nnlBeinecke (Decoratii/ecArt Qotlethoru STIRLING AND FRAN CINE CLAR1C ART INSTITUTE L1BRART l^f csU, t:^ , Digitized by the Internet Archive in 2012 with funding from Sterling and Francine Clark Art Institute Library http://archive.org/details/fretcuttingperfoOObemr fetftml Estate r .„*>■ B Y (MkoV oJeMcWVUXl Of Wo one opening being two and a half inches wide, and four inches long, the other one inch wide, and two and a half inches long — the later being for finer work. The parts not cut away support iA~ Jt-, I - FRETWORK. the work while it is being operated upon. The " horse" is screwed to the table, over which it projects, by the holdfast No. 6, or to the bench by No. 7. KM**tftttfitfai*i*til niiftmiiinr No. 4. rrzi (2) No. 6. No, 2. No. 7. No. 5. No. 3. No. 8. J Although an ordinary table answers most purposes, there is no doubt that a strong work bench, as shown in the accompanying illustration, is far preferable. This improved bench measures 36 inches by 22 inches, and is fitted with a drawer for tools, a bench screw at the end, and several bench pegs, which admit all sizes of work to be held firmly whilst being carved ; if for a small piece of wood, the peg nearest to the screw is knocked up to the required height, the piece is then placed between it and the screw Carving and Fret-Cutting Bench. p e g- ; anc j screwed up tight. The bench screw at the end is also adapted for holding wood in a perpendicular position for Fret-Cutting, a method preferred to that adopted when the " horse " is used, especially where the wood is very thick, and a heavier saw used. In this case, the wood is not pressed against the saw, but as in the ordinary method of sawing, the saw is pressed against the wood. The hole in the centre of the bench is for the insertion of the holdfast No. 7, as shown in the illustration. There are now a variety of good machines for Fret-Cutting, sawing, drilling, &c, from £4 and upwards, worked by the foot on a treadle, in a similar manner to the sewing machine. However gifted an individual may be with manual dexterity, there is no doubt that the same individual by the aid of machinery becomes doubly dexterous. This truth certainly applies with great force to Fret-workers ; and to such we recommend the improved saw-frame, as shown in the opposite woodcut. , Its advan- tages are great when compared with the hand saw-frame and " horse." Thus, the saw blade is always parallel with the work, the pieces will easily fall out, and, in cutting marquetry the design will Improved Saw-Frame. FRETWORK. -/ always fit correctly into the groundwork, without any "gapes" or misfits. The saw is more easily and correctly governed, because the bow part of the saw is held firmly in the parallel position on a sliding bar. The work being held firmly in an upright position by the " holder " is not so liable to break, and the eye has only to see that the design is followed, the movement of the saw being simply a mechanical motion. The " holder " is pressed by the knee whilst heavier work is being sawn. Fret-Cutting and Boring Machine. If one of the more expensive perpendicular motion machines is adopted, the method of working is as follows. If the machine is provided with a drill, place the wood with the design upwards under the drill, and drill all the holes required. Then insert the loose end of the saw and re-fasten it, proceed to cut the design out, moving the wood by both hands up to the saw, turning it in the required direction of the design. WOOD. T is of great importance for the Amateur to make choice of suitable wood, which should be well seasoned, and free from shakes and knots. The woods best adapted for Fretwork are Oak, Walnut, Lime, Chestnut, Peartree, Mahogany, and Rosewood ; or, for very fine work, Box and Ebony. The thickness of the wood will vary according to the purpose to which the object will be applied. From a quarter to three-eighths of an inch is perhaps the most useful thickness. HOW TO CUT THE WOOD, jjjJS it is probable that the Amateur will not desire to destroy the book by using the designs themselves (any of the designs can be had separately, at 3d., 6d., and 9d. each for this purpose, from the Publishers), a tracing will be required, which is to be fixed on the wood. For this purpose, procure a piece of tracing paper, the size of the design, and proceed carefully to trace the outline of the design in ink or pencil ; and to avoid the risk of sawing out a part of the design that should be left in, it is advisable to adopt the simple method of making a few rough strokes, with the pen or pencil, over the parts which are to be removed. When once a design is cut in wood, an easy method of obtaining further copies for fastening to the wood, is by placing a sheet of paper on the pattern, and rubbing it lightly with "heel-ball;"* this will give the pattern in black, and the white spaces will require cutting out. Care will be required that the paper does not move about during the operation. * Obtainable at most Boot Makers. FRETWORK. ill ' ■ cu^y^- '• ■ ■ F> | The design is now ready for affixing to the wood, which should first be planed smooth on both sides. %• If the wood is very thin, two or more pieces may be cut at the same time, providing they are fastened together, by pasting * or glueing a piece of soft paper, the size of the wood, on both sides, and placing it between the pieces ; leaving them under pressure until dry. When disunion is desired they may be easily separated by the insertion of a table knife in the joints, and by gently pressing it forward the paper will be found to split until the pieces are forced asunder. Another method often adopted is as follows : — at each corner, and elsewhere if required, press a "French Brad," or a drawing pin through the several thicknesses of wood. In this instance, the pasted or glued paper is not required. The next operation is to drill one or two holes with the awl, No. 3, or Archi- median drill tool, Nos. 4 and 5, in every part of the design which requires cutting away, as shown on Fig. 1 ; this done, place the wood with the design upwards, on the "horse," (providing the Amateur does not possess a Fret-cutting Machine), the first part to be operated upon, which should be the outside of the design, being placed over the V shaped opening ; the bow of the saw being to the right hand. Move the saw gently up and down, directing the wood in such a manner as to get on to the nearest line of the design, and follow the same. The wood must be moved by the left hand, pressing and turning it in the required direction, against the saw, as the latter is being moved up and down by the right hand. The operator should be seated lower than his work, which should be on a level with his breast, and the saw held quite perpendicular; if not, the underneath por- tion of the pattern will be smaller or larger than the top, and the piece of wood will not drop out, as it ought to do if the pattern is correctly cut. When backing the saw, to get to the drilled hole for a fresh start, in case the design does not admit of the saw following at once, move it backwards, as if in the act of sawing, and so start again in another direction, as shown by the dotted lines on Fig. 1. A little grease orsoap applied now and then to the saw blade will facilitate the cutting very much. The outside of the design being completed, proceed to remove the inner parts, by unscrewing the top end of the saw blade, and passing the loose end through the drilled hole ; then screw up the blade until it is tightfthe handle being beneath the wood about to be operated upon. Proceed then to follow the design, until that particular part is removed ; then unscrew the saw blade, and proceed as before directed. The edges of the design must now be filed up, where required, until all the inequalities, left by the saw, are removed. * Paste is made by mixing flour and water together, stirring it until it boils or stiffens. Starch paste is made by pouring boiling water on starch, then thoroughly mixing it ; it is easier to make, and for many purposes is preferable to flour paste. FRETWORK. C Some Fret Cutters prefer the work held in an upright position. To meet this want, the Improved Holder will be found a capital invention. It can be applied to any ordinary table, at a moment's notice. It holds the work in an upright position, but at the same time admits of its being turned about as required. The knee is pressed against it when used for heavy work ; otherwise the India Rubber Spring will be found sufficiently strong for holding ordinary Fretwork. Improved Holder. The whole design being cut, the paper is removed by slightly damping and peeling it off. Great care must be exercised to avoid wetting the wood ; in case the wood should warp or bend, at any time, one of the following methods will, with care, bring it straight again — viz. : (i.) holding the convex or rounded side a short distance from the fire ; or (2) slightly damping the concave, or hollow side only, and placing it under a small weight until it is straight. STAINING AND POLISHING. HE next operation will be to oil, stain, or polish the work ; this should be done before it is put together, as it is impossible to polish the corners of made-up work. For oiling, boiled linseed oil should be rubbed over it, and when nearly dry rub it over with a stiff brush. There are various stains. A simple one is made by mixing finely-ground burnt umber with beer, adding black to obtain the darker shades ; this should also be rubbed over with a stiff brush before it is dry. Bicromate of potash diluted with water to the required shade, should be applied with a brush, ~as~"it not only stains wood effectually, but also the hands ; it is therefore advisable to wear gloves and so avoid touching it with the fingers. An oil stain is made by some druggists and colourmen, and is preferable to most others, from the fact that it does not raise the grain of the wood, as is the case with other stains in which oil is not the liquid used in mixing with the colour. If varnish is preferred, it must be applied, lightly and evenly, with a flat camel hair brush, and more than one application will be required. There are several kinds of- varnish, varying in colour, which must be used according to the colour of the wood. To polish well requires considerable practice, and, as the operation is neither clean nor pleasant, the amateur is recommended to employ a polisher. However, if the carver desires to polish his own work, the method is as follows : — In the first place see that the flat surfaces are perfectly smooth, if not sufficiently so the glass-paper must be again applied, as it is impossible to varnish on a rough surface. Having obtained the polish — light or dark, according to the colour of the wood — soak a small bit of tow, or cotton wool, in the polish, and apply it, evenly, to the wood ; then add more polish to the cotton wool, b ut before applying it to the wood, place it inside a piece of linen rag, on which put a drop - * to /■'■ IO CARVED FRETWORK. or two of sweet oil — this prevents the rag from sticking — then rub the wood, giving a circular motion to the rag, and repeat the supply of polish and oil as required, until the whole surface is uniformly polished. As little oil as possible must be used ; the exact quantity can only be learnt by experience. As a rule, the rag should feel slightly " tacky," or sticky, when touched by the finger in applying the oil. Some woods receive the polish better by applying it at two or three different times, allowing some hours to intervene between each application. As only flat or other surfaces which can be got at freely can be French polished, the other parts must be " brush polished," that is, have what is called brush polish applied with a camel hair brush, as thin and even as possible ; care must be taken to avoid the application of this polish on the French polish already on the flat parts of the work. CARVED FRETWORK IMPLE Fretwork, of good design, is rich and pleasing to the eye, but this effect is greatly increased when the aid of the Carving tools is called in, to further embellish it ; and, it being advisable that the amateur, after having mastered the simple art of Fretwork, should proceed to the more advanced operation of Wood Carving, a few words of instruction will be needed.* Most of the designs here given are adapted to this purpose, and examples are given showing the Fretwork in relief. CARVING TOOLS AP UT few additional Carving Tools will be required to further embellish Fretwork. ■ i The impressions made by the tools and their shapes are shown in the illustrations ; there are several sizes of each kind of tool, and it will be well to have two or three sizes of each, viz. : — Entering Chisel (spoon shape). For levelling the ground- work in confined spaces, and where a flat chisel cannot be used. Entering Gouge (spoon shape). For hollowing out the undulations in foliage, &c. Parting Tool. For the veining of leaves, or cutting the outline of a design. * For further instructions in this Art, see "Manual of Wood Carving;" 410., Neat Cloth. Illustrated with up- wards cf 130 designs. Bemrose and Sons, 21, Paternoster Row, London ; and Derby ; and all Booksellers. CARVED FRETWORK. II Bent Parting Tool. For the same purposes as the last- mentioned tool, where a straight tool cannot be used : as in the hollow of a leaf. Maccaroni Tool. For removing wood on each side of a stalk or vein of a leaf. Skew or Comer Chisel. For removing wood out of the corners of a design, where an ordinary chisel is use- less. Carving Chisel. For cutting round the design on com- mencing to carve, also for removing superfluous wood and grounding. Carving Gouge. For cutting curves and removing super- fluous wood. Double bent Fluting Gouge. For removing wood from the hollows of leaves, &c, where a straight gouge cannot be used. Oil Stone -(Arkansas preferred), and slips or smaller stones to fit the inside of the gouges. Unless the tools are " set " or sharpened when purchased, they will require to be ground on a grindstone ; and as but few amateurs will possess one, it will be well to have them ground and "set" by a wood-carver or cabinet-maker. In "setting" the tools, apply a few drops of sweet oil to the Arkansas stone, and take care not to hold the tool too perpen- dicularly. In using the gouge slip it should be spanned by the thumb and finger of the right hand, and the underside of the slip applied to the inside of the tool, which should be held firmly by the left hand, at rest, both elbows close to the side. If these instructions are carefully followed, the're is little danger of cutting the fingers. One side of a gouge slip should be ground so as to fit the Parting and Maccaroni tools. Too much attention cannot be given to the state and care of the tools, as neither pleasure in using, nor good work can proceed from dull instruments. In addition to the above it will be necessary to have glued to a piece of wood, a strip of thick and soft buff leather, about 12 inches by 3 inches, which should be well moistened with sweet oil, dusting on it some fine emery powder. The tools may be drawn over it occasionally, in the intervals of use. The tools are best kept separate, either in wooden trays, or placed under loops of elastic sewn on to a piece of flannel or leather, with a flap on each side to prevent them slipping out when the case is rolled up and not in use. The Fretwork about to be carved, should be fastened to a piece of soft waste wood, somewhat larger than the Fretwork, in the manner already described, and the wood held to the table by the holdfast. This method supports each tender leaf or stem whilst it is being carved, which otherwise would not admit of the operation of carving, from its fragile nature. The grain of the wood must be observed, not merely as to whether the carver is cutting across or along the grain, but whether up or down (as in planing), so that the 12 CARVED FRETWORK. chips may come out clean, instead of tearing deeper than is wished. In case the tool does not cut clean, cut from an opposite direction, or sideways. In using glass-cloth care must be taken not to rub the edges of the work so as to round them, as this spoils the good effect of all carving. Avoid its use altogether if possible. In glass-papering flat surfaces, place the glass-paper round a piece of flat cork I inch thick and 3 or 4 inches square. Ox**- ftx £-i> &. C#Vk. £W6&r-* l^ The handle of the Carving tool should be held firmly in the right hand, the left hand resting on the tool in front, and being hollowed, so that the points of the fingers and the wrist rest on the work to steady the tool when carving by pressure, the left thumb being under the tool. This not only steadies the pressure applied by the right hand, but also prevents the tool slipping forward. If these instructions are followed, there can be no danger of injury either to the hands or work. The various methods of staining, varnishing, and polishing, have already been described. SUGGESTIONS AND EXPLANATIONS OF THE DESIGNS. |ANY of the designs are drawn to show carved Fretwork : if the design is required for plain Fretwork, the outline of the design only is used ; if it is further intended to embellish it by carving, the shading and veining of the leaves, &c, will give the necessary information. Some Fretwork is greatly improved by scarlet,- crimson, or other coloured cloth or velvet being placed behind it — as in the door of the Key or Trinket Cupboard Fig. 28 — or by placing dark wood before or on light-coloured wood, and vice versa, as in the Envelope Box, Figs. 14, 16, 20. Book-rests and Table-easels will require supports ; these are made by screwing to the back of the book-rest or easel a pair of small brass hinges, to which two legs or props are screwed, so that when not in use the supports will fall close to the back. The shelf is screwed on from the back ; this can also be made to fold up by using hinges instead of screws. Brackets are often made to fold up. This is accomplished by using small hinges, instead of screws, in fastening together the three pieces, viz. : — the back, shelf, and front support. The front support is exactly one-half of that part of the design below the shelf, and the distance it projects decides the width of the shelf. Figs. 29, 30. — Reading-desk with natural wood hinge, which is not only a curiosity, but a neat and strong hinge. It is made as follows: — Procure a piece of wood, 14J in. by 9! in., | in. thick ; mark off carefully the spaces as shown in Figs. 29, 30, on both sides, then saw down to A from each end, with an ordinary joiner's saw, as shown on the fection, Fig. 29, then cut off a piece 7 inches from the top on one side — what is left forms the shelf ; from the lower part of the same side saw off 2|- inches from the bottom — this forms the front support ; now with the carving chisel remove the wood out of eveiy other space, in a slanting direction, until the " sawgate " is reached, then turn over the piece of wood, and cut away every other space, taking care that it is left solid on this side zu/iere it is hollowed out on the other. On the whole being cut down to the " sawgate," a strong natural hinge will be made without the aid of a rivet or screw. Figs. 42 to 45. — Bread and Butter Platters. These designs are suitable for either cutting out of the solid, or letting in a dark thin piece of wood, fretted out to the design ; in the latter case the wood let in will require holding in its place with one or two small pins, and must be removed when the platter is about to be washed. * Additional designs for various useful and ornamental articles are being continually brought out, and can be obtained from the Publishers, and the principal dealers in Fretwork tools and patterns. . - - - LIST OF DESIGNS. Fig. i Book Slide. 2 Ditto. 3 Bracket. 4 Ditto. 5 Book Rest. 6 Table Mat, or Panel for Window Plant Box. 7 Bracket. 8 Paper Knives, 4 designs. 9 Hand Mirror. 10 Card Basket, 4 designs. 11 Letter Rack. 12 Card Basket, 4 designs. 13 Blotting Book Side. 14 End of Envelope Box. (See Fig. 16 and 20.) 15 Thermometer Plate, or Finger Plate for Door. 16 Lid of Envelope Box. (See Fig. 14 and 20.) 17 Ornament for top of Wire Window Blind. 18 Picture Frame. 19 Book Side. 20 Front of Envelope Box. (See Fig. 14 and 16.) 21 Ornament for top of Wire Window Blinds. 22 Mirror Frame. 23 Panel. 24 Photograph Frame. Fig. 25 26 27 28 29 3° 3i, 33 34, 36, 33, 40 4i 42, 44> 46 47 48, 5 1 5 2 S3 Photograph Frame. Table Easel. Table Mat. Key and Trinket Cupboard Reading Desk, with Wood Hinges. Ditto. 32 Finger Plates for Doors. Hand Mirror. 35 Flower-pot Cover, 2 designs. 37 Ditto ditto. 39 Hanging Book Shelves. Paper Knife. Table Mat, or Picture Frame. 43 Butter Platters, \ size. 45 Bread Platters, \ size. Dragon-fly Bracket. Corner Bracket. 49, 50 Paper Knives. Photograph Frame. Book Side, Bracket, showing Carved Fretwork. Picture, or Mirror Frame, showing Carved Fretwork. (See Title Page.) UJ Q -I to G* O ~ o 03 lit a -1 H en w o o G3 ui tQ V BRACKET Fit. 4 BOOK REST. PI&.5 ^^F/ 1 F***J\T^ zi 9* r*!v v 3 N ^ 5*T 53 ,^4 ^ ± a ^ 1 TABLE MAT, or PANEL for WINDOW BOX TIG 6 < S AC CO CO ul > eo z o Ul Q_ < SECTION. SECTION. SECTION. o XL 03 a z ^ CARD BASKET FIG 10 or: ^ CARD BASKET FIG 12 Q CO O o CD o H a CO 3 5: END OF ENVELOPE BOX FIG /#■ 9H [thermometer* /s ORNAMENT FOR TOP OF WIRE WINDOW BLIND. FIG 17 BOOK SIDE FIG 19 FRONT OF ENVELOPE BOX FIG. 20. JawwwwiwwiMmiH8fcMgiiwMH>i ORNAMENT FOK TOP OF WIRE WINDOW BLIND //£. /?/ MIRROR FRAME FIG 22 CO CVJ o Ui — S < ui u. / TABLE MAT. FIG 2 7 .1 a < o CD a. o Z I- eo CM o A.WCAJZ FINGER PLATE FOR DOOR F/6 3/ FINGER PLATE FOR DOOR FIG32 I- ^ f% i. :::: - > -■■•' >i t\r r - '. ■ •'Stiff FLOWER POT COVER F/6 36 FLOWER POT COVER F/G 37 FIG 39 DESIGN FOR TOP & BOTTOM OF BACKBOARD TO FIG 38. HANGING BOOKSHELVES J- FIG 38. - - - ■• " v..^,^*«. F/G9Q. 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