4 cs ¢ ‘ 7 — 2 \ ’ . 3) / ‘ : a y rn ¥ . * is Hi : 1 sd NISNOOSIM ‘HINOWONGJ[ ‘ALOLILSNT LAOLG LV AYOMIVLAJ NI SSVIO S,HOHLAY METALCRAFT and JEWELRY By EMIL F. KRONQUIST Formerly Instructor in Milwaukee State Normal School and the Washington High School, Milwaukee, Wis. THE MANUAL ARTS PRESS Peoria, Illinois 3 aie CopYRIGHT, 1926 64PS3 INTRODUCTION NTELLECTUAL education has run away with us. The balance necessary for a rounded-out culture can only be had when the practice of the arts as well as appre- ciation is a part of general community life. Machinery today has robbed us of the urge to be practical with our hands, but no machine has ever designed, and no design has been successful unless the material of its application was thoroughly understood by the designer. We no longer have to produce as individuals with our hands the necessities and comforts of daily life, and this very leisure which science has given us promotes a passion for grace and satisfaction in all the things we possess. A product of manufacture must now be beautiful as well as useful. The design that goes into it must be created by one who understands the materials from which it is made. Who knows the limitations of wood, stone, metal, clay, or fabric unless he has worked in it? The development of aesthetics was never more needed from the practical standpoint, but from the standpoint of individual happiness it is even more needed. With ~ machinery doing the world’s work there is time to spend in the daily life of all. Shall it be squandered, or will we really buy something with it? Pleasure can be bought on the outside but happiness comes from within. The flare to create beauty is rare in a mechanical age, but within all humans is a smouldering desire, the devine heritage. This is not recognized in the great system, the steam- roller process, of present-day education. ‘“‘T should like to do something worth while with my 5 6 INTRODUCTION spare time, but I know not how. The mystery of the arts baffles me.”’ This delightful book is one of the answers, clearly opening the way, step by step, but with direct and simple approach, to the practice of metal-craft. Nothing seems to have been omitted; it is surely a complete text- book for the novice. Emil Kronquist’s scholarly and thorough attack is happily void of pedantry and technical confusions. While it is food for babes, the experienced master will find many a morsel of help and potent stimu- lation in its illustrations and eloquent text. The conscientious and thorough presentation of a life work such as this is might be dull but for the obvious inspiration and enthusiasm that has gone into the long hours of writing, drawing, and photography. Its thrills are many. This generous sharing of life’s riches places us in this artist-teacher-craftsman’s debt. He leaves his own pursuits and takes us by the hand, leading us gently but joyously into a world of beauty and a life worth while. DupLeyY Crarrs WATSON Director of Extension Work Chicago Art Institute FOREWORD CCOMPLISHMENT in any art or craftisnot easy, but usually we do a thing of this kind becausewe love to. To really appreciate a piece of work it is essential to know how it was made. The possibilities in designing are limited to the extent of the knowledge the worker has of the medium he intends to work in. The primary purpose of this book is to acquaint the reader with the metals chiefly used by the craftworker— silver, brass, and copper. Simple jewelry lends itself splendidly as a medium for teaching metal-craft, and the making of useful articles for personal adornment or gifts is well within the scope of the beginner. The students’ work shown in this book indi- cates what may be accomplished by careful and system- atic guidance. The question of design is, and always will be, the great obstacle in teaching a craft, because the creative ability of the average person is limited to an extent of discourage- ment. We should, however, remember that it is hardly fair to expect a student to design or plan something to be worked in a material with which he is not familiar, and little knowing its limitations. With this important fact in mind the basic outline of this book was made. A type problem is presented and the different steps of operation are shown in a graphical sequence. ‘The text matter explains the various tools and their uses, which are illustrated wherever necessary. Additional designs are presented for each type problem for the purpose of offering a suggestion for further study. {i 8 FOREWORD It is hoped some of the contents of the pages to follow will prove beneficial to the student craftworker and fur- nish information, and perhaps inspiration, to carry on the work as an avocation. I desire to express my appreciation to Milwaukee Downer College and to my former students of the Mil- waukee Normal Art School and Stout Institute, Menom- onie, Wisconsin, much of their work being reproduced herein. I desire also to express my appreciation to George H. Trautman, whose work is shown, and my acknowledg- ment of the courtesies rendered by The Gorham Co., New York; Espositer Varni Co., New York; and Ben. Hunt, Milwaukee, Wisconsin. TABLE OF CONTENTS PAGE NR PUN ei ca kee wee ce ee eels 5) TOU ee eee tle cee 7 CHAPTER I. ESSENTIAL PRELIMINARY INFORMATION I11 1. General rules. 2. Design. 3. Transferring a Design. 4. Seratch Awl and Burnisher. 5. Preparation of Metal. 6. Precautions. 7. Cleaning by Chemicals. 8. Baser Metals. 9. Precious Metals. 10. Carat. 11. Metal Gages. 12. Processes. emma ee iERGED WORK. ..... 6.6... eee en. 13. The Watch Fob. 14. Drilling. 15. Sawing. 16. Files and Filing. 17. Wire and Wire Drawing. 18. Hard Solder- ing. 19. Silver Solder. 20. Iron Binding Wire. 21. Final Pickling. CHAPTER III. PINs AND BROOCHES WITH SETTINGS. 22. The Possibilities in Designing. 23. The Close Setting. 24. The Brooch. 25. The Heat Application. 26. The Bezel. 27. Setting the Stone. CHAPTER ITV. Pins AND BROoOcHES wiITH LIGHT Mee ee ee oe ek 28. The Designs. 29. The Tools. 30. Chasing. 31. The Scarf Pin. Mrmr Ve ORING NMLIAKING............... eae ny, 32. Pierced Work. 33. Rings with Applied Work. 34. Rings, Carved and Chased. | CHAPTER VI. CHASING AND Repoussk WORK .... 35. Chasing, 36. The Pitch. 37. Preparation. 38. Chaser’s Pitch Bowl. 39. Chaser’s Pitch Block. 40. Heating the Pitch. 41. Attaching the Metal to the Pitch. 42. A Chaser’s 9 20 47 61 69 6-10 CONTENTS or Repoussé Worker’s Hammer. 438. Making Chasing Tools. 44. Hardening and Tempering. 45. To Harden a Steel Tool. 46. To Temper. 47. Holding the Chasing Tool. 48. Pre- liminary Exercises in Repoussé Work. 49. The Pendant. 50. Repoussé Work on Hollow Articles. | CuaptTerR VII. Wire-DRAWING AND WIRE WoRK.. 97 51. The Process of Wire-Drawing. 52. Draw-Plates. 53. Chain Making. 54. Unit Jewelry. 55. Twisting Wires. 56. Filigree. CuaptTer VIII. Stones AND METALS—SOLDERING. 110 57. Stones. 58. Precious Stones. 59. Semi-precious Stones. 60. Hardness. 61. Birth Stones. 62. How to Order Silver or Gold. 63. Melting Silver and Scraps. 64. Rolling. 65. Composition Metal. 66. Soft Solder. 67. Flux for Soft Solder. 68. Soldering Iron or Bit. 69. Tinning Copper Point. 70. Cleaning the Bit by Dipping. Cuaprer LX. HAMMERED WORK. ....0. coe ee 124 71. Art Metalwork. 72. Flat Work. 73. Planishing. 74. Rivets. 75. Process of Riveting. 76. Letter Opener. 77. Drawer Pulls. 78. The Dapping Die. 79. Lanterns. 80. Desk Set. CHAPTER X. RAISED WORK: (2.3, e258 Rese 151 81. Shallow Bowls or Trays. 82. Planishing. 83. Raising. 84. Crimping. 85. Trays and Platters. 86. Seaming. CHAPTER XI. METAL COLORING—OXIDIZING...... tie 87. Metal Coloring. 88. Polishing. 89. Oxidizing Silver. 90. Oxidizing Copper. 91. Oxidizing Copper or Brass. 92. Bright Dip. 938. Metal Lacquer. CHAPTER I ESSENTIAL PRELIMINARY INFORMATION 1. There are as arule several ways of executing a piece of work, whether it be gold, silver, brass, or copper, but the preliminary processes of preparing the design and the metal are about the same in each case. The problems in this book will take the worker from the simple to the more complex, showing in many cases how the same design can be worked out by different methods. 2. Design. The term ‘‘design”’ means in its broad sense to plan something. It may be under any of the three general heads: naturalistic, conventional, or geo- metric. Considerable time is usually spent on the design, and it is of the utmost importance because upon this one thing depends whether we are going to be interested in doing the work and finally admire the finished object. A clean, accurate outline drawing should be made from the design on a good grade of tissue or tracing paper, using a pencil not too hard, but pointed sharp as a needle and kept in that condition by the frequent use of an old file or sandpaper. 3. Transferring a Design on to a metallic surface may be accomplished in several different ways. Yellow beeswax is an excellent medium for transferring small, intricate designs of jewelry on to gold, silver, cop- per, or brass. The wax is applied to the clean surface of the metal, which has been previously heated, by rubbing 1] 12 METALCRAFT AND JEWELRY on a very small quantity and wiping with a clean rag to insure an even, thin film. When the metal is cold, place the tracing with the pencil lines toward the waxed sur- face and rub carefully with a burnisher or any hard, smooth instrument. If the metal surface was clean, with not too much wax, an exact, clear-cut duplicate of the design will be assured. ——————— ee Fic. 1. THe STEEL SCRATCHER AND BURNISHER Carbon paper can be used for most general work of larger size. The impression left on the metal surface will be greatly improved if, previous to tracing off the design, the surface is wiped with turpentine or gamboge. 4. Scratch Awl and Burnisher. It is necessary in most cases to scratch in the design after it has been transferred to the metal. A piece of 44-inch square tool steel 6 inches long, filed to a taper, one end slightly curved and polished, will prove an effective and useful tool. (Fig. 1) 5. Preparation of Metal. Annealing is to render a piece of metal soft by the application of heat. This may be done by the gas blow torch with foot bellow (Fig. 2), the Bunsen burner, a large-size alcohol lamp (Fig. 4) or zas (Fig. 5) used in connection with a mouth blowpipe. (Fig. 6) The ordinary gas plate may also be used to good advantage for heating smaller pieces of metal. 6. Precautions. Silver and copper may be plunged into a liquid red-hot without the risk of cracking. PRELIMINARY INFORMATION 13 Gold of less than 14 carats should be allowed to cool before throwing it into a liquid. Brass or any alloy is a treacherous metal; it should be heated slowly and allowed to cool gradually as there is ——_ A Te Yy 4 iy} y V j y 4 y he ee OD 0029 - a\ eae 5 Ss a DAV Ant Y N e' NV KZ 1 ese: \ Fig. 2. Tse Biow-Torcu anp Foot-BELLOWS always danger of cracking the metal when it is subjected to a sudden blow or extreme change of temperature. 7. Cleaning by Chemicals. ‘‘Pickle”’ is the name used for the cleaning solution, which consists of sulphuric acid 14 METALCRAFT AND JEWELRY Fic. 3. Gotp PENDANT CARVED AND CHASED BY AUTHOR PRELIMINARY INFORMATION 15 and water; about one part of acid to fifty parts of water makes a satisfactory solution for generalwork. In prepar- ing the pickle add the acid to the water. A pickle pan or jar, a vessel made of copper or lead (Fig. 7) 1s very serv- iceable, as frequently the acid must be heated in order to quicken its action upon the metal. Allow the annealed metal to remain in the pickle until clean, which takes only a minute or two if the acid solution is boiling. Silver will turn pure white with a matte surface that is excellent to draw on, or transfer designs to. Copper or brass is scoured with water and pumice powder, or a kitchen cleanser such as Dutch Cleanser or the like. Use a brush ina circular action which willinsure a uniformly finished surface. After scouring, rinse in water; then dry the metal with a rag or heat it slightly over a blue flame. Fic. 5. Gas BurNER FOR SOLDERING Fic. 4. ALCOHOL SOLDERING LAMP 16 METALCRAFT AND JEWELRY 8. Baser Metals such as copper and brass are splendid mediums for the craftsman and adapt themselves admira- bly for decorative metalwork. Fig. 6. Tue Mourn BLowPire Copper in many ways is the most useful of metals. Among its valuable properties may be mentioned its extreme ductility, which enables it to be drawn into fine wire, while its toughness enables it to be rolled or beaten Fig. 7.2 A PICKLES. into thin sheets. From an artistic point of view, copper is a beautiful metal. Many different colors can be pro- duced when it is subjected to various chemicals or heat treatments. It 1s a perfect medium for the enameler to work in. It is sold in sheets 30 by 60 inches. any thickness, PRELIMINARY INFORMATION vi soft, half-hard, and hard. It melts at 1,996 degrees Fah- renheit. Brass is an alloy consisting mainly of copper and zinc. In its older use the term applied rather to alloys of copper and tin, now known as bronze. It is a rich yellow shade and an excellent material for the craftsman. It possesses a high tensile strength and ductility, but care must be exercised in the execution of the work; frequent and care- ful annealing while work is in progress is necessary. It can not be forged red-hot and must not be quenched, as cracking may occur at the most unexpected moments. It is sold in sheets 12 by 60 inches, any thickness, soft, half-hard, and hard—the latter is also known as ‘‘spring brass.”’ Brass (containing 25 per cent of zinc) melts at 1,750 degrees Fahrenheit. 9. Precious Metals, silver and gold, were known from the earliest times and are of great importance as “noble” metals for articles of value—coinage, ornamentation, jewelry and silverware. Silver is one of the most beautiful of all metals—no metal is better to work in. Pure silver is snow-white and capable of taking a high polish, but it is very soft and not practical in making durable objects. However, it is quite often used for bezels or settings for delicate stones. It is fused at 1,873 degrees Fahrenheit. Sterling silver is a name given to an alloy of silver and copper, 925 parts of fine silver and 75 parts of copper, also called 925-1000 fine. This alloy is used in America and England in the production of jewelry and silverware. It is sold by refiners and assayers (see list of Dealers) in any quantity, shape, or gage. Bars of silver can be pur- chased at leading banks. Gold, valued from the earliest ages on account of the 18 METALCRAFT AND JEWELRY permanency of its color and luster, when pure is nearly as soft as lead. It is the most malleable of all metals; it is also extremely ductile—one grain may be drawn into a wire 500 feet long and it has been hammered into leaves less than a millionth of an inch in thickness. Fine gold is too soft for all ordinary purposes and is usually alloyed D2 22? M27 26 2y 908% Fic. 8. THe WIRE GAGE with other metals such as silver and copper to render it serviceable for the manufacturer and craftsman. Gold alloyed with copper has a reddish color; if alloyed with silver, it is yellow or green. The fusing point is at 1,947 degrees Fahrenheit. 10. Carat. The word ‘‘carat’’ means a twenty-fourth part when used in connection with gold. It expresses the proportion of gold in an alloy. Thus, gold 18 carats fine is 18/24 or 34 pure gold. The carat is also a unit of weight for gems and is equal to 3.166 grains. Gold as well as silver is bought from banks or refiners and assayers. PRELIMINARY INFORMATION 19 11. Metal Gages. Many different metal gages are on the market for measuring the thickness of sheet-metal and wires. No standard exists, but the Browne & Sharpe wire gage is known by all dealers in America. It is important to specify the name and number of the gage in pur- chasing baser or precious metals. Baser metals, such as copper or brass, are sold in sheets, while precious metals may be purchased by the ounce or cut to specific size. The thickness is measured by the slot the metal or wire fits into. The hole at the bottom of the slot is just for clearance. (Fig. 8) 12. Processes. Most metalworkers agree that the best result is obtained when a student is led on by carefully selected problems, for it is not only necessary to learn the process, but a certain amount of practice must also be acquired in order to understand and master the uses of the various tools. Only through diligent practice can the higher exercises of the craft be achieved. Each problem with the various processes and tools used will be taken up, separately in the pages that follow. CHAPTER II PIERCED WoRK 13. The Watch Fob. (Fig. 9) Make a clean outline drawing on tracing paper or tissue paper, transferring by the beeswax method (see Sec. 3) onto a piece of sterling silver, 18 gage, Browne & Sharpe. Scratch in the design carefully with a steel point, as the work will require a good deal of handling, and the soft pencil line may other- wise be lost. 14. Drilling. If any inside metal is to be removed, holes must be drilled. The hand drill (Fig. 11) is well suited for this work. A small-size twist drill may be used, but it is still better to make the drill as follows: Heat a needle to make the steel soft, then break off the point and flatten one end. Now harden it again by making it red- hot and quenching in water; rub it on a piece of emery cloth to make it bright. Temper it to a light blue color by drawing it carefully through a soft flame. Sharpen on an oilstone to the shape shown in Fig. 12 and apply a little water or oil to the drill point while each hole is being drilled. This type of drill point is known to the trade as a Swiss drill and may be purchased from jewelry supply stores. 15. Sawing is done with what is known as a jeweler’s saw; a saw-frame five inch deep with a no. 0 blade is well suited for all-round work. (Fig. 13) Saw blades are purchased by the gross or dozen lots. They are highly tempered steel blades essentially made for metal cutting but can be used for cutting wood also. 20 PIERCED WORK Watcu Fos Fra. 9, 22 METALCRAFT AND JEWELRY SuGGESTIVE. DESIGNS FOR PIERCED WoORK SHADE. ALL PIERCED PORTIONS OF THE DESIGN IN SOLID BLACK. (As IN B) Fic. 10. Drsigns ror Watcu Foss PIERCED WORK 23 The finest saw-blades made, No. 000000, are about the thickness of a horse-hair. The heaviest blades No. 6, make a saw cut about 1, of an inch wide and are only suitable for cutting thick-gage metal. The blade should always be placed in the saw-frame with the teeth pointing toward the handle and clamped at the top of the frame first, then the frame is sprung and the blade tightened in the clamp near the handle. (Fig. 14) Fic. 11. Tue Hanp Dri. There should be a fairly high ten- sion on the blade as it cuts more accurately and doesnot break quite asreadily asasloppy or loose blade. In using the saw, hold it in an almost perpendicular position; since the teeth all point down, the saw only cuts on the down stroke. fig 12. Dri Poms A little practice soon will enable one to do creditable work. A V-shaped piece of wood screwed to the bench (Fig. 13) should be part of the worker’s equipment. 16. Files and Filing. Files are known by their shape, cut, and size. The teeth are like a series of small chisels 24 METALCRAFT AND JEWELRY cut at an angle to the sides of the file. (Fig. 15) It cuts only on the forward stroke. The length of the file is the distance from the heel to the point; the tang, or part that goes into the file handle, is not included in the length. B= DEPTH OF SAW Fic. 13. Tur JEWELER’s SAw-FRAME AND CuTTrina BoarpD Fig. 16 shows the end views of sections of files. In filing, the tool often gets clogged with chips of metal and should be cleaned frequently with a wire brush called a file-card. After the sawing out it is necessary to true up the irregular edges left by the saw. A needle file 31% inches long, of the shape best suited to the outline should be used for this purpose. PIERCED WORK 25 Many different methods are used in fastening orna- ments to ribbon or leather. 17. Wire and Wire Drawing. Unlimited combinations and shapes and sizes of wire can be produced, and the Fig. 14. Tuer Saw BuaApE BEING CLAMPED INTO PLACE decorative adaptation by the craftsman presents a rich field for study. Gold and silver wire can be purchased in any gage. (See chapter on ‘‘Dealers’’) The tools needed for the process of reducing the size of wire are a draw-plate and a heavy pair of pliers. (Fig. 17) A wire may be reduced to any size or shape by pulling it gradually through a series of holes, one after the other, annealing frequently. The danger of burning the wire during annealing may be lessened if the wire is coiled up 26 METALCRAFT AND JEWELRY in a bundle (Fig. 18) and placed on a charcoal or asbestos block and the mouth-blow brought into use. Steel draw-plates can be had with holes of different shapes—round, square, half-round, or triangular. A FILE CUTS ON THE FORWARD STROKE... Fic. 15. ENLARGED View SHOowING ACTION OF FILE TEETH WiLLLLAN-«eLIMME lt. ~~ FLAT HALF ROUND KNIFE FDCGE a @Q SQUARE. TRIANGULAR ROUND Fic. 16. Cross-SECTIONS OF FILES The top and the back crossbar of the fob are made by drawing a piece of silver wire to a 15 gage. Roll a few links on a wire brad or fine nail as shown in Fig. 19; then sepa- rate by cutting the links thus formed with a jeweler’s saw. The long upper bar to hold the ribbon is bent with a PIERCED WORK 27 ZAC Si £E Me eet Ha aa DRAW =- PLATE Fie. 17. Drawina WIRE Fig. 18. A Coit or Wire TrieED UP For ANNEALING 28 METALCRAFT AND JEWELRY pair of round-nose pliers. (Fig. 20) Prepare and assemble on a charcoal block as shown in Fig. 21. Care must be taken that all the joints that now are going to be hard- soldered are clean and in contact with each other. Fic. 19. Maxine Rounp Links Fic. 20. Ture Rounp-Noss Puiers In USE 18. Hard-Soldering. The art of soldering may be divided into two classes, hard-soldering and soft-soldering. The latter process will be explained later. Hard-soldering PIERCED WORK 29 means the uniting of separate parts by the use of an alloy solder which melts or fuses at a lower temperature than the work to be soldered. It is always necessary to bring the work to a red-hot heat in hard-soldering. Tic. 21. Work PREPARED FOR SOLDERING ON TH2 CHARCOAL BLockK When metals are heated, a scale called oxide forms on their surface. ‘To prevent the oxide from forming in the process of heating, a substance called a ‘‘flux”’ is applied to the joint or surfaces. The flux forms a coating, which prevents oxidation and also acts by dissolving the oxide. There are many fluxes, each of which has a particular use. The flux used for hard-soldering is borax. Take a piece of lump borax, rub this in a few drops of water on a slate (Fig. 22) until a thin, white, milky fluid is produced. Cover the joint to be soldered with this flux after the edges have been closely fitted. Cut the silver solder as 30 METALCRAFT AND JEWELRY shown in Fig. 23; then place the tiny pieces on the edge of the borax slate and cover them with the flux. By means of a camel-hair brush, the small pieces of solder are LUMP BORAX Fic. 22. Hottow SLATE FOR GRINDING THE Borax STEP 1, CUT LENGTH’WISE.. CuT ACROSS. Fic. 23. Merruop or CuTrtTinG SOLDER placed on the joint to be soldered. The work is then gently warmed in the flame of a blowpipe to evaporate the water in the borax. When this is dry apply a stronger flame PIERCED WORK 31 over the whole work to get it thoroughly heated. Now a brisk flame may be directed upon the chips of solder which will run as soon as the work has been brought up to the Fig. 24. CLAMPING oR TYING Up A PIECE oF WorK pared or purchased (see list of Dealers) in different grades, hard- and easy- flowing. One melts at a higher temperature than the other, which is often desirable when many de- tails are to be soldered on the same piece of work. A loam or paste made from jeweler’s rouge and water, or moulding sand or whit- melting temperature of the solder. Itis very important to get a quick heat, as an oxide will otherwise form on the metallic surface in spite of the borax. The solder will always run toward the hottest place. As a general rule, not always, boil out the work in the sulphuric pickle, after each soldering, and rinse in water, as perfect cleanliness is absolutely necessary to success. 19. Silver Solder is pre- SS———S eee _) 1 HAMMER THE ENOS FLAT 2 BEND THE ENDS SHAPE. WITH ROUND NOSE, PLIERS Fic. 25. How tro Make SMALL TRoN CLAMPS 32 METALCRAFT AND JEWELRY ing is useful as a protective in fine soldering where seams or previously made joints must be protected. 20. Iron Binding Wire, also called annealed iron wire, is used extensively to tie up separate units to be soldered. Three different gages, Nos. 15, 22 and 28, should be on OE SEYaPEER kil "TTT uh Fic. 26. Wire ScratcH BrusH, BrAss oR STEEL hand. Fig. 24 shows two methods of tying up a small job before soldering. The clamps are made from the 15 gage wire as shown in Fig. 25. Before boiling off in pickle remove all iron wire or clamps to prevent discoloration. When the tool work is finished emery cloth or paper is used on the surface and edges. Flat work can be placed face down on No. 00 emery paper on a level bench top. 21. Final Pickling. Scrub the work with fine sand or a scratch brush and water (Fig. 26); then anneal and boil in the pickle solution. If it does not turn pure white repeat the process of scrubbing, annealing, and pickling. For finishing see Chapter XI. CHAPTER III PINS AND BROOCHES WITH SETTINGS 22. The possibilities in designing hand-wrought jew- eiry are increased many-fold when we can deal with three dimensions. The setting of precious or semi-precious stones gives the article a commercial as well as an artistic value. In applying one piece of metal on the top of another by means of solder or rivets, more relief is given to the work. This added material gives more thickness, which in turn enables one to carve and shape or mold the design. The brooches in Figs. 27, 28, and 29 are problems involving the making of a simple setting and soldering one piece of metal on the top of another. Work of this Fic. 27. Stitver Broocu By Miss G. Schmidt nature is not beyond the ability of the average student; care, however, must be exercised in not making the de- sign too intricate. Let us assume that the stone to be used is cut in what is known as a cabochon shape; that is, a stone having a smooth curved surface. (Fig. 30) Translucent and opaque stones are usually cut in a cabochon shape which brings 30 METALCRAFT AND JEWELRY Fic. 28. SInver PINs PINS AND BROOCHES Hiay 29. DrsIGNS FOR BROOCHES 36 METALCRAFT AND JEWELRY out their color and luster. For places to purchase stones see the list of Dealers. Fic. 30. MAKING A CLOSE OR Box SETTING SQUEEZING A ‘ SETTING INTO SHAPE Pigs ok. 23. The Close Setting, also called box or bezel set- ting is the simplest form of setting to make. Cut a band of silver about one eighth of an inch wide, gage 28, Browne & Sharpe. Bend the strip so that it fits closely around the stone. (Fig. 30) Mark the exact place of the seam and cut to size. The flat-nosed pliers are now used to squeezeit gently into shape. (Fig. 31) The ends SQUEEZING A SETTING INTO SHAPE must meet perfectly before any soldering is attempted. There must be contact between the two ends to unite them. Placing the bezel on the charcoal block as shown in Fig. 32, with an iron staple (made from binding wire) to pre- PINS AND BROOCHES 37 vent it from rolling off, cover the joint with borax and a tiny piece of solder and apply heat with the mouth blow- pipe. (Fig. 33) Care must be taken not to get it too hot, as it is thin material and easily melted. When it is prop- erly soldered place the bezel on a tapering steel mandrel or small-horn anvil and tap it with a light hammer(Figs. 34 and 35) until it is true and round. A setting can always be made larger by tapping it with the hammer on the mandrel, but if it is made too large | ou staple it will have to becut L“A0= FROM BINDING wire open and a piece Fig. 32. SOLDERING A BEZEL ON A taken out, then re- CuarcoaL Biock soldered. The setting can be squeezed to any shape with the round- or flat-nosed plier after the trueing up. Level the bezel thus made by rubbing it on an 8- or 10-inch flat mill file. (Fig. 36) The stone must fit perfectly and not too tight; pressure exerted on the stone while Tyne it in the bezel may result in chipping it. 24. The Brooch (Fig. 37) is cut or pierced fein two pieces of silver, the lower part from gage 20 and the upper from gage 22. Trace the top part of the design, transfer to the silver and saw it out, (Fig. 37-A) File all edges clean and true and scrape the under side clean. This is now soldered to the piece of 20 gage silver. (Fig. 37-B) When two pieces of this character are to form the orna- ment, thought should be given to the part which forms the lower layer of the design. The surface should be 38 METALCRAFT AND JEWELRY finished with No. 00 emery cloth. Apply borax on both pieces of metal before clamping together. The solder must be put sparingly on the outside edges where any surplus can easily be removed afterwards. Fig. 33. SOLDERING WITH ALCOHOL LAMP 25. The Heat Application should be quick to make the solder run through. Remove the iron clamps or wire, then boil in the pickle solution and rinse in water. The lower part of the design is now pierced with the saw (Fig. 37-C), and all edges and the top surface are filed clean and smooth and finished with No. 00 emery cloth. 26. The Bezel which has been previously made is now dipped in the borax solution and placed in position on the brooch. (Fig. 87-D) Two or three small pieces of solder PINS AND BROOCHES 39 TAPERED STEEL MANDREL. Fic. 34. STRETCHING A BEZEL ON A STEEL MANDREL STRETCHING A SETTING ) S’ HORN ANVIL Fic. 35. JEWELER’s Horn ANVIL IN USE are placed on the inside of the bezel, touching both the bezel and the base. If the borax is allowed to dry before heat is applied, there is not much danger of the bezei 40 METALCRAFT AND JEWELRY being moved out of place. The center part shown in black in Fig. 37-E is now sawed out, leaving enough metal near the setting for the stone to rest on. Catch and joint are very rarely made, as they can be purchased in any kind of metal at a low price in any jeweler’s supply house. A small piece of solder is placed next to the joint and catch a” FLAT FILE , DEAD SMOOTH. Fic. 36. Levetinc Up THe BEzEeu after they have been properly cleaned and borax applied. It is advisable to raise the object from the charcoal block so that the flame can be directed under the work. If the heat is directed on the joint or catch, the solder will flow upon them. The whole object must be heated up gradu- ally, and the flame then concentrated where solder should run. Solder will always flow towards the hottest spot. The brooch is then pickled, rinsed, and scratch-brushed. The pin is fitted into the joint and a piece of wire is filed to a taper (Fig. 38) and forced through joint and pin; the projecting ends of wire are sawed off or clipped off close to the joint with a pair of cutting pliers. 27. Setting the Stone. A place to hold the work firmly while the stone is being set is made from a piece of wood about 1) inches square and 4 inches long with some dry orange shellac or chasing pitch melted on one end of block. (Fig. 39) While this substance is still soft press the PINS AND BROOCHES STEPS IN THE MAKING OF BROOCH. CUT INSIDE AND QUTSIDE OF DESIGN SOLDER ON *THE. BEZEL REMOVE PART SHOWN IN BLACK. —<—<—<—<— aoe jee OS ) AF coin SOLDER VOINT AND CATCH ON THE BACK Fic. 37. DersIGN or A BroocH AND SEVERAL STEPS IN Its MAKING 4i a2 METALCRAFT AND JEWELRY SHELLAC OR PITCH TAPERED FILE WiRE TO A TAPER AND FORCE INTO HOLE. IN JOINT AND PIN. Fig. 38. Forcinac TAPERED WIRE INTO JOINT AND PIN Fic. 39. Buiock witH CEMENT Fic. 40. Firrinc STonE INTO BEZEL Tlie. 42. Sperrina a STONE Fic. 41. A Loose INNER BEzEL PINS AND BROOCHES 43 work into it, then allow it to get cool and hard. This provides a good base where the work is held firmly. The stone is fitted into the bezel by pressing a small piece of beeswax on the stone (Fig. 40); this grips the stone so that it may be tried in the bezel and easily removed. The rim of metal is now filed down to the proper height, which is determined by the height of the stone. Care must he Fig. 48. Pusutne Tooits Usep FOR SETTING A STONE taken not to get the bezel too low as there must be enough metal to cover the edge of stone. If the stone sits too low it may be raised or heightened by inserting an inner bezel. (Fig. 41) The edge of the bezel is pushed or hammered toward the stone, working at opposite points as 1, 2, 3, 4 in Fig. 42. The irregularities left from setting can be smoothed out with a burnisher. By heating the work slightly over an alcohol lamp, it can easily be removed from the shellac or pitch. If any- thing adheres to the under side, it can be dissolved with alcohol or turpentine. If the work is greased a trifle be- fore it is placed on the pitch, it can be removed clean. 44 METALCRAFT AND JEWELRY TOOLS USED FOR SETTING UP STONES — y= > 7M ye ! , BURNISHER IN USE GRAVER FOR CUTTING THE BEARING Fic. 44. Setting a Sronn, anp Toots UsED TOOHOG IVNHON ALVIG ATMOVM TIP AHL 40 SLNECALG FHL AM WUOM “CP ‘OI oa) RQ ca < SS 3) RS m a) = —T R = KY AY 46 METALCRAFT AND JEWELRY Fig. 46. SirveR Work sy Stupents—Bar Pin, Warcu Fos, SHoE BucKLES SOAR THR LV Pins AND BroocHeEs with Licgut CARVING 28. The designs shown in Fig. 47 all require a little carving to make them interesting. The process will be described by using a type problem. (Fig. 48) The upper part of the design is tranferred by the beeswax method described in Sec. 3 to a piece of silver of 20 gage, and care- fully pierced out with a jeweler’s saw No. 0. It will now have the appearance of the top illustration in Fig. 48. All inside edges must be filed clean before they are sol- dered on to the lower base, which ought to be a slightly lighter gage metal, about 22. It should be clamped on or tied up with light iron binding wire as shown in Fig. 24 care being taken that the two surfaces to be soldered were cleaned and free from dirt and grease. The silver solder should all be placed on the outside, as it will run through if sufficiently heated and leave smooth inside edges. The same kind of bezel or setting is made as in the first prob- lem and scldered in place in a similar manner, the solder placed on the inside of the bezel and allowed to run out. The work should now be boiled in the pickle solution, which cleans it and dissolves all borax. The outside metal is sawed off, also the inside of the setting, leaving enough for the stone to rest on. The work must now be fastened to the pitch block (Fig. 39) for the purpose of holding it while it is being carved. Heat the pitch over an alcohol lamp and shape it with a wet thumb and forefinger to fit the work. Now grease the back of the work with a small amount of oil and heat it 47 48 Fig. 47. METALCRAFT AND JEWELRY BROOCHES. DESIGNED FoR LiguT CARVING AND CHASING LIGHT CARVING 49 STEPS IN MAKING CARVED BROOCH. SAW OUT UPPER LAYER. 20 GAGE METAL. SOCDER TO, BASE PIECE 22 GAGE METAL, (Tem [aot ates MAKE REZELO AND SOLDER IN PLACE pepe ieee 3 ee SAW OFF OUTSIDE METAL AND CENTER OF BEZEL. SET UP ON PITCH BLOCK AND CARVE. (SEE TEXT ) TOUCH UP WITH CHASING TOOLS. SOLDER JOINT AND CATCH ON BACK. eo Dice ANNO ot. dpttibasot ONE: Fic. 48. PRINCIPAL STEPS OF OPERATION IN MAKING A BroocH im 50 METALCRAFT AND JEWELRY slightly before attaching it. This will cause it to stick to the pitch better, and at the same time it will also cause it to come off cleaner and more quickly when it is finished. Fig. 50. Tort ENGRAVER’s BALL 29. The tools required for metal carving are called ‘‘oravers’’ and can be purchased in numerous shapes and sizes. However, a 14-inch flat and a inch round graver LIGHT CARVING 51 are all that are needed for this work. (Fig. 49) The tool should be sharpened on a fine oilstone in very much the same manner as a chisel is sharpened. Remember that good work can never be done with dull tools. The object of carving is to shape or mold the design by cutting away part of the metal. Here one’s own concep- Fig. 51. Work Berne Carvep. ATTACHED TO PitcH BLocK AND HELD IN THE ENGRAVER’S BALL tion or interpretation of the design enters in. The pitch block is held firmly in an engraver’s ball (Fig. 50) by means of a set-screw. This ball is placed in a ring (Fig. 50-B), made from an old piece of belting, where it can be turned in all directions. The graver is held in the palm of the right hand and the point of the thumb should rest D2 METALCRAFT AND JEWELRY on the work and serve as guide for the tool. The left hand clinches the block firmly as shown in Fig. 51. The metal is removed chip by chip until the desired shape is obtained. MADE FROM GQUARE TOOL STEEL. 4 INCHES LONG, Fig. 52. A Frew Userunt CHasing Toots Fig. 53. CHastinc HAMMER The cutting marks left by the gravers are removed by file, scraper, or chasing tools. 30. Chasing is a name applied to a process whereby the metal surface is treated, decorated, or shaped with the use of punches called ‘‘chasing tools” (Fig. 52) and a LIGHT CARVING 53 small chasing hammer, (Fig. 53). A few chasing tools will suffice for simple work of this character. Cut 14-inch square tool steel into 4-inch lengths and file to a taper. Shape one end to forms shown in Fig. 52. The surface of the work is tooled over to give it a hammered texture. The method of holding the tool and hammer is shown in Fig. 55, and the process explained fully in Chapter VI, Fic. 54. Gotp BroocH CARVED AND CHASED BY AUTHOR The small balls or beads for the center of the flower are made by fusing two small pieces of silver on a charcoal block. A perfect circular bead is obtained by melting the metal in a smooth, round depression in the charcoal block, a little borax solution being applied beforehand. If many beads of the same size are required, cut links from a coiled piece of wire and fuse. This will result in a uniform size of beads. To solder the ball in the center of the flower, a small piece of solder is first fused in the cavity made; then the ball is placed in the depression and the whole 54 METALCRAFT AND JEWELRY brooch heated until solder runs on the ball. The joint and catch are soldered in place next. The work is now boiled in the sulphuric-acid solution and scratch-brushed, then oxidized. The stone is set as explained in Sec. 27. Fie. 55. An Artist at Work CHASING A SILVER BowL By courtesy of the Gorham Co., New York 31. The Scarf Pin. The main attraction in a scarf pin is usually the stone. Great care should be exercised in building up the design around the stone. The problem of making any of the pins shown in Fig. 56 is not difficult but one must have had considerable practice in manipulating 55 LIGHT CARVING 9) 4 i in or < O 0 DESIGNS FOR SCARF PINS Fie. 56: 56 METALCRAFT AND JEWELRY STEPS IN MAKING SCARF PIN eS. aa MAKE THE BEZEL SAW OUT THE LEAVES GAGE 28 GAGE 22 SOLDER THE BEZEL ON BASE OF 20 GAGE. METAL. IRON CLAMP MOUNT LEAF DESIGN AND SOLDER ON. CLEAN BY BOILING INNS ACID. DRAW ON THE DESIGN AND SAW OUT ALL. THE PLACES MARKED IN BLACK » SAW THE OUTSIDE SHAPE... FILE AND FINISH THE EDGES. . SOLDER PIN STEM ON BACK, CLEAN AND OXIDIZE.. SET SHE Sas Nic. PIG 7s eek Stee PIN IN THE MAKING LIGHT CARVING 57 tne jeweler’s saw. Small work always requires more patience and greater care in execution than larger work. Assuming scarf pin No. 3 in Fig. 56 is to be made, pro- ceed by making the single bezel for the stone from 28 gage metal as previously explained. Saw out with a No. 00 jeweler’s saw the top layer, which in this case consists of IRON BINDING WIRE, 22 GAGE. FORCE. INTO CHARCOAL Fig. 58. Mertrxop or Houpina PIN STEM IN PLACE WHILE SOLDERING the two leaves with stems. A 22 gage metal will be suit- able for this. The bezel and leaves are fitted carefully together. The bezel is next soldered on the base of a 20 gage metal which has been thoroughly cleaned with emery cloth. The leaves are placed next and tied in position with fine iron binding wire or clamps and soldered. The pin is now boiled in the diluted sulphuric acid solution and the balance of the design drawn on and sawed out. The black 58 METALCRAFT AND JEWELRY places are cut out first, then the inside of the bezel, leaving enough for the stone to rest on. Finally the outside is cut to shape, and the saw marks filed off on edges and finished with No. 00 emery cloth. The steps of the operation are shown graphically in Fig. 57. The scarf pin stem is usu- ally made from German silver wire, gage 18 and 3 inches long, because this metal is somewhat harder than sterling silver and does not bend quite as readily. File the wire flat on one end and make a ring of silver wire to fit the stem. When this ring is soldered on to the base it adds great strength. (Fig. 58) The pin stem is soldered on in an upright position, held in place by a piece of iron wire, 22 gage, which has been forced a little way into the charcoal block. This arrangement will prevent the wire from absorbing more than the minimum amount of heat while being soldered on. Clean by boiling in acid solution and scratch-brushing. The pin stem is bent to proper shape by holding it next to the base with a pair of round-nose pliers and bending it into position with the fingers. The oxidation or coloring of the work may be done either before or after the stone is set; it depends largely upon what kind of stone is being used. Some stones are porous and soft, such as corals or pearls; others contain large proportions of minerals that are sensitive to the oxidizing solutions, such as malachites or azurites, which are carbonate of copper, a form of high-grade copper ore. Work holding such stones should be oxidized before the stone is set, or great care must be taken in not getting any of the oxidizing agent on the stone. "SIM ‘SHMAVM TITY, “IOOHOG IVWHON GLVLIG AHL dO SINAGALG AM MUON ‘6G ‘DIY as =, cot — ce s > ee is; ~y es) 50 METALCRAFT AND JEWELRY Fic. 60. SILVER Cross CHAPTER V Rinc MAKING 32. Pierced Work should first be practiced by the student. Not until that has been mastered should more elaborate designs be attempted. The size of the ring must be known first. This is found by using a ring gage. The length of the circumference of the ring can be measured by using a narrow strip of paper. A stone is usually the central feature of aring. For a start it is well to choose an oblong and not too wide a stone; then what is known as a box setting can be used to hold the stone. Make a care- fully drawn tracing of the design and transfer it to a piece of 18 gage silver. Now scratch in the design with a steel point and saw the outside contour. The ring blank is then filed accurate and clean. Then bend the ring by placing it across a shallow groove in a block of wood and tapping with a round piece of iron or a ring mandrel and a mallet to give it the first curvature. (Fig. 61) Now hammer the ends together and saw through the joint with a jeweler’s saw. This will insure a perfect joint, which is then ready to be soldered. It is not necessary to try to make the ring perfectly round before it is soldered. The soldering is performed as explained before on the charcoal block with mouth blowpipe or torch. Quick, even heat is essential. If solder runs to one side of the ring it is because one side has become hotter than the other, for solder will always run to the hottest place, or it may be the joint has sprung apart. If that is the case set it cool and force the ends together for there must be 61 62 METALCRAFT AND JEWELRY STEPS IN MAKING RING. Fic. 61. Brenpinc a Ringe BLANK AND THE SUCCESSIVE. OPERATIONS RING MAKING 63 STEPS IN MAKING RING. he ft Baa hk pte ¢ wie a ee | se a [—l—~ a= +) DAPPING TOOL K \ Oo0O000 STEP! THE DESIGN, un 2 SAW OUT RING BLANK, SOLDER. » & MAKE DOUBLE BEZEL. SOLDER TO RING, n 4@ TWIST WIRE , MAKE THREE RINGS. » &§ SAW OUT LEAVES .MAKE BEARS. " G@ MOUNT DIFFERENT PARTS. SOLDER " T FINISH EDGES, Omar. Te. OT ONE Fic. 62. Rina DrsiGN witH SIMPLE APPLICATION WORK 64 METALCRAFT AND JEWELRY contact between the two pieces to solder them. Clean it in the pickle and place it cn the ring mandrel and hammer it until it takes a round shape. Reverse it once or twice on the mandrel to prevent it from taking a cone shape as the ring mandrel is tapered. It is advisable to procure a hardened ring mandrel with standard graduation of sizes, similar to the one shown in Fig. 34. Fic. 638. ScaraB RinG, CARVED AND CHASED The bezel for the stone must now be made. File the lower side to fit the curvature of the ring, place it where it belongs and tie it to the ring with a piece of iron binding wire (Fig. 61, step 6). Place the silver solder inside of the bezel and solder on. Drill holes for the different places to be pierced, also one inside the bezel; saw out an oval but have enough metal for the stone to rest upon. All edges are filed clean and finished with emery paper. The RING MAKING 65 setting is filed down to proper height to fit the stone. Anneal the ring and boil in diluted sulphuric acid, then set the stone as previously described. For oxidation see Chapter XI. 33. Rings with Applied Work. There are numerous possibilities in simple ring making by using twisted wire or leaves and flowers. To make a ring as in Fig. 62 cut Fic. 64 with the saw the outside shape from 20 gage silver. File the edges, bend and solder together. Make a double bezel to fit the stone; file it to conform to the shape of the ring and solder in place. Double up a piece of 24 gage wire and twist it. Anneal and cut three pieces, making one ring to fit around the bezel and two separate rings the size of the largest diameter of ring, bent to fit the outline; then solder on. Cut the leaves from somewhat thinner silver; dap up from the back on a block of wood or lead to give them a slight relief; then file the outline clean and accentuate the midribs. They are now fitted in place and soldered on to the ring. Fuse small pieces of silver on the charcoal block to form the beads, as previously explained. METALCRAFT AND JEWELRY Fic. 65. PENDANT. SWALLOW AND WILD Rose DESIGN. CARVED AND CHASED BY AUTHOR RING MAKING 67 It is well to finish all the soldering on one side of the ring before turning it to solder the other half. Boil out in pickle solution; file the bezel down to proper height and set the stone. This may be done by holding it in a ring clamp (Fig. 92) while the metal is pushed over the stone, or it may be slipped on the tapered ring mandrel. 34. Rings, Carved and Chased. The rings (Figs. 63 and 64) are made from heavy-gage metal, about No. 12, soldered together, and stretched on the ring mandrel to size. The double bezel is made and the place marked on the ring blank where it eventually will go. The design is now worked or modeled into shape with the aid of carving tools (graves). The final touches are put on with the chasing tools, the ring being embedded in pitch while this work is going on and held clamped in on the engravers’ ball (Fig. 50). 68 METALCRAFT AND JEWELRY Fic. 66. SritveER PENDANTS witH Moon STONES CHAPTER VI CHASING AND REpoussk WorRK 35. Chasing is the art of enriching a metal surface by means of using steel tools or punches called ‘‘ chasing tools”’ and a hammer called a ‘‘chasing hammer.”’ The surface treatment or touching up of a casting to remove the rough- I'tqa. 67. Usine THE BUNSEN BURNER FOR HEATING THE PITCH ness is included in this name also. Repoussé, meaning in French ‘‘driven back,’ is the art of raising or modeling a design upon a sheet of metal into high or low relief with the aid of hammer and punches without removing any of the metal. The term “‘embossing”’ is often erroneously used. This latter process consists of embossing by mechan- 69 70 METALCRAFT AND JEWELRY ical means such as stamping, and therefore is not con- sidered an art. Repoussé is of ancient origin; wonderful and noteworthy examples are to be seen in many of our museums. It was, however, not until the middle of the sixteenth century that Benvenuto Cellini (1500-1571). the famous goldworker and chaser of Italy, brought the art to the highest point of excellence by the production of many masterpieces, some of which are still to be seen in the European art collections. The elementary principle of the method, after the due preparation and annealing of the metal, is to affix the metal plate to a “‘pitch block” by warming the pitch with a soft gas flame, such as a Bunsen burner (Fig. 67) or an alcohol lamp, until it becomes plastic or dough-like. The metal is then oiled slightly on the side that is going against the pitch, and is heated and attached. When the metal and pitch have become cool, the design is drawn or transferred upon the metal. (Fig. 68, Step 1) The outline of the design is now indented into the metal by means of a hammer and steel punch called a “‘tracer”’ ——a, blunt tool resembling a chisel. Sharp tools would be liable to cut the metal and cause injury for the process to follow. (Step 2) The metal is now taken off the pitch, annealed, and cleaned. The outline of the design is now visible on the reverse side of the metal and will serve to guide the worker in hammering it up into proper relief. (Step 3) The metal is again attached to the pitch, this time with face down, and the design is now hammered up into proper relief with blunt chasing tools. The object is to raise enough metal so that there will be plenty to model the design from. The metal is again removed from the pitch, annealed, and cleaned. (Step 4) CHASING AND REPOUSSE 71 Fic. 68. SHOWING THE DIFFERENT Steps IN MAKING A SCARF PIN IN REPoussE WorRK 72 METALCRAFT AND JEWELRY Reattach the metal to the pitch, then model into the desired shape. To put feeling and expression into this requires careful study and much practice. (Step 5) If it is a piece of jewelry, as in this case, the design may be sawed out with a jeweler’s saw, the setting for the stone soldered into place and the edges finished with needle files and emery cloth. The pin is then soldered on to the back as previously described. Set the stone, then oxidize. 36. The Pitch. There is no substance that can take the place of pitch as a base for the metal while the design is be- ing executed in repoussé or chased work. It is composed of: Piteh oo iy ees oe oe oy on 3 sat er 1 1b Plaster of paris or whiting........-. 732 eee 2 Ibs. Tallow. 2.0. 0. beg a se oe er 1 oz. This mixture can be made harder by adding powdered resin, or softened by adding more tallow; common candles will do. The kind of pitch that is best suited for this work is what is known as crude Swedish pitch; however, pitch that is purchased at shoemakers’ supply houses answers the purpose. (See list of Dealers) 37. Preparation. Melt ‘the pitch in a pot (not tinned) over a slow fire. Add little by little the plaster of paris or whiting, stirring it continually. It is important that there be no moisture in the latter, as it will otherwise boil over. When this has been thoroughly mixed the tallow is melted and added. This compound, while being sufficiently hard, is elastic, solid, adhesive, and easy to apply and remove. Pitch which has been used before works much more freely than new or newly prepared pitch. 38. Chaser’s Pitch Bowl. A chaser’s pitch bowl (Fig. 69) is a hollow cast-iron half-ball filled with pitch. It is about 6 inches in diameter and rests in a ring made from 114-inch old belting, or on asandbag. The spherical shape CHASING AND REPOUSSE METAL PLAT E ATTACHED CROSS SECTION OF: CHASERS PITCH BOWL Fic. 69. DirreRENtT Ways or AT- TACHING METAL PLATE TO PITCH 73 74 METALCRAFT AND JEWELRY combined with its weight renders this very useful, as it can be turned into any convenient position the chaser may desire, and it is firm and solid to strike on. 39. Chaser’s Pitch Block. This can be made in many sizes; the important thing is to make it heavy enough and to have plenty of pitch piled on top. If placed on a sand- bag it responds well to the blow of the hammer with only little vibration. Fig. 69 shows another type of wood block with pitch attached to top. ‘This block, however, must be screwed into an engraver’s ball (Fig. 50) to hold it firm. This style of pitch block is very handy and practical for small work as it can be released quickly and held over an alcohol lamp when it becomes necessary to heat up the pitch or turn over the work. 40. Heating the Pitch. This process demands the great- est care, as any scorching by excessive heat will cause the pitch to lose its adhesiveness. The gas blow torch (Fig. 2), the Bunsen burner, or alcohol lamp are well suited for this process. 41. Attaching the Metal to the Pitch. Warm the sur- face of the pitch without burning it and, having pre- viously greased the back of the metal very slightly (that is, the side which is to come in contact with the pitch), place the metal on the pitch and press down gently. If there should be any doubt as to adhesiveness, subject the whole to additional heat quickly and apply light pres- sure again. There is a “‘knack”’ about this operation, but a little practice will soon overcome any difficulty. It is a very important part of the chaser’s work to be able to set up his work properly and to avoid getting air bubbles below the surface of the metal upon which he is to work. The pitch should be brought over the edges of the metal, as shown in Fig. 69 at A, to keep it firmly fixed. CHASING AND REPOUSSE 75 42. A Chaser’s or Repoussé Worker’s Hammer (Fig. 53) can be purchased at any jewelers’ supply house. This necessary tool has a broad flat face about % inch in diameter and a round-nosed knob which is very useful for TRACERS & &® cm mm & | | | | d i) OU | ! — 24aha. Ltr, 2220. Whit? wots LZ GROUNDING OR MATTING TOOLS Fig. 70. CuHastne Toous, THE Most IMporTANT SHAPES many different purposes. The handle should be of a con- venient length, about 9 inches, and made from a piece of straight-grained hard wood. The greater part of the handle must be thin and slender to give it elasticity for rapid hammering. It is a great comfort to have the butt of the handle pear-shaped; it gives a good grip and enables 76 METALCRAFT AND JEWELRY the worker to bring the full weight of the hammer into the blow. 43. Making Chasing Tools. The punches known as ‘‘chasing tools” (Fig. 70) are made from a selected grade of steel called ‘‘crucible steel’? and often spoken of as ‘“‘tool steel.’’ This can be bought by the foot length in an iron store and is made square, round, and hexagonal in shape. The square and round steel is best adapted for the making of chasing tools. It is well to have on hand several sizes so that a particular shape can be made when needed: 3, 4%, 3, and 74-inch round and square stock are good sizes to have on hand. Cut the steel with a hack-saw, or notch it with a file and break into 4-inch pieces. Avoid having the punches too long; a short tool is manipulated more easily and has a better touch than a long one, due to less vibration while being hammered upon. Before begin- ning to shape the tools it is well to make them red-hot and lay them aside to cool slowly to insure a softened condition before filing. There are many distinct forms of chasing tools but the great number of tools required by the chaser and repoussé worker is due to the many different kinds of work he is called upon to do; this is quite unnecessary to the beginner. The forms shown are useful tools for a start. File the steel blank in a vise to a taper with an 8-inch bastard file. When it has taken the general form, screw it into a small hand vise (Fig. 71) and finish to desired shape with an 8-inch smooth flat file and emery cloth. To give the tool point a matte finish, hammer it on a piece of emery cloth. It is very essential that the central axis between the two bevels be kept absolutely even and true, as the tool will otherwise feel springy and make it difficult to true a line or control it. Sharp-cornered tools should be avoided; make them blunt and smooth. The object is to CHASING AND REPOUSSE a7 stretch the metal back and forth, not cutting it or reducing it in thickness, which sharp tools would naturally do. 44, Hardening and Tempering. The peculiar charac- teristics of steel, except the very lowest grades, are that when the metal is heated to a little more than cherry-red and suddenly quenched in water or oil it becomes exceed- ingly hard, and that by subsequent heating and cooling tig 7 “Pure Hanp VISE the hardness may be reduced to any degree that is desired. 45. To Harden a Steel Tool. The shape must first be obtained; then cover the part to be hardened with a little soap. This precaution prevents scaling of the metal. The steel is then brought to a bright red heat and plunged instantly into water. This makes it hard and brittle. 46. To Temper. Rub the steel bright on a piece of emery cloth; then draw it through a soft flame (alcohol or 78 METALCRAFT AND JEWELRY gas) slowly. Notice the changes of color; when it reaches a deep straw-color plunge it into water. This operation of reheating after the hardening process is also called ‘‘draw- ing.’ The first color noticeable is a faint yellow; this indicates that the steel has lost some of its hardness and has become toughened. After the yellow it takes a blue color; after that it passes into a stage where it is soft Fig. 72. Cuasina Toot TRACING A LINE again. Drill points, gravers, and scrapers may be hardened and tempered in the same manner. 47. Holding the Chasing Tool. It is a very important thing to learn how to hold the chasing tool in the proper manner. (Fig. 55) Notice the end of the third finger rests on the metal as a pivot with the small finger pointing out. It is no easy matter to get perfect control of the tool, but by persistent practice it can be acquired and a wonder- ful touch developed. A line is always traced toward the worker, the blow of the hammer vibrates the tool and sets it in motion when it is properly guided. 48. Preliminary Exercises in Repoussé Work. Not much in the field of art can be accomplished without study CHASING AND REPOUSSE 79 and practice. This is especially true of chasing where the mastery of directing the punches and judging the blow of the hammer means everything. For the beginner it may be well to attempt a little practice work. Attach a piece of thin annealed copper or brass (gage 26 B. & S.) to the pitch block as previously described. Design a border com- posed of straight and curved lines and watch the effect that is produced on the side of the metal that is embedded in the pitch. This is done with chasing tools called “tracers” or “‘liners.”’ Tracers are punches made to re- semble chisels at first, then the sharp edges are made blunt with fine emery cloth or a file because the object is to stretch the metal and not to cut it. (Fig. 72) Tracers are made with edges straight or more or less curved. The ornaments shown in Fig. 73 are made in a similar way, all on the reverse side of the metal. Flower studies made in this way are comparatively simple as they give the worker great freedom of action. This simple type of chasing, however, demands imagination; as the work is really done from the back side, every depression made on the metal will show up in relief on the other side. ‘This kind of chasing is done mostly with punches having rounded sur- faces called ‘‘planishers,”’ oval or rounded modellers. The lettering in Fig. 73 is made entirely from the back side also. Lettering is of course more difficult as greater accuracy is required but it is well within the scope of the beginner to attempt. The surface decoration on the walnut jewelry box (Fig. 74) is made of copper. The outline of the design is traced in with the chasing tools on the pitch block. The shaping or modeling is done also on pitch but from the reverse side, the pitch being somewhat warm to make it give more easily. The entire design is pierced out with the jeweler’s 80 METALCRAFT AND JEWELRY Fic. 73. Practice Work In Repousst MApE ENTIRELY FROM Back SIDE OF METAL CHASING AND REPOUSSE 81 saw. The bell button and brooch (Figs. 75 and 76) are made in a similar way. The back comb (Fig. 77) is a piece of repoussé work, hammered up on gage 22 silver, worked alternately from the front and back. It is frequently necessary to turn such work many times on the pitch before it has taken its sii Fie. 74. Jeweury Box, WALNuT, witH AppLiep Meta Work final shape. It is then sawed out, and filed, and settings are soldered in place. 49. The Pendant. This type of work can be elaborated upon to a great extent. It is always composed of a central piece suspended in some way. Avoid the use of machine- made chains, for invariably the good looks of a hand- made piece of work is spoiled by hanging it on a chain of this kind. The designs shown in Fig. 78 involve only the processes which have been used in the making of the 82 METALCRAFT AND JEWELRY brooches. The stones, however, are often suspended so that they hang free and reflect more of the colors of the stone. The pendant may be made so that the central part slides on the chain, or the chain may be attached to the principal piece in a permanent manner. Stones, such Fig. 75. Betu Burron Puate as corals, amethysts, jades, lapis lazuli, amber, azurite, or malachite all make up favorably in silver and form pleas- ing contrasts of value with the metal. The pendant in iris design (Fig. 79) gives an idea of what may be done in repoussé work. It is not often made in this fashion as it is one of the more difficult types of work This, however, was hammered up from a piece of 24 gage metal in the manner described previously. The pendant (Fig. 80) is a simple piece of repoussé work beaten CHASING AND REPOUSSE 83 up from 22 gage metal with an opal swinging in the space and a pearl attached between the leaves. This type of work is explained and shown in steps. (Fig. 68) The brooches (Fig. 81) are all executed in repoussé in 22 gage metal. After the setting for the stone has been Fic. 76. Sttver Broocu witru Ross Matacuitg, By AutHuor. REpoussé WorRK soldered in place, the brooch must be provided with joint, pin, and catch. Stick pins (Fig. 82) are made in repoussé. Small work is always more difficult to do as a good deal of skill must be developed before the delicate lines and forms can be modeled on the embossed piece with the chasing tools. The two panels (Figs. 83 and 84) for a jewelry box are made in repoussé high relief. Work of this kind must be 84 METALCRAFT AND JEWELRY annealed at each turning of the metal to prevent cracking. Great care must be exercised as only blunt tools can be used in getting the metal up to proper height. 50. Repoussé Work on Hollow Articles. It would be impossible to raise a design into relief on a hollow vessel Fic. 77. Sitver Back Comps wiTH Opat, PEARL, AND JADES, Maps IN REpouUSSE BY AUTHOR or bowl in the manner just described; another method of procedure is adopted. It requires the use of a simple but wonderful tool called a ‘‘snarling iron.” (Fig. 86) It can easily be made by bending the ends of a piece of steel at right angles and filing one end to a suitable round knob shape. Shops as a rule have different shapes and sizes of CHASING AND REPOUSSE PENDANTS Fic. 78. PEeENpANT DEsIGNS 85 86 METALCRAFT AND JEWELRY Fic. 79. PENDANT, IRIs DesiGN IN RE- Ppousst Work. DESIGNED AND MADE BY AUTHOR CHASING AND REPOUSSE Fic. 80. Sitver PENDANT WITH OPAL AND PEARL. REPOUSSE 87 88 METALCRAFT AND JEWELRY Fic. 81. Four Broocurs In Repousst WorRK CHASING AND REPOUSSE 89 these snarling irons according to the class of work to be done. The design is first drawn upon the vessel, then the snarling iron is brought into use. The operator holds the cup as shown in Fig. 87. The taps or blows delivered at one end of the iron will cause it to vibrate at the other end, Fig. 82. Scarr Pins In REpousseé and by skillfully shifting the vessel, as the design demands, a rough relief will be gained. The work is now filled with pitch and when cool the surface is treated very much the same as in flat repoussé work. The outline is traced and the background chased down; this leaves the design in bold forms, as will be noticed on the silver cup. (Fig. 88) There must be plenty of material driven up so that the ornament or figure can be modeled into form. The object is held in position on a sandbag in order to protect the surface from damage. METALCRAFT AND JEWELRY 90 WOHLAY Ad ‘MYOM FSSnodAy NI xog THMape YO dol “Eg “OI CHASING AND REPOUSSE METALCRAFT AND JEWELRY TUVaq-1O-UaHLOW GNV UdaWy ‘HOOOUg FYI WAATIC HIM HOOOU YAATIS anc eam qn noe jsinbuo.yy LvoscQ fig ‘douq] TVUO() CNV ANOLSNOOJY HLIIM LNVG ‘assnoday ‘WTLINAD waaay Nag UAATIG °GQ ‘DIY CHASING AND REPOUSSE 93 When the decoration is finished the pitch 1s melted out by application of heat, and the cup is cleaned by turpentine or gasoline, or it may also be sent through the fire and Tie. 86. THe SNARLING IRON IN USE AND VARIOUS SHAPES OF SAME annealed—this process will burn the remaining pitch to ashes. It is then ready for the finishing process. The child’s drinking cup shown in Fig. 89 was made by the method just described. 94 Fia. 87. METALCRAFT AND JEWELRY RAISING ORNAMENTS ON VASE BY THE USE OF THE SNARLING [RON By courtesy of The Gorham Co., New York CHASING AND REPOUSSE Fic. 88. SirveER Cup, HAMMERED Up FROM CIRCULAR SHEET. IN PRocgEss OF BEING CHASED. By AvuTHOoR 95 96 ' METALCRAFT AND JEWELRY Fic. 89. Cuitp’s Drinkine Cup, DESIGNED AND CHASED BY AUTHOR CHAPTER. VII WirRE-DRAWING AND WIRE WoRK 51. The process of wire-drawing has been known from the earliest time. The book of Exodus in the Old Testa- OF OOO 0166) 6.) 0 o> Of tou ot e e ° © ° o Q ° ° ° DRAW-PLATE 22 HOLES DRAW - TONGS ae PAIR OF DRAW- PLATES FOR WIRE MOULDING Fic. 90. Tue Draw-Bencu, Usrep ror Drawina Heavy GAGE Wire or MovuLpED WIRE ment mentions the fact. As so many thousands of articles are manufactured from wire in this day and age, it is 97 98 METALCRAFT AND JEWELRY interesting and very important as well as educational to know how wire is drawn. Some metals are more ductile than others; for that rea- son some can be drawn into almost inconceivable fineness and others not. It is said one ounce of gold wire can be drawn into a wire twelve miles long. Wire that fine is used in embroidery, on uniforms, and for filigree work where it is twisted and arranged in intricate patterns and de- Fic. 91. Maxine Links ror CHatin WorK signs. In the manufacture of chains and jewelry, wire is most important. 52. Draw-Plates are of many kinds: some have round holes; others square, rectangular, half-round, hexagonal, star-shaped, etc. The draw-plate is a steel plate with a series of holes graduated in size, through which, succes- sively, the wire is drawn. (Fig. 17) A heavy pair of pliers or ‘‘draw-tongs”’ are important in order to get a good grip on the pointed end of the wire. If heavy-gage — wire is to be reduced, an apparatus called a draw-bench WIRE-DRAWING AND WIRE WORK 99 is used. (Fig. 90) Anneal frequently as each drawing naturally hardens and compresses the metal. Light- gage wire may be pulled by hand, by placing the draw- plate in a bench vise, the principle of the operation being Fig. 92. SAWING THE COILED Wire LINKS Fic. 938. Wire Wounp Rounp MANDREL READY FOR CuTTING the same. By doubling up a piece of round wire and pul- ling it through hole after hole, it will gradually become 100 METALCRAFT AND JEWELRY half-round in shape. In order to avoid any risk of melting the wire when annealing, coil it up in a close bundle (Fig. 18), tie all the strands together with iron binding wire so that it forms a compact ring, and let a soft flame play on SOLDER a 0000 STEP !. SOLDER SINGLE LINKS SOLGER SOLDER STEP 2.MAKE. UNITS>® OF oT AREE. Fig. 94. THe MAKING oF A CHAIN it until it shows a uniform faint redness. It is then soft and pliable. 53. Chain Making is a highly important branch of the craftworker’s art. To make a simple chain, such as is shown in the various pendants, is good practice work for beginners as it gives good practice in soldering, and not WIRE-DRAWING AND WIRE WORK Fic. 95. CHAINS WITH INSERTED ORNAMENTS By students of Milwaukee Downer College, Wisconsin 102 METALCRAFT AND JEWELRY Fic. 96. Laren WatcH CHAIN WIRE-DRAWING AND WIRE WORK UNIT DESIGNS Fic. 97. JEwELRY MADE orf WIRE UNITS 103 104 METALCRAFT AND JEWELRY much is spoiled if a few links are burned or melted. Good BENDING A WIRE SCROLL Se STEP 1. USE ROUND NOSE PLIERS = 8 Sa FLAT NOSE PLIERS. Fic. 98. How to MAKE a WIRE SPIRAL clean soldering can be learned only through repeated prac- tice. Chain or link work offers such an opportunity. Tools necessary for link work are two pairs of flat-nose pliers, a pair of round-nose pliers, tweezers, and mandrels co wind the wire on. WIRE-DRAWING AND WIRE WORK 105 Supposing a chain with oval links is to be made, similar to that on the pendant in Fig. 65, first decide on the length of the links, say 3%-inch long, then take a piece of flat metal (copper or brass will do) and cut a strip carefully to the required width, filing the edges round and smooth, and finish with emery cloth. This is to serve as a mandrei Fic. 99. Twisting A PIECE oF WIRE and its size will determine the size of the links. Wrap a strip of thin paper in a spiral fashion around the mandrel; tie the paper to the mandrel at each end with a piece of binding wire. The links must now be wound or coiled around the mandrel very closely and regularly ; the method shown in Fig. 91 insures a good job. Heat the whole thing with the blowpipe; this will burn the paper away and make the links soft and pliable. The mandrel can now be withdrawn with ease, which otherwise would be impossible had the paper not been used. The coil is now cut lengthwise with a No. 00 jeweler’s saw keeping the cut as clean as possible. (Fig. 92) ‘The shape of the mandrel of course determines the shape of the links. Another method of coiling links without the use of paper is to wind the wire in sections of about a dozen each, as 106 METALCRAFT AND JEWELRY in Fig. 93, then anneal and cut the mandrel at each sec- tion and saw the links while they are still on the mandrel. This however, will destroy the mandrel, while in the first method the mandrel can be used over and over again. Each link must now be carefully joined with the two flat- nosed pliers; there must be contact where the two ends meet in order to avoid trouble when soldering. Place Fig. 100. FirnigREE Broocw MADE IN ICELAND several single links on the charcoal block and solder with a pointed flame. Now connect two links to the one just soldered and make units of three. By this method, mul- tiple work is performed and the workisreduced toamarked degree. (Fig. 94) The chain should be tested for any weak links by a firm pull, or it may be drawn through a hole or two of the draw-plate. Now boil it out in the pickle, which will dissolve all excess borax. Chains, such WIRE-DRAWING AND WIRE WORK 107 as in Fig. 95, with inserted ornaments are attractive and always stimulate interest in the craft. Many variations are possible by breaking it up into units and alternating short and long links or grouping them in a pleasing man- Fig. 101. FinigREE Broocu MADE IN NORWAY ner. A lapel watch chain with a small ornament for the buttonhole (Fig. 96) makes a winning problem to work out with a minimum amount of work connected with it. 54. Unit Jewelry. The designs in Fig. 97 explain what is meant by unit work. It is well within the craftsman’s reach. It is all made by bending or twisting wire into units of the same shape or form and arranging these separate pieces or units so as to produce a pleasing design. Scrolls (Fig. 98) are made by giving the end of wire a preliminary twist with a pair of round-nose pliers, after that it is squeezed gently little by little with the flat-nose pliers. 108 METALCRAFT AND JEWELRY The position and grip of the pliers must be very slightly varied. Do not exert too much pressure at first or the wire will kink instead of curl. It requires a great deal of practice to make nice closed scrolls perfectly. Fic. 102. Wire CorLtep Up 55. Twisting Wires. Double up a piece of wire, fasten the ends in a vise, insert a piece of tubing, and twist by placing a nail in the looped end of wire. Hold the tube with one hand and twist with the other. (Fig. 99) Fic. 103. Tue Currine PLIERS 56. Filigree. The brooches in Figs. 100 and 101 are made up of many units. They may be said to consist of curling, twisting, and plaiting fine pliable threads of metal and uniting them at their points of contact with WIRE-DRAWING AND WIRE WORK 109 each other. Small grains or beads of metal are often set in the eyes of scrolls or at intervals to set off the wire work effectively. This type of work is called “‘filigree”’ and is characteristic of the Scandinavian countries and Iceland. However, the art was practiced by the Egyptian jewelers and the Byzantine goldsmiths. Exquisite specimens of this kind of work, made centuries ago, may be viewed in most museums. It requires a somewhat special method to solder on the many separate units to the base. Melt the borax to a glaze in a crucible or in a hollow depression in the charcoal block. Grind this borax glaze to a fine powder in a druggist’s mortar with the pestle. Now with a fine file reduce a piece of solder to filings and mix equally with borax powder. This mixture should be applied along the joints to be soldered. Wherever possible apply the heat from the under side of the work; this will minimize the possibilities of displacing any of the parts to be soldered. CHAPTER VIII STONES AND METALS—SOLDERING 57. Stones. The art of cutting and polishing stones is practiced by the “‘lapidary.’’ There is little difference in the instruments used by the modern lapidary and those used by the early gem cutters, but great improvements have been made in shaping and forming the stones to get the utmost beauty from the rough gem. (Fig. 104) The rough stone is first put through the process known as slitting. This is accomplished by holding it next to a thin metal wheel which revolves at a high rate of speed and is moistened with diamond dust and oil which give it the biting edge. The discs or wheels vary in diameter from that of a pin-head to a quarter of an inch. The diamond dust and oil will carve any stone softer than a diamond itself with comparative ease. If facets are to be cut the stone is mounted with cement on the end of a small stick of wood and held against a horizontally revolv- ing wheel. A little device called a ‘‘jamb peg” is used by the cutter to get the desired angle to the stone. The dull and colorless gem must now be polished to bring out its color and brilliancy. The wheels or discs used in polishing are very much like those used in cutting, but instead of using an abrasive, a polishing compound such as tripoli, a decomposed lime- stone, or putty powder is used. The discs used to cut and polish faceted stones are made of metal, such as copper, brass, iron, or tin. Opaque or translucent stones, such as opals, moonstones, and turquoise, are usually cut cabo- 110 STONES AND METALS rao chon shape, that is, smoothly rounded, and polished on felt, leather, or wooden wheels or drums. Transparent gems are almost always cut with facets on account of the fine effect in producing brilliancy by reflection of light from the under side of the gem. 58. Precious Stones. The diamonds, rubies, emeralds, and sapphires are classed as the most precious of stones. The pearl is often spoken of as such but strictly speaking it is not a stone at all. Nevertheless, it is very costly when it is of high luster and quality. 59. Semi-precious Stones. The craftworker as a rule is more concerned about what are known as semi-precious stones as they give him a wide field to select from and are more appropriate for the type of work he is interested in. They offer a great variety of colors to choose from. Stones most applicable for the artist craftworker are: ‘Amethyst. A purple stone of transparent crystal quartz. It looks well cut either cabochon or faceted. Hardness 7. Aquamarine. A stone that has the color of the sea, from pale blue to sea green. It is a sister of the emerald and belongs to the beryl family. Hardness 714. Azurite. A beautiful blue stone. It derives its color from the presence of copper. Hardness 4 to 5. Bloodstone. An opaque, dark green with spots of red. Hard- ness 614. Chalcedony. As a pure mineral it is transparent gray, often tinged with blue and green. Hardness 6% to 7. Chrysoprase. This is a beautiful apple-green. The color is due to about one per cent nickel oxide. Fine specimens resemble emeralds. Hardness 7. Coral. Ranges in color from bright pink to dark red. It is cut cabochon and makes up well with silver or gold. Hardness 5. Jade. The best sage-green jades come from Upper Burma, British India. The darker green variety is found in New Zealand. Hardness 61% to 7. ‘By courtesy of Espositer, Varni Co., New York. 112 METALCRAFT AND JEWELRY Labradorite. A variety of feldspar first found in Labrador, it sparkles in many colors when turned to the light. Otherwise it has a gray, brownish appearance. Hardness 6. Lapis Lazuli. A most beautiful opaque, azure-blue stone fre- quently marked with white spots of iron pyrites. It is found in Russia. Another variety of a lighter blue is found in Chili. Hard- ness 6. Malachite. This green carbonate of copper (a form of copper ore) appears in layers. It is a rather soft stone but it takes a high polish. Hardness 4 to 5. Malachite-Azurite. This is a combination of malachite and azurite, mixed to form exquisite peacock colors. Hardness 4 to 5. Moonstone. A subvariety of feldspar. It reflects a bluish light. Hardness 6. Moss Agate. Moss agate contains particles of iron oxide, which give it the appearance of containing vegetable matter. Hardness 614. Opal Matrix. This is an intermixture of opal and the rock in which it is found. The light and the dark opal matrix are used to a great extent in artistic jewelry. Hardness 6. Turmaline. A transparent stone found in many colors, red and green predominating. Hardness 7 to 7%. | Turquoise Matrix. For art jewelry this stone is very effective. The contrast between the blue turquoise and the rock in which it is found makes it exceedingly interesting. Hardness 6. 60. Hardness. Different stones have different degrees of hardness. The hardness of gems has been expressed by the Moks'! scale, from one to ten: dee Pale 6 Feldspar 2 Gypsum 7 Quartz 3 Calcite 8 Topaz 4 Fluorite 9 Ruby or Sapphire 5 Apatite -10 Diamond To find the hardness of a stone one must find what other stone of known hardness scratches it and is scratched by it. 1An eminent German mineralogist. STONES AND METALS 113 SryveLeo OF CUTTING AND: SIZES OOS ae 9 PEARL ROSE CUT Ae ate ee Me CN cy CABOCHON CUT ome ~ 10 me OK Fic. 104. How Stonres Are Cut anp MEASURED 114 METALCRAFT AND JEWELRY 61. Birth Stones. Much sentiment is attached to the language of birth stones all over the world. It is an ancient custom for friends to make birthday presents of articles containing stones representing the month of birth. Many consider them as sacred symbols or good luck. Various lists of the stones peculiar to each month of the year have been given from time to time in the last few centuries. The one most generally accepted today is as follows: JANUALY so feline oe Vs Coe ee Garnet February <..2.5 4 2 s48 ga eee Amethyst Marehet S426 2a te Bloodstone April 20320. Gees ee cee er Sapphire or Diamond May scccd (2 5 a de See Emerald JUNG oi ta ee A Agate JULY ns LOGO a ae oe Ruby August. sos. oot oy elo Sardonyx September... 7... ¢.4 375 Chrysolite October . 04 scuee to oo Soe Opal November... 40/5. 6 Topaz December. 52.0... en le Turquoise 62. How to Order Silver or Gold. When ordering silver or gold it is always necessary to specify what make of gage. Browne and Sharpe is well known by all dealers. Sterling silver and fine silver, the latter sometimes used for bezels, is sold by the troy ounce. Gold is sold by penny- weight (dwt.). 24 grains=1 pennyweight (dwt.) 20 pennyweights = 1 ounce (0z.) 12 ounces = 1 pound (lb.) The following table shows the approximate cost per square inch of sterling silver, 14 and 18 carat gold, based on present current prices of 90 cents per ounce of sterling silver and 70 cents per dwt. of 14 carat gold plate and 88 cents per dwt. for 18 carat gold plate. | STONES AND METALS 115 Gage Sterling silver 14 carat gold 18 carat gold 8 .65 14.08 18.10 9 58 12.61 16.23 10 .46 11.20 14.44 11 Al 10.01 12.91 12 36 8.93 11.48 13 .0o 8.18 10.19 14 .o2 7.06 9.26 15 28 6.32 8.06 16 .20 5.61 f22 7 22 4.97 6.38 18 20 4.40 5.68 19 18 3.99 5.09 20 le 3.56 4.54 21 14 3.04 3.92 22 13 2d 3.52 23 12 2.47 3.19 24 naa 2.21 2.86 26 .08 we 76 2.28 28 Oz 1.32 iio 30 05 1.05 1.43 Sterling silver can be purchased cut in circular shape. The weight of a silver circle is 783% per cent of the weight of a square of the same size as the circle’s diameter. TABLE SHOWING NUMBER OF FEET OF STERLING SILVER WIRE PER TROY OUNCE Wire can be purchased round- or square-drawn Gage Feet Inches Gage Feet Inches 8 1 2 eels 11 10 9 1 6 19 14 9 10 1 10 20 18 5) dak 2 4 21 24 4 12 2 11 22 30 6 13 3 8 23 39 6 14 4 7 24 47 9 15 5 11 26 74 7 16 7 4 28 132 5 LZ. 9 i) 30 191 0 er METALCRAFT AND JEWELRY TABLE OF WEIGHTS PER SQUARE Foot oF COPPER AND BRASS B.&.S gage 10 11 12 B.&S. thickness in decimal 102 091 081 072 064 .057 .051 045 .040 036 032 028 025 022 .020 018 016 014 012 Ou 010 Brass per Ib. . 36 4 3.88 63. Melting Silver and Scraps. melt small quantities of scrap silver. This can easily be done as there are excellent small crucible furnaces on the market, costing about three dollars. (Fig. 105) The silver scraps are placed in the open crucible furnace with a small amount of borax or flux, the gas is turned on and the foot blower set in action. When the metal is properly melted, which requires only a few minutes, the silver is poured into an ingot (Fig. 106) or mold. It is necessary to warm and grease the ingot beforehand to prevent the silver from spitting and sticking to its sides. Ne ed Od LO OCC ee) 46 OS 74 44 18 94 he 54 OF 22 Copper per Ib. 4.62 4.11 3 3 2 2 2 2.05 i 1 1 1 1 1 It is often desirable to STONES AND METALS 117 64. Rolling. When the silver has been cast into a small bar it must be rolled to the desired thickness or gage. This is done by passing it through a pair of steel rolls (Fig. 107) working very much on the same principle as a wringer used in washing. After each passage through the rollers the metal is flattened little by little. Frequent annealing must be resorted to so as*to counteract the hardening caused by pressure of the rollers. EASY-FLOWING SOLDER: 90 parts sterling silver 6 parts copper 4 parts zinc HARD-FLOWING SOLDER: 90 parts sterling silver 8 parts copper 2 parts zine HASY-FLOWING: Fine silver, 1 oz. Pure copper, 5 dwts. Composition metal, 5 dwts. HARD-FLOWING: Fine silver, 1 oz. Brass, 10 dwts. Melt the silver in a small crucible first, adding a small amount of borax as flux. When in a molten state the brass and composition metal is added and the crucible given a gentle shake to mix the alloy, or an iron rod may be used for stirring. Then pour the metal into an ingot or mold. 65. Composition Metal is an alloy. It is composed of a mixture of copper and spelter. A good grade of brass should be used, such as brass escutcheon pins or nails or screws of brass. The copper must be of the purest; electro- deposited copper is best as it is practically 100 per cent pure. Silver solder, however, can be purchased from jewelers or refiners in small quantities, both hard- and easy-flowing. 66. Soft Solder. The strength of a soldered joint depends upon the strength of the solder used. Solders are 118 METALCRAFT AND JEWELRY classed as hard and soft solders. The former always requires a red-hot heat. The latter, soft solder or tin solder, is used for many different purposes where the soldered articles need not be heated much above the boiling point of water. It is used primarily by sheet- metal workers and tinsmiths. The jewelers and silver- smiths use it at times but very rarely. . TO AI aN BLOWER Fia. 105. THe Cructste FurNAcE For MELT- ING SCRAPS OR SMALL QUANTITIES OF METALS The solder commercially known as “‘half-and-half”’ (50-50 tin and lead) answers the purpose for most general work. The parts to be joined must be thoroughly cleaned and free from oxide. The edges to be soldered must fit or be in contact with each other. 67. Flux for Soft Solder. To prevent a layer of oxide from forming on the metal in the process of heating, a so-called ‘‘flux’’ is used. The flux is applied to the joint, partly to keep off the air, thus preventing oxidation, and partly to dissolve and reduce the oxides themselves. SOLDERING to Many preparations are on the market as flux in soft- soldering, such as zinc chloride, tallow, resin, sal ammoniac, and soldering paste. The zine chloride is old and reliable. It is prepared by adding zine cuttings to muriatic acid or hydrochloric acid. Let stand until it has finished CRUCIBLE | / y) ) Y ] U SEE Fig. 106. Pourine THE MOULTEN Merat Into THE INGOT boiling, then strain off into a bottle for future use. A small piece of sal ammoniac added to the strained fluid will improve it as a flux. 68. Soldering Iron or Bit. Tinsmiths or sheet-metal workers use this tool almost entirely in performing their soldering jobs. It is made of copper in various weights and shapes. A small copper becomes cool quickly with poor 120 METALCRAFT AND JEWELRY work as a result. It is advisable to use a good-sized copper bit as it will sustain the heat longer. The bit shown in Fig. 108, A, is filed or forged to a point and well adapted for spotting or soldering a seam. The bottom copper (Fig. 108, B) is wedge-shaped and used for solder- Fic. 107. Tue RoiiumG MiItn ing on the inside of an article. This shape also adapts itself well for radio work. 69. Tinning Copper Point. A bit must be tinned on the point before it is ready for use. Heat the copper suffi- ciently to melt the solder. With an old rough file clean the sides, then rub it on a lump of sal ammoniac. A small piece of solder is now melted on the sal ammoniac block, SOLDERING 121 and the bit is rubbed again back and forth. This process will tin the point; then it is ready for use. The point of the soldering bit must be kept clean and bright at all Fie. 108. Tur SoLtpERING Copper, Usep ONLY IN SOFT SOLDERING times. The copper oxide or scale which forms during the heating process is nearly: a nonconductor of heat and renders the bit practically useless. If the bit has been overheated, that is, if it has been allowed to become red- hot, then it must be retinned. 70. Cleaning the Bit by Dipping. The point of the hot soldering iron may be cleaned by dipping it quickly in a solution made from 14 of an ounce of sal ammoniac dis- solved in a pint of water. The object in using the soldering 122 METALCRAFT AND JEWELRY tsconsin Desk SET witH Book Enps Fie. 109. Made by students of Milwaukee Downer College, W SOLDERING 123 copper is to transmit the heat from the bit to the work as quickly as possible. By raising the temperature of the soldering copper and the part to be soldered, the fusing together of parts is almost instantaneous. CHAPTER IX HAMMERED WoRK 71. The Work Described in the pages to follow will deal with what is commonly known as “art metalwork.” This term, however, comprises such a wide range of dif- ferent kinds of work and processes that it may be well to keep within a certain limit. Many attractive pieces of work may be executed with only a minimum amount of labor spent and at the same time have distinct educa- tional value. It is fascinating and interesting to watch the many forms a piece of silver, copper, or brass takes as it gradually yields to the blows of the hammer. Thin, flimsy metalwork should be avoided; it 1s not substantial and is easily dented. 72. Flat Work. The bookends in Fig. 110 are made from sheet-copper or brass, gage 16. The design should be drawn full-size and may be made to fit a given size set of books. Cut the metal with a pair of 12-inch shears. 73. Planishing is the process of giving the metal sur- face a finish with a steel planishing hammer. (Fig. 135) The metal is held firmly on a solid iron block or anvil and hammer blows are delivered uniformly with the slightly curved surface of theplanishinghammer. This will result in a delightful hammered texture, provided the face of the hammer and the surface of the work are clean and free from grease and grit. It is important to hold the hammer in a level position so that the blows fall squarely on the metal. Unpleasant blemishes will result should the edge of the hammer strike the metal. 124 HAMMERED WORK BOOK ENDS DESIGNS AND CONSTRUCTION Wee, Lk i WUMLLLLASEALTL4 RSS SS YS pqs Fig. 110. Designs ror Meraut Book Enps 126 METALCRAFT AND JEWELRY ~ After planishing, the bookends are annealed and thrown into the diluted sulphuric-acid solution for clean- ing. With a rawhide mallet the metal is flattened care- fully and the edges filed and finished with emery cloth. If any lines are to be traced on the surface for decorative purposes the tracing should be done with a chasing tool (see Chapter VI) and hammered on a flat iron, or, if Fic. 111. Brnpine a PrecE or METAL HeLD BETWEEN Two PIEcEsS orf Woop any places are to be pierced open, the jeweler’s saw must be brought into use. To bend the base of a bookend, clamp it between two pieces of wood and bend over. (Fig. 111) The bent-over piece may be struck lightly with a hammer to make the corner a little sharper. 74, Rivets may be purchased in almost any size, made from iron, copper, or brass. The size is measured by the diameter of the stem, and the length from the under side of the head to the end. The rivet has great decorative value in craft work if properly spaced. Get from the local hardware dealer an assortment of different sizes for reference purposes. Escutcheon pins can be used to good HAMMERED WORK 127 advantage as rivets. This kind of nail always has a nicely rounded head. 75. To Rivet, first drill the hole as nearly as possible the size of the rivet. Remove the burr with a countersink; insert the rivet and cut it with the nippers or cutting pliers so that it projects about ;4, inch which will provide fy RIVETING | HAMMER j ) ~~ ee) | HH) ~ f SS / = > Ue = SS 2 i = ‘ . CLLR, WR VD. NAAANAANAAAAANNAN Wall Fig. 112. Rivetine enough metal for riveting. A piece of iron which has cup- shaped depressions of different sizes on the surface is necessary for good work. This will form a bed for the round head of the rivet and prevent flattening of the head of the rivet. (Fig. 112) The riveting hammer will spread the rivet and clinch the parts together. 76. Letter Opener. A project of this kind works up well by combining copper and brass. The knives shown in Fig. 113 are made of brass and copper. Cut the blade from 15 gage brass with a jeweler’s saw, using a No. 1 saw blade, and file sharp but blunt. The applied metal for the handle part is cut from 20 gage copper and riveted on with brass rivets or escutcheon pins. 128 METALCRAFT AND JEWELRY 77. Drawer Pulls. Metalwork for surface enrichment gives the craftworker a large field to explore by studying the many period furniture trimmings to be seen in any good furniture store. The drawer pulls in Fig. 114 are composed of. three parts—the plate, the pull, and the strap. The design must be made full-size always, then transferred to the metal by one of the processes previ- ously explained. Use metal of an 18 gage for the plate and saw out with a jeweler’s saw. If a hammered effect is desired, then the metal must be planished before it is sawed out, otherwise the edges will be damaged and the plate thrown out of shape. The pull is made from heavy- gage wire, No. 1 or No. 2. This wire may be hammered or forged into whatever form is desired. If the work is in copper or iron, it should be hammered red-hot; if made from brass, anneal it frequently, but hammer it while cold as it is liable to crack or split, being an alloyed metal. The pull may be fastened tothe plate by any of the methods shown in Fig. 115. The straps at A and B should be made from 22 gage metal. The bolt at C is filed and riveted on to the plate. The method at D can be made by soldering a brass nut on the back of the plate with a machine screw to fit. This last method is the most common way of fastening metal trimmings to furniture. The drawer or door pulls in Figs. 116 and 117 were made in copper, and rivets used as a part of the decorative scheme. Metal trimmings applicable to furniture are shown in Figs. 118 and 119. 78. The Dapping Die and tools (Fig. 120) are used to make half-spheres of smaller sizes, which can be used for feet of a tray or shallow bowl, or for decorative purposes to take the place of rivets. Cut a small circular disc from metal of any gage and place it in the largest cavity of the HAMMERED WORK Fic. 113. Lerrer OPENERS, COPPER AND BRASS 130 METALCRAFT AND JEWELRY dapping die; with the dapping tool and small hammer form it to the shape of the cavity. Now place it in the next size smaller cavity of the die and repeat the operation, and so on. In this manner’ the circular dise gradually takes the shape of half a sphere. Two can be soldered together to make a whole sphere. Some fitting and filing of course is necessary before the two halves are tied together with iron binding wire for soldering. A small vent hole must be drilled somewhere, previous to soldering; otherwise, in successive heating of the ball the imprisoned gases would expand, and the ball would explode. 79. Lanterns. Lanterns such as the one shown in Fig. 121 may be used as light fixtures for a porch, or a pair of lanterns may appropriately be used above a fireplace where a mellow subdued light is desired. Stained glass or amber-colored mica (isinglass) are both suitable mediums for covering the open or pierced design. Isinglass is a silicate that cleaves in thin, tough, transparent to trans- lucent scales. To make the lantern, develop the parts marked A and B on a heavy manila paper; cut out the pattern, score the bending lines and fold to the shape of the drawing. By doing this it is possible to see what the finished work will look like, and you can also better judge the proportions. Now transfer the patterns A and B to a piece of copper, 24 gage; cut as much as is practical with the shears, then saw out the rest with a jeweler’s saw. Centerpunch places where the rivets are to go, then drill holes a trifle larger than the neck of the rivet. The work must now be cleaned in the pickle and flattened carefully with the rawhide mallet on a level piece of wood or on an iron surface plate. To bend the metal, place it on a sharp-cornered piece of wood or iron and turn it over to the proper angle. The HAMMERED WORK Peeve Or DOOR PULIS Fig. 114. Designs ror DRAWER AND Door PULLS 132 METALCRAFT AND JEWELRY STRAPS FOR DRAWER PULL DIFFERENT WAYS OF ATTACHING STRAP TO PLATE, Fig. 115. Dirrerent Metruops or FAsteENnING PULL TO DRAWER PLATE HAMMERED WORK 133 onninobinebossiii Fic. 116. Drawer Putts By Mr. G. H. Trautman 134 METALCRAFT AND JEWELRY joints should be filed and fitted accurately and _ soft- soldered. To make the joint strong and secure, reinforce by placing an angle piece on the inside (Fig. 122) and solder by holding it over the gas or alcohol flame. | Fig. 117. Copper Drawer PULLS The rivets are placed as a part of the decorative scheme and serve only as such. The Z-shaped pieces of metal to hold the glass in place are made from a light-gage metal, about 28, and soft- soldered in place. The base plate is made from 18 gage metal with hole and slots as shown. HAMMERED WORK 135 The lower receptacle for candle or electric light socket must be made from metal of the same gage as the base plate and domed up in a hollow depression on a wood is peor | Fig. 118. Waste PAPER BASKET with APPLIED Mrerat Work block with the ball-pein hammer, (Fig. 122, D) after which it must be planished in order to give it a smooth and finished appearance. Clinch the ball-pein hammer in the vise and strike even, gentle blows with a planishing ham- 136 METALCRAFT AND JEWELRY r mer, starting at the center and working round and round toward the edge. By doing this the work will take a per- fect round shape. The bracket may be made from 18 or 16 gage copper Fic. 119. Writing Desk witn APPLIED METAL WorkK sawed to shape with a No. 1 or 2 saw blade. It is always advisable to use a coarse saw blade when cutting heavy- gage metal. The supporting chain is made of 10 gage wire. Coil it around amandrel of suitable size to form oval links. (See Sec. 53.) The supporting hook and eye is made from the same gage of wire bent to the shape as shown. HAMMERED WORK 137 This lantern mounted on a black walnut board makes an attractive and interesting piece of work. Figs. 123 and 124 offer two different shapes with sug- gestive motifs for design. The principal part of the lan- tern is developed or unfolded. Only operations described in the preceding problem are encountered here. MAKING A HALF —- BALL DAPPING TOOL. ! | , DAPPING DIE — Fic. 120. Tse Dappinc Dies AND Dappina TooLs The lantern in Fig. 125 is a riveted piece of work. Rivets of pleasing sizes should be selected and grouped. The six upright supporting members are each bent to form an angle of 120 degrees. The upper dome should be raised to a height of about 11% inches in a depression on a block of wood or a log, with a ball-pein hammer, and afterwards planished. To give this lantern a wrought or hammered appearance the metal must be hammered with a slightly curved planishing hammer on a level piece of iron, before it is cut to accurate pattern shape. 138 METALCRAFT AND JEWELRY LANTERN Fig. 121. Watt LANTERN witH WoRKING DRAWINGS HAMMERED WORK 139 STEPS OF OPERATION IN MAKING LANTERN ARRANGEMENT FOR HOLDING GLASS fin) { LOWER RECEPTACLE. ) FOR LIGHT SOCKET Ly) ' } | DOMING BLOCK PLANISHING Fic. 122. Important Steps IN MAKING WALL LANTERN 140 METALCRAFT AND JEWELRY SECTION THRU LANTERN MOTIF : THE CAT-TAIL Fic. 123. TRuncatep PyraAmMip SHAPED LANTERN WITH Motir For THE DESIGN HAMMERED WORK 141 aa~ LANTERN “x TOP PART, SQUARE PYRAMID. SS ss MOTIF: GS BASE. _. THE PALM. ACTITUDE Ce DEVELOPMENT OF MAIN PART. Fig. 124. Crimine LANTERN, INVERTED PYRAMID SHAPE with Morir ror DEsIGN. METALCRAFT AND JEWELRY HIGH zoe LANTERN RIvETED LANTERN, HEXAGONAL SHAPED HAMMERED WORK 143 Pe SERN S THE LANTERNS HERE SHOWN ARE BRAWN Om rc] AT A SCALE aa =! THE ILLUMINATED PART IS TUBE ART GLASS OR Fig. 126. Lantern Designs Drawn TO SCALE, PROBLEMS TO Be WorkKED Out IN DETAILS 144 METALCRAFT AND JEWELRY This latter process will cause the metal to become hard and unwieldy. To render it soft and pliable again it is necessary to anneal it and clean it in the sulphuric-acid pickle solution, then straighten it carefully with a rawhide mallet on a smooth, flat piece of wood or iron. The three lanterns in Fig. 126 are problems to be worked out in detail. The illuminated part is cylindrical tubing of art glass or mica which may be purchased in many various shades and colors, and diameters cut to any length. (See list of Dealers.) Amber-colored mica gives a pleasing, mellow light and may be used to good advantage also. The drawing is made to the scale stated. Measurements may be obtained by scaling the drawing or they may be approximated. 80. Desk Set. For the type of corners on the blotter support shown in Fig. 128 it is well to make an exact development on heavy drawing paper. (Fig. 129) Score the folding line, then cut the outline and fold together. This will serve as a pattern for final marking. Cut from soft sheet-copper, 24 gage, four pieces a little larger than the pattern. Select the better side of the metal for the top side of the work and planish with the curved end of the planishing hammer on a smooth, flat iron. This will result in a pleasing texture to the surface, but it also hardens the metal to a considerable degree. Anneal to restore ductility and clean the metal in acid pickle solution, then straighten with rawhide mallet. Lay out the paper pattern on each piece of metal and scribe carefully around it, marking all corners to be bent. With a pair of snips cut out each piece; if necessary use the jeweler’s saw. To bend the corners, square up a piece of hardwood 14 inch thick. Place the metal accurately on the line and, 145 HAMMERED WORK ursuorsr 4, ‘abayjog waunog seynonpipy ‘yLom szuapnyg NDISA(, LAAMS-UALLIG ‘LUOddOg YALLOIG GNV TIAMMNT “Lag usaqq “2ZT “DIT METALCRAFT AND JEWELRY 146 SSVuq GNV UdddOO JO AGVI “YANAdO AGLLAT . ANV UAILLOIG ONTHOOY “LUOddAg AALLOIG WOd SUANYOD HLIM LEQ ASA “ZT ‘DIY HAMMERED WORK 147 CORNER FOR OESK SET ONE OF THE CORNERS DEVELOPMENT COP Be Aine RIND BENDING TO SHAPE SOFT SOLDERING WITH THE BUNSEN Fic. 129. MAKING THE CORNERS FOR A DESK SET 148 METALCRAFT AND JEWELRY SUGGESTIONS FOR DESK PADS ESCUTCHEON PINS PATTERN UNFOLDED Fic. 130. DEsigNs AND CONSTRUCTION OF DrEskK Pap SUPPORT HAMMERED WORK 149 STATIONERY RACK OPENING FOR CALENDAR OR PHOTOGRAPH. Fig. 1381. Srarionery Rack ror Desk Ser 150 METALCRAFT AND JEWELRY with a scrap piece of wood as backing, squeeze in the vise while the metal is bent over the }4-inch wood as shown. A drop of soft solder placed on the inside will seal the joint. Another type of pad is shown in Fig. 130. The designs with all dimensions for the letter rack (Fig. 131) are suggestions for further study. The rivets may be placed to answer a double purpose, as part of the construction and as a decorative medium, if they are properly spaced and suitable sizes are chosen. Use an 18 gage metal for upright members and 22 for inside work. The Z-shaped piece for holding the calendar pad may be made of a lighter gage metal. CHAPTER X RAIsED WoRK 81. Shallow Bowls or Trays. The essential equipment for raised work consists of a log 2 feet high and about 12 inches in diameter, hammers and stakes of various shapes and sizes. The object is to hammer up from a flat sheet of metal any desired shape. If a round tray similar to any of the ones shown in Fig. 132 is to be made, the first thing to decide upon is the diameter of the circular disc from which the work is to be made. Several methods are employed. One fairly accurate method for the beginner is to measure the length of the contour by a string or a piece of wire, as A~-B-C-D in Fig. 132. Another common method is to take the straight line distance, as shown by the dotted line A~B-—C— D. Finally, the experienced hammer worker takes for his diameter the height plus the greatest diameter; this last method, however, requires that the worker know the ductility of the metal, as it must be stretched to a marked degree. The circular disc is cut with the shears from 20 gage silver, copper, or brass. File clean around the edge; next anneal and clean in the sulphuric-acid pickle solution, rinse in clean water and dry. The metal disc is now held over a shallow cavity which has been gouged out of the end of a good-sized log, and light blows delivered uni- formly with the ball-pein hammer, moving the disc a little in a circular direction at every blow. (Fig. 133) The edge gets wavy, and great care must be taken that no 151 152 METALCRAFT AND JEWELRY SHALLOW TRAYS AND BOWLS Fig. 1382. SHapes SurTaABLE FOR BEGINNING WorK RAISED WORK HAMMERING UPA SHALLOW BOWL AVOID FOLDS THE BAIL PEIN HAMMER Fig. 1383. Tae Batt Pein Hammer IN USE 153 154 METALCRAFT AND JEWELRY overlap occurs (A, Fig. 133) which invariably results in a crack along the edge, due to the extreme stress put upon the metal at that point. A wooden mallet or horn mallet shaped as in Fig. 134 is frequently used in place of the ball-pein hammer for MALLETS AND DOMING LOG 12" DIA. 24” LoNnG. Fic. 1384. Essentrat Toots FOR THE CRAFTWORKER forming trays and shallow bowls. It has the advantage over the steel hammer in that. the shape can easily be changed with a file or wood rasp. The object must be annealed at the end of each round and the operation repeated until the desired form is obtained. 82. Planishing. Before this final process is undertaken the work should be annealed and boiled in the pickle solution, after which it is rinsed in water and dried. The object is to get it clean and free from any grease whatso- ever. Select a stake or iron suitable in shape to the outline of RAISED WORK 155 PLANISHING PLANISHING HAMMERS Fic. 1385. Tue PLANIsHING PROCESS 156 METALCRAFT AND JEWELRY the work and planish by using a hammer with a polished face, (Fig. 1385) starting in the center and working around, which can best be done if a few very light circles (not scratches) are marked on the surface with a pair of blunt- pointed dividers. This will true up the work and leave the surface bright and covered all over with brilliant FILING AN EDGE, Oo FEAT Sere HAND SMOOTH Fig. 186. Leveving A PIeEcE oF WorRK WITH A FLAT FILE facets. It is often necessary to planish the work several times to get a perfectly smooth surface, annealing and pickling after each planishing. The somewhat irregular edge is leveled with a flat file (Fig. 136) and the sharp edge made blunt with a piece of emery cloth. To gain a perfect control of the hammer so that each blow is delivered squarely, much practice is essential. 83. Raising Hollow Vessels. The skilled craftsman can raise or draw up from a flat sheet of metal a vessel of almost any shape. It demands complete mastery of the hammer and doming mallet, and only through repeated practice can this be hoped for. Fig. 1387 shows a silver- smith at work on a large oval punch bowl. The design is mounted on a drawing board in front of the workman; it is being drawn up from a flat, oval piece of metal by skillful manipulation of the raising hammer and annealed regularly at the end of each beating. RAISED WORK Loy Fig. 1387. SttveR Puncw Bow. ror U. S. Barriesuire ‘OxKuA- HOMA”’ IN PrRocrEss oF BEING RAISED By courtesy of The Gorham Co., New York 158 METALCRAFT AND JEWELRY DRAWING UP OR RAISING A TALL VESSEL RAISING HAMMER Fic. 138. SuccEesstvE Steps IN RAISING A VESSEL FROM A Fuat CircuLAR SHEET OF METAL RAISED WORK 159 This process eliminates seams and solder, and by crowd- ing the metal together on the upper edge with the wooden mallet it is possible to increase the thickness along the rim several times its original gage. CRIMPING THE CRIMPING 1S STARTED IN A NOTCHED BLOCK Fic. 1389. Raising A VesseL Wuicu First Has BEEN CRIMPED Tools for this kind of work consist of the ball-pein hammer, the raising hammer (A, Fig. 138), the shaped mallet, and an anvil, as shown. The cup (Fig. 88) was made in the following manner, but from a sterling silver, gage 20 B. &S., circular disc with a diameter equal to the largest diameter of the design plus one half the total height. Smooth the edge with a file and anneal the metal. Mark the bottom circle with a pair of dividers. The points of the divider must 160 METALCRAFT AND JEWELRY DRAWING UP WITH THE RAISING HAMMER Fic. 140. Successive STEPS IN DRAWING UP A PIECE OF WorK RAISED WORK 161 be blunt in doing this; the object is merely to provide a light guide line for the hammer to follow. Start by using the dome-shaped mallet, hammering the metal carefully along the marked circle over a shallow REDUCING -THE DIAMETER i; te om Fic. 141. DRaAwinG IN THE NECK OF A VESSEL depression in a block of wood. The appearance will be as in C, Fig. 188. Before going any further the work must be annealed again and by throwing it into the sulphuric- acid pickle solution after each annealing it will be clean to handle. The process of ‘‘raising”’ now begins. It is done by placing the work against the tip of a stake so that the 162 METALCRAFT AND JEWELRY edge of the stake comes close to the edge of the circle previously made. With the raising hammer beat the metal away from you, around the circle, (D, Fig. 138). Continue this operation, going a little higher up each round until the outer edge or top is reached, then reanneal. It will then look like E in Fig. 138. By repeating the last process and annealing each time, the upper edge is reached. The metal will be raised a little higher after each beating. If working to a definite shape, a template should be made showing the exact contour of the design. When the shape of the object has been obtained the work must be planished smooth. This is performed as described in Sec. 74. 84. Crimping. This operation raises the edge. The method is used by experienced silversmiths. It is the quickest method by which a large deep piece of work can be raised without seaming. It requires a high degree of skill and much practice. The metal is wrinkled in a notched block of wood, even and straight, with the raising hammer, then beaten down by holding the work upon the tee-stake (Fig. 139). Great care must be exercised in hammering down wrinkles that no overlap of the metal occurs, for that would result in the metal cracking. The inkwell holder shown with the desk set (Fig. 127) may be made as shown in successive steps in Fig. 140. To reduce the diameter the work is placed on the stake as shown in Fig. 141. Naturally, by crowding in the metal the thickness along the upper edge is increased. ‘To de- velop the shape and adjust the contour, work it from the inside with the ball-pein hammer, placing it on a sandbag. The planishing or surface finish should not be undertaken before the design has been realized. RAISED WORK 163 METHODS OF MARKING GUIDE LINES Fig. 142. Dirrerent MeErtruops oF GAGING OR MARKING A LINE METALCRAFT AND JEWELRY 164 UUDUINDLT “HD 4 fig pasowmuny AVU], UAddOD “EFT “YI RAISED WORK 165 The horse stake shown in the lower right corner of Fig. 140 may be fitted with a head of any shape and makes a very useful tool for planishing purposes. For describing guide use the calipers (Fig. 142) or a metalworker’s sur- face gage. Fig. 144. Puarrer with PIeRcED DESIGN 85. Trays and Platters. One of the most difficult things to make is a large tray or serving platter, but small ones are quite within the reach of the craftsman. A round tray (Fig. 144) should be made from a fairly substantial gage of metal, 18 or 20 B. &B8. 166 METALCRAFT AND JEWELRY Cut the circular-shaped disc a little larger in diameter than the desired finished plate. Describe a circle where the depression starts. The metal is placed on a flat iron and the depression beaten down with the ball-pein hammer and afterward planished carefully. (Fig. 146) For plan- ishing a large, flat surface the face of the hammer should Fie. 145. Pen Tray ror Desk SEtT By G. H. Trautmann be slightly curved. The appearance is greatly improved and strength is added to the work if the edge is reinforced with a half-round wire. (Fig. 147) Iron clamps similar to the ones shown in Fig. 25 are used. The clamps are placed at frequent spacing to insure close contact between the wire and the work proper. 86. Seaming. Tall metal objects are usually seamed; that is, a development is made, and the edges are properly jointed and hard-soldered together. This makes the seam. Assuming a vase, as in Fig. 148, is to be made, first the shape must be studied. The dotted line shows the approx- imate cone the design resembles. Develop a pattern by using this cone about three times in succession. Cut a piece of metal, gage 22, to the size and shape of the pat- RAISED WORK 167 DEPRESSING THE CENTER PART OF A PLATE PLANISHING Fic. 146. SuccressivE Steps IN MAKING A PLATTER 168 METALCRAFT AND JEWELRY tern and prepare the seam for soldering by filing the adja- cent edges to an angle of about 45 degrees. This will give a little larger soldering surface which in turn gives a stronger joint. Bend the metal so that the edges come together and cut a notch as at A in Fig. 148. This will act as a lock and prevent the edges from slipping by each other; the edges must fit perfectly to insure a good soldering joint. Iron REINFORCING AN EDGE WITH HALF ROUND WIRE Fig. 147. SoLpERING A WIRE EDGE ON binding wire may be used to good advantage to hold the joint secure. The silver solder is placed on the inside in small pieces next to each other and soldered with the blow torch. Remove all fused borax and oxide by boiling in the sulphuric-acid pickle solution. With the seam resting firmly on the stake, hammer it down to even thickness, then true it up by continued turning and hammering. File the edges clean and anneal it again. From now on it may be treated in the same manner as if it were raised from a flat piece of metal. A bottom, of course, will have to be fitted in and soldered. RAISED WORK 169 SEAMED WORK e/ Wee DEVELOPMENT Fig. 148. PREPARATIONS FOR A SEAMED PIECE OF WORK {70 METALCRAFT AND JEWELRY Fig. 149. HamMErEeD CoprpER CANDLESTICK By G. H. Trautmann d 1 RAISED WORK VASE H. Trautmann HAMMERED Brass Bup 150. ByG Fie 172 METALCRAFT AND JEWELRY i POS ee sak Fic. 151. HAMMERED CoppER CANDLE- HOLDER By G. H. Trautmann CHAPTER XI MertTat CoLorRInc—OxIDIZING 87. Metal coloring. In order to give the work a finished appearance after all the tool work is done, it is essential that it be taken through a finishing process so that the design will be brought out in its best possible form and color. Most metals, when in a massive state, retain their brightness in dry oxygen or air, but in a moist atmosphere most of them will gradually become oxidized. For exam- ple, when a piece of iron is exposed to moisture and to the air, which contains a mixture of many gases—oxygen, nitrogen, carbonic acid, ammonia, ozone, and others—it oxidizes and rusts. , Metals may, for industrial and commercial purposes, be divided into two classes: precious metals and the baser metals. Gold, silver, platinum and iridium are of the former class; copper, brass, iron, nickel, aluminum, zine, lead, and tin are of the latter class. Metals left unprotected from the atmosphere would gradually undergo a chemical change. ‘This natural coloration or oxidation sometimes completely changes the appearance of a metallic surface, as will be noticed in old statuary and coins, where time and age alone have given the metal a beautiful patina. No artificial coloring, however, can compare to Naturé’s process. But excellent results are possible by mechanical means and chemical compounds. This is only a means of hasten- ing Nature’s process. For experimental work in metal 173 174 METALCRAFT AND JEWELRY coloring the worker should have on hand such compounds and chemicals as potassium sulphide (liver of sulphur), an ounce of platinum chloride (10 per cent solution), tincture of iodine, copper sulphate (blue vitrol), sal ammoniac, oxalic acid, hydrochloric acid, acetic acid, pumice powder, whiting, and bronzing lacquer, formerly known as banana oil. A piece of silver work may be finished in the following manner: First, anneal; second, boil a minute or two in diluted sulphuric acid, then rinse in water. Third, scrub the work with a brass or steel scratch brush and water; if this is not available fine sand and water will accomplish the same result. This entire process may be repeated three or four times before the metal becomes pure white. It is known as the “‘ brushed finish.”’ If a little duller finish is desired powdered pumice stone or a kitchen cleanser should be substituted in place of the sand or the scratch brush. 88. Polishing. Rub the surface vigorously with a cloth dipped in tripoli to produce a good ground; then polish with another cloth or chamois dipped in rouge powder or on a cake of crocus. The particles sticking in the corners may be washed off with hot water to which a little ammonia has been added. . Superior work in polishing and scratch-brushing is possible if a lathe or motor is at hand, where revolving brushes and buffer can be used in place of the hand method. 89. Oxidizing Silver. If ordinary care and the following few precautions are taken, very little difficulty should be experienced, and pleasing colors produced. Clean the work by annealing, then boiling in diluted sulphuric acid, and scratch-brush. It is absolutely essen- 175 METAL COLORING 4 Cae cea racaneaicatnaunremmeroxcan scan mmeneaeaans: | LAMP Fic. 152. By Mr. Trautmann 176 METALCRAFT AND JEWELRY tial that the article be made perfectly clean and free from all grease and oil. This is accomplished by adding a little soda to the water when the brushing is done. The most beautiful finish that can be produced on silver is the platinum finish, a deep French-gray. Platinum chloride, 1 gr. Distilled water, 500 gr. Suspend the work in this solution until it becomes tar- nished all over, then transfer it to a solution three times the strength of the first one until the desired depth of color is attained. With a little whiting and water on the tip of the finger, rub off in spots to produce the high lights and half-tones. By using a hot solution a different result is obtained from that which comes when a cold solution is used. A stronger and quicker-acting solution for Seal silver is made from: 1 fluid oz. tincture of iodine 14 fluid oz. platinum chloride (10 per cent solution) Apply with a soft brush and let dry. Produce high lights with water and whiting. A very pleasing gray color on silver may be produced with the following inexpensive solution: A small piece of potassium sulphide (liver of sulphur) dissolved in a glass of boiling water. The work, which must be thoroughly cleaned, may be submerged in the solution until the desired color is pro- duced, rinsed in water, and rubbed off with whiting. If unsuccessful the first time, scrub the work clean and white with pumice powder or some kitchen cleanser and try it once more; no harm is done, and it requires a little practice to get the work to show up in its best possible form. The METAL COLORING 177 rubbing off, to produce the proper high lights, half-tones, and shadows, is the most delicate part of the oxidizing process. If the work contains a stone that is soft, such as tur- quoise or malachite for instance, care must be taken not to get any of the sulphide solution in contact with the stone as it will absorb the solution to such an extent as to ruin the stone. The stone must be covered with melted beeswax, or the oxidizing solution may be applied to the work with a brush, the latter method being the simplest. A blue-black color is produced by placing the work in a solution of potassium sulphide diluted with spirit of sal ammoniac until a dark blue-black tone is produced. Wash in water, rub off, and dry. Green color on silver, according to Lange, may be pro- duced by adding to three parts of boiling water one part of iodine and three parts of hydrochloric acid. Suspend in the solution until the desired color is obtained, then rinse off and rub with whiting and water. 90. Oxidizing Copper. A small piece of potassium sul- phide dissolved in a glass of boiling water will make a solution that is commonly used. Any range of color is possible, varying from pale straw, crimson, purple, blue to black. The depth of the color depends upon the temperature and strength of the solution, and the length of time the metal is exposed to its action. Ammonium sulphide and water will produce the same result. 91. Oxidizing Copper or Brass. A green antique: 1 qt. water 1 oz. sal ammoniac 34 oz. table salt This work must be dipped and allowed to dry a number of 178 METALCRAFT AND JEWELRY. times before any effect is apparent. Green patina on brass or bronze: 5 pts. water 1 oz. sal ammoniac 1 oz. copper nitrate 14 oz. calcium chloride YY oz. oxalic acid 14 oz. copper sulphate The depth of color may be regulated by adding more copper sulphate and sal ammoniac. This formula is taken from an old German handbook. It was tried out by several students in the author’s class and found to work well, giving a great range of shades. 92. Bright Dip. Copper and brass may be given a quick dipping in the following bath: 2 parts nitric acid 1 part sulphuric acid and rinsed immediately in clean running water, then dried in sawdust. For a bright dip on silver use carbon bisul- fide. 93. Metal Lacquer. No metal will retain its color and brightness unless the surface is given a coat of thin trans- parent lacquer to protect the metallic surface from coming in direct contact with the atmospheric gases, which in consequence will retard oxidation. There are many metal lacquers on the market in all different colors and shades. hn eee poe) Joints +44 ee 40 L Lantern: =) 22>, eae 130 Lapidarys 5) \ah = eee 110 Letter opener ...... 127 Light carving). eee Loam. °.323 ee 31 M Malleable”..".. ee 18 Mallets 1%: a5 2a 154 Matting tools: 7.73 75 Melting silver’. . “Saas 116 Metal coloring 7... 173 Metal lacquer =. 178 Micaciae eae Renee ate) Mouth blow pipe. .... 12 N Needle ‘files <2... ae 24. O Opaque stones . Orange shellac . Oxidation . Cele on, Oxidizing brass. . . .. Oxidizing copper. .. . Oxidizing silvers.) .. Paste i) ~ Pendant. Pennyweight. Pickle. Pickle pan. Pierced work. . . Pin vise 1h) on © ae ae Pitch block . Pitch bowl. . . Planishing . Planishing hammer . Pliers, round nose. . Panehing Porous and soft Scnen: Precautions .. . Precious metals. . Precious stones. Preparation of metal . . . PUUMNWATe Ss Pumice powder. ... . Lei vec SLAW ne ae eee Raised work, .... °. . Raising hollow vessels. Raising tools. PEMIMOTS es Six >. Reinforced edge ee Ser 6 ey gr -e: OR tase ee te Moe | is . .20, 38, 61 S er 79, 124, 154 INDEX PAGE ie eELecities =: 49 Repoussé work 99 Rolling . 99 Rouge. a ake Pein blank i 7 7eving clamp... Wyden Oe Pare ey Pe Ring joint. Ring mandrel 31 Ring making. 81 Ring with applied wort 114 Riveting hammer. 13 Rivets. . . 15 . . . . 98 Sal ammoniac . 72 Sandbag. . 70 Sawblades. ... 72 Saw-frame, jewelers. . Sawing . 2a eseart pin, 28 Scratch awl . 174 Scrolls, how tomake . . . 58 Seaming 12 Sections of Glee! 17. Semi-precious stones . 111 Amethyst 12 Aquamarine 25 Azurite 15 Bloodstone 17 Chalcedony Chrysoprase Coral 151 Jade 156 Labradorite 15 Lapis Lazuli 18 Malachite 166. Malachite azurite 186 PAGE Moonstone Moss agate Opal matrix Turmaline Turquoise matrix Setting’. 0... sega eee Setting stones ...... 40 Sharpening gravers. ... 5l Sven sles wile een Silver, how to order. . 114 Silver solder, easy flowing 31, 117 Silver solder, hard flowing 31, 117 Sl alert as Sl Ss a SnarlingyirOn one eee 84 Soft solder. . od SAA LG Sortesoldering. eens 28 poldering oy) ae tesa aes 38 Soldering formulas . ik Soldering iron. ..... 119 Spree OT Ass sa cen ee i Stake Se> ci ee ee 161 Sismpinr ys ace ee ee 70 Sterling silver: 20) 4 2003 17 SLOUe CULLING Mie) siege eer 110 Stone polishing: . 9s 4. « 110 Stone slitting: <9: aaa 110 Stones iS. os pee CeO Sul phuriceacithng tae 13 T Table of weights. .... 116 Tallow:2: 32 ed) eee ee 72 INDEX PAGE Taper... 3 ee 40 Tapered steel mandrel. . . 37 Temper... .: ee ae 20 Tempering) 2 Gee re Template s+ /..42 eee 162 Tension? <9. aeons 23 Tinning copper bit . . . 120 Tools for jewelry work. . 179 Tool:steel’. eee ae Tracers >... re 70, 75 Transferring a design . 11, 20 Translucent stones... . 33 Trays and platters . . 151, 165 Treacherous metals. . .. 13 Tripoli... eee 110 Twisted wire, 7: jae 65 Twisting wires. ..... 108 U Unit Jewelry.) sae. eee 107 W Watch fob. 73 eee 20 Weight of gold.) eae 115 Weight of silver ..... 115 Whiting. ME set 72 Wire brush.) 7. eee 24, 32 Wire and wire drawing 25, 97 Z Zinc: chiondé eee 119 LIST OF ILLUSTRATIONS FIGURE Gold pendant carved and chased... ......2... Bee Premiere IAIND ci. /- ae gk eo tara we Tw PS foe ererot eOldermne. 8 a a a ee ee DCm e Ga, ea eee Brat em, ye ce ah a SO ge al Re Se eg ge yee ae Gal Se he er a ga al eae nas “pt tact pe remrmrorewaeemObe. 2.) baie Ge oe ek ele 8 CARESC) ERIC V0 0: a eRe ee Meee ek ese a we ee 13 Jeweler’s saw-frame and cutting board. ........ Ife Clampme thesaw blade. ...0.°. ek ihe wes Pome eremeoieniesleoun, ek ck ee Es wa —_ KEK ODOON DO HR WN meee TO nwt ee ee ae Toeoon- or wire tee Up ior annealing . . 6.0. 20. 1.0. Pmevieiineeroungslinks sro... Oe tsa heen Mimeioundeanose pliers iv Use. 6g ok re miemyvotipresatcaaor soldering... . .s 0. 6 e 2 ee, Peete soneruding borax, a a ee PO nee OeT eet ie ys be ee a Pome atioineror ine Up work 06.0. 6 ee A a Pee Om aR CLANS 9 a. Ge ee PS POM Rete ReOLUISN oho ee 4 3 nt eel OP Ua ee aCe eS Ng eS OR RM ec rs merns a uM ahic ee ts ew aa, Pome estete TOM rOOCheSs | bs ian ioe et a as Bumeviakioge a Close or box setting... . 2... eS mieeouiecznr asebting into place. 2-2 20.30. eb. 187 188 LIST OF ILLUSTRATIONS FIGURE 32 Soldering bezel on charcoal block... 33a eee Soldering with alcohol lamp. .~ > 3 eg ee Stretching a bezel on:mandrel . . . (a0) ag ee Horn anvil in-use... <0 |... 4) ee Leveling up bezel. 2 . . 0. = Steps in making a.brooch 22. . =) =)e een ee Forcing tapered wire into joint and pin. ........ Block with cement... 2 °)° 3 Fitting stone into bezel... (2) ss eee Artist at work chasing ) <7. (=e Designs for scarf pins =...) _ .) Steps In making scarf. pin. . . queen seat! Holding pin stem while soldering. . ......2..~. Work by students... 4... Silvercross . oo. 60.) 0 a Steps in making a ring .”. .. 2.5 ye Ring design with application work 9 eee Searab ring . 2S i. ee Carved ring . 2. 2 ie. 5 1 Swallow pendant. ..... oie WEE ie ie ae Silver pendants with migonatenee :. ORO Se Bunsen burner. .. .. . . 1°30 ee Steps in making repoussé work > 25a ee Attaching. metal plate to pitch. — 23 ee sta ee el, eae ier ae Woe ree ees re Set eS FIGURE RTE Olam WA a ew ee PE Cr ee Ee be el fieeececine a line with chasing tool... . .:.. ...°. Peaervepotsec practice Work 2... 20. ee a 74 Walnut box with applied metal work. . ...... Boer eURLOn DIRGG ek se Pome olin tT orooch repolisse work... 3). foe we we. 77 Silver back comb repouss6é work. .......... (Vyas i 02a ot nr 79 Pendant, iris design, repoussé work ........ VOR DOMUAN ei eon Pee en Sete Bieta brooches repolisse work... 260 es Ee eeer ate pins 10 TEPOUSSe WOrK. 2. ek pametep panel tor jewelry box... 2 ee Brepige pane! ror jewelry DOX. ©. 9.065. So. we Sas 85 Silver pendant, and two brooches. ........ Pmmpeet inven Use a ee at Bammer Pie ron USE 6. Se ae Smet amemored ever CUD, 29... 6. we wk oa Pe ee IKINOMCLUIY So ee se SRPMRUE ECT CO ta ee 2a. i ae ee ee le PM IC ro ee ee Ee) he el Sew aes oe Ae ITO INKS) ey er oe ee om GU Ile HURON Sn SARI CAN hee ee ee a lot ke le es 95 Chains with inserted ornaments. ......... DME Ee tC OUI ec, 8 ak ee Nieeyvire uit WOrK =. S.C Becht UE CY Lucene an: TOM nae Pee Vitcvepiralc. ow tO Make - <-. 0. ee a a ee SEALE aT OT, ose we eos big ee dees) wt Eogeerineree brooch from Iceland’... 2... 20h a iia? niptee brooch from Norway .... «0. .6. Seon ne Ie ee a aga me tILMIe eT Gomer ee eh Pe Rai 104 Stones, styles of cutting, sizes and measurements .. . . Deere PUINAOR a ee ek ea) aie eM Ot ener eh a Salo a cat ee Gr ye sey ug e oa Vege «sea a a LIST OF [ILLUSTRATIONS 190 LIST OF ILLUSTRATIONS FIGURE 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 156 137 138 139 140 141 142 143 144 145 Soldering coppers-j04/). 2 ne Rete ee o et Desk set and book ends, . . . 2. ye Designs for metal book ends. .». | Si) eee Bending metal...) 2... ca Riveting . fo. 0.0. fre Letter opener, copper and brass... 7). eee Designs for drawer and door pulls’) 7 =") eee Straps for drawer pulls. . 7. . 7 3 eee | Drawer pulls 23. 2... er Copper drawer pulls; ...°. ) 79 Waste basket, applied metal work. . . . 2 2 2a. Writing. desk, applied metal work ~ 71> 7 (9) eee Dapping die and tools . 2.2. 5) })7j)3ae ee Wall lantern .°...-. 2 3°. 2) SR Steps in making lantern . . | . 2. ee Lantern with motive for design’) 2" 7 eee Ceiling lantern... 2. os) 4 Riveted lantern .-.° 20... .-) 1 Lantern designs .. .>.. . > /2 Desk set. 6. 20.0 6 as Desk set... a So Corners for desk set, the making, ¥ (37) 7. eee Desk pad support . 2. 3). . Stationery racks: . . . ., . JU" 20 ete Shallow trays and. bowls . . . + (939) 3a mah Ball-pein hammer in use... . 90.) 59) =) Mallets and doming log... .... . . 32 33 Planishing process. ©. . ... 2... sane 83 Leveling a piece of work... .... .°. 2 2) ee Punch bowl being raised . . . + 5) ee Steps in raising a vessel. . . .°. 2 a Raising a vessel by crimping . ©. [5.93 ee Drawing up a piece of-work, .-. >. Gases ese Drawing in the neck of a vessel | 73) eee Methods of gaging ‘a line. . -.--. 7.903 ee Copper tray. . 20.0. 2 0. 4) See Platter with pierced design .. .. \.2 0) yee Pen tray. 00.0000. 6.552 LIST OF ILLUSTRATIONS FIGURE 146 147 * 148 149 150 151 152 Lamp Steps in making a platter Soldering wire edge eee ee a a Copper candlestick Bud vase. lS) See SO ee, Ot e! LP wes AS Hel Gel * tel) Neue wie = Pit Se i Oca eT Pele ge Mig Ste, vel > esi yet Bite Mis AP e- = ee. ing eo ne eee eS Oe RIO eho ON ge (eo a peers? et»