pj-L . H.HAND . 
 
Pattern Making 
 
 AND 
 
 Foundry Practice 
 
 A PLAIN STATEMENT OF THE METHODS OF WOOD PATTERN 
 MAKING, AS PRACTICED IN MODERN PATTERN SHOPS, WITH COM- 
 PLETE INSTRUCTIONS FOR SWEEP WORK AND NOTES ON FOUNDRY 
 PRACTICE, TOGETHER WITH NUMEROUS DRAWINGS TAKEN FROM 
 ACTUAL PATTERNS WHICH HAVE BEEN SELECTED AT RANDOM 
 BY THE AUTHOR FROM A MODERN PATTERN ROOM WITH A 
 VIEW TO ILLUSTRATE THE PROCESSES OF THE CRAFT AND THE 
 INSTRUCTIONS CONTAINED IN THIS WORK. 
 
 NOTE — The majority of the problems in this book hwve been 
 solved^ the ivork performed directly under the super-vision of the author. 
 
 By 
 
 L. H. HAND, M.E 
 
 3(lllu0trateD 
 
 FREDERICK J. DRAKE & CO. 
 
 PUBLISHERS CHICAGO 
 
 1905 
 
B8ARY of OONQR£SS 
 Iwo Oopies riiscMvoci 
 
 SEP. 5 J9U5 
 
 ^Oopvrmnx cuiry 
 COPT 8. 
 
 COPYRIGHT, 1905 
 
 BY 
 
 FREDERICK J. DRAKE & CO. 
 
 CHICAGO 
 
 6-^Wl 
 
PREFACE 
 
 My purpose in writing this book will be ap- 
 parent from its great usefulness, which, I am 
 quite sure, will be conceded by intelligent and 
 thoughtful readers. 
 
 For many years I have been employed in rail- 
 road and construction shops and have observed 
 that the principles of pattern making were less 
 understood than any other branch of wood 
 work. I have frequently noticed, in railroad 
 shops especially, that the workmen who could 
 "make a pattern" commanded a better position 
 and were in greater demand than those who 
 could not. In large shops from one to a great 
 many pattern makers are regularly employed, 
 and work is systematically arranged; but in the 
 smaller shops it is very important to have a 
 workman in the cabinet or carpenter shop who 
 is competent to make a correct pattern and who 
 may be called upon at any time to perform this 
 duty, thereby being instrumental in saving much 
 money for his employers. 
 
 For a term of years I was employed as gen- 
 
 3 
 
4 PREFACE 
 
 eral foreman of the wood working department 
 of a factory near one of the large cities on Lake 
 Michigan. This factory, from a very modest 
 start, advanced rapidly in wealth and impor- 
 tance, until its employes were numbered by the 
 hundreds. In the beginning the pattern shop 
 was only a branch of, or rather a bench in, the 
 cabinet shop. For about three years the growth 
 of the pattern shop kept pace with the growth 
 of the plant, until eventually it became a depart- 
 ment of itself and passed out from under my 
 supervision. 
 
 During my term as foreman of the pattern 
 shop, I observed that workmen who were con- 
 sidered pattern makers were entirely ignorant of 
 some of the simplest problems in pattern mak- 
 ing, while others were expert in every detail of 
 the business. I also discovered that there was a 
 great scarcity of literature upon the subject of 
 pattern making, and such as was obtainable was 
 not generally read by the members of the trade. 
 Having become much interested in the various 
 problems with which I was confronted from 
 time to time, I consulted frequently with the 
 intelligent and expert members of the craft, until 
 I became thoroughly familiar with the business 
 
PREFACE 6 
 
 in all its details and quite skillful in the actual 
 workshop practice of the art. Being ambitious 
 to become a master of the science, I took great 
 pride in working out difficult problems at the 
 lathe and the bench, and by assiduous and 
 persistent application I soon acquired a sub- 
 stantial reputation as a pattern maker. 
 
 Not being engaged in active business last 
 winter, I devoted my leisure time to the prepa- 
 ration of this work, feeling assured that it would 
 confer a lasting benefit upon those of my fellow 
 workmen of the craft, who will study the expla- 
 nations and illustrations which it contains with 
 the same care and earnestness which I have 
 devoted to their elaboration. The subjects 
 treated relate mainly to patterns which came, 
 from time to time, to my bench or which fell 
 under my observation while I was general fore- 
 man of the wood working department in the 
 factory. 
 
 A wide and varied experience in the employ 
 of railroads and car shops generally, has con- 
 vinced me that even the professional pattern 
 maker is ignorant of many comparatively simple 
 problems, while to many careful and close wood 
 workmen the simplest rules are unknown. As 
 
6 PREFACE 
 
 evidence corroborating this statement, I will cite 
 an instance of the ignorance of a professional 
 pattern maker whom I once knew. This work- 
 man cut up about six dollars' worth of lumber 
 and spent two days' time making a large core 
 box. Later on this core box needed some alter- 
 ations, and another pattern maker, who had 
 been employed subsequently, was called upon to 
 make the changes. He looked the box over and 
 seemed much amused. Then he picked up 
 some large scraps and four strips of wood of 
 the desired length, and in about thirty minutes 
 he made a skeleton box, at a cost of about thirty 
 or forty cents, which answered all purposes, 
 thereby demonstrating the fact that "knowledge 
 is power," and that the serving of a given time 
 in a pattern shop does not always develop pro- 
 ficiency to its highest plane of usefulness. 
 
 Should this work be the means of improving 
 the condition or advancing the wages of any of 
 my fellow laborers, I shall be pleased to hear 
 from them, and their letters will be carefully 
 filed away as the tokens of some fellowmen's 
 burdens which have been made a little lighter 
 through my efforts. 
 
 The Author. 
 
PATTERN MAKING AND 
 FOUNDRY PRACTICE 
 
 PRELIMINARY REMARKS 
 
 While the catalogues of publishing houses, 
 dealing in scientific works, abound with hand- 
 books published in the interest of the progressive 
 wood worker who desires to learn all he can 
 about the possibilities of wood construction, and 
 while we may find books devoted to the use of 
 the steel square, building construction, superin- 
 tendence, different rules and methods for esti- 
 mating and contracting, forms of specifications 
 and contracts, rules for laying out arches in 
 straight and circular walls, different systems of 
 hand railing and stair building, rules and 
 formulas for determining the strength of mate- 
 rials and estimating the natural strains to which 
 such materials are subject, hopper bevels, hip 
 and valley roof framing, groined ceilings, rake 
 mouldings, roof and bridge trusses and their 
 
8 PATTERN MAKING 
 
 joints and strength, yet it seems that the par- 
 ticular branch of the art of wood working, which 
 pertains to the making of wood patterns for the 
 moulder's use in making cast metal forms of the 
 various kinds, shapes and dimensions required 
 by the numerous and ever-increasing demands of 
 modern construction, has not been given much 
 attention, as very little literature on this subject 
 exists, and that which does is not read to any 
 extent by the craft, the bulk of information on 
 all technical points being, as it were, carried by 
 tradition from foreman to apprentice. In view 
 of this fact, it occurred to me that an exhaustive 
 and comprehensive work on this subject, giving 
 the results of years of practical experience, eluci- 
 dated by clear and concise instructions and illus- 
 trated by drawings, cannot fail to supply an 
 urgent want in the ever-growing complexity of 
 this masterful era of mechanical progress. 
 
 This work is destined not only to aid the well 
 trained and skillful artisan by simplifying many 
 diflScult and seemingly impossible tasks, but it 
 will become an indispensable source of educa- 
 tional advantage to the inexperienced mechanic 
 and apprentice. 
 
 There is absolutely nothing known as to the 
 
AND FOUNDRY PRACTICE 9 
 
 origin of the process of casting metal forms from 
 wood patterns. Among the reUcs of prehistoric 
 man there are weapons, implements and vessels 
 of bronze which, by inevitable inference, we 
 must concede were cast in moulds made by 
 embedding either a pattern of wood or other 
 material in sand or earth. The very discovery 
 of metal, in all probability, owes its origin to 
 the accidental fusing of some kind of ore, and 
 the form of the cavity in the earth in which it 
 has cooled suggested to the mind of primitive 
 man the wonderful process of moulding, which 
 has been so great a factor in the marvelous 
 development of the human race. Patient 
 scientific research has revealed incontrovertible 
 evidence that the art of moulding in earth is one 
 of high antiquity, and this justifies the deduc- 
 tion that pattern making also as a craft, though 
 no doubt struggling through long periods of time 
 in a state of primitive crudity, is of almost 
 equally remote origin, as the conception and 
 necessity of a pattern to construct the mould 
 would most naturally follow the discovery of the 
 fusion of ores into the various forms given to 
 the cooled metal by the accidents of its position 
 in earth or sand. 
 
10 PATTERN MAKING 
 
 In the early history of pattern making the art 
 was not separated from ordinary wood working. 
 It was a branch of the millwright or wheelwright 
 trade, and answered all the purposes and wants 
 of that period; but the demands of modern 
 manufacture are so multitudinous and exacting 
 that the highest order of skill has become an 
 imperative necessity in every department of the 
 wood worker's trade. 
 
 The wonderful improvement in machinery 
 during the past century has created a demand 
 for forms in casting, so numerous in their end- 
 less variety, that the vocation of the modern 
 pattern maker has become a specialized art requir- 
 ing scientific knowledge highly developed, and 
 coupled with the ability to apply this knowledge 
 practically to the requirements of modern me- 
 chanical discovery and invention. 
 
 It is therefore of the utmost importance that 
 every mechanic who selects for his vocation in 
 life that of the pattern maker, should thoroughly 
 master all the technical knowledge of the art, 
 not only for his own temporal interests, but for 
 that still higher motive which actuates all zealous 
 workers in every department of human endeavor 
 and who reap as their reward, in addition to 
 
A>D ForyBRY practice: ii 
 
 tioiL, and tbtmq 
 that the patterr 
 and no* made, y-- 
 wcMbf experier 
 to the effioenc; 
 indnsinr in tlie : 
 
 Xambered &: j : ~i= a 
 
 young man wt^. 
 great cities an : 
 brass foandry . 
 
 Talves, checks, z . 
 from the time h'r ^ 
 f oveman of th-^ 
 poatkm foi' years. A:- 
 a farmer, made his - 
 for a grain bir 
 the straw. TL 
 but the introc 
 sc^ed the proh 
 
 two la^ge Imic b had his inren- 
 
 tion under ecu larmed and 
 
 jcMned the gecK : binder, 
 
 cansi^ a V-^^ _ : al! his 
 
12 PATTERN MAKING 
 
 labor on the machine. These two instances, 
 however, of rapid success and utter failure, rep- 
 resent the extremes of good and bad fortune 
 rather than the average medium of success which 
 always attends assiduous application and per- 
 sistent endeavor in the aggregate. 
 
 The principal aim of the pattern maker should 
 be to make himself so absolute a master of his 
 work that the solution of all problems with which 
 he may be confronted can be quickly obtained 
 and with the least possible expense. The mod- 
 ern pattern maker should be thoroughly familiar 
 with all the rules for draft shrinkage, etc., and 
 ready to apply them at a moment's notice. 
 
 Under the old regime, the millwright hewed 
 the timber, framed his building and made the 
 patterns for boxing, gear wheels, etc. He then 
 set up the machinery, officiating practically as 
 millwright, machinist, pattern maker and car- 
 penter; in fact, he was a veritable mechanical 
 factotum; and yet, although the millwright is 
 credited with the ability to figure out the speed 
 of gears, pulleys, etc., and to set up machinery, 
 he may be totally ignorant of the simplest rules 
 for shrinkage, draft, etc. Hence the importance 
 of specialized labor in the vast number of de- 
 
AND FOUNDRY PRACTICE 13 
 
 partments which have been created by the neces- 
 sities of the gigantic industrial world of modern 
 times, as better results are obtained and time 
 and money saved. Living as we do in this age 
 of high pressure and quick results, it is incum- 
 bent upon every worker to do his part with as 
 little expenditure of time, energy and money as 
 possible, or the procession will pass him by and 
 he will be consigned to the rear in the ranks of 
 that great army of those who are unfit to con- 
 tinue the fierce struggle of existence under mod- 
 ern industrial conditions. 
 
 The old time buggy maker, who was black- 
 smith and wheelwright, body maker, trimmer 
 and painter, was wont to build a few vehicles 
 like the famed "one hoss shay," but they were 
 so expensive that only a very few people, excep- 
 tionally fortunate could afford to own them. In 
 these days half a dozen smiths make as many 
 different parts of the gear, while the man who 
 welds the tires could not in all probability forge 
 the simplest part of the gear, and the curtain 
 maker may never see the top of the buggy. 
 The gear may be made in Grand Rapids, the 
 shafts in Indianapolis, the body wherever the 
 least money will buy the largest box, and the 
 
14 PATTERN MAKING 
 
 parts assembled in Chicago. Then the finished 
 product is put on the market at a price so 
 low that the barefooted boy in the country can 
 take his grist to mill in a buggy. In fact, bug- 
 gies have become so cheap that, driving along 
 almost any country road, one will often pass a 
 buggy wreck piled up in a fence corner or in a 
 side ditch. These wrecked vehicles are not 
 entirely worn out, but the price of a new buggy 
 is so low that it is cheaper to buy one than to 
 incur the expense of repairs upon the old one. 
 
 A thorouo^h division of labor, while it forces a 
 mechanic to become, as it were, a cog in the 
 wheel of some great machine, which grinds the 
 same round from day to day and month to 
 month, also cheapens the product of every me- 
 chanic's labor, so that now people of small means 
 are not denied the products of mill, loom and 
 factory, which half a century ago were only 
 obtainable by the very rich. With the ever- 
 increasing demand for cheaper production, pat- 
 tern making is destined to become more and 
 more a trade to be desired. The destruction of 
 the forests and the presence of the iron moun- 
 tain in Missouri are two fixed facts, indicating 
 where we will be forced in the near future to 
 
AND FOUNDRY PRACTICE 15 
 
 seek our raw material which heretofore the great 
 forests have suppHed. With the disappearance of 
 the timber, iron is slowly and almost imper- 
 ceptibly but surely taking its place. I have 
 heard old men bewail the condition of the coun- 
 try when the supply of rail timber becomes ex- 
 hausted, and yet what farmer would split the 
 rails now if he were given free of cost the tim- 
 ber? The wooden fence post is rapidly making 
 way for cast iron or a block of concrete with a 
 rolled sheet iron standard. The wooden railroad 
 bridge has almost disappeared, and even country 
 road bridges are now nearly all built of iron. 
 Wooden buildings now only exist because the 
 forests have not entirely disappeared, and wood 
 in its first cost is yet cheaper than other and 
 better material for construction. The railroad 
 cross tie is yet a perplexing problem; nevertheless, 
 when the timber for its manufacture is entirely 
 exhausted, necessity will give birth to some 
 ingenious device or substitute in iron, glass, con- 
 crete or paper, which will supersede the present 
 wooden cross tie, and will in all probability prove 
 so far superior to it that those of a generation or 
 so to come will contemplate with amusement the 
 primitive methods employed by their fathers in 
 
16 PATTERN MAKING 
 
 the construction of roadbed, just as we of this 
 generation look with jocose good nature upon the 
 oW wooden plow of our ancestors. 
 
 It should not be inferred that any arbitrary set 
 of rules can be devised governing the making of 
 every description of pattern which the workman 
 may be called upon to produce. The nearest 
 approach to an unerring guide, covering the 
 widest range of the subject, is the classification 
 of certain forms of patterns with drawings illus- 
 trating each class, with concise and lucid expla- 
 nations by which the well-informed and intelligent 
 mechanic can work out problems in whatever 
 class they may appear. This is what the author 
 has done in this work, and in a manner to insure 
 the certain accomplishment of his purpose, and 
 yet the hope is nowhere excited throughout this 
 v/ork, either by direct statement or implication, 
 that any self -educational facilities afforded by the 
 study of this work will supply the deficiency of 
 natural mechanical talent which must primarily 
 be possessed by any person who may hope to 
 excel in any department of mechanical science. 
 
 In a factory which employed over one hun- 
 dred carpenters and cabinetmakers, I do not 
 think there were more than three or four who 
 
AND FOUNDRY PRACTICE 17 
 
 could or ever did turn anything on the wood 
 lathe, and whenever many of the others at- 
 tempted to do so a complete failure was the 
 result, notwithstanding the most explicit verbal 
 instructions as to the holding of the tools and the 
 practical demonstration by the instructor taking 
 the tools himself and performing the operation 
 for the students. 
 
 In the preparation of this work it has been my 
 aim to simplify and present all problems in a 
 light so clear that the principles at least will be 
 thoroughly understood by any reader of ordinary 
 intelligence; but the practical and successful 
 application of the principles expounded will 
 depend wholly upon the innate ability and care- 
 ful execution of the operator. Even with native 
 talent of the highest order, rough and careless 
 work will not promote success nor obtain for the 
 workman any creditable reputation. 
 
 The work of a pattern maker is clean and 
 pleasant, but requires a very high grade of skill 
 to properly execute, even under the direction of 
 a skillful foreman. The cutting tools should be 
 the very best that the market affords, with edges 
 smooth and keen at all times. To the foreman 
 of the shop every new job is "another problem 
 
18 PATTERN MAKING 
 
 to solve." There is no precedent for many 
 jobs — no beaten path to follow. Often after a 
 job is completed a better way has been discov- 
 ered, by which the job could have been done to 
 greater advantage. There have been instances 
 of capable pattern makers widely differing in 
 their views of how certain patterns should be 
 made; each one maintaining vehemently that his 
 method was the only right and proper one. 
 
FOUNDRY PRACTICE 
 
 Before entering into the details of pattern 
 making, let us first consider the customary way 
 of making castings; for if we are ignorant of the 
 manner in which the moulder obtains the proper 
 cavity in the sand by the use of the wood pat- 
 tern, it would be impossible to make the pattern 
 to the best advantage. I say this advisedly, and 
 I believe that a first-class moulder can take 
 nearly any object for a pattern and get it out of 
 the sand, leaving the mould perfect, and make a 
 successful casting. It has been authentically 
 related of a certain moulder that he could mould 
 the pronged horns of an antlered buck from the 
 natural pattern as it grew on the animal's head. 
 I remember an instance of a farmer who brought 
 to a small foundry the fire bowl of a heating 
 stove, which was broken in seven pieces. A new 
 bowl was moulded from the pieces, a feat of 
 moulding which suggests a strong argument to 
 the pattern maker and which should convince 
 him that a knowledge of foundry practice is a 
 
 19 
 
20 PATTERN MAKING 
 
 most powerful auxiliary to his trade, enabling 
 him always to make his patterns. 
 
 Castings are usually made in a flask. This is 
 composed of two or more rough boxes, so con- 
 structed, by the use of dowels or other devices, 
 as to retain their relative positions at all times 
 when in use. This is absolutely necessary, as 
 otherwise the casting would be one-sided or 
 would show a jog at the joint or parting. 
 
 When more than two boxes are used, this flask 
 is called a compound flask. Usually only two 
 boxes are used, and this arrangement is called a 
 two-part flask. The upper box is called the 
 cope, and the lower box the drag. The heaviest 
 portions of a casting are usually left in the drag, 
 which naturally retains its shape, thereby mini- 
 mizing the risk of agitating the sand, whereas 
 the cope has to be lifted and moved around, 
 which has a great tendency to disturb the sand 
 in it and break and destroy the mould. To 
 overcome this danger, it is customary to put rods 
 or wooden bars, or both, across the cope, 
 through the sand, v/herever they can be placed 
 without interfering wath the pattern. Then bars 
 and rods hold the sand in shape so that they can 
 be lifted to remove the pattern and replaced to 
 
AND FOUNDRY PRACTICE 21 
 
 make the finished mould. Where it is possible 
 to do so, it is best to make a parting in the 
 wooden pattern at the point where the sand in 
 the cope and drag divide on a straight Hne. 
 This done, that part of the pattern which is to 
 be left in the drag is placed on a flat board or 
 bench, with the parting down. The drag is 
 placed in an inverted position on the same board 
 or bench and "rammed up"; that is to say, 
 filled and tamped solidly with moulding sand. 
 The drag is then placed right side up on the 
 foundry floor and the upper part of the pattern 
 is put on. A parting is then made with fine dry 
 parting sand and the cope is secured in place 
 and rammed up. Holes are then made down 
 through the cope to the pattern, for the purpose 
 of pouring the metal into the mould and also to 
 allow the air to escape. The flask is then taken 
 apart and the wooden pattern removed, leaving 
 the two halves of the mould, which are then 
 placed in their proper positions, making a com- 
 plete and finished mould. In ordinary work a 
 board, which is the size of the flask and is called 
 a "follow board," is used for parting. For some 
 special work, a special follow board is used, as 
 in cases when the parting would describe a 
 
22 PATTERN MAKING 
 
 curve. In other cases a follow board is made 
 for a single piece pattern, like the hand wheel 
 for a car break, by bedding the pattern one-half 
 its depth in plaster of Paris, thus bringing the 
 parting to the center of the pattern without any 
 parting in the wooden pattern and without the 
 use of the trowel. All these things are done for 
 convenience to the moulder, so that he can make 
 time in getting out his work. 
 
 The first thing to be considered in looking at 
 a pattern is how it will best draw out of the 
 sand. Every complicated form of casting pre- 
 sents a partially new problem to the pattern 
 maker. If a piece will readily draw out of the 
 sand except one or more small projections, they 
 can sometimes be left on a dovetail slide, which 
 will allow the pattern to be drawn, leaving a 
 part in the sand to be removed later on; or if it 
 be a cavity, it must be cored out. 
 
 In preparing this work I have begun with the 
 simplest forms and kinds of patterns, progressing 
 gradually through the more difficult features of 
 the work, and for illustrations I have used prin- 
 cipally patterns which may be found in duplicate 
 in the pattern loft of the Hicks Locomotive and 
 Car Works, near Chicago. These patterns have 
 
AND FOUNDRY PRACTICE 23 
 
 been made by different pattern makers and have 
 been selected with a view to properly illustrate 
 ideas and demonstrate such peculiarities of con- 
 structions as are treated in this work. 
 
 The very simplest form of pattern is repre- 
 sented by the cast iron washer, Fig. 1. This 
 pattern, being straight on one side, lies entirely 
 below the parting and is consequently entirely in 
 the drag. When a great many pieces of any 
 article of this class are required, it is customary 
 to make what 
 is called 
 "gated pat 
 tern," which , ^ = 
 
 rosi section throvjih a ca^t Washer* 
 
 consists of a 
 number of patterns made exactly alike and 
 fastened together with small strips let into the 
 straight side, level with its face. Then small 
 strips lying on the follow board leave little 
 grooves in the sand which allow the molten metal 
 to pass freely into all the moulds, which are 
 easily broken apart when the metal cools. This 
 manner of moulding this kind of pattern is 
 similar to that previously described, except that 
 the cope is simply placed on the drag and filled 
 with sand, as there is no part of the pattern 
 
24 
 
 PATTERN MAKING 
 
 projecting up into it. A better understanding of 
 this may be derived by a study of A-1, Fig 2, 
 wliich shows a cross-section through the drag, 
 the pattern, the follow board and the sand 
 rammed up. Fig. 2 shows the cross-section of 
 the entire box and its contents ready to be in- 
 verted and placed on the foundry floor, when the 
 follow board is removed and the cope secured in 
 
 '•'<'•• "'Tl-' 
 
 
 
 £11 £ 
 
 Cto^H section i hrotigh pattern rn Ihe^ ^and 
 
 place and filled up as previously described. See 
 Fig. 3, which shows a cross-section through the 
 mould finished and ready to receive the moulten 
 metal. ^ 
 
 The next form to be considered is of a class 
 which, while being all in one piece, is of such a 
 
 ^ It is deemed more expedient to m.ake most of the 
 illustrations in this work in cross section, as a clearer 
 understanding of the subject is generally derived from 
 that character of design. 
 
AND FOUNDRY PRACTICE 
 
 25 
 
 shape as to render the moulding of the casting 
 more convenient when it is entirely up in the 
 cope. If executed otherwise, the sand in the 
 
 ssfiiiay 
 
 Cro53 secti on through finisheci inould 
 
 cope would make it heavy and clumsy and very 
 difficult to handle and the cope would have a 
 tendency to drop off and ruin the mould/ In 
 
 ^ It should be borne in mind that the manner of mak- 
 ing the mould depends entirely upon the nature of the 
 work and the purpose for which it is to be used. 
 
 Thus it will be found that all, or nearly all, stove cast- 
 ings are made in a manner exactly the reverse from that 
 which is employed in the moulding of ordinary castings. 
 The hollow or concave parts are usually made down in 
 the drag, and the sand in the cope is strengthened by 
 cross bars of wood fitted in such a manner as to come as 
 near the metal as is practicable, and these bars are driven 
 full of nails or made with other projections in order to 
 prevent the sand falling out. By this means a smooth 
 casting on the outer surface is obtained, as the metal, 
 being heavier than the dross or other foreign substances, 
 
26 
 
 PATTERN MAKING 
 
 this case the pattern, which is assumed to be 
 hollow or of cup shape (see Fig. 4), should be 
 
 placed on 
 the follow 
 board with 
 the cup 
 or hollow 
 downward. 
 Over this 
 should be 
 placed that 
 
 part of the flask which is to be used for the 
 cope, and it should then be rammed up in the 
 
 Tig ^ 
 <^ro55 5€ction through cup 
 
 settles to the bottom of the mould and shows a perfectly 
 smooth surface, while the imperfections float to the top 
 or inside of the sheet. In small shops where repair work 
 is done, the ingenuity of the flask maker is often taxed 
 to devise means for making flasks perform work for which 
 they were not intended, for the reason that in cases where 
 only one piece of casting is required, the cost of making 
 a special flask would be more than the value of the cast- 
 ing. In factories such as stove works, etc., where a great 
 number of similar pieces are required, many flasks are 
 made for particular pieces, such for instance as oven 
 doors, fire-backs, etc. In these cases the flasks are spe- 
 cially designed with a view to performing the work with 
 the least possible amount of labor by the moulder. There 
 are a great many devices for holding the flasks in posi- 
 tion, and some very ingenious patented hinges, clamps, 
 etc. ; but most moulders use a square-jawed dog or clamp, 
 which is a fraction longer than the height of the flask 
 
AND FOUNDRY TRACTICE 
 
 27 
 
 usual manner, after which the proper vents to 
 receive the moulten metal should be made/ 
 
 The cope should then be turned over, the follow 
 board removed and the drag placed in position 
 and rammed up. Then the flask (cope and 
 
 (cope and drag). This clamp is slipped on the flask and 
 then crowded into a slightly diagonal position with a 
 short bar or chisel, used as a pry, and which holds the 
 boxes firmly together. For small work the flask is 
 hinged together on one side with an iron hinge so designed 
 as to be readily slipped apart. 
 
 ^ The vents or holes down through the cope for pour- 
 ing the metal, are called gates, and are made by placing 
 tapered pins or wedges of proper size in the cope and 
 touching the wood pattern. These, being withdrawn, 
 leave the desired gates or ways for the molten metal to 
 pass into the mould in the sand. 
 
28 PATTERN MAKING 
 
 drag) should again be turned over, taken apart 
 and the wood pattern removed, leaving the fin- 
 ished mould as shown in cross-section, Fig. 5. 
 In many instances it is customary to part the 
 sand entirely by the use of the moulder's trowel, 
 especially where the pattern is of some simple 
 form, or where only a few pieces are required, 
 as, for example, the small connecting rod shown 
 in Fig. 6. In this case a flask is filled with sand 
 and smoothed off, after which the pattern or 
 
 patterns are pushed down into the sand about 
 half of their depth, or to such a point as will 
 most readily permit their withdrawal from either 
 way. The moulder then smoothes the sand 
 down and packs it thoroughly around the pat- 
 tern with his trowel. Then a parting is made 
 vv^ich dry sand and the cope is placed in position 
 and rammed up as previously described. See 
 Fig. 7, which shows a cross-section through the 
 same pattern in the sand. Many other forms of 
 
AND FOUNDRY PRACTICE 29 
 
 castings are parted in this manner where the 
 parting, instead of being on a plane with the 
 parting in the flask, is curved or has sudden 
 crooks and offsets. In such cases the sand is 
 packed in the drag to conform as nearly as pos- 
 sible to the crooks in the parting. The pattern 
 is then placed in position and bedded firmly in 
 the sand. The moulder then packs and trowels 
 down the sand around the pattern until a perfect 
 
 V/eTf' cartel core 
 
 -|j |f w:r:r7:^^^^r3^g- ^l^:- 'A 
 
 
 '.'-v.-f-^^*; 
 
 SnUona l view of mould foT Fig 6 Wio\¥mff pattem m 9and 
 
 parting is made, sometimes cutting deep cavities 
 around portions which otherwise would tear 
 out the sand in drawing the pattern. In this 
 manner an expert moulder will get out forms 
 which at first glance look to be impossible. But 
 primarily it is the duty of the pattern maker so to 
 construct his patterns as to reduce to a minimum 
 of intricacy all of these difficult problems with 
 which the moulder may be confronted. As an 
 instance of the value of a correctly-made pattern 
 
30 
 
 PATTERN MAKING 
 
 as an initial desideratum, see Fig. 7a, which 
 illustrates a small fire extinguisher top and 
 which, at a cursory glance, appears very diffi- 
 cult, but which in reality is readily drawn out of 
 the sand. This is a cup-shaped brass casting 
 with round, projecting handles serving to screw 
 and unscrew it. A cross-section of this is shown 
 in the sand in Fig. la. The heavy lines show 
 
 113. 7 ** 
 ^Toss SfCtton i Tirong h fire e tlitigmsJter tcp & ntoii'lci 
 
 the parting in the flask and the dotted lines show 
 the parting in the sand. 
 
 It is of the greatest importance that a pattern 
 should have draft; that is to say, it must be of 
 such a shape that it will begin to loosen from 
 the sand the moment a move is made to draw it 
 out. To facilitate a ready loosening and suc- 
 cessful withdrawal from the sand, all pattern 
 work should be slightly out of square or slightly 
 
AND FOUNDRY PRACTICE 31 
 
 beveled; i.e., it should be a trifle smaller at the 
 portions which are embedded the deepest in the 
 sand. Then again, the moulder often raps some 
 patterns very heavily to get them out. That is 
 to say, a pointed iron, which is driven into the 
 wood pattern for the purpose, is smartly struck 
 in all directions, causing the mould to become 
 larger than the pattern. Some patterns are 
 so shaped that they cannot be drawn out 
 of the sand, as they may be hollow and of 
 irregular form, or contain cavities or projecting 
 parts which would tear out or loosen the sand. 
 In all such cases it becomes necessary to use 
 cores, to prepare which boxes or moulds are 
 made of the proper shape. Into these boxes or 
 moulds a preparation of sand with flour and 
 molasses is packed, and the forms or cores so 
 made are balced in an oven. After being 
 thoroughly baked, these cores become firm 
 enough to stand handling and will support their 
 own weight across a considerable space. For 
 certain purposes cores are sometimes made 
 by substituting linseed oil, rosin, etc., for 
 flour and molasses, and these are considered 
 superior, as they make a smoother and stronger 
 casting. 
 
32 PATTERN MAKING 
 
 In some instances the required cavity in the 
 casting will be of such a form, or may be com- 
 plicated in such a manner, as to render it very 
 difficult to mould the desired core in a single 
 box, and therefore in many instances two or 
 more cores are made and glued together. The 
 cores for some of the parts of improved pneu- 
 matic tools in use in modern boiler shops have 
 been made up of from twenty to thirty pieces 
 where the desired cavity was so complicated as 
 to be impossible of construction in a single core 
 box. It is also frequently desirable to use cores 
 on work which could be drawn in the ordinary 
 manner, and this is when the casting is hollow 
 and thin enough to spring easily. In all cases 
 where cores are used, the pattern, instead of 
 being the shape of the desired casting alone, 
 should have certain projections, termed "core 
 prints," added to it. These core prints leave 
 their impression in the sand, thus forming a 
 cavity to hold the projecting ends of the core. 
 In such cases it is necessary that the pattern 
 maker should construct his core boxes in such a 
 manner as to produce a core of the exact shape 
 required by the cavity in the casting, together 
 with such projecting parts as will exactly fill the 
 
AND FOUNDRY PRACTICE 
 
 33 
 
 cavities in the sand left by the core prints on the 
 pattern. To illustrate this idea, a stake pocket, 
 such as may be seen on the sides of a gondola 
 flat or coal car, has been selected, the pocket 
 itself being of the form shown in Fig. 8. This 
 will readily draw out of the sand and it is fre- 
 quently cast in this manner; but on account of 
 
 F/> e 
 
 its thinness it is more apt to spring out of shape 
 than if it were cast with a core, as shown in 
 Fig. 9. 
 
 Patterns are painted in such a way as to show 
 which portions are iron, and the core prints are 
 left white or painted of a light color. Usually 
 colored shellac is used for the black portions and 
 uncolored for the core prints. By this means 
 
34 
 
 PATTERN MAKING 
 
 the moulder can tell at a glance the moment he 
 takes up the pattern just how to make the cast- 
 ing. Recently, through the carelessness or ig- 
 norance of a pattern maker, over two hundred 
 pounds of cast fittings in the Frisco R. R. shops 
 at Cape Girardeau, Mo., were cast solid instead of 
 hollow, because of the entire piece having been 
 painted black, when the core print should have 
 
 jF\y 9 
 
 been left light. In moulding patterns of the class 
 shown in Figs. 9 and 10, the process is much the 
 same as has already been described. The lugs 
 "a" "a", Fig. 10, are made removable, and 
 when removed the pattern. Fig. 9, is laid flat on 
 the follow board. The drag is then placed in 
 position and rammed up; then it is turned over 
 and the lugs "a" and "a" inserted, the cope se- 
 cured in its proper position, the parting made 
 
AND FOUNDRY PRACTICE 
 
 35 
 
 and the cope rammed up, as heretofore described. 
 The flask is then separated and the wood pat- 
 tern. Fig. 9, is removed and in its place the core 
 is laid J making the complete mould, as shown 
 in Fig. 10. 
 
 Small patterns are often gated together, as 
 previously mentioned, or a flask is leveled off and 
 a quantity of tliem stuck around here and there, 
 
 
 
 /// 
 
 £{gcftoytCT? vt'gw o£ mould for /yy's a flf ^ ^howin^ paiicrn itt_ sang 
 
 while in other cases the pattern will be almost 
 too large to be put in a flask at all. In such 
 cases it is customary to dig a pit in the floor of 
 the foundry to answer for the drag, and in the 
 case of large castings, such as flywheels, engine 
 beds, etc., the pattern itself is so heavy that it 
 can be handled only by the use of a power hoist 
 or crane. 
 
PATTERN SHOP PRACTICE 
 
 It is customary in pattern shops to furnish the 
 pattern maker with a mechanical drawing or blue 
 print of the part to be made. This is very im- 
 portant, in fact almost an indispensable part of 
 the work, and yet often this drawing falls far 
 short as a reliable guide to the pattern maker; 
 for wliile it may indicate clearly enough the style 
 of casting desired, it may contain no directions 
 or suggestions which will govern or assist the 
 pattern maker in the construction of the pattern. 
 Although the office drawing may be a perfect 
 representation of the casting itself, the pattern 
 maker's drawing should show not only the 
 casting, but also the cores, core prints, etc., 
 etc., and where practicable the pattern maker's 
 drawing should be full size, in order that the 
 dimensions may be taken directly from the draw- 
 ing with the dividers. Some shops may only 
 employ a rough sketch with figured dimensions, 
 and this is especially true of large repair shops, 
 the foremen of which will send a man fifty or a 
 
 37 
 
38 PATTERN MAKING 
 
 hundred miles down the road to repair engines 
 or cars which have become temporarily disabled. 
 This man will frequently find a cracked or worn 
 out casting or a burned out set of grate bars, in 
 which event the number and date of the engine 
 will be noted and every effort will be made to 
 secure a correct description of the broken part in 
 order that the blue prints of the engine may be 
 consulted and the part located exactly. It often 
 occurs, however, that the blue prints of a 
 damaged engine have been mislaid ; consequently 
 the pattern maker is instructed to make, say, a 
 gate bar for the engine and have it ready for the 
 engine immediately upon its arrival at the shop. 
 Having failed to find the blue prints of the 
 engine, the foreman, as a last resource, carries 
 to the pattern shop a memorandum sketch taken 
 from the notebook of the mechanic who had been 
 sent to repair the engine, and from this crude 
 drawing (see Fig. 00) the pattern maker is re- 
 quired, at very short notice, to make a pattern 
 which will give satisfactory results. Any old 
 employe of a railroad shop will recognize this 
 character of drawing (Fig. 00). It is apparent, 
 therefore, that the pattern maker should under- 
 stand mechanical drawing, at least to an extent 
 
AND FOUNDRY PRACTICE 39 
 
 sufficient to enable him to make full size working 
 drawings of any piece of pattern work which he 
 contemplates producing. 
 
 Drawing is the art of representing objects on a 
 plain surface by the use of lines and shadows. 
 Mechanical drawings are further illustrated and 
 explained by the use of dotted lines, figures, let- 
 ters, etc. For certain purposes mechanical draw- 
 ings are sometimes made in perspective; but for 
 pattern shop uses perspective effect is never 
 employed. Two or more views of any object 
 
 Fig. 00 
 
 treated should be given in a mechanical drawing. 
 The art of drawing in a very high state of prac- 
 tical usefulness is now taught by several cor- 
 respondence schools, and it ma.y be readily 
 acquired by any ambitious person. 
 
 Ordinary drawings for most patterns may be 
 made with a lead pencil, a pair of dividers with 
 
40 
 
 PATTERN MAKING 
 
 a pencil point, a pair of beam compasses or 
 trammel points and a steel square. Many old 
 pattern makers use no other tools and make 
 their drawings on the surface of a smooth plank, 
 which only needs planing off to be ready for the 
 next job. A much better way, however, for an 
 important job is to make the drawing on heavy 
 manila paper, which can be filed away for future 
 reference. Where paper drawino-s are to be used 
 
 ris tt 
 
 it will be found very convenient to have a few 
 regular drawing instruments. The drawing 
 board should be of any convenient size and 
 made of well-seasoned, clear, soft pine, perfectly 
 straight and square, with hardwood cleats 
 driven snugly into dovetail gains or grooves 
 across the back of the board, as shown in Fig. 
 11. The T-square is used for drawing parallel 
 lines, either way, across the board, and is made 
 
AND FOUNDRY PRACTICE 41 
 
 of any hard, straight-grained wood. Pear wood 
 is excellent for this purpose; mahogany, cherry 
 and maple also being used. A most excellent 
 T-square is made for the trade with a trans- 
 parent celluloid edge. A proper T-square for 
 pattern shop use should have a blade at least 
 
 y^r T^ 
 
 three feet long, S'X^y'X^^", and slightly 
 beveled toward the edges, with a head 2i''Xi" 
 fastened securely at right angles to the blade. 
 The most approved form of joint for a T-square 
 is shown at a 6, Fig. 13, A tapered dovetailed 
 wedge is glued to the blade of the square with 
 
 >-- Dove, tail we^j9«- 
 
 - I 1 ^ . E 
 
 ri3 IS 
 
 the grain of the parts running at right angles to 
 each other. A corresponding notch or mortise is 
 made across the head of the square, which allows 
 the blade to be taken out of the head and trued 
 up. The joint can be better secured by the use 
 of a few round-head screws, if desired. The 
 
42 
 
 PATTERN MAKING 
 
 set squares or angles are used to draw parallel 
 lines, at right angles to the blade of the 
 T-square; or to draw such angles as appear in 
 the corner of the set squares (see Fig. 14). The 
 first of these set squares contains an angle of 45° 
 in two corners and an angle of 90° or a right 
 angle in the other. This is used to lay out octa- 
 gons, or to bisect the right angle, producing a 
 
 Fi^ i<i 
 
 miter joint. The second one contains angles of 
 30°, 60° and 90°. This square is employed to 
 lay off the hexagon, or bisect the angles of the 
 hexagon in order to obtain the hexagon miter. 
 The third one contains angles of 22^°, 67 J° and 
 90°, and is used to bisect the angles of the 
 octagon, obtaining the octagon miter (see a 6 c. 
 Fig. 14). Some few extra large wooden set 
 
AND FOUiNDRY PRACTICE 43 
 
 squares are yet in use for certain purposes; but 
 for general use the modern celluloid or amberoid 
 instruments are so far superior, on account of 
 their transparency, that the wooden ones have 
 fallen into disuse. 
 
 A set of mathematical instruments may be 
 bought for from $2.00 to $25.00 or more, accord- 
 ing to the fancy of the purchaser. The very 
 
 Tin /sr 
 
 cheap ones are not desirable, and in buying 
 instruments or tools it is always advisable to 
 provide the very best that one's means will per- 
 mit. An indifferent mechanic can never do good 
 work with inferior tools and a good one will not 
 use them when he can possibly avoid it. The 
 set shown in Fig. 15 has fairly good points and 
 
44 PATTERN MAKING 
 
 will answer very well for persons of limited 
 means. A set of this kind retails for about 
 $6.00 and will answer every purpose for the class 
 of drawings required in the pattern shop. 
 
 In making up the working drawings for shop 
 use it is preferable to trace the outlines faintly 
 with a sharp, hard lead pencil. After this has 
 been done the drawing can be brought out with 
 ink or a soft, black lead peacil. When the draw- 
 ing has been plainly brought out, some drafts- 
 men give the cores or core prints a yellow tint 
 and darken the parts which are to be metal. 
 This not only improves the appearance of the 
 drawing, but has additional advantages, espe- 
 cially if some workman other than the draftsman 
 is to work from the drawing, in which event the 
 coloring of the drawing obviates the risk of any 
 misconception of what the finished pattern is to 
 be, thereby preventing what might otherwise 
 result in awkward mistakes. Mechanical draw- 
 ing, being a scientific subject in itself and one 
 which for an elaborate elucidation would involve 
 a voluminous treatise, can only be cursorily re- 
 ferred to in a book of this nature, and it must 
 therefore be assumed that the reader is suffi- 
 cieutly familiar with the principles and practice 
 
A^D FOUNDRY PRACTICE 45 
 
 of mechanical drawing to readily understand the 
 instructions pertaining to the subject-matter of 
 this work. 
 
 The pattern shop should always contain suffi- 
 cient space to provide for the free and comfort- 
 able execution of its greatest volume of production 
 and should be arranged with a view to afford 
 ample room for the advantageous distribution and 
 location of machinery, benches, trestles, clamps, 
 tools, etc. The light should be as nearly perfect 
 as it is possible to obtain and preferably derived 
 through skylights which direct the rays vertically 
 upon the work, thereby escaping the shadows 
 thrown upon it by light which strikes it horizontally 
 from the side. The room should be so arranged 
 that a proper temperature can be maintained in 
 winter to insure the successful gluing of work, as 
 cold destroys the adhesive quality of glue and is 
 deti-imental to good work in many ways. The 
 work bench is usually made of three-inch plank, 
 in order to keep the top true. The vise should 
 be of modern construction, capable of being 
 used either as a high or low vise, and should be 
 equipped with an adjustable jaw for tapered 
 work, and so arranged as to hold the work 
 firmly without bruising it. The shop should be 
 
46 PATTERN MAKING 
 
 equipped with a band saw or at least a jig^ saw, 
 a pattern lathe and suitable clamps for gluing 
 up material. In large shops a rip saw and wood 
 worker will be found very useful. The highest 
 grade of glued work, such as piano and organ 
 cases, sleeping car bunks and fine furniture 
 generally, is made by using hot glue applied to 
 wood which has been heated to receive it; the 
 work being done in a room heated for the pur- 
 pose. Work glued up in this manner is very 
 strong and better for many purposes than solid 
 timber; but unless special arrangements have 
 been made for this work, ordinary glue is liable 
 to become chilled and lose its strength. There 
 are several preparations of liquid glue v»4iich are 
 valuable substitutes in many classes of work 
 where conditions are not favorable to the use of 
 hot glue. These liquid glues, being very slow to 
 set, allow plenty of time to work over a piece 
 where the assembling .of the parts is tedious, 
 and the result is far better than that which is 
 obtained by clamping hot glue between two cold 
 surfaces, the effect of which is to convert the glue 
 into a jelly, with little or no adhesive qualities. 
 The workman, however, will have to decide for 
 himself which kind of glue is best suited to the 
 
AND FOUNDRY PRACTICE 47 
 
 specific conditions of the shop in which he is 
 employed. In shops where the general conditions 
 for gluing are bad, liquid glue promises the best 
 results, when nails, screws or wood dowel pins 
 are used to add such strength to the parts as the 
 nature of the work may demand. 
 
TOOLS 
 
 It is highly impracticable to attempt the 
 enumeration of any exhaustive list of tools for 
 pattern making, as the field covers such a wide 
 range of work that unless it were limited to some 
 certain branch of the trade, it would tax the 
 ingenuity of the most resourceful inventor to con- 
 ceive of such a tool that the wood worker might 
 not at some time meet with a situation requiring 
 its use. To the workman engaged entirely in 
 the making of stove castings, his carving tools 
 are the most important of his kit; while if his 
 work were confined to the making of patterns for 
 heavy machinery, the need of carving tools 
 might never be felt. The making of wood pat- 
 terns, while the principles involved are much the 
 same in all cases, covers the widest range of 
 work of any branch of the wood worker's art 
 and embraces castings from the size of door keys 
 and windov/ latches to the ponderous parts of 
 the giant engines which supply the water to 
 great cities, turn the v/heels of mammoth fac- 
 tories and propel the iron-ribbed reindeers of the 
 
 49 
 
50 PATTERN MAKING 
 
 sea, hurling them plunging through the green 
 surges of the sea. Most pattern makers carry a 
 very complete assortment of cabinet maker's 
 tools, including their lathe tools or turning 
 chisels, gouges, etc., and also a set of long 
 straight gouges, called pattern maker's gouges, 
 with a set of carving tools for some classes of 
 work. The special tools for pattern making, 
 independent of those in general use, are shown 
 from Fig. 16 to Fig. 22. 
 
 Fig. 16 represents the pattern maker's gouge, 
 which is made in all sizes from J to 2 inches. 
 This tool is used for making core boxes and for 
 paring out all kinds of convex surfaces. It is 
 indispensable to the pattern maker. Fig. 17 
 represents the turning gouge, about three sizes 
 of which are usually considered sufficient for all 
 practical purposes. This tool is used for rough- 
 ing out work in the lathe, and for turning and 
 finishing the concave portions of the work. 
 
 Fig. 18 represents a paring tool, of which not 
 more than two sizes are usually needed. This 
 tool is used to finish the work in the lathe after 
 it has been roughly formed by the gouge. The 
 flat chisel. Fig. 19, is used for turning beads, 
 ovals, etc., and for sizing particular work as 
 
AND FOUNDRY PRACTICE 
 
 51 
 
 indicated by the calipers. In such cases it is 
 used much in the same manner as a scraper. 
 
 ^ 
 
 Ttg 1 6 
 Th9 pattern 'mahn 
 
 ,^ugo 
 
 Tia It 
 
 f'","f* 
 
 ■^ 
 
 
 Tig /£ 
 The: flal rhhel 
 
 "The pari t It q toot 
 
 ' itili itoseci cAist? 
 
 The parting tool, Fig. 20, is used for cutting 
 deep grooves and for cutting off work in the 
 lathe. The diamond point. Fig. 21, and the 
 
52 
 
 PATTERN MAKING 
 
 bull-nosed chisel. Fig. 22, are used for turning 
 both the outside and inside surfaces of hollow 
 patterns, such as the piece shown in cross-section 
 in Fig. 23. 
 
 Figs. 15, 16 and 17 can be procured at hard- 
 
 Ti^ 23 
 
 ware stores generally. The rest can be had from 
 large supply houses, or from dealers in tool 
 specialties, or they can be made by a first-class 
 smith. In addition to the tools heretofore men- 
 tioned, the pattern maker will sometimes find it 
 
AND FOUNDRY PRACTICE 53 
 
 convenient to have special tools of a peculiar 
 design for some special work. 
 
 The shrinkage rule is a measure designed 
 especially for pattern making, and is intended to 
 make the proper allowance for the contraction 
 of metal in cooling. However, it is not possible 
 to accurately figure the contraction or shrinkage 
 of metal, as a thick casting will shrink more 
 than a thin one. Some shapes shrink more than 
 others or more in some parts of the same piece 
 than in other parts. A large cylinder, if cast on 
 end, will shrink more at the bottom than at the 
 top. Castings are calculated to shrink from one- 
 tenth to one-eighth of an inch to the foot; but, 
 as nearly all machine castings are either turned 
 or planed to an accurate size, the determina- 
 tion of the exact amount of shrinkage is in 
 a great measure immaterial. Then again, 
 in cases where the moulder raps the pat- 
 tern heavily, in order to withdraw it from 
 the sand, the casting will show but little if 
 any shrinkage. 
 
 The lathe is perhaps the most important of all 
 the pattern maker's tools. A lathe suitable for 
 ordinary pattern work should have a swing of at 
 least twelve inches over the bed and it should be 
 
54 PATTERN MAKING 
 
 so arranged as to allow a face plate for work of 
 large size to be swung off over the end of the 
 bed, as shown in cross-section in Fig. 23. A 
 heavy cast iron tripod of sufficient weight to re- 
 main steady when in use, is employed to hold 
 the rest for this lathe. 
 
 The art of wood turning has by tradition 
 always been and is at the present time classified 
 as a trade to itself, properly appertaining to the 
 cabinet shop and planing mill; for the art, when 
 applied to pattern making, differs so materially 
 from that of ordinary cabinet and planing mill 
 work, that it cannot be considered in the same 
 category. 
 
 The wood turner, working by gauges or marks 
 on the lathe rest representing his measurements, 
 depends almost entirely upon the accuracy of his 
 eye and skill of his hand to obtain the required 
 form and size of the piece; as the compensation 
 for such work is often determined by a fixed rate 
 per thousand pieces, the operator soon acquires 
 a peculiar sleight for getting out a great quantity 
 of material in a given length of time, which, if 
 displayed in regular rows, presents an appear- 
 ance sufficiently uniform to answer all the pur- 
 poses for which the finished work is intended, 
 
AND FOUNDRY PRACTICE 55 
 
 although it could not stand the test of rule and 
 calipers. 
 
 The pattern maker, on the contrary, works 
 from a drawing of some part of a machine or 
 other device, showing the figured dimensions of 
 all its parts. Every figure bears an important 
 relation to the finished work and each part is 
 required to correspond with mathematical pre- 
 cision to some other part already completed or 
 in process of completion in another department 
 of the same factory, or mayhap in some distant 
 city. The loss of only the sixteenth of an inch 
 of material in any part may mean the loss of the 
 entire piece. Hence the paramount necessity 
 that the maker should exercise the most scrupu- 
 lous care during the process of work, stopping 
 frequently as he proceeds to test his accuracy 
 with rule or calipers or both, for only painstaking 
 vigilance will assure to even the most adroit 
 mechanic a perfect duplicate in its minutest de- 
 tail of the part represented in the drawing. 
 Manifestly, then, the art of the wood turner con- 
 sists in turning out great quantities of pieces 
 which bear to one another sufficient resemblance 
 to answer the purposes for which they are de- 
 signed, whilst the science of lathe turning, for 
 
56 PATTERN MAKING 
 
 pattern making, lies wholly in the accuracy and 
 perfection, and not in the volume of work per- 
 formed. 
 
 In operating the pattern lathe to turn out hol- 
 low forms it is customary to fasten discs of wood 
 to the iron face plates of the lathe with heavy 
 wooden screws. The work to be turned is then 
 secured to the face of these discs with other 
 wooden screws passing through the wooden 
 discs into the back of the piece to be turned. 
 See Fig. 23. When a pattern is to be screwed 
 on the face plate, these wooden discs are marked 
 with the point of the turning tool at the outside 
 or inside of the piece, and it can then be turned 
 over and fastened true to center. 
 
 To formulate any set of rules which will 
 apply to the production of all kinds of patterns 
 or to the solution of every problem in pattern 
 making which may arise would involve a 
 degree of knowledge and a gift of prophetic 
 vision which cannot be expected to fall to the 
 lot of any observer, however patient may have 
 been his research or broad his experience; 
 therefore, in the treatment of this work, I have 
 availed myself only of such forms of patterns as 
 have been successfully made under my own 
 
AND FOUNDRY PRACTICE 57 
 
 supervision and observation ; using these forms as 
 object lessons to illustrate the subject and impart 
 to the student a practical knowledge of the essen- 
 tial principles of pattern making, in order that 
 he may be well prepared — assuming, of course, 
 the possession of natural talent — to grapple with 
 every new and perplexing problem with which 
 the interminable intricacies of the craft may con- 
 front him in any hour of his career. And inci- 
 dentally I have introduced into this work a few 
 problems submitted to me by workmen famiHar 
 with foundry work in all its details, and whilst I 
 have not seen these problems demonstrated by 
 actual practice, my certainty as to the correctness 
 of their illustrations enables me to present them 
 to the reader with the utmost confidence in their 
 practical value. 
 
MAKING THE PATTERN 
 
 Many patterns are of the simplest form and 
 require only a single piece of stuff > turned or 
 carved into a proper shape, finished with shellac 
 and having proper draft and shrinkage. These 
 simple patterns are usually given to the appren- 
 tice boys to make; for instance, the pattern of a 
 cast washer, such as is represented by Fig. 1. 
 
 Assuming this washer to be for a ij-inch rod, 
 the diameter of the stock would be about 7 
 inches and the thickness If inches. To make 
 this pattern, a disc is cut out of wood 7|XlJ 
 inches, one side is made true and straight and it 
 is then secured in the center of the face plate. 
 The pattern is then faced off with the diamond 
 points and the center located with a pair of divi- 
 ders as the piece runs in the lathe. Next a line is 
 laid off for the center hole, a line for the edge of 
 the O. G. and a hne for the outside. Now the 
 operator cuts straight into the face plate on the 
 outside line and with a very small gouge, turned 
 sideways, roughs out the O. G., taking care that 
 it does not jump back and tear up the work. 
 
 59 
 
60 PATTERN MAKING 
 
 When the operator is not sufficiently expert with 
 the gouge to turn the O. G. it can be scraped to 
 shape with the bull-nosed chisel. Next the hole 
 is cut out with a small, stiff, flat chisel, leaving 
 plenty of draft. When the pattern is turned it 
 must be sandpapered to a polish, taking extra 
 care that the hole is left smooth. Next shellac 
 of any desired color is applied, and when it 
 begins to set it is polished, while still revolving, 
 with an old cloth and a few drops of linseed oil. 
 
 Fig. 6 represents the piece sawed out as near 
 to shape as possible and then carved or whittled 
 and finished with sandpaper and shellac. 
 
 Passing on to another class of patterns, the 
 stake pocket affords an apt illustration. This 
 piece is easily cast from a form as shown in 
 Fig. 3. It has sometimes occurred that an old 
 stake pocket has been picked up in the yard, 
 smoothed off a little, the sand holes puttied up 
 and the piece shellacked and used for a pattern 
 for other pockets. This method, however, was 
 only resorted to when it was necessary to get cars 
 ready for service on very short notice. The 
 usual custom and the proper method is to cast 
 this pattern with a core. The procedure for this 
 is as follows: First the working drawing (see 
 
AND FOUNDRY PRACTICE 
 
 61 
 
 Fig. 24, a and h) should be made up full size by 
 the shrinkage rule. Next there should be laid 
 out a pattern on a thin veneer of the cross sec- 
 
 CoT-e 
 
 TlQ 2f 
 
 tion through the metal as it appears in the full- 
 size working drawing, and the pattern cut out 
 with a sharp knife. Then this pattern should 
 be plainly marked with a pencil on both ends of 
 
62 PATTERN MAKING 
 
 a plank of sufficient thickness and length, cutting 
 away all the surplus wood with ordinary hollows 
 and rounds, and this will leave a moulding of the 
 exact dimensions of a cross-section through the 
 metal forming the pocket. Now a block should 
 be made of the exact dimensions shown in the 
 working drawing and marked "Core" (see Fig. 
 24, a and 6), and the prepared moulding should 
 be glued to this block as shown in Fig. 24. A 
 square joint at the corner is proper for this 
 work. When dry, the corners should be 
 smoothed up, making all parts of the mould meet 
 and match. Next four holes should be bored at 
 c c c c, Fig. 24 6, making the tenons just large 
 enough to fit snugly into the holes. Then the 
 entire work should be smoothed and polished 
 making the parts which are to be iron jet black, 
 and leaving the core prints in the natural wood. 
 Following this a core box is to be made, 
 which should be exactly of the dimensions and 
 shape inside as shown by the working drawing. 
 Such a box is shown in Fig. 25 and may be open 
 top and bottom. In order to make a core in this 
 box, the core maker puts the box together before 
 him on the table. He then fills it with prepared 
 sand and smoothes it off level with the top. 
 
AND FOUNDRY PRACTICE 
 
 63 
 
 Core boxes are finished and polished on the 
 inside only. 
 
 The next example is a casting which was made 
 for a pump of some description. It is a cylin- 
 der which had a flange at one end and a pipe 
 thread at the other (see Fig. 26). As in the 
 previous example, the first thing required is the 
 
 Joi 
 
 working drawing, which, as has already been 
 stated, must show the casting, the core and the 
 core prints. Fig. 27 shows a cross-section 
 through the casting and core; this being the only 
 drawing needed for making the pattern. This 
 pattern was made by gluing together pieces of 
 material of ordinary size, as a solid block sufii- 
 
64 
 
 PATTERN MAKING 
 
 ciently large was not obtainable, and It was a 
 matter of no little difficulty to secure a piece of 
 material of sufficient diameter to turn up the 
 
 flange. It was also desirable that the pattern 
 should be divided in the middle without ripping 
 it through after turning it up. To accomplish 
 
 • > 
 
 J'/y 37 
 
 this the stock was prepared as shown In Fig. 28, 
 and in cross-section in Fig. 29. The pieces 
 a a were first doweled together and short 
 tenons, d d, made across the ends of the piece 
 
AND FOUNDRY PRACTICE 
 
 65 
 
 and so fastened together in line with the joint. 
 The gain for the flange piece, b 6, was then 
 cut to the desired depth clear around the piece, 
 
 0:'i 
 
 3 
 Pi! 
 
 1 
 
 f 
 i 
 
 hongiiudLincil sectioji ihroiicflt . GfocTr for* Pzq SG 
 
 and the flange pieces fitted in. The pieces, a a, 
 were then taken apart and the flange pieces glued 
 
 
 ' ' " ~ "" V 
 
 
 1 
 
 / / 1/ ^- 
 ' 1 1. ' 
 
 ..1 " , , 1 
 
 V 
 
 
 \\y>\ 
 
 
 / 
 
 y<~l-:--'/ 
 
 
 
 
 Croib 5€ctioit through 'IstooTc fo7* f^^ 
 
 in their proper position, great care being exer- 
 cised that no drops of fresh glue were left in the 
 joint, otherwise the pattern would not have come 
 
66 PATTERN MAKING 
 
 apart when completed. Then the parts were 
 put together again, grooves of proper size were 
 then cut in the blocks c c to engage the short 
 tenons d d and the blocks glued on to the ends 
 of the work, as shown in Fig. 28. When thor- 
 oughly dry, the ends of the prepared stock were 
 centered, the stock then put into the lathe and 
 the pattern turned up, leaving the projecting 
 ends, as shown in Fig. 27, for core prints, 
 which come apart easily for the convenience of 
 the moulder. 
 
 This pattern only requires half a core box, a 
 longitudinal section of which is shown in Fig. 
 27; the cross-section describing a semicircle. 
 Two pieces are used to make the core. Many 
 moulders use ordinary flour paste to glue or 
 cement their cores together. All such patterns 
 should be painted in the parting just as shown 
 in the working drawing, in order that the 
 moulder may see at a glance just which part is 
 to be metal and which core.^ 
 
 Fig. 30 shows a cast pipe fitting which was 
 
 'AH patterns should be painted so as to distinguish 
 metal from core. Patterns for iron should be dark with 
 light cores, and just the reverse for brass. All patterns 
 are finished in shellac, rubbed to a polish. 
 
AND FOUNDRY PRACTICE 
 
 67 
 
 used for steam heating. This fitting has been 
 selected on account of its peculiar shape, which 
 admits of making the entire pattern and part of 
 the core box on the lathe. 
 
 Fig. 31 shows the working drawing, the first 
 thing to be made in all cases before proceeding 
 to make the 
 pattern, 
 reference 
 
 drawing it will 
 
 be seen that 
 
 the straight 
 
 parts a and h 
 
 can be made 
 
 by exactly the 
 
 same process 
 
 as described 
 
 for making 
 
 Fig. 27, with the exception that no flange 
 
 is required. The circular portion c is turned 
 
 out of a disc of proper size secured to the 
 
 face plate and turned to a true semicircle 
 
 in cro.ss-scction, as shown in Fig. 31 J, which, 
 
 being cut across through the line of its 
 
 diameter and placed face to face, forms the 
 
 7^7^ J30 
 
68 PATTERN MAKING 
 
 half circular portion of the pattern c, Fig. 31. 
 The only difficulty to be met with in making 
 this pattern is the miter joint ^, which is 
 found by the intersection of parallel lines of equal 
 distance from each other on the straight side, 
 with similar circular lines struck from the center 
 
 . ^^^^^ ^^^;^ ^^^^;^^^^ ^< ^^ 
 
 Ti^ 31 
 
 of the circular portion of the work. This is the 
 common rule for mitering straight and curved 
 mouldings. Or the joint can be coped together, 
 the circular part of the core box can be turned 
 into the face of a plank of suitable size, which, 
 when cut across the line of its diameter, forms 
 the circular part of the core box. The re- 
 
AND FOUNDRY PRACTICE 
 
 69 
 
 mainder will have to be carved out with gouges 
 and the finished core box made as shown in Fig. 
 33. It will be observed that in this pattern a 
 full core box is required, that is to say, two half 
 core boxes, 
 made right and 
 left, and dow- 
 eled together. 
 
 The next 
 pattern treated 
 is that of a 
 double - flanged 
 wheel, for use 
 on an overhead 
 traveling crane. 
 Reference to 
 Fig. 34, a and 
 
 b, which shows an elevation and cross-section, 
 will afford a clear idea of this wheel. 
 
 There are so many ways to cast this wheel 
 that it makes a nice illustration. The first thing 
 to be considered is how to get it out of the sand, 
 which problem we think is best solved in the 
 manner shown in the working drawing, Fig. 35, 
 A and B. By this method almost the entire 
 wheel is cored out; but it is by no means an 
 
 7^^ 3/r 
 
70 
 
 PATTERN MAKING 
 
 intricate task and is clearly illustrated in Fig. 36, 
 which contains a sectional view of the finished 
 pattern. 
 
 To make this pattern, cut out the discs a a. 
 Fig. 36, of proper size for turning up. To these 
 
 T^a 7fC f oj tvrrnTto co-re "hote for Tiq 30 
 
 discs glue the band h in sections, and to one disc 
 the core print c. Next attach the prepared discs 
 to the lathe and turn up, as shown in cross-sec- 
 tion, Fig. 36. Turn up two core prints, d d, 
 and dowel the two halves together, making the 
 finished pattern. 
 
AND FOUNDRY PRACTICE 
 
 71 
 
 Three core boxes are required for this pattern: 
 a plain half core for the center hole through the 
 wheel, which has already been explained; a core 
 box representing all the cavity between the spokes 
 of the wheel, Fig. 38, represented by the six 
 
 Qyte lidlf of cott lox for Tig 30 
 
 cores marked h 6, Fig. 35, B, and a circular 
 core box turned into the face of a plank (see 
 Fig. 39, a and fe), which will mould half of the 
 core d shown in Fig. 35, B. 
 
 A pattern for this wheel can be made without 
 coring out the flanges, by contriving the pattern 
 
72 
 
 PATTERN MAKING 
 
 to part near one side or at any place which will 
 permit the successful withdrawal of the half pat- 
 tern. For a wheel cast after this pattern a three- 
 part flask or a flask made of three boxes with a 
 parting made between each box is employed. 
 (See a a, Fig. 37.) It is possible to cast this 
 
 o^ 
 
 TJj 3^ 
 
 pattern in a two-part flask without any core 
 whatever, and although this method is not recom- 
 mended because of its greater cost and inferiority 
 to other ways of doing the work, it is well that 
 the pattern maker should be familiar with the 
 process. To make this pattern the wheel should 
 be made as shown in Fig. o34, with spokes and 
 
AND FOUNDRY PRACTICE 
 
 73 
 
 hub complete. The center hole, the hub, both 
 sides of the rim and the spokes should have am- 
 ple draft and the lower flange should be left loose 
 so that the pattern will part at the line a b, Fig. 
 o34. 
 
 To mould this pattern, the cope is laid down 
 
 T75 3<r 
 
 in an inverted position and filled about half full, 
 or within about two inches of the top, and the 
 sand smoothed down solid. The pattern is then 
 turned with the spoke side up and pushed down 
 hard into the sand. It is then taken out to see 
 that the impression is perfect, and a parting is 
 made at i. The pattern is then put back in its 
 place and the parting c-d and e-j is made. Th^ 
 
74 
 
 PATTERN MAKING 
 
 sand is then filled in to g-h and a second parting 
 is made at c-g n-j. Now the drag is put in place 
 
 and rammed up. The flask is then inverted and 
 the vents made, when the pattern will appear as 
 in Fig. o34. The cope, which should part along 
 
 C o 73 e. J. •... '• >.'•'" 
 
 
 
 &hoY/inq hoW I^rtjSt nrny levtoiildecl rn a It/o par t 
 
 the line c d i e f, is now removed, as is also the 
 pattern from the line a b upv/ards. The flask 
 should then be put together and turned over, 
 
AND FOUNDRY PRACTICE 75 
 
 removing the drag, which should part along the 
 line c g hf, after which the flange is removed. 
 The flask is now put together again and turned 
 over, which completes the work, and it is ready 
 to receive the moulten metal. If the pattern is 
 exactly right and the moulder is both expert and 
 amiable, the casting can be made in this way, 
 
 Joi-n t 
 
 Tig ae 
 
 but this method is given more as an illustration 
 of what can be done than as a sample of good 
 pattern shop practice. 
 
 Many difhcult or otherwise impossible forms 
 can be cast by using a three-part flask. The 
 double-flanged gear wheel, Fig. 40, a and 6, is an 
 illustration of work usually cast in a three-part 
 flask. It can also be moulded in a two-part 
 
76 
 
 PATTERN MAKING 
 
 flask by making a double parting in the sand, as 
 shown in Fig. 37. Or the gear can be cored 
 into the wheel. 
 
 The next problem treated is that of an ordi- 
 nary brake wheel or hand wheel, such as is used 
 on freight cars, and which will serve more to 
 illustrate wheel making in general than any 
 
 Tig 3© 
 
 peculiarity in the construction of this particular 
 piece. In this pattern. Fig. 41, nothing is re- 
 quired but a plain wooden wheel. The square 
 hole in the center, being tapered, makes its own 
 core. 
 
AND FOUNDRY PRACTICE 
 
 77 
 
 When a great number of wheels arc wanted 
 the pattern is bedded half its depth in plaster of 
 
 Tf'q o3 -y 
 CraiJ jMfjoTi throtigh.nxoulot ^l^^y/a^ pattern -in tTtc sanB. 
 
 Paris and the plaster cast so obtained is used for 
 a follow board. This arrangement brings the 
 
 ri^ -»o 
 
 parting to the center of the pattern without the 
 use of the trowel. 
 
78 
 
 PATTERN MAKING 
 
 To make this pattern it is best to lay out on a 
 plain board the design or outline, as shown in 
 Fig. 41, dividing the rim into any number of 
 equal parts. In this case there are six equal 
 parts. One of these parts is a suitable pattern 
 from which to saw out the rim, allowing a little 
 
 extra wood 
 on both sides 
 for turning 
 up. Hav- 
 ing roughly 
 sawed out 
 the parts of 
 the rim, fit 
 the joints 
 together, on 
 the drawing 
 or outline, 
 " taking care 
 
 that the parts of the rim are so fitted 
 together that they will describe in the rough as 
 nearly as possible a perfect circle. Then glue 
 the second layer on to the first, breaking joints 
 with the sections, so as to form a rough ring, as 
 shown in Fig. 42. Next secure this prepared 
 ring to the face plate in proper position so that 
 
 Tis ^f 
 
AND FOUNDRY PRACTICE 79 
 
 the tool will cut as nearly even all around as pos- 
 sible and turn up the ring so that it will be in 
 cross-section, as shown in Fig. 43, using a thin 
 wood or metal pattern to secure the desired 
 shape. (See Fig. 43.) Now, with the turning 
 chisel, mark the face plate lightly as a guide, in 
 
 order that the ring may be turned over and yet 
 be secured to the face plate in its exact former 
 position. Another way to maintain the ring in 
 its proper position when turning it over is to tack 
 four httle blocks or brackets to the face plate so 
 that they will just touch the work to be turned 
 over on either the inside or outside of the circle. 
 
80 
 
 PATTERN MAKING 
 
 These blocks or brackets always bring the work 
 to its exact position in reversing. Now proceed 
 in like manner with the reverse side of the piece 
 and the result will be a round ring, which will 
 
 be round also 
 in cross-section. 
 Then get out 
 the hub of 
 proper dimen- 
 sions, mortise a 
 tapered square 
 hole in the cen- 
 ter for the brake 
 staff, cut six 
 gains in the hub 
 and in the rim 
 to receive the 
 ends of the 
 spokes, and se- 
 cure both hub 
 and rim in their 
 proper relative positions to the plank, using 
 the working drawing as a guide to put the 
 parts together. Provide six spokes of the de- 
 sired form and fit them neatly into the gains. 
 All the parts should be snug and tight enough in 
 
 -rig -^3 
 
AND FOUNDRY PRACTICE 81 
 
 their adjustment to one another to require only 
 a light blow to drive them home. (See Fig. 44.) 
 Lastly finish up the spokes as desired and coat 
 with black shellac varnish. 
 
 The making of cog or gear wheels is one of 
 the most important features of the pattern 
 
 maker's trade, and although a drawing or blue 
 print is usually provided in repair shops, the old 
 cog wheel itself is sometimes given as a guide. 
 A brief review of the principles of gear work and 
 the technical terms employed by mechanics in 
 relation to it will serve the purpose of this vol- 
 ume, inasmuch as every pattern maker should 
 
82 
 
 PATTERN MAKING 
 
 A 
 
 ' ' 1^ 
 
 possess a reasonable knowledge of the principles 
 and practical operation of the machinery in com- 
 mon use for which he may be at any time called 
 upon to produce patterns. 
 
 Gears are either straight or beveled. Straight 
 gears are square on the face and transmit power 
 from one shaft to another one running parallel 
 to it. Beveled gears have 
 their faces at an angle with 
 the line of the axis on which 
 they revolve, and transmit 
 power from one shaft to an- 
 other running at an angle, 
 usually at a right angle, to 
 itself. The pitch line of a 
 gear wheel is an imaginary 
 line running around the wheel 
 through the cogs at a point 
 which is governed by the number and size 
 of the teeth. The pitch diameter would be 
 the diameter of the wheel at tliis imaginary 
 line. This pitch line is located at the point 
 where the wheels would touch each other if, 
 instead of being toothed or cogged, they were 
 plain friction wheels. The circular pitch of 
 a gear wheel is the distance from center to 
 
 -su 
 
 .k--. 
 
 JTrj ^r 
 
AND FOUNDRY PRACTICE 
 
 83 
 
 center of the cogs on the pitch Hne, and is found 
 by dividing the pitch line into as many spaces as 
 there are cogs in the wheel. All calculations in 
 reference to gear wheels are made from the pitch 
 line. Cogs are always .7 of the circular pitch in 
 length, of which .4 lies inside and .3 outside of 
 the pitch line. The thickness of any cog is 
 always xVo of the circular pitch. (See Fig. 46.) 
 
 Let it be assumed of a gear wheel of any con- 
 venient size, that it is 21 inches in diameter at 
 the pitch line, with any convenient number of 
 teeth, say 44. For all practical purposes an 
 accurate measurement of the circumference of 
 this wheel would be accepted as G6 inches^ at the 
 pitch Hne, and the pitch 66-^44=1.5 inches. 
 
 *The decimal is 65.9736. 
 
84 PATTERN MAKING 
 
 The root of the tooth — that part inside of the 
 pitch Hne — being .4 of the circular pitch, would 
 give 1.5''X.4=.6 of an inch inside of the pitch 
 line as the base of the tooth. Now, as it is cus- 
 tomary to make a gear wheel plain and then glue 
 the cogs to the face of the rim, it follows that 
 the radius of the wheel would be the radius of 
 the pitch line, minus the root of the tooth, or .6 
 of an inch, making the wheel at the base of the 
 tooth 1.2 of an inch (.64-. 6= 1.2) less in diameter 
 than 21 inches, or 19.8 inches. Then the total 
 length of a cog, being .7 of the circular pitch, 
 equals 1.5 X. 7= 1.05 inches, which is the length 
 of this particular tooth. Its thickness being .48 
 of the circular pitch gives 1.5X.48=.72 inches 
 as the thickness of the tooth on the pitch line. 
 Hence the solution of the problem calls for a 
 wheel 19.8 inches in diameter, to the outside 
 surface of which, at regular intervals, determined 
 by accurate measurement, there should be glued 
 cogs or teeth which are 1.05 inches in length and 
 .72 inches thick at the pitch line. 
 
 All wheels are more or less alike; therefore it 
 would be superfluous to treat the minor problems 
 of wheel patterns in this work, as every workman 
 who understands the general principles involved 
 
AND FOUNDRY PRACTICE 85 
 
 will use his own judgment and discretion in such 
 cases, especially as the nature of the work, the 
 size of the wheel, the strength of parts, etc., will 
 always be the controlling factor in the construc- 
 tion. 
 
 Assuming that there has been constructed a 
 wheel which has been turned to exactly 19.8 
 inches diameter by the shrinkage rule and the 
 face of which has sufficient draft, the sur- 
 face is divided into 44 equal parts by scribing 
 square across the face of the work, with a pointed 
 instrument or penknife, and marking the scribes 
 on the sides of the rim. The teeth are gotten 
 out to approximately the proper shape and size. 
 Then into a piece of thin hardwood a hole is 
 made exactly the shape of the desired tooth. 
 The teeth should then be carefully finished with 
 hand tools so that they will just pass through 
 this hole, allowing a very little draft in each tooth 
 and marking the tooth in such manner as to 
 easily distinguish the allowance made when the 
 work is being glued together, in order that the 
 draft may all be the right way. An exact center 
 mark should be made on each end of the cog, 
 matching exactly the marks on the rim of the 
 wheel. Next the cogs should be glued to place, 
 
86 PATTERN MAKING 
 
 using care that the center of each cog is exactly 
 with the dividing marks on the wheel. Small 
 brads are used to hold the parts in place until 
 the glue dries, and when thoroughly dry the work 
 should be dressed up with sandpaper and a 
 small fillet of beeswax run along both sides of 
 the base of the tooth, pressing it in place with an 
 irod rod which has been warmed over a spirit 
 lamp. To finish, shellac varnish, as before 
 described, is used. 
 
 Patterns of this class are usually parted by the 
 moulder's trowel along the center of the spoke 
 and at one edge of the rim. 
 
 Fig. 47 represents a pair of miter gear wheels 
 in mesh. Beveled gear work may be either a 
 mitered gear wheel as shown (in which case the 
 pitch line is at an angle of 45° from the shaft, such 
 a gear transmitting power from one shaft to an- 
 other at equal speed) ; or, in cases where a different 
 speed is required, one wheel will be larger than 
 the other (in which case it, the pitch line, will 
 be any angle which the nature of the case 
 may require). The making of a miter or 
 beveled gear pattern, while not necessarily a 
 very difficult piece of work, requires persistent 
 care and skill. The. pitch of a beveled gear is 
 
AND FOUNDRY PRACTICE 
 
 87 
 
 an imaginary line, a a. Fig. 47, which Hne repre- 
 sents the surface of cones working as plain fric- 
 tion wheels. Any variation in the relative sizes 
 of these two cones would also change the angle 
 
 TVg -f V 
 
 of the pitch from the axis of the wheels. To 
 change the angle of the axis from a right angle 
 would also determine the angle of the pitch line. 
 To more fully illustrate the manner of laying out 
 Fig. 47, see Fig. 47^. Here a h and a c repre- 
 
88 
 
 PATTERN MAKING 
 
 sent the axis on which the gear revolves and a a 
 the pitch Hne. Assuming, for convenience of 
 calculation, that the pitch diameter d-e and d-f 
 are 7 inches in length and the number of teeth 
 22, the circumference at the pitch diameter 
 
 
 
 
 
 
 / ^' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 9 ' ^\. 
 
 
 ^ 
 
 « 
 
 
 
 
 1 
 
 
 "^ 
 
 ^ 
 
 
 
 N "^^^ 1 
 
 
 >^ 
 
 * 
 
 \ 
 
 \ \.^ 
 
 
 / 
 
 / 
 
 f 
 
 
 \ 
 
 /^^ 
 
 \ 
 
 t: / 
 
 / 
 
 / 
 
 
 
 \ ^^ 
 
 \ 
 
 ^ • X 
 
 / . 
 
 ' 
 
 
 
 \^^ \ 
 
 v\ 
 
 ' • .^y'^^ 
 
 ' 
 
 
 
 
 ^"^^-^ 
 
 J\ 
 
 _l-i<f'^^ 
 
 1 - . 
 
 Tt'/clt 
 
 
 7" 
 
 citn /liefer 
 
 - J 
 
 x^"" 
 
 K 
 
 
 
 
 J\ 
 
 
 < 
 
 
 S 
 
 
 7>f -^7i 
 
 
 \~ 
 
 
 
 
 
 
 will be 22 inches^ and the circular pitch at this 
 point 1 inch. Hence by measuring in .4 of an 
 inch at a right angle from the pitch line a-a^ 
 and a-f at the pitch diameter, the profile of a cone 
 is obtained to which the teeth or cogs may be 
 
 *The exact decimal is 21.9912. 
 
AND FOUNDRY PRACTICE 89 
 
 glued with accuracy and precision. The calcula- 
 tion for both ends of the teeth should be made 
 by the rules given for gear work, i.e., turn up the 
 cone and lay it off into 22 equal spaces, square 
 up for the centers of the teeth with the centering 
 tool (Fig. 48), glue the centers of the cogs to the 
 
 centers so established and finish in the usual 
 manner. 
 
 Fig. 49, showing an iron dome with projecting 
 ornament at the top and a handle at each side, is 
 here introduced as a sample of what may be 
 done with hollow cores. Assume that a rough 
 form has been glued up as shown in cross-section 
 in Fig. 50. Attach this form to the lathe and 
 turn out the inside first, otherwise it will be im- 
 
90 
 
 PATTERN MAKING 
 
 possible to turn that part. Reverse the pattern 
 and finish the outside, as shown by the shaded 
 portion in Fig. 50, and attach square core prints 
 
 for the handles and finial. Make suitable core 
 boxes for these prints, which core boxes should 
 
 Ti^} so 
 
 be constructed so that the bottom of the box is 
 the center of the core. In this case the cores go 
 together just the reverse of the ordinary way. 
 
AND FOUNDRY PRACTICE 
 
 91 
 
 Next turn out the handles and finial of the de- 
 sired form, rip them apart and fasten the halves 
 into the bottom of the core boxes as in Fig. 52. 
 A core moulded in one of these boxes will have 
 an impression of half of this turned piece in the 
 face, and when the two halves are pasted together 
 
 i 
 
 
 1 
 
 
 Cron section ihraiiqjk flask ahaWiiig metaH Gc cores 
 
 a proper cavity is left to mould the desired form, 
 which can then be put into the cavities in the 
 sand left by the core prints on the pattern, and 
 which will then appear as in Fig. 51. In this 
 pattern it will be necessary to make special pro- 
 visions for supporting the sand in the cope, other- 
 wise it will have a tendency to fall off in han- 
 
92 
 
 PATTERN MAKING 
 
 dling. Iron kettles with flaring legs and round 
 ears are cast in this manner. Others have the 
 leg straight on one side so it will draw readily, 
 and the ear is made in two pieces, which are 
 loose from the pattern and remain in the sand 
 until the pattern is withdrawn. It is well to 
 remember that any projecting part of a casting 
 which is of such a shape that it can of itself be 
 drawn out of the sand, may often be left loose 
 
 Tig S-SL 
 
 Cto^^ oectian ihroujh core lcK£^forTi^ 9t 
 
 when on account of some angle it is prevented 
 from being drawn with the pattern, in which 
 case it remains in the sand until the pattern is 
 drawn, after which it is easily taken out. 
 
 There are many patterns which from some 
 peculiar formation are much easier to mould if a 
 special follow board is made for them, and on 
 account of a delicate form of construction are 
 much easier to make by first making a follow 
 board of the desired shape and then building 
 
AND FOUNDRY PRACTICE 
 
 93 
 
 the pattern up piece by piece upon this form; 
 for instance, the curved grates in stoves, the cast 
 basket racks in passenger cars, etc., etc. Espe- 
 cially is this true of small, curved open work 
 castings, where it would be tedious, not to say 
 impossible, for the moulder to make a nice part- 
 ing in the sand with the trowel. By the use of 
 a follow board, which exactly fits the plain side 
 
 TJ^ 53 
 
 of the casting, the parting is made without any 
 trouble. As an example of a pattern of this 
 kind the aisle end for a car seat has been 
 selected. This pattern was arranged in such a 
 manner as to be divided in the middle, so that 
 the upper portion is cast separate from the leg 
 and used for the wall end of the seat. (See Fig. 
 53, a and 6.) 
 
94 
 
 PATTERN MAKING 
 
 The first step in this case was to make up 
 the follow board (Fig. 54), on which the aisle 
 
 7V^ S-f 
 
 end was laid out full size, taking dimensions 
 on a straight-edge and carrying them over 
 
 TJQ erg- 
 37rO'v\'9 yrnisTn^ fnijitterrt -in place on faJfoW JocrcL 
 
 to the curved surface. In cases where the fin- 
 ished pattern had to project below the face of 
 
AND FOUNDRY PRACTICE 95 
 
 this follow board, as shown by the core prints 
 a-a and the sockets for the seat rails 6 6 in Fig. 
 55 y the wood was mortised out to the desired 
 depth. After this the pattern was gotten out 
 piece by piece, fitted to the board in its proper 
 place and secured with small sprigs until the 
 glue joints hardened, care being taken not to 
 glue the pattern proper to the follow board. In 
 this case it was necessary to allow the arm, 
 which carried the back cushion from side to side 
 in reversing the seat, to pass behind the socket 
 h by Fig. 55 y thus making it necessary to core 
 out a slot between the socket for the seat rail 
 and the aisle end, which was done as shown 
 by the cores a a, Fig. 55. These are samples of 
 balanced cores, which will be explained further on. 
 This pattern has a joint at ccc. Fig. 53, so 
 that it may be cast without the leg being made 
 fast against the wall of the car. 
 
CASTING WITH PART PATTERNS, 
 SWEEPS, OPEN SAND WORK, ETC. 
 
 Castings are sometimes made without regular 
 patterns, or with only a portion of the pattern. 
 Some castings are made by the use of straight- 
 edges, curves, etc. Other castings are made 
 with sweeps. Many of these methods have come 
 down to us from periods of remote antiquity. 
 
 Recently in the foundry of at 
 
 the moulders were making a slab of iron 2 feet 
 wide and 5 feet long, with a rim around the 
 under edge and V-shaped cross bars or ribs on 
 the under side at intervals of about 6 inches each 
 way. (See Fig. 56, a b.) 
 
 There was no pattern for this work at all; but 
 instead there were some 1X2 inch strips and a 
 straight plank, v^^ith a V-shaped edge. To make 
 this mould, the floor of the foundry was leveled 
 off with the straight-edge, the grooves rubbed 
 into the sand with the V-shaped edge of the 
 board and the 1X2 inch strip laid down to form 
 the line of the outside of the casting. Against 
 these the sand was packed level with their tops 
 
 97 
 
98 
 
 PATTERN MAKING 
 
 and smoothed off. The cope was made with a 
 straight edge. 
 
 A very simple and useful "kink" was employed 
 recently in the case of a large piece of machinery 
 which was damaged in shipping. It had a large 
 circular gear about 8 feet across without spokes 
 or hub which was broken in two or three pieces. 
 This was an old, out-of-dale machine and it was 
 
 
 r~i 
 
 1 — 
 
 1 
 
 ! 
 
 I — 
 
 
 L 
 
 
 d 
 
 
 
 ! 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 r 
 
 ! 
 
 
 
 cc 
 
 
 ! 
 
 
 L — 
 
 —J 
 
 
 not possible to procure a gear from the original 
 pattern and it was considered too expensive to 
 make a new one, as only one casting was re- 
 quired. In this emergency the services of an 
 expert pattern maker were enlisted. This work- 
 man prepared a pattern of one-sixth of the gear, 
 which he fixed to two wooden bars, so arranged 
 as to swing around a center pin in the top of a 
 stake, which was driven firmly into the floor of 
 the foundry. (See Fig. 57.) 
 
AND FOUNDRY PRACTICE 99 
 
 To make the mould from this partial pattern, 
 level off the foundry floor with a straight-edge. 
 The center stake is then driven and left standing 
 up above the floor the thickness of the casting. 
 The partial pattern is next put on the center pin 
 and rammed up, leaving both ends open. After 
 
 ^IS 
 
 57 
 
 this it is lifted and moved, taking (jare that the 
 last cog on the pattern exactly fits the impression 
 in the sand. Ram this up again and move the 
 pattern as before. Continue this until the com- 
 plete circle is made, which will be an impression 
 of the complete gear. Since seeing this I have 
 
100 PATTERN MAKING 
 
 used the same plan for making mud rings for 
 boilers with perfect success, thereby saving much 
 valuable time and material. This method is not 
 recommended in general practice; but where a 
 single casting is all that will ever be needed, the 
 
 making of an entire pattern can and in some 
 cases should be avoided. 
 
 Another problem of a similar nature is found 
 in making a large pulley or flywheel where the 
 cost of making the pattern is not justified by the 
 number of v»diecls required. To make the mould 
 for such a pulley, first construct the form of the 
 radius desired for the rim of the wheel (see Fig. 
 
AND FOUNDRY PRACTICE 
 
 101 
 
 58), and in case of a belt wheel, make the rim 
 of the shape desired to hold the belt centrally on 
 the face of the pulley. Now secure this form to 
 two arms so fixed as to cause it to swing around 
 
 Tig S9 
 Core tor for. f\g €/ 
 
 a center stake at the proper radius. Make up a 
 core box of exactly the shape of one-sixth of the 
 wheel inside of the rim; that is, the radius of the 
 outside of tlie core box should be the thickness 
 
102 
 
 PATTERN MAKING 
 
 of the rim less than the radius of the form. Get 
 out the rib, a-a. Fig. 59, and glue it in place. 
 Turn up a hub one-half its length, cut it in six 
 parts and glue two of the pieces into the apex of 
 the core box, as in c, Fig. 59, leaving a slot or 
 mortise for withdrawing the spoke. Make one 
 spoke and secure the joint with a dowel pin at 
 6, Fig. 59. This will be better understood by a 
 
 1 
 
 
 
 
 
 M !• 
 
 
 
 i/'i'l'i'i'' 
 
 ^aiiiijiii 
 
 
 
 
 
 4;:' ill' 
 
 
 7Vy oo 
 C'ros^ Aectxo7t tTt-roii^Tt core bo-x for Ti<j Gi 
 
 study of Fig. 60. A round core is also required 
 for the center hole. The center stake should be 
 turned up of proper size so that when drawn out 
 or driven down it will leave a print for the center 
 core. 
 
 To make a mould from this set of patterns, 
 first make six cores in the core box (see Fig. 59 
 and Fig. 60) , and one round core for the center. 
 Level off the floor of the foundry and drive the 
 
AND FOUNDRY TRACTICE 103 
 
 center stake down level. Then put in a small 
 iron center pin and set the form (Fig. 58) on it. 
 Bank the sand solidly against the outside of the 
 
 - c 
 
 O 
 
 &7tcWrJrff y7io7/Jd w/M coyrtf in palace 
 
 pattern, level with the top, moving the form and 
 continuing the operation until a complete circular 
 pit is formed of the depth of the pattern. Re- 
 move the form and the center stake, leaving as 
 much of the hole made by removing the stake as 
 
104 PATTERN MAKING 
 
 is required for a core print for the center hole. 
 Place the six prepared cores in position, taking 
 care that the proper thickness of the rim is 
 maintained clear around the wheel. Place the 
 center core in position, pushing it down until it 
 is level with the face of the wheel. The finished 
 mould is shown in Fig. 61. 
 
SWEEP WORK 
 
 Sweep work or swept up moulds are moulds 
 made entirely without a pattern, and can only 
 be used for circular forms which, for reasons 
 of economy or otherwise, it may be deemed ex- 
 pedient to have cast without the expense of a 
 pattern. The sweeps are nothing more than 
 plain plank cut to the desired form and arranged 
 to revolve around a stake driven into the floor of 
 the foundry. The sand is packed in front of the 
 sweep and the sweep moved around, thus scrap- 
 ing the surplus sand away until the desired form 
 is obtained. Sweeps are beveled on the edge so 
 as to push or pack the sand ahead of them as 
 they move around the center stake. There are 
 various ways of making and using sweeps. The 
 ordinary way to sweep a pattern, where the form 
 is such as to admit of doing so, as shown in Fig. 
 63, is to make a sweep of the exact form of the 
 outside of the casting and another one that is 
 exactly the thickness of the casting, but deeper. 
 On the second sweep the form and thickness of 
 the metal is painted black. (See Fig. 64, a.) 
 
 105 
 
106 PATTERN MAKING 
 
 It will be seen that this pair of sweeps are so 
 arranged as to form a rabbet in the sand, which 
 insures the cope being centrally located. 
 
 To make a mould for Fig. 63 with this set of 
 sweeps, the floor of the foundry is first leveled 
 off and a stake driven down, leaving enough 
 
 Try G3 
 
 above ground to operate the sweep. The first 
 sweep is then put on, the sand packed about the 
 stake and a hill is formed representing the out- 
 
AND FOUNDRY PRACTICE 107 
 
 side of the casting. When complete, a parting is 
 made and the cope placed in position and 
 rammed up. Gates are then made and the cope 
 removed. The second sweep is now substituted 
 for the first and the sweeping continued until a 
 perfect form is produced of the inside of the 
 casting. Now the sweep is removed, the cope 
 placed in position and the mould is complete. 
 
 
 A much more diflficult operation is one where the 
 casting is of such a form that it is impossible to 
 lift the cope from the outside. (See Fig. 62.) 
 In this instance a hole is swept into the drag — or 
 foundry floor, as the case may be — having the 
 form of the inside of the casting. (See Fig. 64.) 
 The cope is then placed in position, rammed up 
 and removed. The second sweep is then placed 
 on the stake and the sweeping continued until a 
 
108 
 
 PATTERN MAKING 
 
 perfect form of the outside of the casting is 
 obtained. (See Fig. 65.) The stake and sweeps 
 being removed and the cope placed in position, 
 the mould is complete. The difficulty in this 
 case is in handling the cope, for which special 
 
 ^ -patr^oftmimttry awe^Tja 
 
 arrangements should be made for supporting the 
 sand. 
 
 It is possible, for certain special work, to sweep 
 both cope and drag; but it is seldom done. 
 
 There are various reasons for using sweep 
 
AND FOUNDRY PRACTICE 
 
 109 
 
 work, the first and most common of which is 
 from a consideration of economy, as where a 
 pattern is large and costly and only one or more 
 
 C/-rcy<i3 se^c-tfoii tltToiisT* :5^noh€ "hot c^oor 
 
no 
 
 PATTERN MAKING 
 
 pieces are required, it is often better to use 
 sweeps, as they save the cost of making a pat- 
 tern. The cost of moulding from sweeps, how- 
 
 '•^•^;v.b;.:'^::-;M1: 
 
 
 ever, is more than from a pattern, and in very 
 heavy work the saving of the extra cost would 
 pay for the pattern. It is possible to sweep a 
 
 pattern which will not draw in the ordinary 
 manner, also circular castings having projections 
 of various kinds may be swept by having wood 
 
AND FOUNDRY PRACTICE 
 
 111 
 
 patterns of the projecting parts. To illustrate 
 this is cited an instance of a casting which was 
 made at the Frisco R. R. shops last winter at Cape 
 Girardeau, Mo. This casting was the door on 
 
 the front of an engine, usually termed "the smoke 
 box door." It was required to cast hinges on 
 this door, together with some other minor projec- 
 tions not necessary to illustrate. The first thing 
 done was to make, on a 
 piece of heavy manila paper, 
 a regular working drawing 
 in cross-section of the re- 
 quired casting. (See Fig. — = 
 064.) Then the perpendicular line a b for 
 the center of the sweep was drawn. The 
 sweeps can be laid out by pricking through 
 the drawing. The upper line gives the shape 
 of sweep No. 1 and the lower one sweep 
 
 Tigs'/* 
 
112 
 
 PATTERN MAKING 
 
 No. 2. A face view of this casting is given 
 for the purpose of locating the hinges, etc. 
 (See Fig. 063.) Next wood patterns of the 
 
 7Vy ©s 
 
 hinges were made, leaving the pivot holes to 
 be drilled after the casting was completed. 
 Then into a suitable drag box or the foundry 
 floor a stake was driven to such a point 
 
 as to allow No. 1 
 to turn freely 
 with the outer 
 end at the part- 
 ing in the box 
 or floor. Then 
 the sand was 
 packed and the sweeps moved until the form 
 was perfectly true and complete. Next a 
 parting with dry sand was made in the usual 
 w^ay and the wood patterns were set in position. 
 
 Ti_3 ^B 
 
AND FOUNDRY PRACTICE 113 
 
 care being taken that they were exactly in posi- 
 tion, where they could be secured by packing a 
 little sand around them. Now the cope was put 
 on and rammed up, great care being taken not to 
 move the hinges. Next 
 the cope and hinge 
 patterns, which re- 
 mained in the cope, 
 were removed. Now 7:)^ ^^ 
 
 the center stake was ^^^^ 
 
 driven down exactly the thickness of the cast- 
 ing by measurement, and sweep No. 2 was 
 put on, which cut away exactly the size and 
 shape of the required casting. Then the 
 
 A. 'bala.rtfed. core 
 
 stake and the sweep were removed, the cope 
 replaced and the mould was finished. 
 
 To lay out any sweep, it is only necessary to 
 make a full-sized working drawing of the desired 
 casting. Then look carefully at this drawing 
 and see just how it ought to lie in the mould. 
 
114 PATTERN MAKING 
 
 Then turn the drawing that side up. The upper 
 Hne of the drawing is sweep No. 1 and the lower 
 Hne is sweep No. 2, which also has the line of 
 No. 1 laid out on it and the shape of the metal 
 painted black. It is also customary to add an 
 angle to both sweeps, as shown at c in Fig. 65. 
 This acts as a guide for gauging the thickness of 
 the metal and insures proper locating of the cope. 
 It is frequently a matter of great convenience 
 to be able to sweep up quickly a large core, such 
 as for the cylinder of a locomotive or other hol- 
 low work where nothing more than a plain, 
 straight core is required. This can easily be 
 done by the use of two half-circles of plank of 
 the desired radius, secured in position with three 
 strips of wood, as shown in Fig. 6Q. The core is 
 packed in this frame and swept off with a straight- 
 edge. Or it may be required to sweep up a 
 straight, round core of different diameters, hav- 
 ing offsets, etc. To do this, get out a plank 
 which is of the shape and size of a longitudinal 
 section through the center of the core, as at 6 in 
 Fig. 67a, allowing for the thickness of the half 
 circles / /. Fasten the half circles / / in place, 
 and if possible secure them from warping with 
 good heavy angle irons let in flush with the 
 
AND FOUNDRY PRACTICE 115 
 
 wood, as at c c, Fig. 67a. Now get out a 
 sweep, a. Fig. 67a, which exactly fits the side of 
 this plank or bottom board. Hang the sweep 
 by the two arms c c to the center pins d d; all 
 of which will be easily understood by referring to 
 Fig. 67a and Fig. G7b, The sweep a should be 
 beveled on both sides towards the center on the 
 working edge, so that it will press the sand in as 
 
 T^ould for fhited ceRum n ma^t entirely ef core^ 
 
 it passes back and forth over it. To make a 
 half core on this device it is only necessary to 
 pack the sand on the bottom board and pass the 
 sweep a backwards and forwards over it, filling 
 in sand until the desired form is obtained. 
 
 Fig. 68 is designed to illustrate the manner in 
 which bolt holes, etc., are moulded at right 
 angles to each other through a casting. By 
 
116 PATTERN MAKING 
 
 referring to the drawing, Fig. 68, it will be 
 observed that the holes 6 6, if slightly tapered so 
 they can be drawn out of the sand, will leave 
 their own core; while the hole a, Fig. 68, will 
 not draw out of the sand with any core yet de- 
 scribed. For ai] such work a peculiar core and 
 core box, called a stop core, are used. For this 
 purpose a peculiarly shaped core print is put on 
 the pattern, as shown in Fig. 69. It then 
 becomes necessary to make a core box which will 
 mould a core as shown at a in Fig. 70. At 6, 
 Fig. 70, is shown a cross -section through the 
 casting, with the core in place. 
 
 In many cases it is necessary to use cores 
 which, from some peculiarity of the design, will 
 have no support at one end and have a tendency 
 to fall down, or at least sag enough to make the 
 casting thin on one side. In such cases the core 
 and core print are made long enough for the core 
 to lie in the core print without tipping down. 
 These are called balance cores. (See Fig. 71.) 
 In other cases cores may be so long as to sag of 
 their own weight. When this is liable to occur, 
 small iron pieces called "bridges" are put under 
 them. These fuse with the heat of the metal 
 and become part of the casting. In some in- 
 
AND FOUNDRY PRACTICE 117 
 
 stances it is necessary to nail the core in place to 
 keep it from floating. 
 
 In cases of very complicated designs it is some- 
 times more convenient to make the actual mould 
 for the casting entirely of cores, in v/hich event 
 the pattern would bear little resemblance to the 
 casting, but would, instead, have the form of the 
 cavity in the sand which would be required to 
 hold in position the cores, forming the actual 
 mould. As an instance of this, observe Fig. 72, 
 which shows a cross-section through such a 
 mould, made for casting a fluted column. In 
 this instance the pattern would be a plain 
 hexagon. This is only referred to as being one 
 of the many possibilities of pattern making and 
 is not cited as being ordinary shop practice. 
 
 Having covered pretty thoroughly the common 
 every-day problems which come to an ordinary 
 pattern shop, a pattern is now illustrated which, 
 when properly made, is a simple matter; yet 
 before the reasonable solution of this problem was 
 found, it had cost the firm doing the work a 
 large sum of money. The problem was to cast 
 a triple locomotive chime whistle, having three 
 separate compartments of different lengths in the 
 bell, and three chambers for steam in iho base. 
 
118 
 
 PATTERN MAKING 
 
 This pattern was first made, or rather at- 
 tempted, and some three or four whistles were 
 cast from it. It was so compHcated a piece of 
 
 work that an ordi- 
 nary moulder could 
 not put it together 
 and get a mould 
 from it; in conse- 
 quence it had always 
 to be taken to the 
 foundry by the pat- 
 tern maker. The 
 foundry made a 
 labor charge of $5.00 
 on this work, in 
 addition to the weight 
 of the brass, for each 
 and every whistle 
 cast. Having de- 
 cided that some im- 
 provement could be 
 made in this pattern, 
 it was sent to the 
 shop and remodeled and some slight improve- 
 ments were made. However, it yet remained a 
 very unsatisfactory piece of work. It was given 
 
AND FOUNDRY PRACTICE 
 
 119 
 
 Cross 3rcHo-n of iell 
 
 to C. W. Sherwood, now of Racine, Wis., who 
 produced the pattern as here shown, which has 
 proven very satisfactory 
 in its operation. 
 
 A clear idea of this 
 casting may be derived 
 by reference to Figs. 
 73, 74 and 75. Fig. 73 
 shows a cross-section 
 through the bell of the 
 whistle and the base, 
 both of which are hol- 
 low and in three compartments. The first com- 
 partment extends the full length of the bell; 
 
 the next is shorter, 
 extending to c, 
 Fig. 73, and the 
 third still shorter, 
 extending to 6, 
 Fig. 73. In pro- 
 ceeding with a 
 work of this kind, 
 the first requisite 
 is a working draw- 
 ing of full size, and one which should be as 
 nearly complete in every detail as it is 
 
 7>y rs- 
 
 Cro9 s 3cetzoi t of Arae 
 
120 
 
 PATTERN MAKING 
 
 possible to make. Next make the pattern for 
 the bell, Fig. 76, and the base, Fig. 77. 
 Now make the core box as shown at a-b in 
 Fig. 78, two slides, c-c. Fig. 78, being made for 
 
 Thr-ft rry 
 
 the openings at the upper end. One slide 
 reaches almost across the opening and joins with 
 the partition slide d^ Fig. 79. The other cuts 
 off even with the inside of the core box and is 
 only designed for closing up the slot when not 
 
AND FOUNDRY PRACTICE 
 
 121 
 
 needed. Next make the partition slides d. Fig. 
 79, one for the middle partition c and one for 
 the short partition b, Fig. 79. Now make two 
 more slides e e, which are the dupHcates of the 
 slides d d, except that they cut off at the inside 
 of the core box. These also are only used to 
 stop up the slot when not in use. Next make a 
 center pin d. Fig. 78, and rip it in halves, cut- 
 ting out the little gain 
 e. Fig. 79, so that the 
 sweep g g. Fig. 79, can 
 work clear down to the 
 bottom of the bell of 
 the whistle in sweeping 
 out the half partition c c, 
 Fig. 79. These centers 
 should be made right 
 and left, in order that the core box may 
 reverse. At /, Fig. 78, is a half plug which 
 is changed over in reversing the core box. 
 The holes hh-hh. Fig. 79, are made so that 
 a small iron rod may be driven up into the core 
 to prevent it from breaking apart. Fig. 80 is a 
 cross-section of the core box for the base of the 
 whistle. The box may be made in only two 
 parts by allowing a Httle draft at e. Fig. 80. 
 
 ris Tj 
 
122 
 
 PATTERN MAKING 
 
 The top b is turned up, as shown, and the par- 
 titions d d d glued to it. The cores c~c. Fig. 80, 
 
 make the vent holes c c c, Fig. 75, which let the 
 steam out into the bell of the whistle. 
 
 (_^ 5*lerp 
 
 There is a variety of cast parts used in locomo- 
 tive and car work, such as draw bars, truck 
 
AND FOUNDRY PRACTICE 
 
 123 
 
 pedestals, oil boxes, etc. These castings, while 
 apparently very common and rough to look at, call 
 for considerable 
 skill in the mak- 
 ing of the pattern. 
 As a sample, an 
 ordinary oil box 
 has been selected. 
 (See Fig. 81.) 
 This will be more 
 fully understood 
 by studying the two sectional views of the 
 castings. Figs. 82 and 83. A complete working 
 
 a/ 
 
 r^ &o 
 
 oil ion . f<rr /r-eig7tt Cai» 
 
 drawing is shown in Figs. 84 and 85. To make 
 this pattern, first prepare the working drawing 
 on heavy paper and prick out the outlines com- 
 
124 
 
 PATTERN MAKING 
 
 plete and transfer them to a plank of proper size. 
 With this plank as a pattern, cut enough mate- 
 
 f>tat€D 
 
 JiOTtij itudtual section throtigh oil hot 
 
 rial to build up a block of the entire thickness of 
 the core, making the parting in the center. 
 Next get out two side 
 pieces of sufficient thick- 
 ness to complete the pat- 
 tern. (See a 6, Fig.85.) 
 Now dowel the two cen- 
 ter pieces together and 
 glue up the remainder 
 and this will form a block 
 roughly resembling the 
 ,=^= = ^== desired pattern. Then 
 carve this into the required form with the 
 paring tools, gouges, etc., and when finished 
 
 7y g^ 
 
 Cro33 section through oil box 
 
AND FOUNDRY PRACTICE 
 
 125 
 
 paint the inside as in Fig. 86. The core print 
 a, Fig. 86, and the hinge for the lid 6, Fig. 86, 
 
 £5 MS 
 
 3ecf tona l Worhhg ayaW^nff ^ rfHlt cm-K W rii \i9 
 
 should be added to the original block. This 
 hinge may also have the slot for the lid cored 
 through it in the ordinary way; that is, by put- 
 
 Parfirt^ 
 
 Vforkinj drawing Xoohin^ HoWrt 
 
 ting the necessary core print on the outside of 
 the hinge piece, but this cannot be illustrated 
 
126 
 
 PATTERN MAKING 
 
 in this view of the pattern. Next make a com- 
 plete core box, as shown by the working drawing. 
 Half of such a core box is shown in Fig. 87. 
 Little strips of wood a. Fig. 87, or blocks 6, 
 Fig. 87, can be tacked into the core for any 
 
 ria fie 
 
 ffd7f of f-rnisiheS paHeitt 
 
 slides, projections, etc., that may be required by 
 the nature of the work. A rather neat piece of 
 work is a double-flanged elbow for a steam pipe, 
 as shown in Fig. 88. Assuming this to be for a 
 small pipe, say 4-inch, it becomes a simple 
 piece of lathe work. Having made a proper 
 
AND FOUNDRY PRACTICE 127 
 
 working drawing (Fig. 89) for determining the size 
 of the parts to be made, prepare a piece of material 
 of suitable dimensions from which to turn out a 
 ring, which should be a perfect semicircle in 
 
 cross-section, as shown in Fig. 90. This ring is 
 then cut into quarters, two of wliich make the 
 principal part of the pattern. Next turn up two 
 pieces (see Fig. 91) in two parts each. These, 
 
128 
 
 PATTERN MAKING 
 
 when doweled to the quarter circles already 
 mentioned, make the desired pattern, as shown 
 
 ^^9 88 
 ^ doxible flcnt^€J3i sfeam yaxjae elioW 
 
 in Fig. 92, and it should be painted in the joint, 
 as shown in Fig. 92. To make a core box for 
 
 *rh€ Worlii-n^ SiraWiii^ for pijae ^boW 
 
 this pattern, take a piece of stuff of proper 
 dimensions and into the face turn a semicircular 
 
AND FOUNDRY PRACTICE 
 
 129 
 
 groove of the radius desired. Cut this plank in 
 quarters, using one of the parts for the curved 
 
 portion of the box, which is finished by gluing 
 on strips in which proper semicircular notches 
 are cut, and with additional strips for closing the 
 ends of the box. This 
 is clearly illustrated in 
 Fig. 93. As the core 
 box is alike at both 
 ends, the core will re- 
 verse and glue together; 
 therefore a single box is 
 all that IS necessary. ==• •= 
 
 If, however, one end of the elbow should 
 differ from the other, a full box should be 
 made. Now assuming that instead of 4 inches 
 
130 
 
 PATTERN MAKING 
 
 TVy _£f 
 
 Tt^ 93 
 
 €for€ "hox fot* STixalJ ^izeS elhaW 
 
AND FOUNDRY PRACTICE 
 
 131 
 
 this elbow is 4 feet in diameter, then we 
 have an entirely different proposition to con- 
 sider, and instead of a piece of lathe work we 
 
 have a problem in construction which should be 
 
 solved in the following manner: Get out the two 
 
 circular flanges, a a. Fig. 94, which should each be 
 
 in two halves and 
 
 doweled together. 
 
 Next, get out the 
 
 pieces b and c, 
 
 and let them into 
 
 a suitable gain, 
 
 which is cut into 
 
 the straight side of these flanges. (See Fig. 95.) 
 
 Now get out the semicircular ribs for the 
 
 body of the pattern, and the ribs and ends 
 
 j/alf pattern for l^rge fjiov/ 
 
 sTiaWi'rit^ cross Sectioft «»' fiati^e 
 
132 
 
 PATTERN MAKING 
 
 for the core prints. Secure these with large 
 wood screws and glue to the pieces b and c, 
 
 Corc 'dok foT 1ar^<e. elboW Dvu'ed jine^ sftt^ Ttbi 
 
 as shown in Fig. 94, taking care that a 
 proper allowance is made for the thickness 
 of the lagging. Then get out suitable lagging, 
 
 the form of which 
 can be obtained 
 from the cross- 
 sectional working 
 drawing, Fig. 95. 
 Now cut this lag- 
 ging to such lengths 
 as the nature of the work may require, and 
 secure it in place with glue and screws or 
 long finish nails, driving all nail heads far 
 
 Tig 0r 
 
 CroM section throiigTi core Trox 
 
AND FOUNDRY PRACTICE 
 
 133 
 
 enough below the surface to allow truing up. 
 Then go carefully over the work with sharp 
 
 Tlo-n of 5keJefon core loit for Jar^c eJbovsf 
 
 l. l l i'Tl / — .l i ,n,.i| i 'Hvi,>, ' WA 
 
 '^:mm^^i^^~ 
 
 Elrvctttori of Stlte'let o-n core ' boy for fo-rtj/e elhoW 
 
 His "^^ 
 
 CVoss 3CC < T o 7t Tlvro iijgh core , coreiox 8r_ swefjg- 
 
 paring tools, planes, etc., until no bumps 
 appear when rubbing the hand endways along 
 
134 
 
 PATTERN MAKING 
 
 l^- 
 
 fot 
 
 the pattern. Lastly, put a leather 
 fillet^ at d and finish with shellac 
 in the ordinary manner. The 
 making of a core box for this 
 elbow is very similar to the 
 making of the pattern itself, 
 except that the design is le- 
 rersed; the operation being 
 shewn in Figs. 9G and 97. 
 This core can be sw^pt in a 
 skeleton box similar to the 
 skeleton core boxes already de- 
 scribed, excepting that from the 
 curved form of the core it is 
 necessary to so design the core 
 box that the sweep may be 
 moved from end to end of the 
 work instead of around it. Such 
 a device is clearly shown in 
 Figs. 98, 99 and 100. 
 
 Fig. 101 represents an ordi- 
 nary fluted cast-iron fence post, 
 which has hollow projections for 
 receiving the ends of the top 
 
 * Leather is now generally used for fillets and is sup- 
 plied in various sizes by the trade. 
 
AND FOUNDRY PRACTICE 135 
 
 and bottom rail of the fence, which is itself 
 hollow. 
 
 Such a pattern would not draw if divided in 
 the ordinary manner; but the work becomes 
 simple enough when parted as shown in Figs. 102 
 and 103. The projections for receiving the ends 
 
 j9a Hinq 
 
 of the rail are left loose from the pattern and are 
 drawn out of the sand after the pattern is lifted, 
 and these, being hollow, leave their own core in 
 the sand. 
 
 A suitable core box for Fig. 101 may be made 
 
136 PATTERN MAKING 
 
 of the form shown in Fig. 104, especially if any 
 grooves, moulds, etc., are to be shown on the 
 core to correspond with the form of the outside 
 of the post. If a plain square core is all that is 
 required, a core box of the desired form may be 
 made, open at top and bottom, which is laid upon 
 a flat surface filled with prepared sand, flour, etc., 
 and struck off with a straight-edge, as described 
 for the core box as shown in Fig. 25. In this 
 
 mould such a core would lie with the corner up- 
 ward. 
 
 Having endeavored to treat the subjects of this 
 work in a manner both lucid and exhaustive, not 
 only by the directions simply stated, but also by 
 many illustrations, I feel confident that the care- 
 ful perusal and study of this volume will be a 
 great aid to the intelligent and ambitious 
 mechanic in his battle for success in life in this 
 particular field of usefulness. It was my inten- 
 
AND FOUNDRY PRACTICE 137 
 
 tion to have added a chapter, or at least a few 
 pages, to this work, upon the subject of the 
 kinds of wood usually employed in the making 
 of patterns; but as the subject has already been 
 so ably treated by a writer in the July, 1904, 
 number of "Carpentry and Building," I have 
 here reproduced the article in full. 
 
WOOD FOR MAKING PATTERNS 
 
 "In a recent discussion of the different varieties 
 of wood adapted to the making of patterns, M. 
 J. Golden, Professor of Applied Mechanics at 
 Purdue University, Lafayette, Ind., brought out 
 some very important points to be considered by 
 the pattern maker, and as the subject is one in 
 which a large class among our readers is inter- 
 ested, we take space to present the following 
 extracts : 
 
 "A suitable wood for pattern making must be 
 cheap, of such a nature that it can be shaped or 
 formed easily, have a fine grain and a fair degree 
 of strength. The requisite of cheapness throws 
 out of the list — except for special or restricted 
 use — some woods, such as cherry and mahogany, 
 from which excellent patterns may be made. A 
 study of the microscopic structure of the wood 
 will show why certain classes are not and cannot 
 be suitable for pattern making. For instance, 
 take oak and pine, which are very much alike 
 in cost and the ease with which they may be 
 shaped. Oak, however, is not at all suitable for 
 
 139 
 
140 PATTERN MAKING 
 
 patterns, while pine, though weaker, is much to 
 be preferred, and is used more than all other 
 woods. Some knowledge of the structure and 
 growth of the two will help us to understand 
 this. Upon examination we find that the pine 
 has a texture that is smooth and even, while the 
 oak has a very great variation in the wood which 
 is formed in the spring of the year, and that 
 which is formed in the summer. The spring 
 growth is open and has many holes that follow 
 the direction of the grain, while the summer wood 
 is dense and hard. In addition, in the oak we 
 find the hard, shell-like plates that form the silver 
 grain comparatively large and numerous; while 
 in pine these plates are hardly distinguishable 
 at all. 
 
 " One requisite of a good pattern wood is that 
 it must be of such a nature that the grain can be 
 filled with shellac varnish or some corresponding 
 medium, to protect the pattern from the action 
 of moisture in the moulding sand. It is evident 
 that the wood of the oak will serve this purpose 
 but poorly, and that pine would be much better. 
 
 " The wood of the oak is made up practically of 
 two different kinds of elements ; one kind is called 
 the vessel. This is shaped like a tube, which 
 
AND FOUNDRY PRACTICE 141 
 
 may and often does extend the whole length of 
 the tree trunk. The structure of this vessel 
 is much like that of a wire-wound garden 
 hose, except that the ridges are on the inside of 
 the walls of the tube. These ridges serve to 
 stiffen and strengthen the tube. The vessel is for 
 carrying sap from the roots to the branches and 
 leaves. This kind of element forms larger open- 
 ings, and the vessels have grouped around them 
 elements of the second kind. These are com- 
 paratively short in length and much stronger in 
 the walls. The ends of these shorter members 
 overlap and dovetail together; the shorter 
 members are called fibres and serve as a 
 mechanical support to the vessels. The vessels 
 and groups of fibers that surround and stiffen 
 them are together called a bundle. 
 
 '' There is still another kind of tissue in the oak 
 that forms the. silver grain. This is of the same 
 kind that is found in pith, and it occurs in flat 
 plates that connect the outer and inner parts, 
 growing from the heart outward. One of these 
 plates is called the medullary ray and the wood 
 between two of them is a bundle. 
 
 "As the tree grows older the tissue in the 
 medullary ray h:?.rdens very much, and as it does 
 
142 PATTERN MAKING 
 
 not change its form during seasoning, it has con- 
 siderable influence in causing the wood to warp. 
 This greater tendency to warp on the part of the 
 oak is another point against it for the pattern 
 purposes. During the growth of the tree the 
 food matter is taken up by the roots and is 
 carried up to the leaves through the vessels, and 
 there it is brought in contact with the air that it 
 takes in through openings in the surface of the 
 leaves. The sap is then changed into food 
 matter for the tree. The principal portion of the 
 food matter comes from the air, and is carried 
 back with the sap from the leaves to the outer 
 part of the branches and trunk, where it is used 
 in building new wood and other tissue. The 
 medullary rays help to carry food matter to the 
 inner growing parts of the tree. 
 
 " Pine wood differs from oak in that it has only 
 one kind of element instead of two. In place of 
 the vessels and fibers there is a kind of element 
 called tracheide that serves the purpose of both. 
 The walls of this tracheide have small openings 
 through them from one to another so that the 
 sap may be carried from the roots to the leaves 
 and back again to the growing tissue. In spring, 
 when the flow of sap is greatest, the elements 
 
AND FOUNDRY PRACTICE 143 
 
 that are formed by the growing part of the oak 
 are very large and have thin walls, while during 
 the summer the walls are thicker and stronger 
 and the elements correspondingly smaller. The 
 summer wood of the oak is consequently harder 
 and more fine in grain and thus better adapted 
 for pattern making. The difference in the 
 growth in pine at different seasons of the year is 
 much less than in oak, and so, of course, the 
 wood, as a whole, is much more even in grain. 
 When this, and the fact that there is only one 
 kind of element in pine, are taken into considera- 
 tion, it is evident that the pine is better suited for 
 pattern work than the oak. 
 
 " When the pattern maker comes to use these 
 two woods he finds the oak having clearly marked 
 annual rings in which there are, side by side, wood 
 tissue that is very hard and dense from the 
 summer wood, and tissue that is very light and 
 open from the spring growth, so that it is 
 practically impossible to get a surface that will 
 resist the action of moisture in the mouldino- 
 sand, or even a surface sufficiently smooth to 
 leave a good impression in the mould. 
 
 " Then, too, the oak pattern would have a 
 constant tendency to warp because of moisture 
 
144 PATTERN MAKING 
 
 taken in from the open vessels of the spring 
 wood. 
 
 "The pine, on the contrary, has not much 
 difference in the tissue that goes to make up its 
 spring and summer annual rings, these rings 
 being distinguishable more on account of a slight 
 change in color in some parts than on account of 
 the size of the elements. The elements in all 
 parts of the pine are thin and light enough so 
 that the wood is easily shaped, and yet the ele- 
 ments are small enough to make protection of 
 them by varnish an easy matter, on account of 
 the fact that they are easily filled. These pecul- 
 iarities of structure adapt the pine especially to 
 the needs of the pattern maker, its principal draw- 
 back being because of the lightness of its tissue 
 and the ease with which it is bruised." 
 
 In conclusion we will remark, that a pattern 
 maker is supposed to be a paragon of order, a 
 thorough mechanic and a gentleman. His tools 
 are of the best quality and in perfect order for 
 turning out the finest quality of work. Every 
 tool is always in place and he knovv^s just where 
 to lay his hands on the desired one. His patterns 
 are all numbered and an accurate record kept of 
 them. He is supposed to know what patterns 
 
AND FOUNDRY PRACTICE 145 
 
 are at the foundry, when they went and how 
 many pieces of casting are required. He is 
 expected to "keep tab" on patterns that leave 
 the shop, and in case such patterns are not 
 returned at the appointed time, he should look 
 after them at once. His shop is clean and 
 pleasant. His material is the best of its kind; the 
 softest and driest pine for ordinary and mahogany 
 for fine work. Hence a job of pattern making is 
 well worth striving after by any person who 
 desires to follow a life devoted to mechanical 
 pursuits. 
 
 THE END 
 
TABLE OF CONTENTS 
 
 Foundry Practice. 
 
 Cast iron washer — Cup-shaped casting — Con- 
 necting rod — Fire extinguisher cap — Stake 
 pocket casting. Page 19-S i 
 
 Pattern Shop Practice. 
 
 Mechanical drawing — Drafting tools — Loca- 
 tion of machinery — Gluing up work. Page. 37-48 
 
 Tools. 
 
 loathe tools, chisels and gouges — Shrinkage 
 
 rule — Pattern maker's lathe. Page 49-58 
 
 Making the Pattern. 
 
 Stake pocket pattern and core box — Flanged 
 cylinder pattern and core box — Cast pipe 
 fitting and core box — Double flanged wheel 
 pattern and core box — Double flanged gear — 
 Brake wheel pattern — Making a gear pattern 
 — Laying out gear teeth— Miter gear pattern 
 — Iron dome pattern and core box — Car seat 
 pattern. Page 59-96 
 
 Casting with Part Patterns, Etc. 
 
 Ribbed plate — Cast gear — Large pulley or 
 flywheel. Page 97-104 
 
 Sweep Work. 
 
 Sweep for bowl or dome — Sweep for smoke 
 box door — Sweep for locomotive cylinder — 
 Mould for fluted column. Page 105-117 
 
 Complicated Patterns. 
 
 Locomotive chime whistle — Car journal box 
 — Double flanged elbow — Skeleton core for 
 large elbow — Fluted cast iron fence post. 
 Page 118-138 
 
 Wood for Pattern Making. 
 
 Oak— Pine. Page 139-145 
 
 147 
 
MODERN LOCOMOTIVE 
 ENGINEERING '"'E.^.rr'^ 
 
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 THE most modern and practical work published, treating upon the 
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 Breakdown, and what to do in cases of emergency, are given a con- 
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The Up-to-date Electro- 
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STEAM BOILERS. THEIR 
 CONSTRUCTION, CARE 
 AND OPERATION, 
 
 with questions 
 and answers. 
 
 By C. F. swingle, M. E. 
 
 A complete modern treatise, fully describing, with illus- 
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MODERN ELECTRICAL 
 ^-^^ CONSTRUCTION 
 
 By HORSTMANN and TOUSLEY 
 
 ^HIS book treats almost entirely of practical electrical 
 ^^ v/ork. It uses the "Rules and Requirements of the Na- 
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 the best class of electrical 
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 the beginning electrician 
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 practical instructions For 
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 of especial value to elec- 
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 trade. 
 
 The book also contains a 
 number of tables giving di- 
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 sulators and other material 
 in general use, which will be found of great value in practice. 
 There is also given a method by which the diameter of con- 
 duit necessary for any number of wires of any size can be at 
 once determined. The motto of the authors, "To omit noth- 
 ing that is needed and include nothing that is not needed," 
 that has made "Wiring diagrams and Descriptions" so suc- 
 cessful, has been followed in this work. No book of greater 
 value to the man who does the work has ever been published. 
 16mo, 250 pages, 100 diagrams. Full leather, limp. 
 '- Price, net, SJ-SO ' 
 
 Sent postpaid to any address in the world upon receipt of price 
 
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 211-213 E. MADSSON ST. CHICAGO, ILL. 
 
THE MOST IMPORTANT BOOK ON ELECTRICAL CONSTRUOTION 
 
 WORK FOR ELECTRICAL WORKERS EVER PUBLISHED. 
 
 NEW 1904 EDITION. 
 
 MODERN WIRING 
 DIAGRAMS AND DESCRIPTIONS 
 
 A Hand Book of practical diagrams and 
 information for Electrical Workers. 
 
 By HENRY C. HORSTMANN and 
 VICTOR H. TOUSLE Y 
 Expert Electricians. 
 
 This grand little volume not only tells 
 you how to do it, but It shows you. 
 
 The book contains no pictures of 
 bells, batteries or other fittings ; you ©an 
 see those anywhere. 
 
 It contains no Fire Underwriters' 
 rules ; you can get those free anywhere. 
 It contains no elementary considera- 
 tions ; you are supposed to know what 
 an ampere, a volt or a "short circuit" 
 is. And it contains no historical matter. 
 All of these have been omitted to 
 make room for "diagrrams and de- 
 scriptions" of just such a character as 
 workers need. We claim to give all 
 that ordinary electrical workers neec^ 
 and nothing that they do not need. 
 
 It shows you how to wire for call and alarm bells. 
 
 For burglar and fire alarm. 
 
 How to run bells from dynamo current, 
 
 How to install and manage batteries. 
 
 How to test batteries. 
 
 How to test circuits. 
 
 How to wire for annunciators; for telegraph and gas lighting. 
 
 It tells how to locate "trouble" and "ring out" circuits. 
 
 It tells about meters and transformers. 
 
 It contains 80 diagrams of electric lighting circuits alone. 
 
 It explains dynamos and motors ; alternating and direct carrent. 
 
 It gives ten diagrams of ground detectors alone. 
 
 It gives "Compensator" and storage battery installation. 
 
 It gives simple and explicit explanation of the "Wheatstone" Bridge 
 and its uses as well as volt-meter and other testing. 
 
 It gives a new and simple wiring table covering all voltages and all 
 losses or distances. 
 
 IGmo., 160 pages, 200 illustrations; full leather binding, <fj|*-| J(Zf\ 
 rouud corners, red edges. Size 4x6, pocket edition. PRICE ^ I .O V/ 
 
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 PUBLISHERS 
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A BOOK EVERY ENGINEER AND ELECTRICIAN 
 SHOULD HAVE IN HIS POCKET. A COMPLETE 
 ELECTRICAL REFERENCE LIBRARY IN ITSELF 
 
 NEW EDITION 
 
 15he Handy Vest-Pocket 
 
 LECTRICAL 
 DICTIONARY 
 
 BY WM. L. WEBER, M.E. 
 ILLUSTRATED 
 
 CONTAINS upwards of 4,800 words, 
 terms and phrases employed in the 
 electrical profession, with [their 
 definitions given in the most concise, 
 lucid and comprehensive manner. 
 
 The practical business advantage 
 and the educational benefit derived 
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 the meaning of some term involving 
 the description, action or functions of 
 a machine or apparatus, or the physi- 
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 he knows that a thorough understand- 
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 of any phenomena, effected by the aid 
 of his little vest-pocket book of refer- 
 ence, is far more valuable and lasting 
 in its impression upon the mind, than 
 any memorandum which he might 
 make at the time, with a view to the 
 future consultation of some volumin- 
 ous standard textbook, and which is 
 more frequently neglected or forgotten 
 than done. 
 
 The book is of convenient size for 
 carrying in the vest pocket, being only 
 2^ inches by ^V% inches, aad M inch 
 thick; a24 pages, illustrated, aad 
 bound in two different styles : 
 
 New Edition. Cloth, Red Edges, Indexed . . 25c 
 New Edition. Full Leather, Gold Edges, Indexed, 50c 
 
 Sold by booksellers generally or sent postpaid to any address upon receipt 
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 Pnblishers of Self-Bdueational Books for MeehanJes 
 aii-ai3 E. MADI30N ST. CHIGAQO, U.S.A 
 
The L-itest, Best and 3Io8t Complete Book on Engineering and Electricity 
 published. Written by practical Engineers and Electricians in a way 
 that you can understand it. UP-TO-DATE 1904 EDITION. 
 
 ^he 20th Century Hand Book 
 E^ngineers and ^Electricians 
 
 A COMPENDIUM 
 of useful knowl- 
 edge appertain- 
 ing to the care and 
 management of Steam 
 Engines, Boilers and 
 Dynamos. Thorough- 
 ly practical with full 
 instructions in regard 
 to making evapora- 
 tion tests on boilers. 
 The adjustment of the 
 slide valve, corliss 
 valves, etc., fully de- 
 scribed andillustrated, 
 together with the ap- 
 plication of the in- 
 dicator and diagram 
 analysis. The subject 
 of hydraulics for en- 
 g 1 n e e r s is made a 
 special feature, and all problems are solved In plain figiires, thus ena- 
 bling the man of limited education to comprehend their meaning. 
 
 By C. F. SWINGLE, M.E. 
 
 Formerly Chief Engineer of the Pullman Car Works. Late Chief Kngrlneer 
 of the Illinois Car and Equipment Co., Chicago. 
 
 ELECTRICAL DIVISION 
 
 The electrical part of this valuable volume was written by a practical 
 engineer for engineers, and is a clear and comprehensive treatise on the 
 principles, construction and operation of Dynamos, Motors, Lamps, 
 Storage Batteries, Indicators and Measuring Instruments, as well as an 
 explanation of the principles governing the generation of alternating cur- 
 rents, and a description of alternating current instruments and machin- 
 ery. No better or more complete electrical part of a steam engineer's 
 book was ever written for the man in the engine room of an electno 
 lighting plant. 
 
 SWINGLE'S 20th CENTURY HAND BOOK 
 
 FOR- ENGINEERS AND ELECTRJCIANS 
 
 Over 300 illustrations; handsomely bound in full leatherpocket tfft CA 
 book style; size 5x65^ x 1 inch thick. PRICE NET . . . . iP4illli 
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JUST THE BOOK F0:R BEGINNERS AND ELECTRICAL WORKERS 
 
 WHOSE OPPORTUNITIES FOR GAINING INFORMATION ON 
 
 THE BRANCHES OF ELECTRICITY HAVE BEEN LIMITED 
 
 ELECTRICITY 
 
 Made Simple 
 
 By CLARK CARYL HASKINS 
 
 A BOOK DEVOID OF 
 
 TECHNICALITIES 
 
 SIMPLE. PLAIN AND 
 
 UNDERSTANDABLE 
 
 There are many elementary books about 
 electricity upon the market but this is 
 the first one presenting the matter in 
 such shape that the layman may under- 
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 ten in a childish manner. 
 
 FOR ENGINEERS, DYNAMO MEN, 
 FIREMEN, LINEMEN, WIREMEN AND 
 LEARNERS. FOR STUDY OR 
 REFERENCE. 
 
 This little work is not intended for the instruction of experts, nor as 
 a guide for professors. The author has endeavored throughout the book 
 to bring the matter down to the level of those whose opportunities for 
 gaining information on the branches treated have been limited. 
 
 Four chapters are devoted to Static Electricity ; three each to Chemi- 
 cal Batteries and Light and Power; two each to Terrestrial Magnetism 
 and Electro-Magnetism ; one each to Atmospheric Electricity ; Lightning 
 Rods; Electro-chemistry; Applied Electro -Magnetism; Force, Work 
 and Energy; Practical Application of Ohm's Law; also a chapter upon 
 Methods of Developing Electricity, other than Chemical. 
 
 The large number of examples that are given to illustrate the practi- 
 cal application of elementary principles is gaining for it a reputation as 
 a text book for schools and colleges. 
 
 In reviewing this book an eminent electrician says of it : 
 
 "All that 999 men out of 1000 want to know can be imparted in plain 
 language and arithmetic. I therefore think that such a book as y»urs 
 is the kind that does the greatest good to the greatest number." 
 
 12mo, Cloth, 233 Pages. I08 Illustrations &jt g\g\ 
 
 For Sale by booksellers generally or sent postpaid to any 
 address upon receipt of price, 
 
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DYNAMO TfcNDINQ 
 
 ENGINEERS 
 
 Or, ELECTRiCJTY 
 FOR STEAM ENGINEERS 
 
 By HENRY C. HORSTMANN and 
 VICTOR K. TOUSLEY, 
 Authors of "Modern Wiring Diagrams and 
 Descriptions for Electrical Workers." 
 
 This excellent treatise is written by 
 engineers for engineers, and is a clear 
 and comprehensive treatise on the prin- 
 ciples, construction and operation of 
 Dynamos, Motors, Lamps, Storage Bat- 
 teries, Indicators and Measuring Instru- 
 ments, as well as full explanations of the 
 principles governing the generation 
 of alternating curi-ents and a descrip- 
 tion of alternating current instruments and machinery. There are 
 perhaps hut few engineers who have not in the course of their labors 
 come in contact with the electrical apparatus such as pertains to light 
 and power distribution and generation. At the present rate of increase 
 in the use of Electricity it is but a question of time when every steam 
 installation will have in connecton with it an electrical generator, even 
 in such buildings where light and power are supplied by some central 
 station. It is essential that the man in charge of Engines, Boilers, 
 Elevators, etc., be familiar v/ith electrical matters, and it cannot well 
 be other than an advantage to him and his employers. It is with a view 
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 them to intelligently manage such electrical apparatus as will ordinarily 
 come under their control that this book has been written. The authors 
 have had the co-operation of the best authorities, each in his chosen field, 
 and the information given is just such as a steam engineer should know, 
 To further this information, and to more carefully explain the text, 
 nearly 100 illustrations are used, which, with perhaps' a very few excep- 
 tions, have been especially made for this book. There are many tables 
 covering all sorts of electrical matters, so that immediate reference can 
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 the steam engineer should know in his engine room about electricity. 
 12mo, Cloth, 100 Illustrations. SizeSi^xTs^. PRICE NET A« Cft 
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Fred T. Hodgson's New (1905) Books For Builders 
 
 STEEL SQUAR 
 
 A TREATSBE OF THE PRAGTiOAl SMSES Of 
 
 By FRED, T. HODGSON, Jtrchitect. 
 
 New and up-to*date. Published May 1st, 1903. Do not mistake this edition 
 for the one published over 20 years ago. 
 
 This is the latest practical work on 
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 terms and phrases have been relig- 
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 It is an exhaustive work including 
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Modern Carpentry 
 
 A PRACTICAL MANUAL 
 
 fOR CARPENTERS AND WD WORKERS GENERALLY 
 
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 Carpentry, Steel Square and Its Uses, etc., etc. 
 
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SEP fi J905