on the plan and drill a series of holes as seen in
the picture above.
The final step in the construction of this project is to make two steel or aluminium brackets.
These brackets, with the aid of bolts holding them to the adjustable end and the rail, will keep
the adjustable end in place when in use.

Each bracket has a hole at each end, one is 3/8” to attach to the adjustable end and the other is
¼” to attach to the rail.
Finally, apply some finish. I chose to apply a stain. This is pine, so blotchy effects are hard to
eliminate. Watch my video on YouTube to see how I tackle this problem.
I used a rosewood mahogany spirit-based stain and finished it off with three coats of orange
shellac.

ASSEMBLY INSTRUCTIONS:
• Glue the rail’s tongue into the groove in the base.
• Screw the vise chuck plate to the base.
• Screw the sides plates to the base and vice chuck plate. Optional glue for extra holding
strength.

21
• Fit the press clamp to the vise chuck plate. Screw the vice’s nut to the chuck plate. I
found that using screws to hold the press clamp to the vise chuck plate was not adequate. The
clamping force was too great for the screws to hold. I replaced them with bolts that work very
well.

The Lost Scrolls of HANDWORK 22

• Place the adjustable end in the groove of the rail. Use a 3/8” bolt and nut to attach the
two metal brackets to either side of the adjustable end. Use a ¼” bolt and nut to attach the met-
al brackets to the rail at whatever location gives the required length for your project. The nuts
should be finger tightened only.
• Glue a piece of cork or rubber on the tips of the adjustable end and vice press to help
keep the workpiece stationary when carving.

Here is the final piece stained and shellacked.

23
I find this to be an essential appliance for carving table or chair legs, or even the flame finials
I mentioned earlier. A lathe that has a locking mechanism that stops your work from spinning

The Lost Scrolls of HANDWORK 24

might eliminate the need for this appliance. upwards so that the tendency to sag will cause
Lacking that, if you think you will do a lot of the rail to straighten rather than become more
period work then this is a must-have tool. curved. All these points have to be considered
in marking out bolt holes. Ordinary bolts can
be used for the purpose, but a more suitable
form is that shown in Fig. 3, with a rectangular
nut, which is less liable to get pulled into the
Bolts in the Ends of wood than a square one of small area. Large
washers are always used against the outer

Wood Rails wood as in Fig. 1, but not generally in the slot-

ted holes, because it is better not to cut these
BY WM. J. HORNER larger than is necessary to receive the nuts. It

F
astenings employed as in Fig. 1 saves time, however, to bore the holes as in
arc often the best means of se- Fig. 4, with semi-circular spaces beyond the
curing the members of moderately nut ends, and so avoid the work of cutting out
heavy framework. square corners with a chisel. It the holes are
In very heavy work wrought-iron straps or bored to the correct depth
plates bolted on are better, and in light work Plate fastenings or through bolts in the
mortise and tenon joints, glued and wedged, securing of wooden frame-work, straight-
are suitable. In other cases, the bolts instead ening of warped members, variety in bolts,
of being inserted in the end of a member are laying out the holes, machine boring and
made long enough to act as tie rods and are mortising, also other pointers from the
placed beneath or against one of the other practice employed in making machine
external faces of the enclosed member. framing of wood
The advantages of inserting short bolts are the only work left for the chisel to do is to pare
that it is neat, avoids the use of long and the sides of the slot straight as in Figs. 1 and
heavy ties, tightens centrally on the end of a 2. It is best to do this before the bolt holes in
member instead of to one side, and in some the ends of the rails are bored; otherwise it is
cases renders a tenoned joint unnecessary. It
is possible also by this method to pull curved
rails straight or camber straight rails to coun-
teract sagging. This is done by cutting the rail
end slightly out of square in a certain direction
so that when it is screwed up tight the desired
result will be obtained.
Insertion of Bolts
Details of the method of inserting bolts are
shown in elevation and plan in Fig. 2. The
slot which receives the nut is cut the shallow-
est way of the wood so that as little material
as possible will be removed in getting to the
centre. Where appearance is a consideration
the slot is cut from a face where it will be least
noticeable, generally either behind or beneath
Fig. 1 Example of an Inserted Bolt
when the member is in place. For the same
reason it is commonly cut in the worst looking Fig. 1. Example of an Inserted Bolt difficult
face so that the best shall be in front in the to clear the nut holes out neatly. If a number
finished work. In the case of horizontal rails, of rail ends have to be marked out for bolts,
if there is any curve lengthwise in the wood, gages are set to
the rounding face should be arranged to come

25
 rail its length makes it easy to see when it is
at right angles to the latter in cases where a
line is not squared across to set the points on.
The boring, both the vertical holes for the slot
and the horizontal one for the bolt, should be
accurate and can be done in every way better
by a boring machine than by hand. The depth
of the holes for the nut should be exact and
the bolt hole should be exactly in line with the
rail to meet them correctly. For the depth of the
nut hole half the width of a nut will be added to
the depth to the centre line gaged on the end.
Securing the Nut
Fig. 2 An Inserted Bolt in Elevation
The nut and bolt should slip into their holes
Fig. 2. An Inserted Bolt in Elevation and Flan easily and the hole for the latter should be
mark the centres of bolts and nuts. The dis- continued l/2 inch or more into the wood on
tance of the nut from the end of the rail is the farther side of the nut hole. The bolt end
obtained by laying a bolt on the rail as in Fig. should find its way into the nut easily and not
5, measuring from its be bound against the sides of the hole in doing
so. With the nut in place and the bolt screwed
into it the nut hole is plugged as in Fig. 1. First
it is best to fill the semi-circular spaces at each
end of the nut. This is done by paring a strip
of wood roughly to the shape, as at A in Fig. 7,
and pushing it down and snapping its end off
Fig. 3 The Best Form of Bolt for Insertio into Wood
flush with the top of the nut. These bits should
Fig. 3. The Best Form of Bolt for Insertion into fit closely enough to prevent side movement of
Wood the nut but not jam it tightly or it will be almost
head to the rail end the space to be occupied certain the bolt will not screw in and out freely.
by the member bolted against the end, and Then a length of plug to fit the nut hole itself is
making a pencil mark to indicate how far along planed to section as at B, Fig. 7. This is glued
the nut comes, so that a gage can be set to and driven down and sawn-off flush with the
mark the centre line of the three-bit holes surface. It should fit the hole tightly but not
for the slot. The centre line of the rail is also bear hard on the nut. If from the latter cause
gaged at right angles through this and also on it is binding the bolt it should be tapped side-
the end of the rail. If the bolt is wanted out of ways in opposite directions to raise it a little
centre in the rail the gage lines will of course before sawing off the projecting part of the
be made correspondingly out of centre. The plug. End grain plugs do not look quite as well
transverse line on the end is also gaged to as grain with the rail, but they are more quickly
indicate the centre of the bolt hole, as in Fig. made and, in any case, it is impossible to con-
4. If work of this kind is being constantly done ceal the presence of a plugged hole. In thin
it pays to make a tool for marking the centres rails a quicker and rougher method is to bore a
of the bit holes as in Fig. 6. This is simply a circular hole entirely through, as in Fig. 8, and
piece of hardwood with three bits of steel wire not plug it at all. When the bolt is tightened the
driven in at the required centres and pointed. corners of the nut are pulled into the wood a
It is placed in position and the centres marked little way and the hold
on the rail by giving it a tap with a hammer. Its
form as shown in Fig. 6 is preferable to having
the points in the end grain of a piece of wood,
chiefly because being held transversely to the

The Lost Scrolls of HANDWORK 26

is as secure as with a slotted and plugged The bending effect on the rail would occur in
hole. Generally, when the members united cases where the metal ends were unable to
are both of wood as in Fig. 1, a stub tenon is adjust themselves to suit the wood. A common
employed as shown in Fig. 2. When wood rails instance of this is when a pair of metal frames
are bolted between iron frames, as is the case are united by four rails, two at the base and
in many varieties of winding machines used two at the top. The rails being all of similar
in textile work, this is scarcely practicable, but length compel the castings to stand parallel
when the rails are of large section two bolts with each other
are often employed at suitable centres in the
ends, instead of one only.

Straightening the Members

When a rail end fits dead square and bears B
equally everywhere against the surface it is
bolted to, the tightening up of the bolt merely
squeezes the parts together without otherwise
affecting them. But if one side of the meet-
ing surfaces is in contact while the opposite
side is not, the bolt will pull them equally into A
contact and in doing so either force the rail to
assume a curve lengthwise or twist the parts Fig. 7 Plugs for Nut Holes
bolted against it until there is an even bearing
at the joint. In Fig. 9 a curved rail is shown be- and the main effect of irregular strain at the
tween metal ends, with the bolts not tightened joints is to distort the rails. Rails, therefore,
up. The ends of the rail are supposed to be at that are originally too curved to be planed
right angles with its straight without unduly reducing their section,
are straightened in place by bevelling their
ends suitably and screwing up sufficiently
tight. In some cases, with long rails, the curve
Fig. 9 A Curved Rail with its ends cut so is not uniform through
the pull of the bolts will straighten it
body if tested with a square against the sides,
but owing to the curve of the rail the ends do
not fit square against the metal. The differ-
ence between them is made more apparent
by the extended dotted lines. The pull of the
bolt would be sufficient to bring the parts into
contact on the open side, but either the metal
ends would be turned to follow the inclination
of the ends of wood, or the body of the wood Fig. 8 A Circular Nut Hole Bored
Through a Thin Rail
rail would bend outward until its curve was lost
or nearly so. out but requires rectification chiefly from one
end. In others it is necessary to straighten both
in vertical and horizontal planes. This principle
is also utilized in an- other way. A machine or
other construction standing on four feet, with
rails uniting the end frames, depends on the
fitting of the rail ends for bed- ding the feet
equally on the ground without rocking. Very
long machines may have sufficient flexibility to
Fig. 4 A Rail End Marked Out and Hole
Bored for Nut Hole ensure steadiness on the ground, but as a rule

27
an even bearing on level ground is an import-
ant point to look after in fitting and bolting the
framework together. It is especially so when
the horizontal rails are bolted between iron
end frames, because the feet of the frames
cannot be levelled by cutting, as wood ones
can. Besides this the surface of the rough met-
al is seldom as true as the surface of a wood
frame, and the

Fig. 6 A Tool for Marking Centres of the Bit

rail ends consequently generally need some
amount of fitting after they have been cut
square. The way the rails are cut to raise or
lower one of the feet is shown in Fig. 10. Only
two feet are shown but the other pair may be
supposed to be behind or in front and all of
them bedding on the ground with the excep-
tion of the one marked B. The rail end at B is
shown cut so that when the bolt is screwed
up tight and the joint in uniform contact, the
end of the rail at A will be tilted upward raising
the foot at A with it. The same result could be
achieved by bevelling the end at A the oppo-
site way so that it would throw the end at B
down; or by cutting both the ends to half the
extent.

The Lost Scrolls of

HANDWORK

The Lost Scrolls of HANDWORK 28

Breast Drill with Right- and Left-Hand Ratchet Movement
The "Yankee" breast drill stands in a class by itself. It embodies the capacity for a variety of
work never done before with a tool of this kind. Not only so, but it is built mechanically on lines
of a tool rather than as a piece of hardware. Its superior advantages will be appreciated in plac-
es outside of shops where a breast drill is commonly used. In many places it will be even more
convenient than the bit brace.
The peculiar feature of this tool is found in the shifter on cylinder between the small gears. The
mere movement of this shifter in the various notches causes the tool to perform different move-
ments. In the first notch nearest the chuck it is an ordinary or plain breast drill. In the second
notch it becomes a left-hand ratchet useful in removing taps, but especially to loosen drill if it
becomes jammed in a hole and cannot be moved forward or crank revolved backward. In the
third notch it becomes a right-hand ratchet.
In the fourth notch it becomes what is difficult to describe, but when seen ex- cites admiration
for what it does and curiosity as to how accomplished. When in this notch any movement of the
crank, however short, or turned continuously in either direction, or a combination of the two,
the drill in the chuck will always turn to the right and drill continuously, hence no time is lost and
double the work is done as compared with single or a right-hand ratchet.
This peculiar movement is obtained through a more extended combination of pawls and ratch-
ets used in other "Yankee" tools. It is positive in action and cannot get out of order. In the fifth or
lowest notch the spindle is locked tight so that the drill chuck can be rapidly opened or closed.
No simpler operation can be conceived than the movement of this little shifter within convenient
reach, to produce such widely varied movements in one tool. The change of speed on the dou-
ble- speed breast drill, Fig. 1, is made by pushing the little lever at the hub of the crank toward
gear for fast and away from gear for slow speed. This is done in the fractional part of the revo-
lution and at any time, even while drilling, with- out removing the tool from work, and with any
of the various movements of the shifter explained above. The convenience of doing this will be
appreciated when using the fast speed in drilling to slow up in going through the skin of casting,
or in running against hard spots.
The side handle on the breast drill can be unscrewed and has on it a screwdriver bit to take
care of all the screws on the tool. The breast-plate can be adjusted to right angle of position
shown, and thus enable the tool to be used close against partitions or in corners. The adjust-
able ball bearings in spindle take up all the strain or thrust and relieve all other parts of the tool.
Any lost motion can be

29
The Single-speed Breast Drill readily taken up by the adjustment provided on same.
The chuck is of new design and will hold accurately and securely with the two jaws either
square or round shank drills or other tools up to 1/2 inch. A hexagon at the end of the shell of
chuck permits the use of a monkey-wrench for tightening large drills instead of the common
practice of holding the chuck shell in vise to the detriment, if it does not entirely ruin chuck. This
chuck will hold any tools that can be held in chuck of a bit brace, as screwdriver bits, counter-
sinks, or rose bits, etc.
The frame is malleable iron, the spindle of steel, turned and fitted, the gears have the teeth cut
from the solid to run smooth and accurately. The tool is finished in a dead black colour in keep-
ing with its char- acter of a machine, and not in bright or gaudy colour as hardware. The bright
parts are nickel-plated and polished, and will not rust in stock or in use. It is made in two styles,
single speed and double speed, by the North Bros. Mfg. Co., Philadelphia.

Handwork
handmaduniqueclocks@[Link] [Link]

ls of
crol
st S
T he L o

Est. 2017

The Lost Scrolls of HANDWORK 30

D ominos Box
By Salko Safic

I loved playing dominos with my dad when I was young and I still love playing dominos with my
dad and now my son. I introduced him to the game not long ago, and he loves it. The box that
the dominos came in was getting a bit tattered, so I decided to make for my old man a nice new
one. I guess the original is a vintage box now and probably worth something so if anyone wants
it before it goes in the bin let me know. I’m taking all the measurements off the original box and
will provide them for you here. My choice of timbers is NGR (New Guinean rosewood) for the
sides and American black walnut for the ends, top and bottom.
Sides 8” x 2 1/4” x ¼” (make 2)
Ends 2 3/4” x 2 1/4” x ¼ (make 2)
Bottom 8 x 2 3/4” x 1/8” (make 1)
Lid undetermined yet - we’ll get to that part later (make 1).

Start by preparing the parts. Rip the sides and

ends oversized. Flatten one side and plane
one edge and end square. From the reference
edge, mark 2 1/4” and rip and plane to the line.
From the reference end, mark the overall length,
square a line around the piece and crosscut to
the line. Finally, mark and plane to final thick-
ness.

31
In the photo below, you’ll see the two ends have been prepared as a single piece, to be cut
apart and cut to length later.

Plough a ¼” wide, 1/8” deep groove that is 1/8” from the upper edge on the inside of the side
pieces. The lid will slide in these grooves. It’s imperative that the two side pieces are of equal
width. If one of those pieces were wider than the other, the grooves could be out of alignment
with each other.

The Lost Scrolls of HANDWORK 32

When adjusting the plough plane, it can be helpful first to scribe a gauge line on the workpiece
1/8” from the upper edge. Rather than setting the plane’s fence with a ruler, line up the left
edge of the blade to the gauge line.

Using a rule, set the depth stop 1/8” from to the tip of the blade and lock it in place. Verify the
distance one more time for good measure.

If the wood has reversing grain, set the iron to take a very light cut. You’re only ploughing to 1/8”
depth so it won’t take long.
Using a sticking board with an adjustable fence can help in ploughing the grooves. If you’re
interested in making your own sticking board, plans are available in Issue IV, which can be pur-
chased from my store. With an adjustable fence, making the piece flush against the edge of the

33
sticking board is easy and this gives a much better surface for the plough plane’s fence to ride
along.

Following these tips should result in clean, accurate results every time.

The box will have single dovetails at each corner.

The Lost Scrolls of HANDWORK 34

Make the tails protrude by about 1/32” by setting a marking gauge to slightly more than the
thickness of the pin board, as in the above picture. Use that setting to mark the baselines on
the tail board.
One end of the box will be higher than the other so that the lid can slide in and stop. For this
reason, the dovetails will be offset from centre.

35
On the end grain of a side piece, measure in ¼” from the lower edge and 5/8” from the grooved
edge. At these locations, mark lines straight across the end, then extend lines down the faces
to the baselines using the dovetail angle you prefer.

Cut away the waste and pare to the lines to complete the dovetail.

The Lost Scrolls of HANDWORK 36

To transfer the tails to the pin board, use a trick from Mike Pekovic of Fine Woodworking Mag-
azine. He uses painter’s masking tape on the edge of the pin board (as shown above). Knifing
the outlines of the dovetail onto the pin board and removing the tape in the waste area reveals
very clean, visible lines.

This is especially useful on dark timbers like this walnut. Saw and chisel out the waste and fit
the tail board to the pin board.

37
To allow the lid to slide in and out, one of the ends will be reduced in height.

Choose an end to be the front and knife a mark from the lower wall of the groove onto the end
piece. Extend the mark across the end piece and rip and plane to the line.

The Lost Scrolls of HANDWORK 38

Reassemble the box and verify that the top edge of the end piece is flush with the bottom of the
grooves. When satisfied, glue the box together, clamp it up and check for square.

39
When the glue has set, pare the protruding ends. Plane as close as possible to the surface and
finish it off by paring with a chisel.

Flatten the bottom using a plane or by rubbing on sandpaper adhered to a flat surface.

The Lost Scrolls of HANDWORK 40

Just a few strokes all that is needed.

41
Prepare the bottom piece, planing to about 1/8” thick, but keeping the length and width over-
sized. Glue the box to it and when the glue has dried, plane the ends and sides flush with the
box.

The Lost Scrolls of HANDWORK 42

The box can be clamped in a vice to give good even clamping pressure all around.

All that’s left now is the lid.

43
For the lid, prepare ¼” thick stock. Then plane the edges to fit into the grooves.

The Lost Scrolls of HANDWORK 44

A shooting board saves a lot of time and minimizes potential errors in making the edges paral-
lel.

The fit shouldn’t be too sloppy or too tight. There should be just enough slack so the lid can
slide in and out freely but not so free that if tipped on its end it will slide out.

45
With the lid slid all the way to the back of the box, place a mark on the lid at the end of a
groove. Square the mark across the lid and crosscut to length. The lid will have a lip added to
it that will hide the two grooves on the ends and will also act as a pull to open the box.

Rip a small piece whose width is equal to the difference between the height of the front end and
the height of the sides. This measurement can be obtained as shown in the picture above. The
length of the piece should be slightly greater than the width of the box.

The Lost Scrolls of HANDWORK 46

Glue the lip onto the end grain of the lid, ensuring the bottoms of the lip and lid are flush with
each other. Gluing end grain to long grain may not be as strong as gluing long grain to long
grain, but if the end grain is coated with glue and allowed to dry, the lip can be glued as normal
and the bond will be strong. This applies to all types of glue. When attaching the lip, ensure
that the ends on both sides are slightly proud of the box sides. Trim them flush to the sides after
the glue has dried.
That’s all there is to it. The box is now ready for light sanding and finish. I used three coats of
shellac, followed by a coat of paste wax.
While computer games become out dated almost as quickly as they are released, dominos has
continued to be played by friends and families since the Song Dynasty in China (1232-1298).
The pictures below show the original box and the new box. What a difference!

47
The Lost Scrolls of HANDWORK 48
 Grinder Wheel Alignment
By Salko Safic

I recently bought a slow speed grinder as I’ve grown beyond weary sharpening A2 steel entirely
by hand. If my plane irons were thin Stanley O1 blades, then I would never need a grinder even
if the blade was nicked. However, it is what it is and life goes on.
With every new grinder or with every new wheel replacement, you will need to balance or align
the wheels. You also may have to periodically balance the wheels throughout the life of the
wheel due to dressing, wear and profiling. The balancing of grinding wheels is essential despite
dressing them! Skipping this step may cause chatter marks, excessive wheel wear and spindle
head wear to name but a few.
When you start the grinder, you may notice that the wheel has a slight wobble. This can be due
to the large flange washers not running true. Fixing this isn’t as difficult or time consuming as
you may think.
First turn the machine on and look at the wheel to see if there is a wobble. The chances are
high that there will be. If there is, turn the machine off, unplug it from the wall, wait for the
wheels to stop turning and take the covers off.

Make a reference mark on each flange washer and the wheel to record their original location.

49
Next, loosen the shaft nut and rotate the flange washer clockwise and the other wheel counter
clockwise by ½”.
Tip: If the wheel is new, you may notice the flange washer won’t rotate due to it being stuck to
the paper. I used the tip of a flat blade screwdriver to strike the flange washer, a light tap is all
that is needed to unstick it from the paper.
Tighten the shaft nut by hand and rotate the wheel by hand. If you don’t feel confident that you
will observe any change, then tighten the shaft nut and turn the machine on. If there is still wob-
ble in the wheel, turn it another ½”. Keep doing this until you’re satisfied. You could spend an
eternity finding that sweet spot, but at some point you will have to stop and say it’s good enough
for my purpose. A small amount of wobble is fine.
The final step is to dress the wheel. The centre bushings “roughly” centre the wheel on the
shaft. Inaccuracies in the manufacturing process may cause fluctuation in the wheel and to ad-
dress this, a wheel dresser can be used to make the wheel run true.

The Lost Scrolls of HANDWORK 50

Place the wheel dresser on the tool rest angled upwards with the edge of the wheel dresser fac-
ing the wheel. Slowly bring the wheel dresser to the stone until you hear the untrue side touch
the dresser. As you apply light pressure, the face of the stone becomes true.
Some things to be aware of:
The left side shaft nut has left-handed threads and so the nut is tightened counter clockwise.
The right-side shaft nut has right-handed threads and is tightened by rotating it clockwise.
Do not over tighten the shaft nuts. Doing so can cause damage to the wheel and the flange
washers. A light touch is all that is needed. The direction of travel will keep the nuts tight.
When buying a new wheel make sure the R.P.M. rating is greater than the grinder’s motor. The
outer diameter of the wheel must be according to the size specification of your grinder. The bore
diameter of the wheel must be the same as the original wheel.
Do not remove the labels on the sides of the wheels. They help to spread the holding pressure
of the tightened nuts on the grinding wheel flanges.
Applying the entire face of the wheel dresser to the stone without the support of a tool rest may
introduce deeper grooves and further untrue the stone.
Troubleshooting as is in the manual
If the adjustment of the flange washers does not make the wheel run without side to side oscil-
lation, then remove the wheel and flange washers and check the shoulder on the motor shaft at
the point where the flange washer seats against it. A slight burr on the edge of the shoulder can
stop the flange washer from seating properly. The burr can be removed using a file to smooth
the edge of the shoulder. Look for any roughness on the surfaces of the flange washers and
smooth these spots on sandpaper placed on a flat surface. Then replace the wheel, re-adjust
the flange washers, and dress the wheel.
With wheels properly aligned, this is a wonderful machine that serves its purpose in eliminating
the drudgery of sharpening A2 plane blades. With the further aid of an after-market tool rest,
you’ll have one powerful addition to your sharpening tool kit.

Handwork
handmaduniqueclocks@[Link] [Link]

ls of
crol
st S
T he L o

Est. 2017

The Lost Scrolls of

HANDWORK
51
The Sharpening of Bits
It might be assumed that every carpenter and cabinetmaker knows the right from the wrong
ways of sharpening an auger bit; no doubt many do. But the auger bit is a little different from a
good many other edge tools in that knowing the right way to sharpen really depends on knowing
the idea on which the bit is constructed. The modern perfected bit represents a vast amount of
experimenting with angles, cutting edges and screw threads which in the new bit are in exactly
the right relation to each other. A little wrong use of a file easily destroys the correct planning
of the manufacturer. For this reason, it may be profitable to many workers to summarise here
some of the directions given from headquarters.
The first work of a bit is of course done by the screw on the tip. It is part of the business of this
screw point to centre the hole, but even more is it required to lead the broader cutting edges -
the lip and the spur -into the real work of boring. For ordinary uses, and for woods that are not
excessively hard

or gummy, the worm (also known as the snail and lead screw) has a double thread, Fig. 1, of
carefully calculated pitch. The so-called quick-boring bit, however, has a

The Lost Scrolls of HANDWORK 52

single-thread point,
Fig. 2, the thread having a steeper pitch than that of the double-thread point. Because of its
more prominent and steeper single thread, the quick-boring point leads the bit effectively into
the gummiest woods, or into the hardest, like lignum vitae. In softer woods this point insures
very fast cutting. Bits of this type are therefore particularly well suited to an electrician's work.

A third style, the square, or "diamond" point, Fig. 3, is sometimes provided for bits to be used on
machines with forced feed.
The following directions for sharpening bits are gathered from the text of an essay on the sub-
ject just issued by the Russell Jennings Mfg. Co., Chester, Conn., maker of the well-known bits
of that name, and which represents pioneer patents for the extension lip found in modern bits.
Sharpening the point or worm is hardly advisable or even practicable except with the diamond
point, though the skilful manipulator of a fine, three cornered file can do a good deal in the way
of restoring a point that has got battered in a collision with a nail. But it is with the lips and spurs
that most can be done in the way of sharpening, and it is important to sharpen these in a way
that shall to the utmost maintain the efficiency of the brand-new bit.
The spurs of the bits should be sharpened with a flat, second-cut file used on the inside of the
spur, never on the outside. The general shape of the spur should be maintained as in the new
bit. In filing, it is not necessary to sharpen the back edge; simply thin the front edge until this
edge is sharp, and file back far enough to keep the original shape. Filing only a small portion of
the inside surface next to the dulled edge would leave a shoulder which would make the turning
of the bit take up more force than would be required with proper sharpening and furthermore
would reduce the cutting efficiency of the edge of the spur. For sharpening the lips, Fig. 4, the
proper file is a half-round, second-cut. Use the flat side of this file on the side of the lip that is
away from the screw point never on the side next to the point. The slope of the face of the lip
that is next to the tip is essential to the proper action of the lip in diving into

53
the wood and so must not be changed. In sharpening the edge of the lip, file away from the
edge toward the shank of the bit. This leaves the edge clean and free from any feather edge.
For bits 5/8 inch and larger use a 6-inch file. Employ smaller files for bits of less than 5/8-inch
diameter. A half- round file is necessary for the lip. The same file may be used for the spur pro-
vided care is taken not to let the edge of the file cut a furrow in the lip. Nothing but a really good
file is of any use on a tempered bit.

The Lost Scrolls of HANDWORK 54

The Mortise and Tenon Joint in Wood-
working

O
f the various joints used by woodworkers in the several branches of the craft, none is
more important than the mortise and tenon. Indeed, it may be classed as fundamen-
tal, for it enters into every sort of wooden construction from a Howe truss or a trestle
bridge to a Chippendale chair or a fancy cabinet.

HOWE TRUSS

55
A Universal Joint
Properly proportioned, it forms one of the strongest methods, and certainly the most all round
effective one, for joining framing of almost every description. Some
Suggestions for the design and application of a universal joint familiar to all workers in
wood
consideration of the various forms of this universal joint and of the rules for its design under
varying conditions are therefore here presented, chiefly for the benefit of the beginner readers
of this magazine.
Simple Forms
The simplest form of mortise and tenon joint is to be found in the case of rough constructive
framing where two pieces of timber are to be joined at right angles, uncomplicated by panels
or other considerations which affect the form of the joint in almost all the finer work of joinery or
cabinetmaking. In such a case, the rule is to make the tenon one-third of the thickness of the
material as shown in Fig. 1

Fig.1

Perfect Proportions
In passing it should be noted that this proportion ought never to be exceeded, for while the
tenon is often made less than one-third the thickness of the material without detriment, a tenon
greater than one third the thickness of the material leaves the "cheeks" of the mortise weak in
proportion to the strength of the tenon.
Fig. 2 is one of the first modifications of the simple mortise
and tenon joint found necessary in framing and is used where
the mortise is at the end of a piece. Such a tenon is said to
be "haunched" or "relished," the idea being to leave a solid
portion at the end of the mortised piece. It will be noted that a
small piece of that part of the tenon which is cut away to form
the "haunch" or "relish" is left on and fitted into a correspond-
ing groove in the mortised piece. This small part is not always
Fig. 2 left parallel but is often cut back to nothing at the outer end,
as shown in the case of the table leg and rail in Fig. 3

The Lost Scrolls of HANDWORK 56

 Fig. 3

Width of Tenons
The width of tenons in joinery and cabinetmaking is another factor which must receive consider-
ation, for it is bad construction to make a tenon too wide in proportion to its thickness. The effect
on such a tenon when its wedges are driven in is shown in Fig. 4, where the tenon is buckled
by the pressure of the wedges and the cheeks
of the mortise forced out. The rule for the width
of a tenon is that it should not exceed five or six
times its thickness. A familiar application of this
rule is in the case of wide rails of framing where
the tenons are formed at each edge of the rail,
leaving a relished portion in the centre, as in
Fig.5

Fig. 4

Fig. 5

57
For the bottom rail of an ordinary panel door a combination of Figs. 2 and 5 is necessary and is
shown at Fig. 6
Warning as to Wedges
To save complications in the drawings, no
wedges, or provision for them, have been
shown, but in joinery work at all events most
mortise and tenon joints are well wedged. In
this connection a word of warning as to the
form of wedges may not be out of place, for it
is a common fault with beginners to make their
wedges of too great an angle. To be most effec-
tive a wedge should have an angle of not more
than 5 or 6 degrees, as is shown in Fig. 7

Fig. 6 Fig. 7

Fig. 2 was spoken of as the joint for the angle or end of a piece of framing but where the fram-
ing is oblique a special "open," "slip" or "slot" mortise and tenon joint is used. This is shown in
Fig. 8 and is used by joiners in framing the triangular panelling in the spandrel or "drag" often
placed underneath a flight of stairs to form a closet or enclose a lower flight.

Fig. 8

The Lost Scrolls of HANDWORK 58

Through Tenons
In cabinetmaking the through tenon is seldom used because of the unsightly appearance of its
end grain on the edge of the framing. Given that the tenon fits properly so as to fill the mortise
completely, there is no doubt that the short tenon is perfectly satisfactory for indoor work. If,
however, the door or framing is to be exposed to the weather, the old-fashioned method of con-
cealed wedging, known as "blind" or "fox" wedging, is to be recommended.

Fig. 9
Fig. 9 is a sectional view of a fox- wedged tenon and shows several slim wedges inserted in
saw kerfs in the end of the tenon, ready to be driven home as the tenon enters the mortise. The
mortise is of course made slightly larger on the inside to allow of the consequent spreading of
the end of the tenon, the whole arrangement forming a very effective joint.

Double Tenons of Doors

A common requirement in architects' specifications for first-class doors is that the lock or middle
rail shall be double tenoned on the outer stile. Such an arrangement is
shown in Fig. 10, the idea
being to allow of the inser-
tion of a mortise lock with-
out destroying the tenon,
which would occur if the
usual single tenons in the
centre were provided.
A very effective form of
mortise and tenon formerly
common in constructive
work is shown in section in
Fig. 10 Fig. 11 where one side of
the mortise is formed to fit
Fig. 11

59
the dovetail shape of the edge of the tenon. Its chief use was in attaching to the backs of solid
door frames the blocks which are built into the walls by the masons to hold the frame in its posi-
tion.
Another joint familiar to everyone before the days of wire nails and “balloon” framing was the
“stub” mortise and tenon used at the junction of the corner post with the sills of a building and
shown in Fig. 12.

Fig. 12

Tusk Tenons
No account of the various mortise and tenon joints would be complete without a description of
that much beloved one of the old carpenters, the tusk tenon joint. In fact, wherever floor timbers
are properly framed today the joint is still used and is a most effective one.
Fig. 13 shows the joint and it will be seen that it
is quite scientific, inasmuch as the wood in the
mortised or bearing piece is cut away chiefly
on the neutral axis, that is, in the centre of its
depth where its fibres are theoretically neither
in compression nor tension when the beam or
joist is loaded.
Fig. 13 Two or three methods of laying out the joint are
used, probably the best being that shown in
Fig. 13a.
diately above the line of the notch. The com-
plications of the simple mortise and tenon joint
arising out of the use of mouldings, panels,
rebates, etc., are very numerous, but speaking
broadly, the main things to be observed in de-
Fig. 13a signing this joint are the proper proportions of
The depth of the timber is divided into six equal the thickness and width referred to in the early
parts and the tenon made equal to one of them part of this article.
and laid out in centre. The notch or step below
is made a half of the remaining depth and the
upper shoulder is sloped off from a point imme-

The Lost Scrolls of HANDWORK 60

Tea chest
ca. 1750–55
Abraham Roentgen - German

Beginning in 1742, when he started to work, Abraham Roentgen impressed the small princely
courts and the landed gentry around Herrnhaag, as well as the rich patricians in nearby Frank-
furt, with his brass-inlaid tea tables, gueridons, chairs, and tea chests in the "English Manner"
Furniture of such high quality and so inventive in its design and execution was a novelty, and
the demand for such objects increased rapidly. One of Abrahams’ first tea chests was made in
Herrnhaag for the princely house of Isenburg-Birstein. The appearance of that luxurious object
in the prince’s drawing room would have informed his guests that he and his family were famil-
iar with the latest fashions and social pastimes.
The interior of the present example is partitioned to hold a pair of caddies for black and green
tea. Between those spaces was a lidded box where sugar (or candies) could be stored or where
tea leaves could be mixed. The arrangement would be repeated with many variations in the fol-
lowing decades. Almost all the details are typical of Abraham’s workshop products. They include
English brass mounts, such as the handle and bracket feet, which could be bought from the
metalwork pattern books and sales catalogues or Birmingham foundries, and a spring-operated
secret drawer, which in this case occupies the base of the chest and opens from the right side
when a button on top of the side panel (hidden when the lid is closed) is pushed. The overall

61
design and decoration of the chest, however, is taken to an unusually high level. The lid’s dra-
matic silhouette, undulating in the manner of a pagoda roof, alludes to the East Asian origin of
tea, and the corners are emphasized by suave brass moldings ending in tongue motifs at the
base. A brass cartouche engraved with rocaille and flora decoration is inlaid in the front, and a
keyhole is hidden behind a small door that springs open at the touch of a hidden button under-
neath the chest. Abraham used cartouches of this shape surprisingly often; multiple examples
were possibly die-cut from sheets of brass. Nevertheless, the surface was always engraved
with different rocaille or floral motifs, so that a buyer could be sure he would not see an iden-
tical piece at a neighbor’s mansion. The tea chest became one of the Roentgen workshop’s
best-sellers, and examples survive in relatively large numbers.
Footnotes:
[1] Proud of the skills he had mastered in England, Abraham called himself and "English Cab-
inet-Maker"; see the essay by Wolfram Koeppe in this volume. Much of the information in this
entry was first presented in Wolfram Koeppe. "Kästchen aus der Werkstatt von Abraham Roent-
gen in amerikanischen Sammlungen." Giessener Beiträge zur Kunstgeschichte 10 (1997), pp.
98–110. Issue titled Zwischen Askese und Sinnlichkeit: Festschrift für Professor Norbert Werner
zum 60. Geburtstag. See also the study of a tea chest in the English royal collections published
in Wolfram Koeppe. "A Tea Chest by Abraham Roentgen at Frogmore House." In Makers, Deal-
ers, and Collectors: Studies in Honour of Geoffrey de Bellaigue, pp. 161–7. London, 2007.

[2] See, for example, Dietrich Fabian. Roentgenmöbel aus Neuwied: Leben und Werk von Abra-
ham und David Roentgen. Bad Neustadt an der Saale, 1986, p. 75, ill. no. 124.

The Lost Scrolls of HANDWORK 62

63
The Lost Scrolls of HANDWORK 64
65
The Lost Scrolls of HANDWORK 66