H V f > THE COACH-MAKERS' ILLUSTRATED HAND-BOOK, SECONDEDITION, CONTAINING COMPLETE INSTRUCTIONS IN ALL THE DIFFERENT BRANCHES OP CARRIAGE BUILDING. ADAPTED TO THE WANTS OF EVERY PERSON DIRECTLY OR INDIRECTLY CONNECTED WITH THE MANUFACTURE OF CARRIAGES. WRITTEN AND REVISED BY PRACTICAL MEN OF ACKNOWLEDGED ABILITY AND LONG EXPERIENCE IN THEIR SEVERAL DEPARTMENTS. PHILADELPHIA, PA.: I. D. Ware, Publisher of The Carriage Monthly. 1875. U\ Entered according to Act of Congress, in the year 1872, by I. D. WAEE, in the Office of the Librarian of Congress, at "Washington. 3- "^3 K I PREFACE. The design of this work is to place in the hands of carriage- makers a clear, concise, and perfectly reliable book of reference, containing instructions in the most important matters connected with the four several branches of the trade.. That the book is needed by a large number of those who are working at the trade of coach-making, we have abundant evidence, and the interest that its announcement awakened furnished positive proof that its advent, or something similar to it, had been long and anxiously awaited. • In presenting it to the trade for their patronage, we therefore have the satisfaction of feeling that we are carrying out the repeatedly expressed wishes of a number of carriage artisans, and as this is the first edition of a work of the kind published in the United States, we may lay claim to a share of the gratitude which is generally accorded to those who aim to furnish valuable information at a cheap rate. A perusal of the book will disclose to the reader that each department's complete in itself, and arranged in the order that a carriage is carried forward in the factory thus resolving the matter in each department into the simi3lest and most convenient form that could be devised; and as an aid to the speedy finding of any article in either of the departments, a copious index is added. Great care also has been exercised to avoid errors that would tend to mislead the student in his search after truth and safe methods of proceeding in his every-day work. Trusting that our labor has been directed toward a good purpose, and that the " Hand Book " may dispel darkness by the introduction of light, we send it out on its mission to stand or fall on its own merits. THE PUBLISHER. CONTENTS. PART I.— WOOD DEPARTMENT. Scale Drafting and Coloring ; French or Square Rule ; Application of the Square Rule to all Styles of Carriages in general use ; Construction of Carriage Parts and Wheels ; Drawing Instruments; Scroll Patterns; Corner Bevels; Iron Planes; Round and Ribbed Boots ; Wood Carving ; Elevating Landau Seats ; Canvasing Outside, etc. PART II.-SMITH DEPARTMENT. Styles and Manner of Ironing Platform and Perch Carriages; Hanging Off; Hooping Wheels ; Welding Iron and Steel ; Axle Centers ; C Springs ; Folding Steps ; Draft- ing Joints; Patterns for Stays; Setting Axles; Steel Axles; Tempering Springs; Weight of Springs; Axles, Iron and Steel; Making Tools, etc. PART III.-PAINT DEPARTMENT. The Art of Coach Painting ; Principles of Coloring ; Complete Instructions from the Priming to the last coat of Varnish ; Designs for Monograms and Ornaments; Com- pounding of Colors; Causes of Varnish Pitting; Complementary Colors; Mixing Paints; Varnish Brushes; Enlarging Letters and Ornaments; Gilding; Imitation Cane Work ; Light and Ventilation ; Oil Colors ; Transparent Colors, etc. PART IV.-TRIMMING DEPARTMENT. Illustrations of different Styles of Trimming; Instructions for Standing and Fall Top Work; Setting Bows; Quantity of Stock required ; Covering Dashes ; Cutting Stock ; Drafting Tops ; Method in the Trimming Shop ; Spring Cushions ; Softening Buggy Tops, etc. PART V.-MISCELLANEOUS DEPARTMENT. Apprentices; Success in Business; System; Credit; Sharpers; Convenient Work Shops ; Order and Disorder ; Out of Work ; Competition ; Carriage Materials ; Box Wood ; Wood Engraving ; Electrotyping ; Grinding of Colors, together with items of general interest to Manufacturers and all engaged in the Carriage Business. INDEX. PART I. WOOD DEPARTMENT. A Word on Plugs and Brads- 93 Back and Front Pillars, (Illustration).. 59 Blackboard Paint 95 Brette, {ill.) 65 Bristol Board 21 Brushes 22 Buck Board Wagon, (ilL) 82 Cant of Brette, {ill) 65 " Circular Hearse, {ill.) 63 " Coal Box Body, {ill.) 81 " Coupelette, {ill) 61 " English Phaeton, {Ul.) 70 " Five-Glass Landau, (ill) 62 " Four-in-Hand Drag, {ill.) 66 " Four-seat Phaeton, No. 1, {ill). 77 " Four-seatPhaeton,No.2, (iZZ.). 78 " French Cabriolet, {Ul) 70 " Glass Front Landau, {ill) 62 " Jump Seat Eockaway, {ill).... 79 " Landau, {ill) 56 " Landaulette, {ill) 60 " Physician's Carriage, {ill) 81 " Eockaway Landaulette, (ill)... 64 " Six-seat Extension Top, (iZZ.)" 67 " Six-seat Eockaway, zZZ.) 64 " Stanhope Buggy, (iZZ.) 80 " Victoria Phaeton, No. 1, {ill).. 73 " Victoria Phaeton, No. 2, {ill).. 73 " Victoria Phaeton, No. 3, (i«.).. 75 Canvasing Outside 94 Carriage Parts, {2 ills.) 95 Centering Square, {ill) — 103 Circular Hearse 63 Coal Box Body, {ill) 81 Corner Bevels 88 Corner Bevels, No. 1, {ill) 88 Corner Bevels, No. 2, {ill) 89 (V) Corner Bevels No. 3, {ill) 90 No. 4, {ill) 91 No. 5, (iZZ.) 92 Designs for Carved Body Blocks, {ill). 101 1, Scale D rafting r, {ill).... 23 2 u {ill).... 24 3, « {ill).... 26 4, <( {ill).... 29 5, (I {Ul).... 31 6, (( {ill).... 33 7, (( {Ul).... 34 8, « {ill).... 35 9, (( {ill).... 36 [0, (( {ill).... 39 1, Square Eule, {ill).... 42 2 u {ill).... 43 3, " (Ul).... 45 4, " {ill).... 48 5. li {ill).... 48 6, <( {ill).... 50 7, 11 (ill) 52 8, a ID It {ill).... 52 59 Door Eocker, Dotting Pen,' {ill) 21 Drawing Board 18 " Pen, {Ul) 18 Drop Front, Close Top Buggy, {ill).... 26 English Phaeton, {ill) 70 Express Carriage Part (2 ills.). 98 Fastening Tacks, {ill) 21 Five-Glass Landau, {ill) 57 Folding Front Seat, {ill) 83 Four-in-hand Drag, {ill) 06 Four-seat Phaeton, {ill) 30 " No. 1, (iZZ.) 78 " " No. 2, {ill) 78 French Cabriolet Americanized, {ill).. 71 VI INDEX. French or Square Rule 42 Glass Front Landau, (ill.) 62 Glue Brush 94 How to make a cheap Glue Brush 94 How to make It 87 India Ink 21 Insertion of Screws in Wood 94 Iron Planes 93 Irregular Curves, {ill.) 19 Its advantages over the wooden plane 94 Jump Seat Rockaway, (iW.) 79 Landau, {ill.) 40,56 Landau Bows, {ill.) 86 Landaulette, {ill.) 60 Monitor Buggy, {ill.) 22 Origin and Composition 116 Panel Quarter, {ill.) 84 Parallel Ruler, {ill) 20 Pear Wood for Sweep Patterns 27 Philadelphia Ribbed Boot, {ill.) 84 Physician's Carriage, {ill) 81 Plain Dividers, {ill.) 20 Platform Carriage for pole and shafts, {ill.) 97 Plugs and Brads 93 Portland Cutter 87 Practice with the Pen, {ill.) 25 Price of Drawing Instruments 25 Road Drawing Pen, {ill.) 19 Rockaway Landaulette, {ill.) 64 Scale Drafting 17 Scroll Patterns for Bar Ends, (4 ills.).. 100 Six-seat Extension Top Phaeton, {ill.) 67 Six-seat Rockaway, {ill.) 36, 64 Six-seat Sociable, {ill.) 34 Sizes for Wheels 102 Slate Finish 94 Spring Bow Pen with Pencil Point, {ill.) 19 Square Rule 42 Standing Boot Piece, {ill.) 59 Stanhope Buggy, {ill.) 80 Steel Spacing Dividers, {ill.) 19 Sweep Patterns, {ill.) 27, 28 Sweep Patterns, {Sills.) 32 The Door 63 The Draft 87 The Length of the Curb 87 The Manner of Obtaining Corner Bev- els, {ill.) 88 The Plain Dividers, {ill.) 2d The Use of Glue 93 To Imitate Mahogany 94 To Lower the Top 63 Trammel for Ovals, {ill.) 85 Triangular Scale of Boxwood, {ill.) 20 T-square, {ill.) 18 Victoria Phaeton, No. 1, {ill.) 73 Victoria Phaeton, No. 2, {ill.) 73 Victoria Phaeton No. 3, {ill.) 75 Water Colors 22 Wood Carving 99 Working Draft of Buck Board Wagon, {ill.) : 82 Working Draft of Brett, {ill.) 65 " " Circular Hearse, {ill.) 63 " Coal Box Buggy, (iK.) 81 " Coupelette, (i//.) 61 " English Phaeton, (iZZ.) 70 " " Five-Glass Landau, {ill.) 57 Working Draft of Four-in-hand Drag, {ill.) 66 Working Draft of Four-seat Phaeton, No. 1, {ill.) 77 Working Draft of Four-seat Phaeton, 2, {Ul.) 78 Working Draft of French Cabriolet, {ill.) 70 Working Draft of Glass Front Landau, {ill.) 62 Working Draft of Jump Seat Rocka- way, {ill.) 79 Working Draft of Landau, {ill.) 56 Working Draft of Landaulette, {ill.)... 60 Working Draft of Physician's Car- riage, {ill.) 81 Working Draft of Rockaway Landau- lette, {ill) 64 Working Draft of Six-seat Extension, {Ul) 67 Working Draft of Six-seat Rockaway, {Ul) 64 Working Draft of Stanhope Buggy, {ill) 80 Working Draft of Victoria Phaeton, No. 1, (iZZ.) 73 Working Draft of Victoria Phaetonj No. 2, {Ul) 73 Working Draft of Victoria Phaeton, No. 3, {ill) 75 Working Drafts 56 INDEX. VII PART II. SMITH DEPAETMENT. A cheap way to make, etc 163 A Mandrel, (i«.) HI Application of Body Loops 133 A Kule applicable to fifth wheels, {ill.) 146 Axle Centers 162 Back Bar, {Ul.) 127 Back Quarter Wings, Landau, {ill.) 144 Bob Punch, {ill.) 109 Body Loops 133 Bottom Bed, {ill) 122 Brett, Hanging off, {ill.) 115 Carriage Part on " C " Springs, {ill)... 132 Springs 157 Coach Steps, {ill.) • 146 Cold Chisel 1()3 Cross Springs 158 "C" Springs 118 Curved Dash, {ill.) 142 Device for Elevating Landau Seat, {ill.) 149 Die Plate and Screw, {Sill.) 113 Direction of a Given Force 116 " " Bearing Straps 118 Double folding Coach Step, {ill.) 146 Drafting Joints, {ill.) 148 Drop Pole, (iZZ.) 122 Fifth Wheels, {ill.) 146 Flatter, {ill.) 109 for Clips, {ill.) 108 Folding Coach Step, {ill.) 246 Force of Power 116 Front Running Part, {ill.)...'. 129 Fuller, {ill.) 107 Fulling Block, {ill.) 107 Gauge Chisel, {ill.) 108 Gauges, {ill.) 112 Gea ing. No. 1, {ill.) " 2, {ill.) " 3, (3 ills.) " 4, {ill.) " 5, {2 ills.) " 6, {Ul.) " 7, {Ul.) " 8, {ill.) " 9, {Ul.) "10, {4: ills.) "llAill-) "12, (2 ills.) 132 "IS, {ill.) 134 119 120 122 123 125 126 127 129 129 129 129 Hand Hammer, (2 ills.) 106 Hooping Wheels 150 How to Find the Right Sweep, etc., {ill.) 150 How Tools for Lamp Sockets are Made, {ill.) 169 Iron Back Bar, {ill.) 143 Iron Back Bar for Landaulette, {ill.).. 140 Iron for Axle Centers, , 162 Ironing Platform Express, {4:ills.) 139 Ironing Sulkeys 149 Landau Seat, {ill.) 149 Landau, 8 Springs, {ill.) 115 Light Platform, {ill.) 134 Line of Draft, {ill.) 143 Lower part with King or Body Bolt, (UL) 126 Lower part with Springs attached, {ill.) 123 Lower Tools, {ill.) 113 Mandrel Ill Material 161 Monitor Dashes, 5 {ills.) 141 Origin and Composition 116 Parallel Forces : 116 Patterns of Straight Stays and Steps, {Ul.) 115 Platform Spring Carriage 119 " " " with Iron Perch, {ill.) 132 Power or Strength of Springs.. 118 Riveting Hammer, {ill.) 107 Rocker Plates 162 Round Corner Dash, (i^^.) 141 Self-shutting Door Step, (2 ills.) 145 Setting Axles, {ill.) 154 « " when Cold, (i/Z.) 156 Shifting Seat Rail, {2 ills.) 144 Short and Easy Turning, {ill.) 135 Simultaneous Forces 116 Skeleton Boots, {ill.) 137 Small Flat Iron 163 Square Dash — plain, {ill.) 142 " Puncheon, {ill.) 107 Stay for Perch Carriage, {ill.) Ill, 113 " Four-seat Rockaway, {ill.) 131 Steel 152 " Axles 152 Swage Hammer, {ill.) 107 " Iron, {ill.) 107 INDEX. Tempering Drills 162 Springs 158 Thin Tools 162 The Blacksmith 104 " Height of Wheels, etc., {ill.) 143 " Ironing of a carriage part, (ill.)... 136 " Manner of producing Scrolls 134 " Mode of Making Lamp Sockets... 109 " Tidy Blacksmith 105 Tillbury Shaft, {ill) 122 To hang Brett or 8-Spring Landau, {ilL) 115 Tools, (12 ills.) 106 to 109 " for making Lamp Sockets, (6 ills.) 109 to 112 Tools for welding pins in Shifting Rail, (4iZ/s.) lis Top Bed, {ill.) 123 " Part of Carriage, {ill.) 124 Value of Iron .' 163 Wear Irons for Concave Bodies, i'^U.) 147 Weight of Bar Iron 163 " Common Axles 164 " Elliptic Springs 164 " Round Iron 164 " Square " 164 •' Wrought-iron and Steel 165 Wings of Landau, {ill.) 141 3>«^C PART in. PAINT DEPARTMENT. ABC Monogram, {ill.) 210 A C G Monogram, {ill.) 215 Action of Water on Varnish 285 All Sharp Edges 280 Alphabets 295 A Mantle, {ill.) 210 American and English Painting 257 A Natural Palette 259 An Old Body 256 Another Method 274 Apaumee, {ill.) 227 A P Monogram, {ill.) 212 Art of Coach Painting 171 Asphaltum 248 Axle Bed, Ornament and Stripe, {ill.). 235 Barred Helmet, {ill.) 229 Basket Work 263 B German Text, {ill.) 207 Bismarck 187, 252 Blacks 170 Black Turning Green 285 Blenders 174 Bhstering 285 Blues 169, 203 Breast Plate, {ill.) 229 Brilliant Yellow 253 Broad Stripe, {ill.) 233 Browns 169, 203 Browns Follow Yellow 253 Bronze Powder 254 Brushes 173 Buck's Head, {ill.) 224 Buff. 187, 202 Burnt Sienna ■ 248 Burnt Umber 248 Cadmium Yellow 247 Canary Color 187, 203 Cane " 203 " Work, (iZZ.) 244 Cans for Oil, Varnish 181 Care of Varnish Brushes 282 Carmine 248, 253, 254 " Carriage.... 253 Causes of Varnish Pitting 281 C. A. V. Monogram, {ill.) 214 C. B. " {ill.) 213 Chairos — Curo. and Flat Tints 168 Chamois 178 Changeable colors 187 Chatamuck Lake 248 Chocolate 187 Chrome Green 184, 248 " Yellow 247 " " and Black 184 C. I. N. Monogram, {ill.) , 214 Cinnamon. 203 Citron 187 Claret Color 249 Coagulation of Mixed Paints 266 Colored Grays 187 INDEX. LX Color Items 253 Colors 182, 247 " and the Eye 248 from Wolfram 255 Complementary Colors 167 Compound Colors 18H " Striping Colors 202 Concerning Slush 261 Corn Color 202 Corner Patterns, (9 ills 231 to 233 " Piece, {ill.) 233 " Scroll, {ill.) 232 Cream Color 257 Cremnitz White 247 Crimson Lake 248, 254 C. R. Monogram, {ill.) 214 C. T. B. " {ill.) 213 Dark Rich Brown 187 Deep Buff..... 187, 202 " Sea Green 252 D. E. F. Monogram, (ill.). 210 D. German Text, {ill.) 207 Drabs 203 Dragon's Blood 247 Drop Black 184, 248, 254 Dusters 174 Dutch Pink 247, 254 Emerald Green 248 English Black Japan 261 '• Purple Lake 248 Enlarging Letters 207 ** Ornaments 246 Enriched Panel Stripe, {ill) 237 Enrichment of a Hub, {ill.) 243 E. P. Monogram, {ill.)... 215 Escutcheon, {ill.) 222 Extra Colors 170 Facing a Body 267 F. E. S. Monogram, (ill.) 215 Finished Scroll, (ill.) 229 Finishing Coat 196 Fitch Hair 283 Flake AVhite 247 Flesh Color 187, 203 Florentine Lake 253 French Gray 187, 202, 252 From Priming to the Finish 274 Gall Stone 247 Garter 221 (hearings 265, 276 German Text 206 G H I Monogram, {ill.) 210 Glazing 255 Goat's Head, {ill.) 238 Gold Beating 272 " Color 187, 254 " Leaf. 271, 272 " Paint for Striping 249 " Striping 252 Grass Green. 203 Green Leaf. 203 Greens 169, 187 G Roman Ornate, {ill.) 208 Ground and Striping Colors, etc 199 " Colors 18 " for Ultramarine Blue 253 Hairing Off 284 Heavy Felt 256 " Varnishing 255 H R G Monogram, {ill.) 215 Imitation Cane AVork 244 Indian Red 183, 247 Initial Letters 206 " 'Letter B, {ill.) 207 " D,{ill-) 207 " G,{ill-) 208 " P, {Ul.) 208 " 'R,{ill.) 209 " S, {ill.) 209 " Y,{ill.) 209 Irregularities on Surface of Varnishes 190 Is the Milky Appearance, etc 285 Ivory Black 248 Japans 188, 255 J E C Monogram, {ill.) 215 JK " {Ul.) 210 King's Yellow 247 Lake 185, 248 Lamp Black 184, 248, 253 Laying Gold Leaf 272 Lead Color 187 Leafing, {ill.) 229 Length of Time, etc 285 Less Japan and more Oil 260 Lettering Pencils 175 Leveling Varnish 196, 279 Light and Ventilation 172 " Buff. 187, 202 " Red 247 Lilac 187, 203 Linen Color 187 Little Things 290 L M Monogram, {ill.) 210 INDEX. Magenta Lake 248 Maroon , 187 " Lake 248 Mas&icote - * 247 Mediums 170 Menhaden Oil 291 Method of Varnishing 277 Milky appearance on Varnish 285 Milori Green 250 Miscellaneous Items 255 Mixture of Striping Colors 201 Monograms 209 Monogram ABC {ill) 210 « DEF " 210 GH I " 210 " JK " 210 L M " 210 " NOP " 211 QR S " 211 TUV " 211 WX Y " 212 " Z& '' 212 AP " 212 "PS " 212 PSA " 212 USA " 213 ERA '' 213 SAP " 213 " CB " 213 CTB " 213 " NIB " 214 CR " 214 CA V " 214 " CIN " 214 " EP " 215 FES " 215 " HRG " 215 SNG " 215 " ACG " ; 215 " J EC " 215 " SK J " : 216 MEV " 216 MS " 216 " NP " 216 " OML " 217 VI « ... 217 " OTS " 217 " OMT " 217 VAT" 217 " T R A " 217 " SMT " 217 SWB " 218 More Oil 260 Naples Yellow 247 Neglect of the Person 289 New Apprentices 256 New Colors 254 New York Red 187 N I B Monogram, (ill) 214 Noble & Hoare's Private Mark 279 " Varnish 285 NOP Monogram, {ill) 211 Normal or Pure Gray 187 N P Monogram, {ill.)....., 216 Oil Colors in Patent Tubes. • • 169 Oils, Japan and Varnish 188 Olive 187 Olive Green 249, 250 M L Monogram, {ill.) 217 OMTMonogram, {ill) 217 Opera Board Scroll, {ill) 240 Orange 187, 203 Orange Mineral 254 Ornamental Panel Striping, {ill) 236 Ornamental Work for Sleighs 236 Ornamented Alphabet 205 Ornamented Broad Lines, (7 ills.)..2M, 236 Ornament for Sleigh Panel, {ill) 24Qi Ornamenting Pencils 174, Ornaments, (41 tZZs.) 218 to 23^' Ornaments composed of Scrolls, (5 ?■ ills.) 238 to 24l OTS Monogram, {ill) 2lf OVIMonogram, {ill) 2;L? Paint Brushes 174 Paint Cracking 257 Paint Cracks 267 Painters' Colic, 257 Painting Bodies 263 " Buggies 269 " Coach 192 " Irons 266 Paint Mills 176 " Pots 175 " Shop 171 " Stone 177 Palette Knife 178 Panel Colors 182, 185 " Stripe 237 Patched On 195 Patent Yellow 247 Pea Green 187, 203 Pearl Color 187 Pencil Grease 256 Pencils „ 174 INDEX. Pencils for Striping 253 Permanent Wood Filling 2G5 Perspective 168 Pigment 253 Pink 203 Pitting 191 " Checked 282 Practical application of Oil Colors 170 Practice with the Pen 271 Principles of Coloring 166 Prussian Blue 247 PSA Monogram, (iZZ.) 212 P, Two Styles, {ill.) 208 Pulverized Pumice Stone 259 Pumice Stone 255,256, 260 Pure Gray 187 Pure Toned Straw Color 250 Purple 187, 203, 254, 255 " Lake 248 Putty 268 Puttying 276 Putty Knives 178 Q R S Monogram, (ill.) 211 Quick Drying Color 254 " Putty 269 " " Rough Stuff 265 Raw TJmber 183, 248, 254 Red Lead 247 " " and Umber .267 Reds 169, 203 Removing Paint 262 Resolvents for Removing Paint 262 Rigid or Stiff Ruler 245 R Ornamented, {ill) 209 Rose Lake 248 " Pink 247 Rough Stuff 257,265, 275 Royal Purple Lake 248 Red 254 Rubbing Coats 197 Running Gear 198 Salmon Color 187 SAPMonogram, {ill.) 213 Saxon Green 248 Screens 180, 263 Scroll and Fine Lines, (4 ?7Zs.) 236 Scrolled Ornament, {ill.) 241 Scroll, {iills.) 223 Sea Green 187, 252 i Secondaries 166 Secondary Hues 166 Shammy 178 Sharp Edges 280 Shield and Monogram, {ill.) 229 Sienna 247 Silver Color 202, 254 Size of Rulers 245 Sizing for Gold Leaf 273 Skeleton, {ill.) 229 Sleigh Painting 256 Slush 261 S M T Monogram, {ill.) .' 217 S N G Monogram, {ill.) 215 S Ornamented, {ill) 209 Spoke Face Ornaments, (11 ills.) 241 to 243 Sponges 177 Spontaneous Combustion 269 Stone Color 187 Straw Color 187,202, 254 Striping Colors 199, 201 '' in Gold 273 Pencils 268 Pens 270 Styles of Striping , 201 SUB Monogram, {ill.) 218 Surface of Varnish 190 Tan Color 187 TerreVerte 248 Test for Japan 255 The Art of Coach Painting 171 The Captive Fly 286 The Carriage Part 198, 276 The Coloring 238 The Excessive Use of Tobacco.. 290 The First Coat 279 The Paint Shop 171 The Paint Stone 177 The Palette Knife 178 The Principles of Coloring 166 The Rubbing or Leveling Varnish 279 The Shammy 256 Tiger Scroll, {ill.) 239 Tobacco 290 To Color a Body 251 To Fasten Hair in Pencils 267 To Lay Out Imitation Cane "Work 244 To Mix Gold Bronze 251 " • Paint a Light Carriage, three weeks 259 " " Carmine 264 " " Light Buggies 274 " Prevent Gold Leaf Adhering 274 " Remove Varnish Cracks 281 TR A Monogram, {ill) 213, 217 Transparent Colors 251, 253 Treatment of Spoke Face 241 INDEX. Trestles 179 Tuscan Red 248, 254 TUV Monogram, {ill) 211 Ultramarine Blue 186, 248, 254 Umber Toned Drabs 187 Unique Alphabet 205 USA Monogram, (ill.) 213 Vandyke Brown 248 Varnish 189 " Brushes 173, 283 " Cracks 281 Varnishing 201 " Body 195 " Carriage Part 278 Varnish Items 286 Pitting 281 VAT Monogram,(iZZ.) 217 Venetian Red 247 Ventilation 172, 287 Verdigris 186, 248 Vermilion 248 Violet 187 V Ornamented, (iW.) 209 Warm Feet 256 Washing Windows 256 " with Turpentine 256 Water Buckets 177 " on Varnish 285 Wheel Board or Prop 181 Where should Varnish be kept 284 White and Straw Color, etc 250 " Broad Line 202 " Chalk 247 " Lead 247, 255 Whites 169 Wine Color 187 Winged Eclipse, {illj 220 Wire Stand 187 Worthy a Passing Thought 288 WX Y Monogram, (ill) 212 Wyvern, [ill) 224 Yellow Arsenic 247 " Ochre 247 " Orpiment 247 Zanzibar Gum 257 Zinc White 247 Z & Monogram, (ill.) 212 PART IV. TRIMMING DEPARTMENT. About Stock 340 Apron 321 Arm Piece and Quarter, {ill.) 299 A Simple Cutting Machine, {ill) 339 Back, {ill) 307 " Boot,{ill) 338 " Cushion and Fall, {ill) 307 " for Landau Sleigh, {ill) 302 " of Light Top, {ill) 333 " Straps 330 " Supporter 337 " Y Silence, {ill) 330 " with Iron Armpiece, {ill) 309 Black Leather Varnish 337 Bows, To Prevent from Springing 323 Broad Lace 331 Buggy Seat and Fall, {ill) 311 Card Pocket 300 Cheap Back Straps for Hack 330 Clarence Doors, {2 ills.) 300 Cloth Broad Lace, etc., {2ills.) 331 Corded Straps, {2 ills.) 330 Covering Dashes 328 Cushion for No-Top Buggy. 325 " Hook 322 " Top with Folds 325 " and Fall, (iZZ.) 307,308 " " Sewed together,(iW.) 316 Cutting Machine, {ill) 339 " Stock 340 Dash ,. 321 Door Fall, {ill) 299 Drab Cloth 337 Draft of an Extension Top, {ill). 336 Drag Cushion and Fall, {ill) 313 Driving Cushion for Dog Cart, {ill).... 317 Drop Backs, {Ul) 305,307, 309 End Finish of Drop Backs 313 Extension Top, {ill) 336 Fall for Dickey Seat, {ill) 323 INDEX. XIII Fall for Landau Sleigh, {ill.) 303 " Coach or Phaeton Door 302 Fall Pattern, {ill.) 321 Fitting on Top after Stuffing 334 Side Quarters 331 Form with which to Stitch Knob Holes, {ill.) , 339 Head Lining Close Tops 330 Horse Shoe Back, {ill.) 309 How to Clean Drab Cloth 337 " Make a Back Boot, {ill.) 338 " the Cushion 316 " the Fall 316 " the Front Facing 326 " the Valence, (t7;.) 332 " '* Trimming for Lazv Back 331 Improvement, Trimming Turn -over Seat, {ill.) 314 Inside Eound-front Clarence, {ill.) 301 Knife for Cutting Cord,(i;?.) 322 Knob Holes 339 Landau Back Quarter, etc., {ill.) 298 " Sleigh Trimming, {ill.) 302 Lazy Backs, {ill.) 312, 331 Leather Blacking 337 Leather Varnish 337 Light Buggy Seat, {ill.) 310 " Top, {ill.) 333 Method Applied to Close Top Gig, etc 297 " No Top Wagon 295 " " " Top Buggy 295 " in Trimming Shop 294 Mixing and Cooking Paste 337 New Box Loop 313 Park Phaeton Seat, {ill.) 306 Paste That Will Keep 337 Patent Leather 341 Patterns for Stick Seat Rolls, {ill.) 326 Plaited Welting, {ill.) 313 Roll Stick 321 Round Cross Straps, {ill.) 329 Rustic Trimming, {ill.) 320 Scolloped Back Valence, {ill) 343 Setting Bows 335 Setting Tubular Bows by Draft, {ill.).. 335 Softening Buggy Tops 336 Spring Cushion 324 Squab Top Cushion 324 Stock 340 Strips for Cording 337 Summer Tops 334 The Back Part of Close Tops 334 " Cushion Front 304 Top and Fall 305 " Door Fall, iill.) 299 " Grecian Bend Drop Back, {ill.)... 310 " Phoenix Shaft Straps 320 " Pocket Fall, &c., (iZ^.) 324 " Saratoga, {ill.) 303 " Back 304 " Star Top Cushion, &c., {ill.) 318 " Swinging Holders 300 Three Edged Raiser Machine, {ill.)... 339 To Make Shell Work, &c 305 To Make the Back 303 To Mend a Broken Bow 340 Top of Cushion, {ill.) 315 To Prevent Front and Back Bows from Springing 323 To Prevent Head Lining, &c 330 To Prevent Tops of Dashes, &c 328 Trestle, {ill.) 296 Trimming for Landau Sleigh, {ill) 302 " " Light Road Wagon, (iZZ.) 319 Trimmer's Don't Use Sticks 336 Twisted Leather Seaming Cord, {ill)... 329 Valence 332 PART V. MISCELLANEOUS DEPARTMENT. A Safe and Profitable Investment 367 American Timber Interests 368 Apprentices 355 Are They Competent Judges 346 A Word to Apprentices 355 Be Careful of Your Credit 346 Be Ready in Time 351 Beware of Sharpers 345 Blacksmithing in Germany 366 Boxwood 356 INDEX. Carriage Materials 362 Coldness 351 Competent Judges 346 Competition 357 Convenient and Comfortable Shops.... 344 Credit 346 Electrotyping 356 From Farm Wagon to Landau 352 Goddard Method of Painting 363 Greasing 350 History of Wood Engraving 355 Order and Disorder 342 Out of Work 353 Sharpers 345 Sponges and Chamois 350 Success in Business 343 System 344 System in Carriage Shops 360 The Cover 350 The Electrotype 356 The Grinding of Colors 359 The Leather 350 The Reins as Held by the Fair Sex... 364 The Washing 350 The First Operation 358 The Sarven Patent Wheel 365 To Employers 360 Water-Proof Glue 367 Where Carriages Should be Kept 366 Wood Engraving 356 Workshops 344 Wrenches 350 COACH-MAKERS" Illustrated Hand-Book >>»;«= PART FIRST.-WOOD-WORK DEPARTMENT. SCALE DRAFTING. THIS, to the progressive body-maker, or learner, is one of the most important sub- jects we could treat upon, and while we feel satisfied that we fully understand the subject on which we are writing, we are aware of the difficulty before us of mak- ing it plain to our readers. Our object is to give a clear and full illustration of the whole system from the beginning to the end, showing the kind of instruments neces- sary by cuts, with description, together with the kind of ir.iterial required to make a perfect draft. New beginners will find much to discourage them, but by constant practice and perseverance the object can be obtained. Scale drafting is reducing a carriage, or any other object, to any given scale and re- taining its proportions — half inch to the foot being generally used by coach draftsmen. As a general rule, most of the present styles of carriages originate in the scale draft, and are then transferred to the blackboard to full size. We have divided the sets of drawing instruments into three classes, viz. : brass, fine German silver, and extra fine Swiss. The brass instruments are intended for schools ; the fine German silver and the extra fine Swiss instruments for practical carriage draftsmen. Without the aid of some drawing instrument, a student cannot obtain a thorough knowledge of geometry or trigonometry ; but as very few who go over these branches in youth ever make any practical use of them in after life, it is not necessary that the drawing instruments "VMihich are furnished to schools should be any finer in finish and quality than is sufficient for a clear demonstration of the problems. But with the practical carriage draftsman his drawing instruments are next to his head and hands, and they must be of the best material, well and accurately finished. Being in constant use, and if they are not perfectly correct, the loss and delay occasioned by them, in one instance, will be much greater than the cost of a good set of instru- ments, which can be used his life-time. The fine German silver drawing instruments meet the wants of the practical man. The extra fine Swiss drawing instruments are more nicely finished than the fine Ger- man silver ; the metal of which they are made resembles more closely pure silver ; 2 17 D 18 COACH-MAKERS' ILLUSTRATED HAND-BOOK. they are more substantial in construction, and consequently more durable. As a gen- eral rule, draftsmen give the preference to extra fine Swiss drawing instruments. Having made these general remarks we will now proceed to describe each of the instruments required, their use and how to use them : DRAWING BaiRD is a rectagular frame of walnut, with an open center, in which a soft pine board, carefully planed and perfectly smooth, is fitted and fastened with buttons. The frame is made of hard wood, so as not to wear easily and become incorrect, and the center of soft wood, so the fastening pins can be easily put in. The angles and edges of the frame should be as correct as possible, for resting the head of the T-square against. T-SQUARE. The T-square is usually made of hard (pear) wood, having the head permanently and securely fastened at right angles to the blade, and a secondary head of the same size attached to it with a clamp- screw, and thus, when other angles than right angles are to be made, the movable head can be fixed at the proper in- clination to the blade, while a right angle is still maintain- ed by the fixed head. The blade is attached between the two parts of the head, so that in using either the fixed or movable side, there is an edge to come against the drawing- board, while the blade rests on the board. The T-square is always used in connection with a drawing- board, and with it all the straight and parallel lines of a drawing are very easily added — the head of the T- square being held against the edge of the board, and, by sliding the head along the edge of the drawing board, paral- lel lines can be drawn. The edges of the blade of the T- square are apt to get rough from constant use; to prevent this, and also to make the blade stiff'er and less liable to warp, a thin strip of brass is set into the edges, and finished off smooth and true. DRAWING PEN. This is a most important instrument to every carriage draftsman, and should be well made and always kept in good order. It consists of two steel blades, attached to an ivory handle, and so bent that when the points are almost touching, there is a space between the blades for holding ink. One of the blades is hinged where it joins the handle, so that it can be opened away from the other blade when it is to be cleansed. A steel screw, having a German silver head, is passed through the hinged blade, and screws into the other blade ; by turning this screw the points can be brought to the distance apart for making the required thickness of line. Size, 4 J inches long, from the point of pen to the end of handle. To use the drawing pen, put the ink between the blades with a common writing pen, or a camel-hair pencil,; drawing it down and out between the points of the blades ; screw the blades to the proper distance apart for making a Une the required thickness. In drawing the Hne the pen should be held firmly against the ruler, or pattern, slightly inclined in the di- rec^tion the line is being drawn ; the points of both blades must touch the paper. The handles of most drawing pens are made to unscrew, and a needle SCALE DRAFTING. 19 is fitted in the screw end, which can be used for pricking drawings from one paper to another. ROAD DRAWING PEN. • For drawing close parallel lines, as moldings, a double drawing pen is used. It consists of two drawing pens, attached parallel to each oilier on one handle ; the distance of the two pens apart is regulated by the adjusting screw, between the end of the handle and the top of the pens. IRREGULAR CURVES Are made of wood or horn. A variety of curves are cut upon the outer edges, and pieces are cut from the body in such a manner that there is a curve for every side of the opening. These curves are used in designing carriages. SPRING BOW PEN, WITH PENCIL POINT. The leg, body and handle are made of one piece of German silver or brass, three inches long, for describing small circles from one-sixteenth of an inch to two inches in diameter, such as heads of screws, the hubs and tires of wheels, etc. The lower end of the leg is finifc.hed with a small tube and clamp screw, for receiving and retaining a needle point; the body is almost twice the width of the leg, and a groove is cut the whole length of one of its sides; the pen or pencil point is attached to a tempered steel spring, the end of which is screwed fast into the upper end of the cut in the body ; a steel wire, half an inch long, with a fine thread cut on it, is fastened into the body, and passes through the spring just above the pen or pencil point ; a nut is screwed on the end of this wire, and bears against the spring, and forces it in or lets it out of the cut in the body, which brings the pen or pencil and needle point nearer together, or puts them farther apart. STEEL SPACING DIVIDERS. In carriage drawings it frequently occurs that a large number of small equal distances are to be set off, not only at one time, but repeatedly, upon the same drawing. For this purpose the ordinary dividers are too large and in- convenient to handle rapidly, and, having nothing but the joint to hold them in their position, are liable to get their extension altered. For such work there is used a pair of very delicate dividers, made altogether of steel, the two legs of which are united at the top by an arched spring, and drawn to- gether or opened by the screw in the middle. On the top of the arched spring an ivory or German silver handle is attached by which the instrument can be quickly turned over and over when used in spacing off a number of equal distances. The size of the spacing dividers mostly used are three inches long, with the legs delicately rounded from the regulating screw to the points. The advan- tages by these spacing dividers are, greater nicety and accuracy of adjustment, and no liability of accidental change when once adjusted. 20 COACH-MAKEKS' ILLUSTRATED HAND-BOOK. PARALLEL RULER This consists of two straight edges, of ebony or metal, six inches long, by three- quarters of an inch to one and a half inches wide, joined together by two parallel strips of brass, which move upon pivots at the points where they are attached to the ruler; thus, when the bars are put apart they are always held parallel to each other by the brass strips, consequently, if the edge of one of the bars is brought to a line and firmly held there, and the other bar pushed away from it, aline or lines drawn by the second bar will be parallel to the original line. TRIANGULAR SCALE OF BOXWOOD, six inches long, has five edges, graduated with two scales on each edge, as follows : one edge has 3-32 of an inch, and 3-16 of an inch marked ofi"; the 3-32 are numbered from one end, and the 3-16 from the other ; one edge has } of an inch, and J of an inch ; one edge has | of an inch, and f of an inch ; one edge has J of an inch, and 1 inch ; one edge has 1^ inches, and 3 inches ; and one edge is divided into inches and IBths of an inch. The first division of the 3-32 scale is divided into four equal parts ; consequently, if the 3-32 represent one foot, each of the sub-divisions will represent 3 inches. The •3-16, i, J and | have the first division divided into twelve equal parts, therefore, if the primary division represents one foot, each of the sub-divisions will represent one inch. The i and f of an inch have the first division divided into twenty-four equal parts ; there- fore, if the primary divisions represent one foot, each of the sub-divisions will repre- sent the half of an inch. The 1 inch and 1^ inches have the first division divided into forty-eight equal parts ; and if the primary division represents one foot, each of the sub-divisions will stand for ^ of an inch. The 3 inches has the first division divided into ninety-six equal parts ; and if the primary division represents one foot, each of the sub-divisions will represent the i of an inch. THE PLAIN DIVIDERS. This instrument consists of two legs, the upper halves of which are made of brass or German silver, and the lower halves, or points, of tempered steel. In the fine instruments, the joints about which the legs move should be fram- ed of the two different metals — German silver and steel. By this arrangement the wear is much diminished, and greater uniformity and smoothness of motion is obtained. If this uniformity and smoothness be wanting, it is extremely difficult to set the legs quickly apart, at a desired distance ; for, being opened and closed by the fingers of one hand, if the joint is not good they will move by fits and starts, and either go beyond or stop short of the point ; but when they move evenly, the pressure can be so applied as to open the legs at once to the exact distance, and the joint must be sufficiently tight to SCALE DRAFTI.NG. 21 hold them in this position, and not permit them to deviate from it in consequence of a small amount of pressure which is inseparable from their use. The joints of the dividers are tightened^or loosened by inserting the two steel points of the key into the two small holes on one side of the head of the dividers, and turning from one to tighten it, and in the opposite direction to loosen it. DOTTING PEN. The dotting pen is made like the drawing pen, but has a finely -toothed wheel, which revolves between the points, and instead of a continuous ink line, it makes a dot for each tooth, and consequently a line of dots when drawn between two points. It is used when imaginary lines are to be shown on the drawing. FASTENING TACKS Are small nails used for fastening the paper to the drawing board. They have large flat heads, and very small, sharp points. The heads are round, and made of brass, German silver or steel, and the points of the best temper- ed steel, carefully sharpened. In putting them into the drawing board, the point should be well started with the fingers, and the pin pushed home with a small bottle cork. If the thumb is used for pressing them in, there is danger of the upper part of the pin coming through the head and injuring the thumb. A new form of fastening tack has just been introduced. It is a right-angled piece of metal, each side of which is one half an inch long, with three points. It is intend- ed for fastening the paper at the corners. Having completed our list of instruments, we will now proceed to give the material necessary for a perfect draft. BRISTOL BOARD. We can recommend Reynold's superfine drawing boards— the largest size being the thickest in quality. Foolscap, 15 inches by 12. ' Demy, 18 inches by 14. Medium, 20J inches by 15|. Royal, 22 J inches by 17i Imperial, 28 inches by 20. This you will cut to the size of scale required. There is also a tinted paper that comes in various colors, and there is the tinted Bristol board, which comes the same size, and is preferred by some, being not so easily soiled by handling. You will also need the finest French vegetable tracing paper ; this is used to lay over your draft, and tracing from the original for transmit- ting in letter. Faber's pencils. No. .4. INDIA INK. Which comes: Lion Head, Round Gilt Ink, Large Square Gilt Ink, Large Octagon Ink, Liquid Gold Ink. 22 COACH-MAKERS' ILLUSTRATED HAND-BOOK. BRUSHES. For brushes, you will require fine brown sables in quills, brown dyed sables in tin ferrules, with handles. WATER-COLORS. In water-colors we give the entire list, which comes in whole and half cakes ; or moist water-colors, which retain, from processes and treatment known only to them- selves, their solubility and dampness for an unlimited period, and a box of them, though laid aside for two or three years, will be found, when required again, equally moist and serviceable as when purchased. Antwerp Blue. Bistre. Burnt Sienna. Brown Pink. Blue Black. British Ink. Brown Ochre. Burnt Roman Ochre. Burnt Umber. Chrome Yellow, 1, 2 and 3. Cologne Earth. Dragon's Blood. Emerald Green. Gamboge. Hooker's Green, No. I. Hooker's Green, No. 2. Indigo. Indian Red. Italian Pink. Ivory Black. King's Yellow. Lamp Black. Light Red. Neutral Tint. Naples Yellow New Blue. Olive Green. Orpiment. Prussian. Blue. Prussian Green. Payne's Gray. Raw Sienna. Raw Umber. Roman Ochre. Red Lead. Red Ochre. Red Chalk. Saj) Green. TeiTe Vertt'. Vandyke Brown. Venitian Red. Vermilion. Verditer. Yellow Ochre. Yellow Lake. Sepia. Warm Sepia. Roman Sepia. Brown Madder. Constant White. Chinese White. Indian Yellow. Crimson Lake. Scarlet Lake. Purple Lake. Mars Brown. Mars Yellow. Scarlet Vermillion. Chalon's Brown. Black Lead. Green Oxide of Chromium. Lemon Yellow. Frriiich Blue. Pink Madder. Rose Madder. Intense Blue. Mars Orange. Pure Scarlet. Barnt Carmine. Smalt. Purple Madder. Ultramarine Ash. Carmine. Gallstone. Cadmium Yellow. Orange Vermillioa. Ultramarine. Ditto. Quarter Cake. Cobalt Blue. DIAGRAMS. Diagram No. 1 illustrates the manner of laying out for a correct scale draft of the " Monitor" pattern, being the simplest one we can treat upoa. First, we shall establish the base line, holding that the base is the foundation of all mechanical structure. Second, the height of the wheels ; carriage-part to the top of spring-bar; distance of the same apart. Third, the laying out of body, also the top in two positions, demonstrating the points for the knuckles in the joints. Fourth, we il- lustrate the point where the front wheel will strike the body in turning, establishing the place for the wear-iron, also the space between the front and hind wheels on a turning point — having your drawing-board, with paper secured to it with fastening tacks. It will be necessary for the beginner to be well versed in the scale rule or triangular scale. The scale that we are using to this drawing is half inch to the foot (U. S. standard), the half inch being divided into twenty-four equal parts, each part representing a half inch, each two parts one inch. We will now proceed and lay out the pencil sketch. (Use Faber's No. 4.) Place the T-square on the right hand edge of the board, and draw the base line A. Next estab- lish the height of the wheels, which is 4 feet and 4 feet 4 ; also, the distance from cen- ter of wheels or axles, which is 54 inches. This distance allows a 50-inch body on bottom, and gives the right space for forming the body loops. Set your pencil com- passes 26 inches, being half the height of the hind wheels from the center point estab- lished, and 24 inches being half the height of the front wheels; also, draw the hubs 3J inches diameter ; bands, 2f . Now proceed and lay out for the height of the spring bars — back bed, 2\ sweep, If deep in center ; springs, 11 inches over all, 1^ wide, 1^ inches deep for the spring bar, making in all 15| from center of the hind wheel to the top of spring bar. The front bed 2 inches sweep. If deep , fifth wheels, 1 inch ; spring- block, 12^; springs, 10| over all; spring-bar, IJ deep, making in all 17| from the center of the front wheel to the top of spring bar, which levels for the loops. We give these dimensions of the carriage, being a matter of taste, but the principle illustrated re- mains the same. SCALE DRAFTING. DIAGRAM NO. 1. HALF- INCH SCALE, Proceed and lay out for the width of springs and draw them. Measure from base line A 39 inches ; draw line B, which is the bottom line of body, which drops 2 J inches from top of spring bar. Measure from B 10 inches, and draw line C, top line of body. Measure on line B, from front and back springs, 2^- inches, and prick it off, which leaves the body 4 feet 2 inches long on the bottom line. Now proceed and draw the two ends, giving | inch bevel to each. When they are drawn square, the top line of body C will appear shorter than bot- tom line B. Measure from line B 2 inches, and draw the concave rocker ; also, sweep the ends as represented by the diagram. You can now dot off the loops, steps, perch, and lay out the dash, which is 11 inches from top of body. Measure from front of body, on line C, 21 inches ; this being the front of the seat, 15| for the depth, seat elevated sufficient to bring the bottom edge of skirting on top line of body. Measure 4| inches from seat frame for seat panel ; give I inch slope, and draw this line. Lay off the back and front bevels to suit taste. You will now lay out and draw the line for shifting rail ; turn the gooseneck for the slat irons with the pencil string-bow pen. Measure from top line, back of seat, 4 inches ; draw perpendicular line D ; also measure 45 inches from top of seat frame ; draw the top line E ; measure from line D 42 inches. 24 COACH-MAKERS' ILLUSTRATED HAND-BOOK. and draw line F, this being the height, length and back flare of top. The top sweep has 4^- inches round, 1 inch lower front than back ; it is on a circle of 75 inches. The needle point of compasses is placed at the center point of gooseneck for receiving the slat irons ; this will strike the sweep. Proceed and space ofi" and draw the bows, and establish the props, NoS. 2, 3 and 4, and draw the joints for establishing the difl'erent points for the stub joints, illustrated in top laying down by Nos. 5 and 6, We will now lay oiat for establishing the point where the front wheel will strike the concave rocker, and where the wear iron should be placed. You draw center line H, being the center of body, and the center point of the front wheel, representing the center of king bolt and the center of axles. Line I represents the outside of concave rocker, and K the bod3^ Draw the wheels below line A, as represented in the diagram ; these represent half the trRf'k from center line H. Draw perpendicular line M ; this takes the size of the wheel on a line with the concave rocker. Now, with the pencil compasses place the needle point in center of front wheel, being the center of body -bolt, which strikes the circle to Kne I, which represents the concave in the rocker. From this point, squared to the body, will give the exact place for the wear iron. The short circle shows the distance between the front and back wheels in turning. This principle illustrates how close the front and back wheels can be brought to- gether with safety. DIAGRAM HALF-INCH SCALE. SCALE DRAFTING. 25 In diagram No. 2 we illustrate the completion of the pencil sketch with India ink. An India ink draft, with lines drawn and shaded correctly, will resemble a steel engraving. To acquire this art, considerable practice and the use of the best quality of drawing instruments will be necessary. We have befDre illustrated these instru- ments, but we here give the same list with the price attached to each instrument, subject to variation in cost of material. Pair plain dividers, Swiss, $2.00 ; German silver, 85 cents. Road drawing pen, Swiss, $3.75 ; German silver, $2.50. Spring-bow pen with pencil point, Swiss, $3.80 ; German silver, $3.25. Spacing dividers, Swiss, $1.75; German silver, $1.75. Dotting pen, Swiss, $2.60 ; German silver, $1.00. Drawing pen, Swiss, $1.50; German silver, $1.00. Fastening tacks per dozen, 75 cents. T-square, $1.75. Parallel ruler, 35 cents. Drafting scale, triangular boxwood, 6 inches, $2.00. Irregular curves, 50 cents. Drawing boards, $2.50. In preparing for inking, neatness is the first thing in order, being different from penciling, as false lines cannot be erased without spoiling the drawing. You will require a small china saucer. Dip the ink in clear water, rub it well on your finger, which makes a pure liquid free from grit, and from your finger allow it to drop into the saucer. When you have a sufiicient quantity prepared, take the camel-hair pencil and fill the spring-bow pen with the fluid for inking the wheels. You can now practice as illustrated, by holding the top of the spring-bow between the thumb and forefinger ; this will give you the full control of the pen in making the circular lines. Having practiced sufficiently with this on a separate piece of paper to illustrate to you in regard to thickness and evenness of the line, you will be pre- pared to apply it to the drawing. The width of the line may be regulated by the set-screw on the pen. If there should be any imperfection in the line, you will open your pen and clean out with a piece of chamois ekin^ and if the pen should require sharpening, use a piece of fine clay stone with water ; fill the pen again with ink, as before described, and practice until a perfect line or circle is obtain- ed. Having this, you will now commence and strike the hubs of the wheels as laid out in the diagram ; next strike the tire and rims ; then, with your spring-bow pen, ink the props, prop nuts, knuckles to joints. Always ink first that which is shown on the outer surface. With the drawing pen filled with fluid, practice in the same manner as with the bow pen, using a straight edge for your guide. When the line is satisfactory, commence and ink the spokes and joints to top, as in the diagram, keeping the center of the hub for your guide. All other lines are inked in the same manner, using the T-square for the parallel and per- pendicular lines. The circle of the top is described by dividers with changeable points, the props and knuckles with the spring-bow pen, as was illustrated in Diagram No. 1. When your inking is complete, you will clean off by erasing with India rubber all pencil lines which were used for laying out for a correct draft. For shading you will require another saucer like the one for inking, for reducing or getting the required 26 COACH-MAKERS' ILLUSTRATED HAND-BOOK. tints. W ith a small sable hair pencil reduce the ink with water to the shade you want. This can be obtained by practicing on a separate piece of paper in spaces of the size of panels of the body, also seat and top. All parts that stand in the foreground should be light ; those that stand in the back, dark. The shading of this draft comes next in art to the coloring of a draft, which, to a beginner, might seem discouraging, but he will soon accomplish it by practice. DIAGRAM NO. 3. HALF-INCH SCALE. The accompanying diagram, No. 3, is a drop-front, close-top buggy, which, by its varying lines, requires the use of " sweep" patterns, which are represented and ex- plained in this connection. Commence by drawing base line A. Measure 35 inches from base line A, and pro- duce dotted line B, being the full depth of the drop-front. From this line measure llj inches, and draw dotted line C, which represents the height of seat frame. From line C measure 8 inches, and draw dotted line D, being full height of seat. Measure 45^ inches from dotted line C, and draw line F, showing the square of the full height of top. Having established the full height of the buggy from the base line A, noting the different points as we ascended to line F, we will proceed and lay out for the length. Measure 51^ inches, and draw the vertical dotted lines E^ E^^, which represent the centers of front and hind wheels, which are 3 feet 8 inches, and 4 feet 1 inch. Measure from base line A 24^ inches, being half the height of hind wheel ; and also 22 inches SCALE DRAFTING. 27 from base line A, on line E^^ being half the height of front wheel. Now, with your dividers carrying the pencil point, strike the wheels and afterward the hubs. (It should be borne in mind that we are making a })encil sket(;h.) We will now proceed, laying out for the height of pump-handle, the back bed arched 3 inches, Ij inches deep; springs, 11 inches over all; spring bar, Ij inches deep; making in all 17 inches from the center of hind wheel to the bearing of pump-handle At this point draw a horizontal line, which is the bottom of pump-handle. Next, lay out for height of front spring bar. The front axle bed drops Ij inches, and is Ij inches deep. Fifth wheels, ^ inch each ; spring block, Ij inches ; springs, 11 inches over all ; depth of front spring bar, Ij inches ; making in all 15 inches from center of wheel to the bottom of body loop. Measure from vertical dotted line E^^ 4^ inches, and draw vertical line I. This establishes the front bottom corner of body. From line J measure 15 inches, and produce vertical dotted line K, which gives the front of the arch where it intersects baseline B. From dotted line I measure 20 inches, and draw vertical dotted line G, which, at its intersection of dotted line C, establishes a point which is the front of seat. Measure from line G 21 inches, and draw line H, which gives the depth of seat. This is intended for a spring back. Lay off for the bevel of the seat and body, inclining them as fancy may dictate. On dotted horizontal line D, from its point of intersection with dotted vertical line E^, measure off 3j inches ; and from this point erect the line J, and from line J pro- duce line L, 47 inches distant, which gives the width of the top. Having now completed the establishment of the main points, we will proceed to apply the sweep patterns. But before we explain their use, let us remark that in using irregular sweeps, it is the better plan to always use the round side of the pattern as the pencil or pen follows it with more precision. The carriage draftsman should make his own sweeps ; his first care being to select suitable wood, as the evenness of the edge depends, in a great measure, on the close- ness of the grain of the wood. The patterns for body designing should be taken from pear-wood veneer, or tine grain apple tree, the pear wood being preferable for its fine grain, and is not liable to split. It is absolutely necessary to have a clean smooth edge on the sweep pattern, which cannot be obtained by the use of rosewood orany other coarse-grained veneers. If the edge varies by being crossed with the grain, the trace of the pen will show an imperfection which should be avoided. This degree of nicety might not be apparent to the generality of persons, but should you be required to dehneate for the engraver, whatever imperfections of lines were on the blocks would be left, and the "proof" would plainly show the defects. Irregular sweeps are also made of horn, which presents a true, firm edge, but the body-designer should provide himself with veneers, and form his own sweeps, for there are lines to be drawn which cannot be obtained in any other manner. In finishing the sweep to suit the eye, use fine sand-paper, rounding the edge a trifie. Test the accuracy of the edge of the pattern on a separate piece of paper, and in no case apply it to the draft in hand until it is uniform throughout. The first to be drawn is the " arch" sweep. To produce this, apply so much of tho pattern (Fig. 1) as is contained between the Nos. 1 and2, the back part coming in aho^a 28 COACH-MAKERS' ILLUSTRATED HAND-BOOK. the pump-handle, which leaves the pump-handle straight, giving the body a depth of 3 inches on a vertical line. Fig. 2, between the Nos. 1 and 2, was made use of in producing the sweep on the front of body, and at other points on the pattern (not numbered) ; the dash and top line of seat were traced. Fig. 3 is very useful for turning the sweep of slat-irons. FIG3 Fig. 4, the perch sweep ; line 1, center of hind»spring ; line 2, center of front sprine. FIG 4- Fig. 5, the loop sweep for bodies, varving to suit the different classes of work. Line — V ^ y FIG5 1 is the sweep for front loop on the draft now uader consideration. Top is 5^ inches round ; front bow 1 inch lower than the back one, and struck to a circle of 8 feet 2 inches. The seat has a high back. The side arm-piece to which the trimming is attached ia represented by the swept line shown above the top of seat, which is not seen from the outside with a close top. SCALE DRAFTING. 2d To complete the draft, it is necessary only to add the joints, lamp and step. As previously stated an India ink draft, when properly shaded, will resemble a steel- plate engraving. While the method of applying the ink is necessarily similar in every style of carriage sought to be represented, the student will discover that more skill is required to produce a clean and well-executed drawing on the outlines of a buggy, like the one here shown, in diagram No. 4, than on the straight, plain design in diagram No. 2. DIAGRAM NO. 4. HALF-INCH SCALE. It will be discovered by the beginner that he must use more dexterity in handling the sable-hair pencils, and there will be many failures before the hand will become trained to its work in giving those delicate touches which the experienced draftsman appears to perform without an effort. Practice alone wil) give that confidence which is requisite in making the drawing pen, or the inking pencils, obey the will. Nervous- ness, which is always experienced by the novice, will wear away gradually, and, after a time, what seemed to be a vexatious task will be the source of much pleasure. The starting points in this draft, as in all others, will be to strike the rims of the wheels ; next the tire line, which is the outside line that bounds the wheel ; then fol- low with the hubs, circle of the top, prop nuts, knuckles of joints ; last, the lamp. We now refer you to the sweep patterns which were used in defining the pencil sketch 30 COACH-MAKERS' ILLUSTRATED HAND-BOOK. The "arch" sweep. Fig. 1, may now be applied to the draft, using so much of it as is contained between the figures 1 and 2, using the pen instead of the pencil, as in the first instance. The remaining patterns are to be applied in the same manner, the only difference being to make sure work with the pen, for when ink becomes set in the grain of the paper it cannot be erased. In drawings of this kind it is necessary,, in some instances, to change your pattern and piece the line. Here is a nice opera- tion to perform, for the contact of the lines, where joined together, must not be per- ceptible. Practice alone, which gives a perfect control of the pen, will accomplish it. Another point to which we would direct the attention is, that where lines intersect^ care should be taken to have them of the same size, also to avoid the defect of one line overreaching the other. It is preferable to run on a line starting from the end of the one already drawn, rather than to begin at a distant point on the pattern, and conclude the line at the intersecting point. Having completed the inking of the lines laid down, erase all pencil marks, and then proceed with the shading, as previously explained. The draft now under considera- tion being a close-top buggy, it will require more skill to produce than the previous one, which was a roll-up-top. The larger the surface over which a tint is to be laid, the more difficult it will be found to lay on an even coating of ink, and graduate the shades so as to represent the roundness and receding portions. The joints must be white. To do this, the paper will be left clear throughout their outline, the ink to be worked up to the joints, forming them clean and sharp. Lighting and shading is governed by the following principles : When light falls upon any object, it (the light) is reflected to a greater or less degree, according to the form of the object. A level surface would reflect light throughout its plane, with but a slight modification. But a globe, cylinder, or a rounded surface, as the top or back corner of this buggy, would appear lighter at the highest points ; and as the planes recede they would gradually fall into shade. Any portion of a draft, then, which you wish to bring forward, must be represented lighter than those parts which are retiring. We now take a four-seat and four-spring phaeton. (Diagram No. 5.) Having begun by taking up a plain buggy, we next gave one with curved lines, and now we present to the student an extension-top phaeton. By degrees we have led the way from plain work up to that requiring more skill,, and without further comment will proceed to the explanation of the one in hand. Having secured the Bristol paper to the drawing board, draw base line A ; from this line measure 37 inches, and draw dotted base line of body B. From line B measure 1^ inches, and draw dotted line C, this being the base of the front. From line B meas- ure 8^ inches, and draw line D. From this measure 3 inches, and draw line F, this being full height of the back-seat frame. From F measure 1 J inches, and produce line E, this giving the full height of frame on the front seat, elevating it IJ inches higher than the back seat. From E measure 44 inches, and draw line K, giving the full height of top. Having established the different points in ascending, we will now lay out for width of door, by drawing dotted lines O and P, which are 17J inches apart. Next in order is the height of wheels. Hind ones 4 feet 2 inches. Measure from vertical line 23 inches, and draw vertical line M ; this allows the wheel to advance 2 inches front of door, and gives ample room for its opening. Strike the hind wheel as heretofore given. Measure from center of wheel 12 inches for height of spring. From this point measure li inches for depth of back bar ; this establishes the bottom of pump-handle, also the square cut in body, which we intend SCALE DRAWING. 31 O o I o CO o W to make harmonize with the carriage and body. Next we establish height of front wheel, which is 3 feet 6 inches, and allows 4 inches clear on the line D when turned under the body. In fixing vertical line N, it depends on the width of track; this principle is fully illustrated in the French rule, that is, the space required for the wheel to turn was regulated by width of track. Having established vertical line N, strike the wheel. From center of wheel measure 12 inches, which gives the height of spring, also bottom plate, bottom bed, fifth wheels, top bed, which is curved, throw- ing the king bolt 8 inches in advance of center, leaving room for a turned collar for the body to rest upon. Next lay out for the width of seats, the back one being 18 inches on seat frame, the bevels to be laid ofi* according to the style in vogue. From the extreme point of back seat measure three inches, and draw vertical lineL; this line showing the flare of the back of top. Lay out for the shifting rail, and draw vertical line H. From this measure off 21^ inches, and draw vertical line I ; this giving the width of the two 32 COACH-MAKERS' ILLUSTRATED HAND-BOOK. center bows. From front of front seat measure 6 inches, and draw vertical line J ; also, from same point, measure 22 inches, and establish the dash line. Having now noted all the points from base line upward, and from vertical line N to the dash line, we will apply the sweep patterns, where the square and protractor have not been used. We will now apply «weep pattern (Fig. 6) to the top H, being the back part; it has the back, center and front bows laid on it, the top having 4^ inches round. Fig. 7 IS the spring pattern, dotted line No. 1 showing the horizontal center, and No 2 the vertical center. These we draw in quarter sections. This pattern will suit for the majority of elliptic springsf, where side view is given. Fig. 8 will be found a very useful pattern in forming short curves, as each illustrates a different sweep. The other sweep patterns necessary for completing the body line have been previously given. The joints, door handle, lamps, and all other points not mentioned, to be drawn as laid out in the diagram. DIAGRAM NO. 6. HALF-INCH SCALE. The manner of inking or tinting the draft having previously been given, will not need to be repeated. As the laying out and inking in of the outlines is necessarily the first and most important part of any draft, the tinting of the panels and proper grada- tion of the lighting and shading is a part oi the work more artistic than mechanical, and much will depend on the natural taste of the draftsman. While the majority of persons may be deficient in natural taste at this stage of the drawing, a very commendable degree of excellence may be acquired by careful study and practice. SCALE DRAFTING. 33 In passing, we would say, that to become a skillful draftsman, one who can pro- duce a draft which will bear to be constructed as shown, a practical knowledge of the construction of the body is absolutely necessary. An architect may produce a hand- some drawing for a new edifice, and yet when the master-mechanic shall attempt to carry out the ideas, and construct the building, may find that certain fixed laws in mechanics will not admit of the house being built according to the design shown on paper. This is equally true with the carriage architect ; he may possess an artistic eye, and make pretty drafts to look at, but wholly impracticable when an attempt ia made to construct the carriage. 3 34 COACH-MAKERS' ILLUSTRATED HAND-BOOK. IMagram No. 7 shows a six-seat sociable. 1st. Draw the ground line, then the base line of body, depth of panel, and establish the height or pump-handle and bottom of boot. The height of seats are shown by the dotted lines. From the seat line, measure 47 inches, and draw top line A. Lay put the door and length of back quarter, and draw lines B and C. Nos. 1, 2 and 3 show the height and length necessary for the foot-room. The sweep patterns, which have been given, will furnish all the curves required on this draft. Any further items may be gathered from what has been already given. As full instructions have been given in the use of India ink, for outline and shading, we shall hereafter give only the outlines of different classes of work, and, at the close of these exercises, give the full manner of applying the colors. SCALE DRAFTING. 35 It is a good plan for the body-builder to make a draft to the scale of everybody pos- sessiDg anything novel, preserving them for future reference. The habit once formed, the task will be a light and pleasant one. The time thus spent will bring its reward, if not in dollars, direct, it will come indirectly through the superior skill and fertility of imagination gained by continued practice, which will not fail to show itself on your *)wn work, and be appreciated by the employer. o 00 I n 36 COACH-MAKERS' ILLUSTRATED HAND-BOOK. In the three concluding diagrams we give the method we employ in the drafting, ground coloring and finishing a colored draft. We will aim to make ourselves under- stood in this the concluding and most interesting part of our instructions, and trust that they who have followed us thus far will, at the close of these instructions, feel that they have been amply repaid. This being the first standing-top introduced in this connection, we herewith present a six-seat rockaway, with sharp lines. The body, to appear graceful, and reduce the rocker to an attractive size, the lines should be carried out front and back on full quarters. In shop parlance, we would say, that the sharp lines, in connection with the coupe pillar, give too much belly, and there- fore does not produce the most pleasing exterior. In laying out for this draft first draw base line A ; then take in your dividers 36 in- ches, and from the base line produce dotted line B. Next, draw dotted line C, which is the height of seats, being 11 inches from dotted Une B. This brings the seats on a line, the front seat forming the top panel of the arch. We secure, by this mode of construction, a lighter appearance on side elevation, for when the front seat is raised above the back one, the head room required above the front seat gives more than is needed on the inside, producing a deep side elevation. And, further, the seat line C stands 47 inches from base line A, allowing for a 42-inch front wheel, the hind wheel being 50 inches. The hind spring is clipped on top of axle, is 12 inches open ; the depth of spring and back bar added to this will establish the line of bottom of pump-handle. The front spring should be clipped underneath the axle ; the spring to be made 34 in- shes long, with 9-inch open. We make the front spring shorter to gain more stiffness, for it is necessary to calculate closely for the front platform carriage in the limited space allowed, where the front seat is low, as in this draft. To establish the height of side elevation, measure 3 feet 8^ inches from dotted line C, front seat, deducting the swell of the roof from this, and draw the top dotted line. Make the width of door 23 inches ; back quarter, at roof rail, 25 inches ; front quarter, 17 inches. Both of the front seats should be made wide, as the trimmings are attached to a ver- tical back, which requires more seat room in order to add to the comfort of the occu- pants. Having established the different points on the body, we next draw the horizontal and perpendicular lines. For this purpose we make use of the movable half of the T- head square, set so as to elevate the body one inch higher in front, the same bevel giving the proper direction of the perpendicular lines. The reason for this is that the draft, when completed, will appear to hang level, whereas, were the lines drawn per- fectly horizontal and vertical, the body would appear to drop in front, a fault too fre- quently to be observed on drafts by professionals, who might improve in this particular. The swept lines are produced from patterns formed to suit the curves; the end of each line to be marked on the pattern as a guide in reproducing the pencil lines, which in coloring are nearly obliterated. We will also direct attention to the fact that no ink is to be used in preparing for a colored draft ; the horizontal and perpendicular lines are carried beyond the outlines of the body, thus giving the true direction when the coloring has so far proceeded as to require that they should be added to complete the draft. DIAGRAM NO. 9. HALF-INCH SCALE. The draft given on next page is that of a Clarence coach, and as the manner of laying out has been fully explained, we omit it here, as the principles are the same. SCALE DRAFTING. 37 Haying given the brushes and the colors necessary, and supposing that the student has secured a careful pencil drawing on Bristol board, and marked his patterns so as to be able to place them to their exact position when required, and extended all lines 38 COACH-MAKERS' ILLUSTRATED HAND-BOOK. beyond the outline of the draft, which he will, of necessity, have to cover up on laying on the ground colors ; having, we say, fortified himself against any confusion of ideas that might arise, he is ready to make his first essay. Provide yourself with a nest of porcelain saucers, in which to mix the colors, and begin by rubbing up either lamp or ivOry black. The colors should be rubbed up with soft water, and then thinned with prepared gum water. (Every article we may mention can be purchased of any respectable dealer in artists' materials.) The novice or new beginner should not apply color to the draft until he has, by practice on a separate piece of Bristol board, brought the color to the proper consis- tency. It is better to have a space laid off the same size as the draft, and having coated this, then attempt the draft in hand ; begin at the front of roof rail, and pass right on to the upper back quarter, coating it also ; but in going over any surface, do not attempt to make a clean outline with the brush. Run as close as possible, and afterward, with the pen filled with the color being used, apply the patterns and true up the edges. : Next coat the boot, which extends from the coupe pillar to the toe- board, paying no attention to the dividing line and lamp stem, where the latter projects on the boot. The first coating must cover, for in the attempt to apply the second the first will wash up and ruin the drawing. Before proceeding with panel colors, we would state that lampblack is not as intense in color as ivory black, and although working and covering better than ivory black, we would recommend the use of the latter. We will now prepare the color for the lower quarters. We decide to use a dark rich brown, which we mix of Vandyke brown, heightened with burnt sienna, and a rich cast given it by adding a small quantity of carmine or lake. Have the saucer and brush perfectly clean, and having tested the color on a separate pattern of the panels, and obtained the proper temper, coat the panels ; start in at the back quarter, and carry the color forward, covering that portion of the hind wheel which crosses the back panel, also the molding lines on door, and the door handle. Next in order is the belt. We propose to color it dark green. For this purpose we will take Prussian blue and raw sienna or yellow ochre. Begin as before at the back end, and work forward, covering any crossing lines that may interpose, stopping the color at the extreme front. Tl;e body is now ground colored, and before the molding lines or anytKing else is reproduced the colors must remain two or three hours to dry. When dry, the mold- ing lines may be attempted. We will select Indian red. Fill the pen, and with the T-square (using the swivel-head) strike the apparently horizontal and then the per- pendicular lines, using the patterns for the curved lines. Next the door handle, brought out with liquid gold ink, representing Prince's Metal Mounting, which is to be used on other parts where mounting is generally placed. Follow now with the lamp, dickey- seat and cushion, the lamp with liquid gold, dickey-seat and cushion with black, deli- cately tinted ; also, the toe-board, rocker and book-step black. The circular front must be rounded by lines of black, as shown in the draft. On the body, where the appearance of a round is to be shown, use china white. The carriage will next engage our attention. We select carmine. The pen should be used on the carriage in the same manner as directed for inking in, color being sub- stituted for India ink. Strike the rims first, then the hubs, and where the hind rim runs on the back quarter, split the lines with china white ; this carries the white ground of the paper over the dark color of the body. Complete the coloring in the following order: SCALE DRAFTING. Springs, front carriage, and lastly the spokes. The foce of hubs liquid gold. The manner of preparing to produce a colored draft, and the mere mechanical oper- ation of applying the colors, are similar on whatever style of vehicle the draftsman 40 COACH-MAKERS' ILLUSTRATED HAND-BOOK. chooses to produce. But a variety of touch, and that delicate handling of the colors employed, which at once stamps a colored draft as first-class in every particular, de- pends not a little on artistic taste. On a standing-top coach, the colors require to be laid on evenly, and with clean edges, and as the greater part of the draft represents wooden panels, there is no effect to be given other than to show solid, unchangeable surface. A tassel or a festoon may be added, which would require some little know- ledge of shading, so as to represent properly the folds made by the cord, which serves to loop the festoon up, or of the particular form of a tassel. But in the cut here shown (Diagram No. 10); with the top thrown down, it will be required of the student to repre- sent a leather top, and that in the wrinkled appearance it has when lying down. This is a Landau, with the improved Saulsbury Boot. Having secured a correct draft with the lead pencil, and further prepared for coloring, as previously laid down, you will begin by addressing yourself to the representation of the top. First strike the small circles, which represent the top props and the knuckles, with India ink or lampblack, and then ink or color in the joints ; these are colored black, as are also the head pieces and the outlines of the bows. We would here caution the student against carelessness in the matter of obtaining a correct outline of anything which he may essay to draw, and it is of the first impor- tance, in the representation of an object in a folded or written form, that each portion should be represented by distinct outlines, which will at once present to the eye of a beholder the true form, the tinting to be governed by the outlines, or at least the tinting should not confuse or obliterate the outlines. In the representation, then, of this top, a distinct outline is first to be secured, and afterward the tinting is introduced with the pen, using India ink ; or shading, using a fine-pointed sable pencil. The top having been completed, outline the dickey-stick, fall, lamp and boot, using black, as this gives the correct coloring of that portion of the finished carriage. When the out- lines are finished, commence shading the cushion, then tinge in the seat skirt, which may be black at the back part and lightened off toward the front. Next follow down on to the boot, laying on an even coat of black over its whole surface; also the toe-board. When the black is dry, bring out the division line, mold- ings and appearance of the round, with china-white, applied with the drafting pen. The dividing line on side of boot and moulding lines should be drawn heavier than those which are employed to give the appearance of a round. The moulding lines on boot to be drawn with white are the inner lines running from top of boot to the toe- board, and the front and bottom inner lines on the lower part of the boot. Now set the pen finer, and put in the fine lines, which give the appearance of the upper round- ed portion of the boot, using a pattern to guide the pen. The front loop should next engage the attention, which is also put on with china- white ; that is, so much of it as crosses over the boot, including the step, and so much of the loop under it as is shown on this drawing. We will mention, in passing, that it 18 the better plan to use a color throughout every portion of the draft, where it is re- quired, before taking up any other color ; therefore, all iron work connected with the body and rocker should be painted before laying by the black. Black having been dispensed with, the next step will be to decide on a panel color. Carmine is a very rich color, and would be brilliant and showy ; but before we fully decide to employ it on this heavy, stately carriage, let us stop a moment and inquire whether it will accord well with its general appearance. Colors give the appearance of lightness and heaviness, according as they are light or dark ; and as we wish the Landau to appear rather heavy because it is large, taken as a whole, we decide that carmine or any other light brilliant color would be out of keeping. Further, the SCALE DRAFTING. 41 trimmings should agree with the color used on the panels, and if carmine is suitable for the panels, it, or something approaching to it in color, is suitable for the trimming ; thus carried out practically, we should have a bloody or a fiery -looking piece of work, ofi*ensive to persons of good taste. Having set aside carmine, we will take quite a difierent color, one among several which may be employed, namely, plum color. This color is produced by the use of LAKE and BLACK ; we select purple lake, and by saddening it with black, produce the required shade of plum color. It is to be applied to the panels of the body, and laid on in the manner heretofore given. When dry, proceed with the mouldings, using for the purpose, in this case, French blue. The carriage part comes next. We will take for this draft a color a shade or two lighter than the panels, produced by a less proportion of black being add^d to purple lake. Next in order is the representation of gold mounting. The parts to be so brought out are the lamp, dickey-seat handle, toe-board handle, door handle, face of hubs, and lastly the top prop nuts and the joints. The top nuts to be gilt in the center, leaving a black surrounding edge, and the joints to have a gold line through the center. All that now remains to give a complete finish is to add an ornament or monogram. We propose to use a monogram as design on panel, and will employ French blue, light- ened very delicately, if you please, with gold. We have given illustrations of the principal drawing instruments and patterns, and ten were drafts, ranging from a buggy, through different styles of carriages, conclud- ing with a Landau. The drawings and explanations have been attended with many hours of severe mechanical and mental labor, and we now feel a sense of relief as we pen the concluding sentences. From the careless and indifierent we do not expect to receive any thanks, but wherever there is an earnest wood-worker, desirous of improving him- self in this particular, we feel assured that we shall receive our reward at his hands. 42 COACH-MAKERS' ILLUSTRATED HAND-BOOK. French or Square Rule. THE object is to impart that practical knowledge of the square rule and the general system of drafting which is daily required in the workshop. This rule, as pre- sented in the following pages, was selected as most important to the body-maker, being based on comprehensible principles, and becoming more and more necessary to be well understood. By this rule we obtain the points by which we draw the correct side-sweep for the diflferent pieces of the frame work, when the turn-under and side-swell is given by the operation of right lines drawn over the side elevation and cant of body, illustrated by diagrams in the drawing of a plain coach body. First. The design of the bady or side elevation, with the ground plan for laying out the front carriage part, the height of wheels and turning under of same, establishing the arch or wheel house of the body. Second. The manner of making the patterns for the body. Third. The application of the square rule with the manner of construction fully shown in the diagrams. DIAGRAM NO. 1 Illustrates the drafting of a coach, the laying out of the carriage part, the height of wheels and turning under of same. You may now proceed to draw the ground line C. Measure 34 inches from ground line C, that being the height we wish to hang this coach, and draw the base line of body A ; measure 3 inches from line A and draw line K, being the depth of rocker. From line K measure 12 inches, being the height of your seat, dotted lines. From this point measure 42 inches ; draw the line E, being the height of body. Lay off for the width of the door, which is 22J inches; draw lines B and H. Measure from line B 26J inches, and draw line F, being the width of back quarter. From line H draw line N; measure 24 inches, this being the width of front quarter. Now you can sweep the body (with miniature patterns, scale drawing), and lay off for the guide rail of the door. Measure 26 inches from the hinge pillar, and draw perpendicular line — this point be- ing the center of the hind wheel, which is 4 feet 2 inches. You will strike the wheel this size. Next proceed to lay out for the spring, which is 2 inches, 5 plates 42 inches long, 12J inches opening ; this spring is clipped underneath the axle, which is 1^ inches; measure from underneath the axle 12J inches, being the opening of the spring. Measure 11 inches for the five plates, being the depth of the top part of the spring, 1| inches for the depth of the back bar, J inch for the brake or pump-handle plate. This point is the bottom of the brake ; sweep the brake as represented in the diagram. Now proceed to lay off for the front carriage, to ascertain the height of boot; the width of track being 5 feet, spring 2 inches, 5 plates 40 inches long, opening 14 inches, allowing IJ inches for the settling from the weight of the body. For the establish- ment of the point where we want the wheel to stand, when turned square under the DIAGRAM No. l.-THREE-QU R INCH SCALE. Page 42. I FRENCH OR SQUARE RULE. . 43 body, when tlie body is swept, extend the bottom sweep of the rocker to Une N ; at the same time you can dot off" the manner of paneHng the bottom. This square corner is the establishment of line, figure 2, or the point we want the wheel to stand when turned square under the body. The object of this corner is to shorten the coupling as much as possible, which is an important point. Measure from this dotted corner in panel, on line No. 2, 7 inches, and draw parallel line I), this being the space required over the top of wheel for settling of the coach when loaded. Measure from line D, on line No. 2, to ground line C, 42 inches ; this is the height of the front wheel. Measure from line No. 2, 27 inches ; draw a perpendicular line 27 inches, this being the cen- ter of the wheel. Measure 5.j inches from this line, the center of the wheel, and draw line, figure 6, this being the center of the king or body bolt. You can now strike the front wheel. Your front springs are clipped on top of the axle, which is H inches; measure U inches, the depth of the bottom part of the spring, 12^ inches opening, 1^ inches for the top part of the spring, I inch block top of spring, ^ inch plate for the bottom of lower bed. This bed is o inches deep ; sweep up H inches, leaving li inches deep in center. Fifth wheels ^ inch each. Top bed 1| inches deep; f inch plate for the bed. Lay oft" 3 inches for the depth of the body block ; this point is the bottom of your boot ; proceed to sweep your boot as represented in diagram. It is necessary in hanging a coach to hang it 3 inches higher in front than back, calculating from a level line from the bottom of pump-handle to bottom of boot. We will now proceed to lay out and prove our calculation for turning of the wheel. We have given the top part as it passes under the body square on line figure 2. Next proceed to draw a parallel line, figure 10 being the center of front wheel, and also center of boot. Measure 17 inches from line, figure 10 ; draw line, figure 5, being half the width of boot; next draw per- pendicular lines, figures 9 and 11, the size of the front wheel. Measure 32] inches from center of front wheel, and draw line 7, representing the top of the wheel. Measure 2^ inches from line 7 and draw line 8, being the width of the wheels at the bottom. Take your dividers, place one point on line 6, where it intersects with hue 10, this point be- ing the center of king or body bolt, the other at the back part of the wheel, at point 11; you can strike the turning of the wheel to parallel line 10, and square from this point to the body as represented by line 1 ; this is the extreme back of the wheel as it turns under the body. You can proceed in like manner with line 2, starting at the top of the wheel. This is where the top of the wheel will stand when the carriage is turned square under the body, and also proves the establishment of this line. Line 3 represents the tread of the wheel upon the ground. You will notice in the dia- gram where the circle intersects line 5. This line being the outer edge of the boot at this intersecting point, you can square a perpendicular line to boot, which is 4. At this point is where the top of the wheel passes the outer edge of the boot, when turning under. This manner of laying out work gives the builder an opportunity to provide the material for the wheels, to order the springs and axles, in fact everything pertaining to it, while the body is being built, so as there will be no delay in ironing or finishing, which often is the case, and causes a loss to the builder. DIAGRAM NO. 2 shows the manner of making patterns. You will perceive we have taken the body from the carriage, and give the outlines of the side elevation of the body on the draft board, to make the patterns for the body so that they harmonize in shape with the lines drawn. Many different modes of accomplishing this important task have been devised, but we have never yet seen any rule so simple and complete. FRENCH OR SQUARE RULE. 45 Yon will proceed to draw the line B B, being the ends of the bottom side ; straighten one edge of your panel ; now lay it on the draft board, with the straightened edge on line B B, as the white space represents the panel in the diagram that the pattern is to be made from. Having laid the panel in its proper place, square the perpendicular lines Nos. 1, 2 and 3 from the base line A A. Having drawn the perpendicular lines as described and illustrated, next take your large dividers, place one point on base line A, at per- pendicular line No. 1. The' other point you place on line B, where it crosses No. 1. Having this space with your dividers, take the point from A and prick it on the panel on line No 1. You will proceed in like manner with Nos. 2 and 3, and with all the perpendicular lines the full length of the bottom side. You now proceed to make the sweep according to the prick marks. Then gauge If inches for the width of your pattern. All patterns are made in the same manner, excepting the standing pillar, roof rail and curve patterns, C, the neck pattern, to ex- tend from I to H, to form the concave boot. G, boot pattern, extends back to inside of the front pillar. E bracket made as represented in the diagram. DIAGRAM NO. 3. You will now proceed to lay out for making the standing or door-pillar pattern. It will require a panel 5^ inches wide, laid upon the draft board perpendicular. You will mark the shoulders at the roof rail, bottom side, and the extreme depth of the body on base line A. Now lay off the turn-under, which is 4^ inches, commencing the sweep about 4 inches above the arm rail. Leave the pillar f of an inch deep at the bottom for the tenon, on base line A ; at the guide rail, 2\ inches ; at the shoulders of roof rail. If inches. Now you can space it oft" for the glass frame, and sweep the pat- tern as represented in the diagram. C represents the face of the bottom side, being 1 J 'nches from the face of the pillar, to allow room for bolting the step after the door is cut through to the bottom. Fig. 1 represents the roof rail pattern. You require a panel 7 inches wide for this pattern. We lay it underneath the draft board for convenience in this case. Square the perpendicular lines N H B and F across it. Now take the distance with your dividers from the perpendicular line C to line B. With this space you will place one point on line E, at the perpendicular line B, and prick it off, the same distance from line E on line H ; these points being the outside of the roof rail at the standing pillars. Now place the back and front pillars in their proper places. Before we can decide on the sweep of the roof rail, mark off 1| inches, being the width of the pillar at the top, on lines N and F, from line E. Now you can sweep, as represented in the diagram, the width of it at the standing pillar, and at the doorway If inches, tapering inside front and back to 1^ inches at each end. Having this pattern made, we will lay out for the-width of the body, which is 53 inches over all ; measure 26^ inches, being half the width from base line A, on lines H and B, and mark the two points. Now you can lay the roof-rail pattern at these two points, and mark off the sweep for the outside of body, which is the line G. You will take your dividers, place one point on perpendicular line C, being the face of bottom sid§ at the foot of standing pillar, the other point on line B ; with this space you can put one point on line G, where it intersects with line B, and mark it off on lines B and H ; draw line D from these points, being the face of the bottom side. Fig. 3 represents the back, half paneled and half framed, and also the sweep requi- red for the curve pattern. You will swell the top 4 inches, the width of the body which is 53 inches, the same as laid out in side elevation^ at the standing pillar. This H FRENCH OR SQUARE RULE. 47 48 COACH-MAKERS' ILLUSTRATP]D HAND-LOOK. sweep makes a desirable swell, and gives a beautiful top when finished, although the present style is more flat. Back light, 18 by 11 inches ; size of curve, | inch deep, IJ inches wide ; top end rails, 2 inches deep ; back and front middle rails, 2| inches deep. Having the patterns complete, you will lay them on the draft, and mark off all the shoulders. This is a saving of time in laying out the body, so that when the stuff is dressed, the shoulders are all struck off, and when swept are ready for gauging. DIAGRAM NO. 4. In laying down the cant we shall give it in the same system as practiced generally, the center of body being the lower edge of the draft board. The cant is the working draft of the body ; all lines, except the side elevation, are called the cant, and laid out from half the width of the body. In laying it out we may introduce lines not known in this rule, but these points it is useless to discuss ; by experience, we have found by the introduction of these lines, we can produce a much better swept body. The lines we allude to are the cheat lines S S, also the dotted lines between the roof rail and the cheat lines, which are the arm-rail sweeps. The object in these lines is to reduce the thickness of stuff of the bottom side at the foot of the back and front pillars, which carries an easy sweep up the pillars. We now proceed and lay down the cant ; "width of body is 53 inches, line E being the bottom of draft board, or the center line. You can lay oft' half the width of body from line E, 26J inches on lines B and H ; with the roof-rail pattern placed at these two points draw line G. This gives 3 feet 9 inches on the seat. Take your dividers, and from line C, being the face of the bottom side, and the point put to line B, being the hinge or standing pillar ; having that distance, you can prick it on lines H and B, from line G, and draw D the full length of the body, being the face of the bottom side on the cant. P is the pump-handle space, the dotted lines the manner of letting into the bottom side. Measure from line D, If inches, and draw line J, being the thick- ness and inside of the rocker. Next you will draw the cheat lines S S, starting the sweeps on lines H and B, cheating it off f inch at the front and back end of bottom side ; by this line we will draw another line, which is the dotted line, being the sweep of the arm rails ; measure 1 inch from the outside sweep, front and back, and draw lines R R, which is the inside of arm rail. Now, lay off the concave boot, which is 34 inches wide ; measure 17 inches from line E, and on lines W and T draw line X, this being the outside of the boot. Now draw the perpendicular line N ; this line gives the point where the boot leaves the front pillar, and draw the concave line as represented in the diagram. This concave piece is the neck pattern K. Measure 2 inches from line X, and draw line 0, which is the thickness of pattern L and the panel. Measure If inches from line 0, and draw line M, which is the toe-board, bracket pattern. You can draw the line inside of boot (leveling for the rocker-plate). This plate is 2^ inches by ^ inch, corner turned on the back bar to receive two screws, front ending on the toe-board bracket. We have now laid out the cant sufficient to ascertain the thickness of stuff required for the different parts of the body. You can take your dividers, and at the points of the draft, where the pieces are to be placed, get the thickness required. Bottom sides from 4-inch stuff, roof rail 4 inches, back and front pillars 3^ inches, standing pillars 2 inches, rocker underneath the door If inches, pump-handle 2 inches ; neck pattern K to form the concave', 3^ inches. L If inches, F 2 inches, I If inches. You