v 
 
 b 
 
 Problems in Furniture Making 
 
 -n? 
 
 By FRED. D. CRAWSHAW 
 
 C.9. 
 
 The Manual Arts Press 
 
 Peoria, Illinois 
 
Problems in Furniture Making 
 
 By Fred D. Crawshaw, B. S. 
 
 Principal of Franklin School, Peoria, 111. Formerly In- 
 structor in Manual Arts, Bradley Polytechnic Institute. 
 
 The Manual Arts Press 
 
 Peoria, Illinois 
 
LIBRARY of CONGRESS 
 Two Copies Received 
 
 OCT 26 1906 
 
 i Copyrlfht Entry 
 /f*-^, 2- f. '?o L 
 CLASS A XXc.,No. 
 
 COPY B. 
 
 O 
 
 v> 
 
 Copyright, 
 
 The Manual Arts Prkss, 
 1900. 
 
 
FOREWORD 
 
 THIS book is designed to assist students and amateurs in the construction of simple furniture. 
 It is not a complete treatise on furniture construction, but merely a collection of working 
 drawings to which are added a few suggestions on design, construction and methods of finishing. 
 With few exceptions, all the problems in the book have been worked out by boys of the 
 eighth grade, although in the "notes on problems" some have been marked, "A high school problem." 
 The author has found by experience that many members of a class are capable of doing more complex 
 work than the average member, and he hopes that such pupils will find this book especially helpful. 
 While many of these problems are new, some are familiar because of their long use as school 
 projects. These are included, with modifications, as it is difficult to replace them with better ones. 
 
 The author is indebted to his many friends who have offered helpful suggestions in the design 
 and selection of problems. Those marked "F. D. C." are in many cases original only in the sense 
 that the general proportions and dimensions are of the author's selection. 
 
 The users of this book will be materially assisted in inteipreting the problems by the perspective 
 drawings which ware made by Edwin V. Lawrence of Bradley Polytechnic Institute. 
 
 F. D. Ceawshaw. 
 
DESIGN 
 
 The problems in this book are complete in design in 
 order to give definite ideas of good proportion and har- 
 mony of line, but it is hoped that these designs will be 
 modified to suit individual tastes and conditions if there is 
 a desire on the part of individual workers to do so. There- 
 fore the following suggestions on design are given: 
 
 There are three important considerations in designing 
 a piece of furniture: 
 
 1. General lines and proportio7is. The general char- 
 acter of the lines will be largely dependent upon the lines 
 in the pieces of furniture with which the one you are de- 
 signing is to be associated; there should be a general 
 harmony of line, a re-echo of line, in the room as well as 
 in the single piece of furniture. The general proportions 
 will be determined by the space your piece of furniture is 
 to fill and its use. 
 
 2. Construction. The shape of the piece of furniture 
 will generally determine its construction. One will 
 hardly make a mistake in the selection of joints to be v.sed, 
 but there are many forms of some of the principal joints, 
 such as the tenon-and-mortise joint, from which to select. 
 Here, again, one must be governed by that fundamental 
 law of design, viz.; there must be harmony. If the general 
 
 design is a severe one, then the protruding form of joint 
 will be appropriate as, for example,. the open or pinned 
 tenon-and-mortise joint instead of the closed one, or the 
 screwed construction instead of the nailed butt joint, etc. 
 
 3. Decorative features. Simple carving, upholster- 
 ing or textile or leather paneling is often the thing needed 
 to give a piece completeness in appearance but ordinarily 
 the good lines, good proportions and good finish are quite 
 sufficient to fulfil all esthetic requirements. The simple 
 modeling of the top or bottom of a post and the introduc- 
 tion of broken or curved lines in some of the rails and 
 stiles is sufficient decoration. 
 
 In addition to these three considerations it is desired 
 to call attention to two others dependent upon one or all 
 of these three: 
 
 (a) There will constantly arise as one works over a 
 design the question of widths and lengths of certain parts. 
 Some of these will be definite because of the use to which 
 the piece of furniture will be put, but many will be in- 
 definite. These indefinite dimensions may be determined 
 with some degree of accuracy if one will carefully con- 
 sider the three following laws governing arrangement. 
 
 (1) Uniform spacing of similar parts is usually un- 
 satisfactory. 
 
(2) Wider masses and narrower openings should be 
 made near the bottom of a piece instead of near the top 
 to give the feeling of stability. 
 
 (3) The center of weight in a design should be 
 directly below the center of gravity. 
 
 (b) The satisfactory filling of space areas is often 
 difficult. This is largely a problem in decoration, al- 
 though it may be one in construction, when the strength 
 of the piece of furniture is an important factor in the de- 
 sign. 
 
 The requirements of the individual problem must al- 
 ways serve as the basis for conclusions but the three laws 
 governing arrangement given above and the principle of 
 re-echo or harmony of line will prove helpful guides. 
 
 For a more detailed consideration of the principles 
 of design in connection with problems in furniture con- 
 struction reference is here made to an article by the 
 author on "Furniture Design" in the April, 1906, number 
 of the Manual Training Magazine. 
 
 CONSTRUCTION 
 
 It is taken- for granted that the users of this book 
 have had some instruction in the use of tools. It is not 
 proposed, therefore, in this chapter, to dictate in detail 
 any method of using tools, but to give in the few follow- 
 ing pages some specific suggestions for the cutting of cer- 
 tain joints and the method of working up stock for certain 
 classes of work, hoping they may be helpful. 
 
 It is believed that the working drawings in this book 
 show the method of construction, as a rule. It is sup- 
 posed that the best method of construction is desired in 
 any piece of furniture, and the author has given what he 
 believes to be the best appropriate method in each indi- 
 vidual case. It will be found that the butt joint is used 
 in all pieces where lag screws, blue headed screws or 
 wooden pins are called for. No comment is necessary on 
 these joints except that all ends of butting pieces must be 
 square, and similar pieces of absolutely equal length. It 
 is supposed that in planing stock the workman will estab- 
 lish a joint edge and face side from which all squaring 
 will be done. 
 
 The Tenon-and-Mortise Joint 
 The "T-and-M" joint as the tenon-and-mortise joint 
 
is briefly designated, is the principal one used in furniture 
 construction. The one ordinarily used is the closed T- 
 and-M joint, or the one in which the tenon goes only part 
 way into the mortised piece. Usually in furniture the tenon 
 is held in place by gluing, and if the joint is made well the 
 glue will be sufficient to keep the joint tight for many 
 years. It is true that in faetory furniture these joints 
 often loosen in a short time but it is due to careless work- 
 manship and an insufficient amount of glue rather than to 
 the kind of joint. 
 
 Laying Out the Tenon-and-Mortise Joint 
 
 For the benefit of those who may not be familiar with 
 the process of laying out the tenon-and-mortise joint the 
 following method is suggested. After all pieces are planed to 
 the proper width and thickness and the face sides and joint 
 edges marked, put together in a vice, with joint edges up, 
 the tenon pieces that are to be cut the same length. From 
 the center of one of these pieces (preferably the one nearest 
 the workman) measure each way one-half the distance 
 between the shoulders of tenons (it is supposed here that 
 a tenon is to be cut on each end) and make a point with 
 the end of knife blade. With the try square or carpen- 
 ter's square and knife, square a line through these points 
 across the joint edges. Now take pieces out of- vice and 
 square around each end from the line already marked on 
 
 joint edge, being careful to have the beam of the square al- 
 ways on either/<r« side or joint edge. To measure thickness 
 of tenon lay rule on joint edge of one board and mark 
 points with end of knife blade for tenon thickness. Take 
 the marking gauge and set its stop so that the marker 
 touches one of these points when the stop is firmly press- 
 ed against the face side. Before resetting gauge mark all 
 pieces for this width. Now, set marking gauge for other 
 point, again having gauge stop against face side, and pro- 
 ceed as before. If the workman has access to a power 
 saw all the work of cutting the tenons may be done on it, 
 but it is believed that quite as accurate work maybe done 
 with hand saws. Any trimming may be done with chisel 
 and plane after the sawing has been completed. The 
 mortise is laid out and constructed by a similar method. 
 
 The Panel 
 
 In most cabinet work, to avoid winding, warping, 
 etc., wide spaces are filled with panels rather than single 
 solid pieces of wood. Three kinds of panels are used:(i) 
 the panel flush on both sides, (2) the panel flush on one 
 side and inset on the other, (3) the panel inset on both 
 sides. The first is used where strength alone is desired, 
 the second where' strength and appearance are both 
 necessary. In this case the inset comes on the outside 
 of piece of furniture. The third also is used where ap- 
 
pearance, as well as strength, is essential. Here the in- 
 set shows on both sides. 
 
 The panel, if constructed by hand with a combina- 
 tion plane, should first be carefully layed out with square 
 and marking gauge. It is not necessary in this case, 
 however, to gauge for both sides of groove or tongue as 
 the plane will provide for proper widths of these. How- 
 ever in laying out this joint the same care should.be 
 taken as in laying out the T-and-M joint. Lengths should 
 be measured from the center of the piece each way and all 
 gauging and squaring should be done from face sides and 
 joint edges. If a power saw is used for cutting this joint 
 the face sides and joint edges should always be against 
 saw guides. The work of gauging may be omitted, al- 
 though, for the beginner, it is recommended. 
 
 The Cabinet-Maker's Method of Getting Out Stock 
 
 Where a number of pieces of wood are got out for 
 one piece of furniture it is wise to be very systematic in 
 the method of laying out and sawing up these pieces. The 
 following method is suggested as good: From a complete 
 working drawing of the piece of furniture to be made, 
 make an itemized list of all pieces of wood, putting those 
 together in the list that have equal widths and lengths, 
 and making note of different thicknesses if there are any. 
 Select the stock lumber and cut this up as economically 
 
 as possible with reference to saving lumber and labor. 
 
 The cabinet-maker's method of working consists in 
 doing all similar operations on all pieces while tools and 
 machines are set. If this happens to be the cutting of 
 tenons or the boring of mortises be careful to complete 
 this work on all pieces before beginning some other oper- 
 ation. Just what should be done first and what second, 
 and so on, it is difficult to say, but it is always safe to 
 complete all ripping and cross-cutting in getting stock to 
 the roughing dimensions before any hand dressing is 
 done. It is likewise well to have all pieces dressed and 
 finished to drawing dimensions before any joints are lay- 
 ed out and cut. 
 
 . One further point to note in the economy of labor is 
 to keep pieces which are to be glued together to form 
 doors, sides of cabinets, etc., in clamps as the work pro- 
 gresses so that when all tool work is done the several 
 parts of the piece of furniture are glued up and ready for 
 the final assembling. 
 
 A word about scraping and sandpapering may not be 
 out of place here. The best suggestion one can give in 
 this connection is to do this part of the work thoroughly. 
 Whether each piece should be scraped and sandpapered 
 before any gluing is done or not is an open question. 
 Much time may often be saved by postponing most of 
 this work until the piece of furniture is assembled. 
 
FINISHES 
 
 The aim in finishing wood is two-fold: (i) To pre- 
 serve the wood; (2) to produce an agreeable surface, 
 color and texture. 
 
 The old method of filling and varnishing a piece of 
 furniture is still practical, but since the advent of the so- 
 called craft furniture there has been a desire to produce 
 an even-toned color, and staining has seemed to be the 
 most practical method of doing this. t One. can purchase 
 on the market innumerable prepared stains and of these 
 mention is made of the following: Ad-el-lite, prepared by 
 Adams and Eking of Chicago, is a one-coat finish designed 
 to both stain and preserve the wood. Dark Brown Wood 
 Tint, prepared by the Chicago Varnish Co., is a pleasing 
 brown stain over which should be spread a coat of some 
 preservative such as varnish or wax. Old Dutch Finish 
 prepared by the Bridgeport Wood Finishing Co. is a pre- 
 paration used as a finish and gives a dull wax-like appear- 
 ance to wood. There are doubtless many others equally 
 satisfactory but these happen to be the ones the author 
 has found reliable and of good qualities for manual train- 
 ing work. 
 
 The great objection to any of these prepared finishes, 
 however, is their expense. Below are given several 
 
 methods of finishing wood which some experimental and 
 practical experience has demonstrated to be good and, in 
 most cases, comparatively inexpensive. Some of these are 
 old and some are probably new. In giving them let it be 
 understood that good results will be obtained only when 
 the directions are explicitly followed; even then in some 
 cases it may not be possible to get results that are uniform. 
 The same stain on different pieces of the same variety of 
 wood may give slightly different effects. 
 
 Oil Finish 
 
 Perhaps one of the oldest methods of finishing wood 
 and one used today for some work is to fill the grain with 
 two or three coats of boiling hot linseed oil, allowing about 
 twenty-four hours to elapse between applying the coats. 
 The oil serves as a preservative and at the same time, when 
 rubbed often, will give a dark finish. The surface oil evap- 
 orates soon, however, so that one cannot rely upon keep- 
 ing a polish. This method of finishing wood is especially 
 good for porch and yard furniture. 
 
 Wax Finish 
 
 The old method of finishing furniture by rubbing it 
 with beeswax has become popular again. Prepared wax 
 is fairly satisfactory but a wax may be made by cutting up 
 beeswax and mixing with it about one-third its bulk of 
 
turpentine and heating to the boiling point. This should 
 be done in a double boiler. The preparation may be al- 
 lowed to cool, after which it should be rubbed on and then 
 off with considerable pressure. A more satisfactory method 
 is to apply the wax hot and rub with a soft cloth as it 
 cools. To produce a fine lasting polish three or four coats 
 should be applied, allowing from one to four weeks be- 
 tween applications. A soft cloth should be used in dust- 
 ing a piece of furniture finished by this process. 
 
 Fuming 
 
 A darkened color may be produced artificially on wood 
 by placing it in a tight box and then setting into the box 
 an open dish of concentrated ammonia. The woods most 
 affected by the ammonia fumes are oak, principally quarter- 
 ed oak, and chestnut. The depth of color increases with the 
 time of exposure. A preparation known as "Fumine", 
 manufactured by Walter K. Schmidt & Co., of Grand 
 Rapids, Mich., will deepen the color if applied on the wood 
 before it is placed in the fuming box. The fuming should 
 be done after the piece is sandpapered ready for finishing. 
 
 Filling and Varnishing 
 
 For many years one of the most popular methods of 
 finishing furniture was that of filling the grain of the wood 
 with some paste, which might be colored to suit the taste, 
 
 and which would harden, and then covering the entire 
 piece with some fixative preparation such as varnish or 
 shellac. There is probably no method of finishing fur- 
 niture today that preserves the wood better than this one. 
 After the article to be finished has been thoroughly scraped 
 and sandpapered apply some good paste filler, thinned to 
 consistancy of thick cream with boiled linseed oil and 
 turpentine. Put on with brush or piece of cloth and 
 allow it to stand about five minutes until it begins to dry. 
 When this drying begins rub the filler off with a piece of 
 burlap or a handful of shavings. Rub across the grain. 
 After ten or twelve hours apply a coat of hard oil or var- 
 nish with a soft brush and let this thoroughly harden. 
 When hard, rub down with fine sandpaper to smooth the 
 surface. Repeat the varnishing and sandpapering three 
 or four times until a perfect surface is produced; then ap- 
 ply another coat of varnish thined more than the former 
 ones and, when hard, rub down with pumice stone and 
 rubbing oil. To give life to the finish continue rubbing 
 w : ith rotten stone and water applied with a piece of burlap 
 drawn over a piece of sheet cork, or a piece of harness 
 maker's felt. 
 
 Staining. Filling and Varnishing 
 
 The filling and varnishing method of finishing furni- 
 ture produces a striking grain with open-giained woods. 
 
If it is desired to fill the grain to produce a smooth sur- 
 face and yet not show a strong grain, the wood should be 
 stained before ihe filler is applied. A stain of almost any 
 desired color may be obtained by mixing dry colors 
 ground in oil w : ith boiled linseed oil to make a paste and 
 then thining with' turpentine. The analine dyes mixed 
 with alcohol or water make satisfactory stains, also. After 
 the piece of furniture has been thoroughly scraped and 
 sandpapered it should be covered with water to raise the 
 grain in order that the stain will not do this when it is 
 put on. After the wood drys rub down with sandpaper 
 and apply stain with cloth. When the stain is dry the 
 piece may be filled and varnished as described under the 
 head of "Filling and Varnishing." 
 
 Log Wood Stain 
 
 A rich purplish black will be produced on oak or 
 chestnut by covering the wood with a solution of log- 
 wood prepared as follows: Boil logwood gum, as it is sold 
 by druggists, in water until a deep black liquid is obtain- 
 ed. About four or five pieces of the gum as large as a 
 walnut boiled in a gallon of water will give about the 
 right color. While the mixture is still boiling hot add 
 about a half tumbler of washing soda and stir until it is 
 dissolved. When solution is cold apply with cloth until 
 desired color is obtained. Finish with wax, shellac or 
 varnish. 
 
 Japalac 
 
 A very desirable black may be obtained on almost 
 any wood by thinning Dead Black Japalac with turpen- 
 tine and applying as stain, rubbing off rapidly as it is ap- 
 plied. This stain does not need to be covered with a 
 preservative. 
 
 Old Dutch Stain 
 
 This is not the prepared finish sold under the same 
 name but a home-made mixture which gives to oak the 
 appearance of great age and similar to the old pieces 
 of German make so much admired. Mix two parts of 
 drop black to one of lamp black with turpentine until a 
 liquid that will just flow- is obtained. Add to this enough 
 burnt umber to kill the "dirty" black. A very little of the 
 umber will do this. Apply to oak or chestnut after wood 
 has been wet with water and rubbed down with sand- 
 paper. Rub the stain in and off evenly. When dry, cover 
 with a very thin coat of shellac to fix stain, and finish 
 with wax. 
 
 Bichromate of Potash Stain 
 
 This method of finishing wood is spoken of a num- 
 ber of times in this book because it has been successfully 
 handled by the author and is an easy stain to apply. It 
 gives a brick brown color and when rubbed with an oiled 
 
 10 
 
cloth will keep a dull lustre for a long time. Make a 
 strong solution of powdered bichromate of potash in hot 
 water. Prepare wood (oak takes this stain better than 
 any other wood) as before described and apply stain with 
 cloth. Let stained piece stand over night.- The yellow- 
 ish brown crystaline surface which will be found in the 
 morning will turn to the brick brown when rubbed with 
 linseed oil. No finish is necessary over this stain. 
 
 Asphaltum Varnish Stain. 
 
 A rich chocolate brown may be produced on almost 
 any open-grained or light-colored wood by thinning as- 
 phaltum varnish with turpentine and applying with cloth, 
 rubbing rapidly to avoid sticking. If the asphaltum var- 
 nish is made very thin it may be applied with brush -and 
 allowed to harden as any varnish will. Unless the varnish 
 is put on rather thick a covering coat of shellac or finish- 
 ing varnish should be added. 
 
 Acetate of Iron Stain 
 
 A stain that is easily made and applied with very 
 good results on butternut and chestnut is one which may 
 be made by soaking iron filings in vinegar. The filings or 
 chips should be from cast iron. Soak them in vinegar, 
 stirring occasionally, for a week. Apply in the same 
 manner as other stains. Butternut stained with the acet- 
 
 ate of iron and rubbed with an oiled cloth will turn very 
 dark — almost black. Chestnut will be made a soft yellow- 
 ish brown. A wax covering will give life and durability 
 to this stain. Chestnut finished with this stain and after- 
 wards fumed will turn a deeper brown with the character- 
 istic velvet appearance that fuming always gives. 
 
 Iron Sulphate Stain 
 
 To give a grey stain to oak, boil in a solution of iron 
 sulphate made by dissolving one ounce of chemically 
 pure sulphate of iron crystals for each pound of wood in 
 enough water to entirely cover the wood. Separate the 
 strips of wood with pieces of glass and weight the wood 
 down to insure its being kept under water. About one 
 drachm of sulphuric acid should be added to every gallon 
 of the solution to keep the iron in the form of a sulphate. 
 When dry rub thoroughly with a dry cloth. 
 
 Silver Nitrate Stain 
 
 A weak solution of silver nitrate on chestnut which 
 is afterwards fumed with the ammonia will give a dark 
 brown. Wax makes a good finish for this stain. 
 
 Dry Color Stains 
 
 After experimenting for a number of years with wood 
 finishes in manual training woodworking classes, the 
 
author has come to the conclusion that, aside from the 
 few finishes herein described and some of the stains to be 
 found on the market, one can get about as satisfactory 
 results by mixing the dry colors (obtainable at painter's 
 supply houses) with boiled linseed oil and turpentine, as 
 in any other way. A little experimenting will determine the 
 
 colors and the quantity of each, to mix together to pro- 
 duce a desired shade. After the mixture of dry colors is 
 made, add enough boiled linseed oil to make paste and 
 thin with turpentine. Apply stain with cloth and finish 
 with varnish or shellac. Rub the fixative preparation 
 . down as described under, "Filling and Varishing." 
 
 12 
 
NOTES ON PROBLEMS 
 
 I — Taboret. 
 
 A seventh or eighth grade problem. This is a very simple yet attractive 
 piece of furniture, and may be made by any boy who has had a little experience 
 with tools. The design may be varied without injury by widening the legs some- 
 what and using thinner lumber for them. The author believes that round- 
 headed blued screws will make it a stronger piece of furniture than wooden pins. In 
 order to guard against splintering where the recesses are cut for the legs a hard 
 wood or a close-grained soft wood should be used. If made of hard wood, maple 
 will prove to be a good one, although oak may be used. If oak is used fume and 
 finish with wax. If butternut is used and a dark finish is wanted, use the acetate 
 of iron. 
 
 2— Plant Stand. 
 
 An eighth grade or high school problem. This may be made of pine, poplar, 
 or, if open-grained wood is desired, chestnut or oak. The piece is suitable for 
 porch or inside of house. The decoration on middle slat is suggestive only. 
 Simple veining or relief carving may be used, or the more difficult problem of in- 
 laying may be introduced. 
 
3 — Taboret. 
 
 An eighth grade problem; Pine with a strong grain if finished with asphal- 
 tum varnish thinned with turpentine and rubbed on to the wood while fresh, will 
 make this an attractive and serviceable piece of porch furniture. It is also suit- 
 able for inside use. A dark green stain on poplar will make of this a beautiful 
 library or study jardiniere stand. "A dead varnish known as 'Deadlac' is very 
 appropriate over the dark green color. 
 
 4 — Woven Top Stool. 
 
 An eighth grade problem. This may be used as a low seat or a foot stool. 
 Make stool of some close-grained soft wood or of oak. In the construction, cut 
 the tenon and mortise joints before tapering the legs. Wind flat pith cane over 
 and around opposite rails. When finishing, stain the entire piece with some good 
 prepared stain such as ad-el-ite, a preparation that does not need a covering of 
 varnish. If oak is used a soft greyish-brown tone may be obtained by fuming 
 the entire stool. 
 
 5 — Woven Top Stool. 
 
 An eighth grade problem. Pine or chestnut will be suitable if this project is 
 undertaken by grade pupils. Oak may be used by high school pupils or those 
 capable of working in hard wood. The problem of framing is a good one here 
 and the weav'.ng of the flat pith cane offers a chance to use some originality in 
 the pattern design. Care must be taken not to get the material used for the 
 weaving too tight at first or the last strands will be very difficult to draw through. 
 A long needle made of thin band iron is suitable for the weaving. The edges of 
 frame should be rounded slightly to prevent the cane from breaking. 
 
6 — Leather Top Stool. 
 
 An eighth grade problem in ordinary framing and upholstery. For the eighth 
 grade pupil chestnut makes a very satisfactory substitute for oak and is much 
 more easily worked than oak. A rich dull brown will be obtained by finishing 
 with a turpentine preparation of raw umber, first made into a thin paste with 
 boiled linseed oil. Wax and apply one coat of very thin shellac to avoid the 
 necessity of rubbing down with sandpaper. 
 
 7 — Footstool. 
 
 An eighth grade problem. This is a simple problem in tenon-and-mortise 
 framing. Oak or hard pine are recommended as good woods for this project. 
 If chestnut is used the front corner posts should not be severely modeled. The 
 upholstering may be done with leather or its substitute, pantasote. This may 
 be obtained in browns and a dark green. Pad top slightly with excelsior. This 
 is an excellent piece for fuming. 
 
 8 — Leather Top Stool. 
 
 An eighth grade problem. Model top out of a two-inch pine plank after 
 gluing two pieces together. The amount to be scooped out is given in drawing 
 as one-half an inch; it may well be a little more than this. The legs and rails 
 should be made of some wood that will not easily splinter in modeling the sharp 
 corners at the bottom of the legs. Butternut or gum will be satisfactory of the 
 soft woods and oak will probably be the most suitable of the hard woods. Turn- 
 ed legs make an attractive piece. 
 
 u=- 
 
9 Hall Umbrella Rack. 
 
 An eighth grade problem. Chestnut has been used with considerable satis- 
 faction and success in the construction of this project. As indicated in the article 
 by the author in the Manual Training Magazine for April, 1906, there is a chance 
 for study in filling in the sides to make a good panel scheme. It is believed that 
 the horizontal strips alone may be used with much satisfaction if they are placed 
 farther apart near the bottom than those near the top, and not more than four 
 are used on a side. An ordinary shallow tin pan colored by covering with lard 
 oil and heating repeatedly in the fire will make a good bottom. This is a good 
 piece for fuming. 
 
 10— Hat and Umbrella Rack. 
 
 Preferably a high school problem, although eighth grade boys of unusual 
 ability may work it out. If made of soft pine the corner posts may be cut from 
 2 x 4 in. stock and the center post made from two 2 x 4 in. pieces glued with flat 
 sides together. Soft pine with a good grain finished with a dark stain will make 
 this a very appropriate hall piece. In gluing up, the diagonal cross pieces should 
 be glued into center post before the frame work is glued together; then as the last 
 gluing on the framework is done the center post, with these projecting pieces, will 
 be set inside and the ends slipped into the grooves (where the corners of posts 
 have been sawed out to receive them) and bradded. 
 
II — Library Book Shelves 
 
 An eighth grade or high school problem in gluing and pinning. In gluing 
 pieces together for shelves and sides dowel pins should be used, especially for the 
 sides. Care must be taken when pins are fitted to have the inside of hole for pin 
 cut away enough to allow the inside edge of pin to draw against the upright piece. 
 This will make the shelves firm and substantial. Finish by filling wood — chestnut 
 or oak — and rubbing down two coats of varnish. Hard pine stained will also 
 make an appropriate piece. 
 
 12— Vestibule Umbrella Rack. 
 
 A high school problem. Make of oak and finish dark. As this is an out- 
 side piece it may well be finished by applying two or three coats of hot boiled lin- 
 seed oil. The use of shellac or varnish will not be very practical. The corner 
 boards are not necessary for strength. Inasmuch as they are decorative only, 
 some other plan of space decoration may be used. A combination of horizontal 
 and vertical strips is suggested, as in the hall umbrella rack. 
 
13 — Magazine Holder. 
 
 An eighth grade or high school problem. Fair problems in gluing (for shelf 
 width) screwing, tenon-and-mortise construction and modeling. The open mor- 
 tises at the top should be cut from both sides of the rail to insure a good 
 joint. Some close-grained or hard wood should be used for this piece to make 
 of it a strong piece of furnirure. 
 
 14 — Magazine Holder. 
 
 An eighth grade or high school problem. Butternut finished with acetate of 
 iron made by soaking iron filings in vinegar will make a pleasing piece of furni- 
 ture. A variety of designs is possible in this project but the one given has proven 
 a popular one in the authors classes. If the corner boards are given a straight 
 taper instead of a compound curve as shown, good results will be obtained. In 
 this case the rails at the top and bottom may very appropriately be changed to 
 straight-line modeling. 
 
15 — Wall Book-Shelf and Magazine Rack. 
 
 A high school problem. The design may be modified and possibly improved by 
 allowing the boards at the ends of the back to taper toward the bottom on the out- 
 side, making the width about three and a half inches. The most difficult work 
 comes in making the back which is an ordinary problem in panel framing. A 
 dilute logwood stain on chestnut or oak will give black. 
 
 16— Plate-Rack. 
 
 An eighth grade or high school problem. This is a modification of the 
 ordinary form of plate-rack. It harmonizes in its design with the present-day 
 severe style of dining-room furniture. Make of oak or chestnut and finish with 
 the bichromate of potash stain. 
 
 17 — Plate and Tumbler Rack. 
 
 An eighth grade or high school problem of severe design but appropriate in 
 a dining room furnished with so called "craft furniture." A variation of the de. 
 sign given may be made by paneling the lower opening. The piece should be 
 finished dark to give the best general effect. If hard pine or oak is used some 
 prepared dark stain will give a good finish. A very pleasing rich yellow brown is 
 obtained on oak by using the bichromate of potash stain. If a deeper brown is 
 wanted, rub the bichromate stain with boiled oil and burnt umber; apply wax or 
 a thin coat of shellac. 
 
18- Chafing-Dish or Tea Table. 
 
 A high school problem. Make of oak, preferably, and finish in brown. The 
 doors may be made solid if well seasoned wood is used. The table will be quite 
 as satisfactory in appearance if the shelf is omitted. The doors when let down 
 into the horizontal position serve as shelves for dishes. The ends of cross-bar 
 supports for shelf are recessed into inside corner of legs and put into position as 
 table is glued up. 
 
 19— Three-Panel Screen. 
 
 Poplar or oak will be suitable for this piece. In the. construction of this 
 project different members of the same class may be put to work on the three dif- 
 ferent panels. If burlap or leather is used for the upper panels it may be fastened 
 on a pine frame to set in flush with rails and stiles, or the marerial may be fasten- 
 ed on the outside with large-headed tacks. An opportunity is here given for 
 some originality in design as these upper panels may be made of embossed or 
 tooled leather, or stensiled burlap. If the wood is oak. some brown or dark green 
 finish will be good. 
 
 20 
 
20— Wall Cabinet. 
 
 An eighth grade or high school problem, and an attractive library, study or 
 dining-room hanging piece. The colored glass for doors is in one piece for 
 each door with copper strips (preferably burnished) set in to form part of the 
 decoration, rather than an essential feature in the construction. The project may 
 be simplified by making the back solid, using narrow matched lumber, or by glu- 
 ing pieces together instead of paneling as suggested in working drawing. Finish 
 dark to contrast with color in glass and with the bright copper strips. 
 
 21 — Bookcase. 
 
 A high school problem. We have introduced in this project the problem of 
 glass paneling and leaded glass work. The back is made in two panels similar to 
 the doors without the middle one-inch stiles. The ends should be glued up first 
 and the case set up as described in notes on music cabinet. 
 
22 — Sewing Cabinet. 
 
 A high school problem in quartered oak. Plain oak or chestnut will be some- 
 what less attractive in appearance. The front and back panels are fastened in by 
 first boring a five-eighth hole part way through from the inside (as shown by dotted 
 circles in working drawing) and then driving one-inch screws from these holes 
 into corner posts. This makes a very practical problem in paneling and general 
 cabinet-making. Finish by filling and varnishing if a strong grain is desired; 
 otherwise stain, or stain and fill, and apply wax or varnish. 
 
 23 — Music Cabinet. 
 
 A high school problem in cabinet-making. Make this piece of butternut, 
 black walnut, mahogany or maple. Finish with varnish and rub down three or 
 four coats to give a dull or egg-shell finish. In putting cabinet together glue sides 
 up first; lay one side on floor with inside of side up and set back panel and shelves 
 in position. Now place second side in position and fasten with glue. 
 
 22 
 
24 — Library Chair. 
 
 A high school problem. This is a novel modificiation of the Morris chair in 
 design. The seat and back should be covered with natnral leather and fastened 
 with large brass or bronze tacks. The leather of the seat should not be stretched 
 very tight at first. A finish similar to the one recommended in the rocking chair 
 is advised here, except that filler and stain may be brown to harmonize in color 
 with the leather. 
 
 25— Hall Seat. 
 
 An eighth grade or high school problem. Make of hard pine, poplar or chest- 
 nut unless oak is desired. If poplar or pine is used some good stain that does 
 not need a fixative preparation over it will answer all requirements. The design 
 may be varied by using slats on ends and back instead of the two back boards as 
 shown. If the seat is upholstered with leather or its imitiation, pantasote, allow- 
 ing a border of the wooden seat about two inches wide to show all around the 
 upholstery, the piece will be somewhat improved in appearance. 
 
 23 
 
26 — Desk Chair. 
 
 A high school problem. This makes a simple chair and one that brings in 
 good framing problems. Hard pine or oak will be most serviceable. If a softer 
 wood than either of these is desired, poplar may be used. In case an open- 
 grained wood is used it should be filled. If the entire wood is to be colored, 
 stain first and fill afterward. The natural wear on a desk chair calls for a finish 
 which will preserve the stain; varnish or shellac should be the covering material. 
 
 27— Hall Chair. 
 
 A high school problem. This is a suitable project for a boy who will take 
 pride in matching the grain of lumber in gluing two pieces together for seat and 
 back. Have the joint come in the center of each of these parts. A very satis- 
 factory way of producing a striking effect is to resaw a piece and double the two 
 parts back as one turns the leaves of a book, and then glue the edges together. 
 Cypress, sycamore or hedge will be suitable woods. Finish in natural color with 
 dull varnish or shellac. 
 
 28 — Rocking Chair. 
 
 A high school problem. It is advised that this problem be undertaken only 
 by high school pupils of considerable ability. The variety of angles introduced 
 makes the cutting of joints difficult, although not too hard for some pupils of high 
 school grade. The back cushion is left off in the sketch to show the slatted back. 
 The cushions may be made by pupils. Pantasote may be the outside covering. 
 Make a canvas case first and fill with "Kapok", a material shipped from India and 
 not as expensive as curled hair. It is suggested that the bottom of corner posts 
 need not be set into rockers, as shown in working drawing, as one will not rock 
 back of the back posts. Stain dark and give the "Stain, Filler and Varnish 
 Finish." 
 
29— Library Table with Shelves. 
 
 A high school problem. Make of chestnut or oak. Glue up the four sets of 
 corner posts first. Second, glue in shelves and panels which form the backs for 
 shelves, and, last, fit on top and foot board, being careful to have legs plumb and 
 ends of table parallel in order that drawer may slide both ways. Finish in the 
 "Old Dutch" style. 
 
 30 Library Table. 
 
 A high school problem. This is a very simple table b\it a very good one. 
 Oak should be used although chestnut will give a good finish if a soft wood is 
 desired. In either case, unless one has the facilities for fuming large pieces of 
 work, the wood should be wet after all parts are glued, sandpapered and scraped. 
 When dry, sandpaper again; then stain and fill before the wax, shellac or varnish 
 is used. The bichromate of potash finish will be very attractive on this piece. 
 The drawer pull is made out of one-eighth inch sheet brass or copper. 
 
31— Writing Desk. 
 
 This is probably the most difficult problem in cabinet-making in this book 
 but the desk may be satisfactorily constructed by high school pupils of unusual 
 ability. The problem of paneling in front and back (the same in each) is a good 
 test of technical skill. The lower part of the front, when lowered to a horizontal 
 position, catches under the middle shelf and forms the writing table. The back 
 and top are fastened in position by method described in the notes on the sewing 
 cabinet. The bichromate of potash finish or some dark stain similai to Ad-el-lite 
 will be suitable. If the stain is one that is on the wood instead of in it a cover- 
 ing of shellac or varnish should be used. 
 
 26 
 
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PROBLEMS IN FURNITURE MAKING 
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 53 
 
Problems in Furniture making 
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Problems in Woodworking 
 
 By M. W. MURRAY, Supervisor of Manual Training, Springfield, Mais. 
 
 This book consiBts of forty plates bound in heavy cover paper with braes fasteners. These plates 
 are accompanied by six pages of descriptive text. 
 
 THE PLATES— Each plate is a working drawing or problem in benchwork that has been sue- ' 
 cessfully worked out by boys in one of the grades from seven to nine inclusive. Many of the problems 
 can be worked out in various ways, according to the individual ability, interest and taste of the pupil. 
 The paper used for the plates is heavy, tough, gray cover paper, suitable for shop use. The drafts- 
 manship is excellent. The size of each is 6x934 inches. 
 
 USE OF THE PLATES— The plates can be used as drawings or blue prints, being given out by 
 the teacher as needed, or a copy of the book can be kept at each bench. 
 
 COST— The price of the book is 75 cents. Protecting covers made of strawboard covered with 
 lineD, 20 cents extra. A discount is allowed when ten or more copies are sent to the same address. 
 Send for descriptive cirrular and sample plate. 
 
 Published by 
 
 THE MANUAL ARTS PRESS, Peoria, 111. 
 
Manual Training Magazine. 
 
 An illustrated, quarterly publication devoted to the 
 interests of the Manual Arts in Education. Subscrip- 
 tion price, $1.00 a year; single copies, 30 cents. 
 
 THE MANUAL ARTS PRESS, 
 
 PEORIA, ILLINOIS.