i.ikrt' Class _| t I ^6 Book, »W94- PniyiightF /^."^'^ COEOaGHT DEPOSrc PROBLEMS IN WOODWORK In Combination with Other Materials FOR ELEMENTARY MANUAL TRAINING EDWARD F. WORST Supervisor of Elementary Manual Training and Construction Work, Chicago Public Schools The Bruce Publishing Company milwaukee, wis. Copyright, 1917 by Edward F. Worst 28(918 «Q'CI.A492908 ^x^-X ^\ <^o^ INTRODUCTION ^IHIS manual is designed as a guide to manual training teachers who believe that T 1 1 the object of education is the development of the child morally and mentally rather than the acquisition of skill, which so often is made the dominant feature in manual training. Not that the training to acquire skill should be neglected, but it should not be fostered at the ex])ense of the child's broad iniderstanding of nature and nature's laws. No set of models can express the manual training idea, noi- can any definite course of work be apiilicable to all the diverse conditions to be met with in one city, or even in one school; con- sequently, the exercises arc arranged merely as a basis from which to work. The fact that a variety of materials is used aids in bringing the work into closer relation with that of the grade teacher. This relationship tends to instill life into the work of the sho]), which should be considered as a school laboratory Avhere the A\ork of the classroom is to be more fully developed. The emphasis i)laced on the combination of materials gives a broader view of the subject of manual training. It broadens the child's liorizon so that he is capable of appreciating the unusual rather than the more common])lace problems so often imposed on i)upils of manual training. The problems suggested are presented in such a way that the trained teacher will have no difficulty to understand their construction. The fact that so much detail is omitted gives the teacher an oi)portunit,y to jiresent the detailed oi:)erations in his own way, thus making the work more individual. EDWARD F. WORST. Chicago, DccciiilxT 17, 1917. Table of Contents CHAPTER I PHUBLE.M.S IX WOODWORK — The .Squaring Up Process — Solitaire Game — Xino Men Morris — Ciiip Carving — Stationery Holders — Bird Houses — Tabourets — Slioe Polishing Stand — Costunicr — Telephone Table and Chair — Electric Luni]) — Floor Lamp — Folding Table — Writing Desk — Miscellaneous Problems. , . METAL AXD WOOD and Draw Pulls — Prol)leni; CHAPTER II Designs Ini- Hinge Tails, Escutcheons 5(i-(i4 CHAPTER III ASH SPLINT W(JKK~Trays and Baskets— Cutting Gauge — Cutting SpHnts — Making a Tray — Circular Basket — Making a Cover — Comliinations of \\'ood and Splint — Making a Screen — Problems (io-lOO CHAPTER IV CANE WEA\TXG— Origin and Use of Cane— Making a Fernery — Steps in Five-Ste]3 Caning — Binding — Trim- ming — Four-Step Caning — Problems — Caning an Old Chair 101-141 CHAPTER V RUSH SEATIXG — \aiietics and Sources of Materials — Metliod of Wrajjping — Splicing Cord — Splicing and Twisting Rush — Stuffing Rush Seats — Wrapping a Rectangular Seat — Treatment of Irregular Shaped Seats — Problems 142-155 CHAPTER VI p,^.,. HICKORY SPLINTS — The Splints — Making a Bending Form — Fitting Tenons — W^eaving — Problems. . . .loti-KU CHAPTER VII UPHOLSTERIXG — Simple Methods — Ui)h()lstering Chaii- Seats — Making Upholstered Cushions I(i5-17'2 CHAPTER VIII ROUND AXD FLAT REED \M:A\TX(; - Single, Double, Triple and Quadruple Weaving — Making Mats — Beginning the Weave — 0\Trcasting — Constructing Borders — Pairing Weaves — Making Closed Borders — Miscellaneous Mats — Weaving Baskets — Shaping Baskets — Finishing the Top — Various Small Baskets — Alternate Method of Beginning a Basket — Large Baskets — Handles — Covering Pottery Forms — Covered Sandwich Plate — Covered ^■ase and Bowl — Melon Shaped Basket — Wood and Reed — Serving Tray — Foot Stools — Sewing Stands 173-211 CHAPTER IX TEXTILi;S AXD WtJOD - Foot Stool Screen: Waste Basket — Danish and Swedish Looms 212-228 APPENDIX LUMBER PRICE TABLES.. .229-239 Problems in Woodwork CHAPTER I The Squaring Up Process The first stej) in the squaring up of a piece of stock, is to get something to work from and tliat is usually a face or the broadest and longest surface of the piece of stock. If the piece of stock has been surfaced by machine all that is necessary to do is to take a few fine shavings off the face so that the planer marks may be removed. If this is done care- fully and the board has not previously been warped, this is all that is necessary to get the face level. Mark this face with an "X." It is a wise plan not to give a beginner a warped or twisted piece of stock. The second step is to plane an edge level and square with the face just ])laned. Mark this edge "X." The third step is to plane an end square with both the face and edge marked "X." The fourth step is to mark the length with a rule, knife, and try square, and saw off all surplus stock I of an inch from this line. Then plane down to this line and square with both the face and edge marked "X." The hfth stej) is to gauge the width from the edge marked "X" and plane the other edge down to this line square with both the face and the ends marked "X." The last step is to gauge the thickness from the face marked "X" and plane the other face down to these gauged lines square with all edges and ends. Discourage the use of the pencil. Solitaire This game, as shown in No. 1, Fig. 3, is played by one person. Place 32 pegs on sticks, one in each hole leaving the center hole "A" vacant. Then jump over any peg into an emjity hole. Take away the peg which has been jumped. Repeat this operation until but one peg remains. The last jump must land the final peg in hole "A." Any peg may do jumjiing. Juni]) in a straight line only backward and forward and right and left. The jump must be over one peg only into an empty hole. All jumps must be made in one straight line. Nine Men Morris This game as shown in No. 2, Fig. 3, is played by two persons. Each ]ilayer has nine pegs. Player A puts a peg in any hole, then ])layer B puts one in any other hole. They alternate turns. Each tries to get as many rows of three as he can, and also to spoil as many of his oi)i)onent's rows as he can. The pegs when once set cannot be moved around. The rows may be either vertical, horizontal or on the slant. The one having the most rows of three wins the game. Fig. 1 — Working Drawing of Bread Board, Sixth Grade Fig. 2 — Working Drawing of Cake Boards, Sixth Grade A— ^-4 i^ e— (3-<5— €)- 65— €^ ^ 4-^^^ -4-6--^ -4- ^>~^y e — (> r4-^ O- - O (> e-(H^ ^ 6^ e ^^-^-4 -()- -(5- <> e ^- GAf-lf. BOARD5 Fig. 3 — Working Drawing of Game Boards, Sixth Grade Fig. 4 — Working Drawing for Clothes Line Winder, Sixth Grade Fig. 5 — Working Drawing for Pen and Ink Stands. Sixth Grade Fig. 6 — Working Drawing of Flower and Tea Pot Stands, Sixth Grade Chip-Carvjng Chip-carviiig, sometimes called "peasant-carv- ing," is the development of the savage's delight in notching with a knife the wooden implements and objects of his daily use. As a home industry it has been most fully developed in Scandinavian countries by the peasants, during the long evenings of winter. As a means for the decoration of objects made by the manual training classes, chip-carving has been found very attractive to the pupils and has stimulated them to greater effort in the accurate making of the objects to be decorated, for no piece of work may be ornamented unless it is the product of the pupil's best effort. There can be no dispute as to the practical value of chip-carving in training the hand and eye to deftly use a simple tool, and in showing the artistic effects ^^•hich may be obtained in the employment of geomet- rical drawing. The plates on chip-carving suggest appropriate borders for boxes, and tea-pot stands. Great care should be exercised in designing for chip-carving, for ninety ])er cent of the work done should never be i)ermitted. Avoid using the ordinary star shapes so often seen on boxes, match safes, and tea-pot stands. A simple border, carefully executed, is more attractive than the more elaborate forms. Designs for chii)-carving should always be carefully drawn with a shar]) i)encil, the ])ui)ils ])lanning their own designs. This involves an incidental teaching of the most elementary geometry. Chip-carving should be especially interesting to teachers of manual training. The fact that it is es- sentially a home craft makes it possible to provide profitable and attractive work to be pursued during the boy's leisure hours. Few tools are necessary. The tool known as the chip-carving knife is all that is needed by beginners. The work is not fatiguing and may be done on any kind of table, and makes little or no mess or litter. The numerous objects of home life which may be decorated at a small cost greatly enhance the pleasure of the work. "UailllMllOMlIIIlMllllMlllMll Plate I — Suggestions for Chip Carving Borders Plate II — Suggestions for Chip Carving Borders C- T r\ V\ •s:^. ^^. Designs to ipe fto Suggestions ■.,tn Coping Sa STATIONARY HOLDtR Fig. 7 — Working Drawing and Suggestions for Designs of Ends of Stationery Holders, Sixth Grade Fig. 7A — Stationery Holders Stationery Holders The stationery holders as sliown in Fig. 7-A are most attractive and simple in construction. Any one of these exercises, as well as the ink stand shown in Fig. 5, gives good practice in construc- tions involving the use of the butt joint. In Fig. 7-A the front and back pieces are nailed and glued to the bottom cross piece, the heads of the nails being sunk and the holes filled with filler. The exercise offers most excellent opi)ortunity for ap- l)lied design. In this case the spaces which may be stenciled are cut away. If stenciling is used the design should be outlined with a sloyd knife. This not only outlines the design but also prevents the color from spreading. Two different colors of stain may be used, or one stain may be used either on the design or the background, leaving the part not stained, natural. Any paint, cut in benzine or turpentine may be used in stenciling. When cut as above described it becomes a stain instead of a paint which destroys the grain of the wood. A simi)le chip carved border may be used in outlining the design. If the holder is constructed and left jierfectly plain as shown in the figure in the upi)er left hand corner, a calendar may be tacked or glued to the surface of the front piece, thus breaking up the space and serving a double puqiose. BE 1 CM of Materia. -11 N° Name .irn^h' W>dth rnKt3 ^ A ■Rails -4 g i^ E Slafi r5 J* e /Irms 5 * 2: ^. Y Ka.U 5 i I ^^ -L - J) H I : — i 1 — I 1 — ] 1 1 \ \ I I I 1 I DOLL CHAIR Fig. 8 — Working Drawing of Doll Chair, Sixth Grade 01 1^3 9 PI -i^ m -„_ --- -— --- —- — 1- ___„- - m ■ - ---- --'- ■- - ■ :~ y y QU :iitl of Mareria! || N« Nome W>dth rn.iJio«v e Fb=.r-i 3 I, s 6 5 ^ 2 T?Qll^ Mt 2 i A e- ^ ^ 7 Rece: M^ 1 51ati 7z 1 i 4 5i 1 i- ■4. 3^, 1 DOLL SLD Fig. 9 — Working Drawing of Doll Bed, Sixth Grade Bill of naferial II NS Narne L.njh MdthtlKcK"""!! S 5ides 6 eS i s Z^d5. 4i el i 1 B«TTom a 5 i a Focher^ 6 ei i Fig. 10 — Working Drawing of Cradle, Sixth Grade u -'i-^ Bill of Material 1 NO Nome .trmh\ WidHt IK..^., 3 3 ^ a J ? m^^E U I ' .'■■ I ^ I ' iv I 1 1 ' ,4 1 1 1 ' I ' e I ; I ip] en en t: 3 SINK DRAIN Fig. U —Working Drawing of Sink Drain, Sixth Grade I-- r- 1 _ 1 1 1 1 1 Bill ot Mater, ai | N» Name LPn^hlWidit ThKhn?u 3 F.«C«3 le li t s 8 5 t £ IS 1 ^ a 6^ 1 -i | ■ ■ 's-+-'i -T-1 BTIEAD COOLING BOARD Fig. 12 — Working Drawing of Bread Cooling Board, Sixth Grade c A 3 3 3 3 3 Al -j=- Drll o( Material l| N- Name Lfn^hl >«.d»,|n,»JlK» 3 Ends 6 5i i S Sided IS 54 ± 1 Bottom 10 15 ^ ? Ends as 3 i e Top 15 5i ^ :«[ f^'^ Top fo be made separaTe Jrom bottom so rhai it rMoy ..._., 1 r r '1 — L-f r ~l "Tr- --r- i i i i 1 11 1 1 1 I 1 1 1 ' 1 II iDo-ei p. to hold lo --^ BIRD H0U5I1 Fig. 15 — Working Drawing of Bird House, Sixth Grade Fig. 16 — Wren House Fig. 17— Book Trough Bird Houses The bird life of our nation should be a matter of concern to every one, since the birds are one of our nation's most valuable assets. The loss in the United States to crops, fruits, etc., from insects is estimated to exceed $800,000,000 each year. Birds are the chief destroyers of insects, and it is the duty and should be a pleasure to every man, woman and child to protect these valuable creatures and to encourage them to remain about our homes. The housing and feeding of birds is of national im- portance. The boys are interested in studying the life and habits of birds and they will do their share toward bird protection. The proper person to help the boys and girls to make houses to attract birds, is the teacher in charge of the shop. Great care should be exercised in constructing the houses so that they may be conveniently cleaned. The exterior of the house should be kept in the duller colors, as birds are more attracted to this kind of a house. Attention should also be given to the open- ings through which the birds enter. If the wren is desired the opening should not exceed a diameter of one inch, as shown in Figs. 15 and 16. If the opening to a wren house is larger it attracts the English sparrows who are conceded by the United States Government to be destructive to our native song birds. A D.ll Material | Name lenqhl|Widrh KncllneM e Endi 6 i 1 Fan SO A * I ■Pa.i So = * i BOOK TK.OUGH Fig. 18 — Working Drawing of Book Trough, Seventh Grade Dill of Material ] NO Nome finghftW.dfh fr..wJ Z 5.de5 12 31 1 Top 30 4i ^ 1 KaH sa li £ 1 26: •J ^ 1 26^ 1 i i a £6:1 J i ri-ATr, RACK Fig. 19 — Working Drawing of Plate Rack, Seventh Grade \ / n c: 1 II LJ / \ T B.ll of l-lat^r,al II N" Mamc L"* »'iJ*|Th.ckn.J Fia.^- 4 A Top 1^ li 7« y k ''/? 3 r.,Kket fe fe % >« Handle b 2 1 ^^ 7„ S rHi,c \i N- S L I /— ^ 4'M E„,|-, M!lt-r,al 1 N° Name LenfliT Wi in the sixth grade. The l)road or u])per cross pieces, which may be made instead of the single piece as shown in the drawing, may now be screwed to the top with Ij" number 8 flat head screws, into right ]iosition. Fig. 23A — Designs for Tabouret Tlio legs aro now screwed to the lower cross pieces and then to the iii)ix'r cross jjieces with f" number 6 round head blued screws. The lower cross piece may be made face u\-> instead of edge u]). This would prevent any warping that might occur in the legs, but would weaken the construction. This is a very attractive as well as a useful piece of fiu'niture when finished, since it may be used as a bed stand, a tea table or a plant stand. The dimen- sions of the tabouret suit all of these purposes. Few problems lend themselves more naturally to the applied arts than the tabouret. The pujnls study design but fail so often to make application of what they get, to j^roblems of the shop. Fig. 23-A shows a number of most interesting designs for tabourets. These may be sawed out or they may be stenciled in color, as was suggested for the stationery holders in Fig. 7-A. When designing use paper and scissors freely. Through the cutting of ])ai)er into various designs, the pupil gets a most excellent idea of the surface covered by his design. After the cutting, a careful design should lie drawn. The drawing is transferred by means of carbon i)a])er. Every teacher of manual training should aim to introduce as much a])plicd art into his shop problems as possible, taking care that what is used is good art. ?ee: h-' Z3& o Dill of Material |] N^ Name enqhl ■Width ThitKn^^sil ? Xnds fli 7 i 1? 5.de^ loi ^1 i 1 Botton- lOi f5i S J Top 15 I Form Pa -tern 2 Rollers 5 ^ Diam 4^ )cm,lirv 1^ 4 FH3cr« ) N 5 10 12 fH >z S 2 , 1 1 li. 6 SHOE. POLISHING STAND Fig. 24 — Working Drawing of Shoe Polishing Stand, Seventh Grade The Shoe Polishing Stand Fig. 24 shows the working ch-awing of a unique stand and Fig. 24-A shows the completed stand. It is very simple in construction and, though not a very beautiful piece of furniture, it is surely the most use- ful one that a boy can make. The joints are all butt joints glued and screwed together with 1^" number 8 round head blued screws. The operations are the squaring ii]) of (hqilicate i)arts and a little sjxjke Fig. 24A— Shoe Polishing Stand shave work in forming the foot rest. The only new operation is the hanging of the door, which is not in this case very difficult. It will be noticed that the door is jiut on a slant so that it will stay closed without the aid of a catch. The feature of this shoe polishing stand over all others is the rollers at the sides of the foot rest. A cloth is i)assed under the rollers and over the toe of the shoe. Then, when one ])ulls uj) one end of the cloth with one hand and then the other end of the cloth with the other hand, the cloth passes back and forth across the shoe. With this arrange- ment one can stand almost erect while l)olishing one's shoes, while without the rollers one would have to stoop away down. Fig. 25 shows the working drawing of two sleds, both well within the raiige of a seventh-grade boy. In Fig. 26 is shown a working draw- ing of a community bird house for mar- tins. It contains fourteen separate rooms and is very simi)le in design and con- struction. A group of boys might make one for the school vard. 1 V! 1 ' ."< ,'i| _ ,l. •_ ^DowelKcd \ i ii i " ^in.^ / \ i ! 1 1 ^ \ -.^ L: In! / iDowelFSn J ii 1 0-, 1 1 -' '-' 1 ": 1 !0 0| 1 / 1 N' 1 Bill ot Material 1 N5 Name lenoM W,d.l.T,«»n,M ? Sides ■SB S Z Pieces le z \ Top 30 12 1 Rod I2i ^ i / frlron-. 2 i 6 Sere ii N°a lb N"? N » 2 ■iill ot Matorial 1 N« Name .enghr u/idlh rh,cK^<:^:i ? Sides 36 7 ^ 2 Pi.cei I2i ? i 1 Top 30 10 2 1 Rod I2i * z TV li-oii z i Ifc Screw ^ N»7 2 Kunnen 50 k ib x=t$ is SLEDS Fig. 25 — Working Drawing of Sleds, Seventh Grade I'lartin House 3d :i„io Material N« Name Lmok Widm rmcknn 4 Fiecea 13 si. t s 5ide^ IE ^ 1 15 44 i e Inds 13 * e ^S S * 1 B«TTom 22 18 * a 14 2 * 1 T»p 2B 10? * e Shelve ■4 e 4 1 E2 10 ^ E Broce^ a E * E E)onom 13 n ^ 4 Posts 54 * i S Piece! 17 = 4 i Bl'RD H0U5E Fig. 26 — Working Drawing of Bird House, Seventh Grade Bill o f Material || M^ Name LM^ht Wii ^ sM 1 i 1 A 4 Rails 13 £ a S. I 3 1 i 1 1 3 ^. i 1 5Ir?lc>ir> 1 3 ] i Choir to be made with Telephone SI< Fig. 32^Working Drawing of Chair, Eighth Grade Fig. 33 — Telephone Chair Fig. 34 — Telephone Table /___„_\ ^ a. o 'lorliie and Tenon Con^lruciion Ihr.,: oul ^ <'\ Faili Ih 5 a 3 16 2 5 1 Door l-»T 4 4 1 Rail t6 1 4 1 Top ?o n 5 * I ShcJre 15 15 3 P ■T'.des io3 4 1 t>acK SO 4 5 2 feracket 3 5 2 5; 1 51r,p ■5 I ± « Hin<^eb s li 1 KnoP i 5 i 3 TZLEFHONL TABLE Fig. 35 — Working Drawing of Telephone Table, Eighth Grade Telephone Table and Chair In Fig. 36 arc shown a telei)hone table and chair that are surely not to be classed with the ordinary tele])hone tables and chairs which we find on the market today; and yet there is nothing in the con- struction of either this table or chair that an eighth- grade boy cannot complete. Fig. 32 gives the working drawing of the chair, and Fig. 33 shows the completed chair. It may ])e made either with the mortise-and-tenon, or dowel- joint construction. If there is no band saw at hand the back legs of the chair can be made straight; and if there are no facilities for bending the upper back rail, that may be made straight.* The seat is of the slip seat construction. Fig. 34 shows the taljle made from the working drawing shown in Fig. 35. This maj' be made eithcM- the mortise-and-tenon, dowel, or the butt-and- screwed construction as shoAVn. The screw heads are sunk and wooden caj^s jilaced in the holes. Instead of hanging the unsightly telephone di- rectory on the table, it is placed in a little cabinet which is made by screwing in a bottom and hinging the front rail onto this bottom, as shown in Fig. 35. A i)lace is provided on the to]) of the talile for the telephone and next to it a place foi' a ])ad of ])a])(M'. •Concerning thr making cif :i forrii fnr lirntling siork. refer to iiar;ii:r;ipli "Making a Form," pages l.^fi-lriS. Fig. 36 — Telephone Table and Chair Electric Lamp Fig. 38 shows a very attractive little electric lamp, and Fig. 37 shows the working drawing from which it was made. The construction of the post may be a little beyond the ability of the average eighth-grade boy, in which case the design of the ])ost should be changed or modified to come within the boy's capabilities. The rest of the construction of the lamp is very simple. The wiring of this lamp is very interesting to the boy, besides being very educating. To hold the socket, a hole is bored to fit, rather tightly, a 2^" piece of \" pipe. The pipe should project out of the toji of the post about \ of an inch and the socket should be screwed onto this projection. The wire frame of the lamji shade may be made by the boy, or he can buy it already made at any department store. The stretching and sewing on of the silk, braid, and fringe may lie done In- the girls in the sewing class of the school. There are no arms or projections necessary to hold the shade to the lamp, as the wire frame is made to set very firmh^ on the top of the lamp globe. The shade may be made a good deal cheaper by making it out of strawboard and any eheaj) fabric. In this case the boys can make their own designs for the shade. In either case a holder must be bought or made to hold the shade on the lamp globe. Fig. 38 — Electric Lamp /' A' — H rff^ ■i^^-— '\ Y" ""1 m ,1 — "] /A. I r:l ^^^^ H I 'i: a T 1 5 1 (V OJ 'ni _ o\ cu M 'n ^ 0, 1 - ^t « iQ 1 1 1 d tu . ^ - The Floor Lamp Since the floor lamp has become a part of the furnishings of the home, we have designed a very simple and inexpensive one, as shown in Fig. 40, which was made from the working drawing shown in Fig. 39, and which any eighth-grade boy can mak(> verj' easily. The i)ost tapers from 2h" at the base to 1^" at the top. It is fastened into the base with a through mortise and tenon joint, and wedged. The braces are then fastened on and, not only do they make the lamp more artistic, but they also make it more solid. The shade is made of strawboard, and is lined with an inexpensive fabric. A pattern of the sides must first be made, and then the sides may be cut. They are ])asted together with strips of bookbinders' cloth, and they are then ])asted or tacked to the blocks of wood at the top of the shade, as shown in the drawing. A k" hole is bored in the under side of this block, and a dowel pin is glued into it. A cor- responding hole is bored in the center of the top of the post. This is all that it is necessary to do to hold the shade on the lamp. The sockets are placed about six inches from the top of the ]wst, and any device may be used to fasten them to it. Fig. 40 — Floor Lamp Fig. 41 — Working Drawing of Folding Table, Eighth Grade Fig. 42— Folding Table Fig. 43 — Working Drawing of Writing Desk, Eighth Grade Fig. 44 — Writing Desk The Folding Table Fig. 41 shows the working drawing of a very simple and useful folding table, and Fig. 42 shows two of these folding tables, one oi)ened and the other closed. The feature of this folding tal)le is its com- pactness when closed. The details of construction are shown \ery clearly in the working drawing. Either the mortise- and-tenon oi- dowel construction may be used. The Writing Desk In Fig. 44 is shown a writing desk constructed on different lines from those of the ordinary tyi)e of writing desks. At the first glance it may seem to be beyond the average eighth grade boy's ability, but when closely analyzed the construction liecomes ver>' simple. To form the different shapes sliown one should use a band saw as there is a great deal of form work on this desk which cannot be done very accurately with a turning saw, by an eighth grade boy. CHAPTER II Metal and Wood Most teachers of manual training are agreed that flat metal work as a means of decoration has a legitimate place in the shops. The meager equi])- ment required to carry on the work places it ^^'ithin the reach of every shop in charge of teachers who wish to do the work. Through the introduction of metal, opportunity is given the boy to work in another medium, thus l:)roadening his experience. Among the problems which suggest themselves as being practical are tail hinges, drawer pulls, tray handles, escutcheons, plates for sconces, and an occasional shallow tray to be used with the umbrella rack as shown in Fig. 54, and the smoking stand, Fig. 51 and Fig. 52. The material and its use create a real necessity for work in design, which should be of vital interest to every teacher of manual training. In order to design intelligently, it is necessary to know something of the space at our disposal. It is the space which determines whether the applied metal shall be circular, square, or rectangular. When designing, use paper and scissors freely. The cutting leads to better drawing. When the drawing is completed, it is transferred to the metal. To do this, a piece of carbon paper is placed, black surface down, on the metal to be sawed. The design is placed on the carbon paper and traced. A tracing may be made on rice paper and pasted to the metal. The sawing is done with a metal saw, No. 2 or 3. The fact that the boys have had experience with the coping saw greatly simplifies the sawing of metal. With a pair of shears and pliers, a saw frame, a drill, metal saw blades No. 2 and 3, a sawing board, and a small clamp with which the board may be clamped to the edge of the table, and a couple of files, very interesting flat metal work may be done. The trays for umbrella racks require a few blocks ^^'hich are gauged in such a way as to allow the metal to be shaped in the form of a shallow tray. The ex- ercises suggested in this chapter call for only the most simple work in metal. :0 :30 Hinge Tail E.^3Cutcheons MUTAL WORK Fig. 45 — Designs for Work in Metal, Eighth Grade (o °1 /' \ "K'-'iT-tt^'-'" o o A o o o o p ^3 ^ -&, LA B U A M o 'o' o -;: ",.. o A o o o o o o o A ' /^===^ 'j 5CONCIL5 Fig. 48 — Working Drawing of Candle Sconces, Seventh Grade "^ar +^ii*4 i . H c f r-laterial II Narr,.- Widtt, rhtkn.si 2 iTr^db ■'I b J 2 5he(,iri 5i t 1 &acK ^?> fl S Doors (,i 4i s ^ P.ec^:, -»? 5f A 2 Sbfl.B^ 9s 5i i 1 Front !>i 1 2 ? 5ide5 •i* 1 3. A 1 Bach f^i* ■ i i 1 Sottivm 5^ ei i v^ [^ 51 TIE STATIONERY CASE, Fig. 49 — Working Drawing of Stationery Case, Seventh Grade + ith '0*- -j^X ::q: :::q:, ,;-a- -D- i>i B.M of Material l! N» Z Nome lents, it was learned that in order to do continuous wea\'ing, — that is, to weave so the weaver i^asses under one spoke and over the next, there must be an uneven number of spokes. Each time the weaver passes around the tray or basket, a \)\aco is reached where it is neces- sary for the weaver to pass under two splints. The weaving is then continued, under and over, until the place is reached where it is again necessarj^ for the weaver to pass under two. This happens each time around. \"\lren the raffia weaving is finished, one striji of the splint I" wide is woven around the top. as shown in Fig. 60. Allow the end of this strip to weave under and over the same spokes as the begin- ning. This overlapping keeps the two ends together. Each spoke on the outside of the |" strip woven around the top, is cut pointed, as sho^^Tl in Fig. 61, turned to the inside, and slipped under the weaving. The other spokes are cut awa>' even ^A'ith the toji edge of the tray, as in Fig. 61. To finish the top edge, take another I" strip of the ash and about eight strands of raffia. Place the Figure 58. a_aM Q Q. Q^^-^ strip of ash on the inside of the tray along the to]3 edge, the bunch of raffia to the outside, and with a darning needle threaded with raffia, overcast around the top so that the raffia and sjjlints are held in place by the overcasting, as shown in Fig. 62. The needle ])asses between the spokes. The process, as above descriljcd, holds good in all s])lint work. To Make Small Circular Basket or Tray 1st: With the use of the \" gauge, cut a num- ber of strips. 2nd: Cut the i" strips into 12" lengths. 3rd: To arrange the strips for weaving, allow two strips to cross, as shown in Fig. 63. Lay a third strip, as shown in Fig. 64. Place the first finger of the left hand at the point where the strips cross; continue to lay the strips until all have been placed (Fig. 65), raising the finger only to allow a strip to be placed. With the right hand, A\'eave a piece of raffia (single strand) around, (Fig. 66), going under and over as previously described. After two or three rounds, the strips hold together and the finger ma}' be removed. In circular weaving, there is an even number of ends. This makes it necessary to allow the weaver to pass under two strips each time around. After weaving around a few times with the single otrand, the braided raffia mav be introduced. The Indians, in making splint baskets, use forms around which the baskets are woven. Fig. 67 shows a number of forms made in wood. After weaving the bottom of the circular basket, it may be tied to a circular form in wood, as shown in Fig. 68. The weaving may then be continued in either the braided raffia, or a narrow splint may be used for the weaver. In making smaU circular baskets, the Prang drawing blocks may be used. The top of the basket is finished by wea^•ing around twice, using the splint, as shown in the finished basket in Fig. 68. In binding the top, a strij) of the heaviest ash, j" wide, is placed at the top on the inside; and instead of overcasting with raffia, as in the tray, a strip |" wide of the lightest weight ash is used. No needle is required. The over- casting is done by running the |" stri]) between the spokes and over the top. This is plainly shown m the finished basket. Fig. 68. Fig. 69 shows a couple of work ])askets, one \\oven in sweet grass and the other in l)raided raffia. The basket shown in Fig. 68 is woven of l)raided rush, with a foundation of ash splints. Fig. 70 shows other interesting forms of baskets, hair receivers, hairpin holders, etc. In order that a greater number of spokes may be used as the foundation for a basket, thev are Fig. 66 -Weaving Single Strand often cut as shown in Fig. 71. This is done by moistening the splint, folding it into halves, and then cutting it with scissors. The spokes are then crossed, as shown in Fig. 72, and the weaving done the same as above described and shown in Figs. 66 and 68. To Make a Cover Proceed as when making a basket. When the weaving has reached a diameter sufficient to cover the opening in the basket, remove it from the ])lock and tie it to the top of the basket. The cover is finished by bending the spokes downward on the outside of the basket, and the weav- ing is completed. In this way the cover is bound to fit the basket. The cover of the basket is finished the same as the top of the tray. Figs. 69 and 70. Baskets the size of those shown in Fig. 69 should have foundation spokes from ^" to f " in width. Fig. 73 shows two interesting work baskets, one made of sweet grass and splint, and the other of raffia and splint. Fig. 67 — Wooden Forms and simple vipholstering in leather, hand-woven fabrics, and tapestry may be used in conjunction with Fig. 68 — Finished Basket, Roll of Splint, Basket Tied to Form Combination of Wood and Splints Wood alone is not sufficient for a course in elementary manual training. Under proper guidance, such materials as splints of ash, oak and hickory, cane, pith cane (flat reed), rushes, split and round reed, bits of metal, Fig. 69 — Finished Work Baskets wood, thus adding greatly to an appreciation of con- structive design so oft(Mi lacking in work done in manual training shops. If there is any doubt as to the commercial value of combined materials as above mentioned one need onl}' consult a salesman from any first class furniture establishment regard- ing prices. Figs. 74 and 75 show two simple weaves in paper which may readily be duplicated in splints. The diagonal weave in Fig. 74 is the one used in Fig. 70 — Other Forms of Baskets the ininels of the wastebasket shown in Fig. 79, and also the panels of the screen shown in Fig. 77; while the weave in Fig. 75 shows the pattern used in weaving the sides of the tabouret, shown in Fig. 83. It is well to have the members of a class doing this work first experiment in paper- weaving. If the pupils have pursued ijajier-weaving in the lower grades the knowledge there gained will serve them well at this time. If they are doing the work for the first time, the simi)licity of it and the rapidi- ty with which it can be done will greatly please them. Observe that in the diag- onal weave, Fig. 74, the weaver the first time across passes under two splints and then over two, etc. The second time across, the weaver passes under one, then over two and under two until across. The third time the weaver passes over two, then under two, un- til across. The fourth time across, the weaver passes over one, then under two, over two, etc. Th(> four above changes ai-e all that are necessary to produce the diagonal weave. Continue the weaving by ha\ing the fifth weaver the same as the first, the sixth the same as the second, the seventh the same as the third, and the eighth the same as the fourth. This ordei' is fol- lowed until the entire ]ianel is finished. Fig. 73 -Work Baskets To weave the pattern as shown in the tabouret, there must l)o an uneven number of \'ertical strips. Fig. 75. It will he observed that the weaver starts out by passing over two, under two, and then over three. This must be so because of the uneven number of vertical splints. The next weaver starts out by passing under one, over two, under two, and then over one, this being the center. The third weaver starts out by ]mssing under two, over two, and then under three. The fourth weaver passes over one, under two, over two, and under one. The four above changes are the only ones in the entire pat- tern. To continue, allow the fiftli weaver to follow the same course as the first one, etc. Observe that every other weaver passes either under or over three vertical strips. When the center of the panel is reached, the second half is just the reverse of the first. In other words, weave Fig. 74 — Diagonal Weave Fig. 75 Pattern Weave back^^•ard by allowing the first weave below the center to follow the same course as the one just above the center. The unfinished screen in Fig. 76 shows the vari- ous stages of the weaving. The material is moistened the same as when used in baskets. The strips used in the accompanying exercises are all cut ^" in width. To weave the panels in a screen, proceed as follows: 1st: Cut strips. 2nd : Tack the strips to the up])er cross-piece of the screen, as shown in the panel to the right (Fig. 76) , allowing the strips to hang as shown in cut. Use 1 oz. iron tacks. These may be purchased in the cur- tain section of any department or hardware store. 3rd: Cut strips to be woven across about two inches longer than the distance across the panel. Begin to weave at the top, as shown in center panel. Fig. 76, and continue until the entire panel is com- pleted. The tacking at the bottom and sides should not be done until the splints have thoroughly dried. Before tacking, push the cross-pieces one by one as close together as possible. It will be found that owing to the drying out, considerable space will be left at the bottom. Weave in additional pieces to fill this space. 4th: Before tacking, moisten all ends to be tacked to ]5revent splitting. Draw each vertical splint until it is perfectly tight, and then tack. Tack the strips doAvn one side. Draw the opposite ends until the weavers are tight and then tack. When completed, the panel will look like the one shown to the left, Fig. 76. Fig. 78 shows the finished screen with one-inch trim covering the tacked edges. Rabbet the trim about 1-32" in depth and f " in width. This makes it possible for the trim to fit the face of the panel perfectly. Fig. 77 shows the working drawing for the screen. Fig. 79 shows a finished waste basket. This is a problem easily constructed by pupils of the seventh grade. Fig. 80 shows the working drawing of the waste basket. The mitered strips which cover the tacked edges are only |" in thickness. The 1" trim might have been used the same as in other problems suggested. The working drawing for the basket shows nothing but butt joints. The panels for the basket are woven by tack- ing the strips to a drawing board. The weaving is done on the drawing board and is then transferred to the basket. This method of weaving panels is pursued in weaving for small openings. Fig. 81 shows a finished fireplace basket. The working drawing, Fig. 82, shows the simplicity of its Fig. 76 — Steps in Splint Weaving T ,i.ll ot Malerjal ; N^ Name 2 S.dcb 69 2i 1 J 1 A Sides (i.T 2i 1 6 Tka.li iflS 3 i -3 rm\<, las -i i dl>i Tnicl>n»: A Posn Ift 1^ a 8 5.dc5 (i a 4 PtfMd e 2 ? ■4 -Raiii 6 J i I Bottom lO 10 i 32 Soweh ^ 8 DIam Z4 CHScrrw ;2 to 4 Trrm 9i li; « WASTr. DA5KI1T Fig. 80 — Working Drawing of Waste Basket, Seventh Grade Fig. 81 — Fireplace Basket ■^- jffi?"^ftl4A.1p Fig. 83 — Tabouret 6i ^ r^^'^ ^ I 5i" .=» Ma Width rh,ci.^>> Z Ko.l:, 13 S 5 2 i?ii.l5 7 ^'^ 5 I Bott„„ 15 J l**i t Hondt Zr^ 1 i i Ifc Dow.ii a j^ D.drr. T Trim (■S ) i Z 9i 1 i A- ai 1 i e (lOc'en N' WOOD BASKE.T Fig. 82 — Working Drawing of Wood Basket, Eighth]^Grade f 4H4- Bill o Mafenal 1 NO Name Len,h Width Thick MCM 4 3.d«s SOi z 3 4 5id=5 aoi la S 4 lEail5 10 J i 4 Ea.ls 10 2 »^ 1 lb 16 5_ C.E DoHals 2 « Diem, TABOURET Fig. 84 — Working Drawing of Tabouret, Eighth Grade space, as shown in Fi^. 90. The trays are woven of ash spUnt. To make the trap's, the weaving is first done in the form of a square. A circular frame is made of the heaviest ash sphnts, and may be composed of several thicknesses. The frame is now placed on the square weaving, and a line drawn just outside it. When cutting the weaving circular, cut about one inch outside the mark. The ends are now turned upward next to the outside of the circular tray, and are held in place by using the 1 oz. iron tacks. Another frame is now made to fit outside the first one. When this is shipped in place, the tacking is brought between the two frames. To make the tray more secure, a |" strip of ash may be used to overcast the top, similar to over- casting done in basketry. Fig. 91 shows the working drawing for the standard of the tea table. Fig. 92 shows a finished tea table. The woven panel at each end adds greatly to the appearance of the finished product. Fig. 93 shows the ^\•orking drawing of the tea table. Fig. 94 shows a simple, yet effective, magazine rack. It is somewhat different from the stereotyped forms. It is a beginning toward getting away from Fig. 85— Foot Stool the old types that are so apt to suggest fences or chicken coops. Fig. 95 shows the working drawing for the magazine rack. Fig. 96 shows a most attractive wa3' in which the ash splint may be used in the construction of a sewing basket. Fig. 97 shows tlie working drawing for the sew- ing basket. Fig. 98 shows a completed lam]) in which a panel of ash s])lint is woven in each sik 3 z ifc-i 1 5 ^ '?. lOj J 4 z .oi li I5J 2 7i 2 s ^ Tr.m 15 * ( ^ 2 9 i 1 J( 4 CBl<«: ka 24 2i i t -J I CRICKET Fig. 86 — Working Drawing of Foot Stool, Eighth Grade Fig. 87— Plant Stand Fig. 89— Tea Table \ / 1 1 1 iLVhn, IlV*j.\4 1 1 ' ' 1 1 ' ' 1 1 ' ' 1 1 ' 1 II II 1 r II 1 1 II 1 1 II II 1 1 1 1 1 1 1 1 1 II 1 1 I 1 II M M 1 1 + [i. - Bill of Material il N« Name ^n,M W'dtti tJiiclines) 4 Posts S7 15 If, Ea,l5 34* ? fc ^a.l5 127 2 i fl P.ece* 6 Z J ? Rails 3JJ ? J z Eails 7i z s Bottom JJS II i J 4- Trim 31 i 4 ? i 8 s ? Jl} i Z 9J i 40 D.w=l5 li i Piarr, F1.ANT STAND Fig. 88— Working Drawing of Plant Stand, Eighth Grade Fig. 90— Tea Table Folded problem is the most difficult of any suggested, and should not be undertaken as a class exercise, but rather by the excejitional boy. Fig. 99 shows the working drawing of the lamp standard, and Fig. 100 shows the working drawing of the shade. Fig. 101 givestlie woi'kingdiawiug of a newspaper tray. If the dimensions given do not suit the size of the folded paper for which the basket is to be con- structed, they may be changed to meet requirements. Fig. 102 shows the finished basket. Fig. 103 shows the working drawing for a tele- phone directory rack. The cover of a directorv is Fig. 92— Tea Table Fig. 91 — Working Drawing of Tea Table, Eighth Grade Fig. 93 —Working Drawing of Tea Table, Eighth Grade Fig. 96 — Sewing Table 6,H o. M,«r„J_J cni^l Widrh IhKknct^ 1 Bottoni eo 42 J Z S.dei 17 6 Xnds Mi 4 i Tr.^ n 1 i 4 6 1 a. fl ftH5««. ij N? 3 4 'H li 4- 15L [ MAGAZINE. STAND Fig. 95 — Working Drawing of Magazine Stand, Seventh Grade Fig. 97 — Working Drawing of Sewing Basket, Eighth Grade usually poor iii color aiul design. It is therefore dc- sirai)le to keep as much of it as possible out of sight. Fig. 104 shows the finished rack. The ash splint cannot be used in the seating of large chairs, nor in any other large piece of furniture where strength is reciuired, without being reinforced l)y a flat wire. This wire is woven at the same time the splint weaving is done. Splints of ash, oak and hickory must, at least for a time, be used in place of the pith cane (flat reed), because of the scarcity of the latter on account of the Euro])can war. The writer wishes to call attention to the fact that an effort has been made to keep the problems as simple as ])ossible. It is ho]ied that they are within the power of the seventh- and (>ighth-grade ])ui)ils to construct, thus making the suggestions practical. Fig. 98— Table Lamp J * «■«»» „ V ,f C « o ,. K" n w * « z 1 '\ ~ = c^ ^ ■« « :: fl ^- 2 !1 « iflK i 1 1 C E t ^ J 1 ^ f - « - -jo £ t t w f ~ h 6 H \ \ ^ / 1 la ■ T "c 5 - - 1--- /nr I T' jj ---;:: C 1 Iz / ^ J a -^ \ 1 rti ^^S tl ■ ^. i rt " — — ^^ \u Fig. 100 — Working Drawing of Lamp Shade, Eighth Grade Fig. 102 — Newspaper Tray I Fig. 104— Directory Rack □: II : ~r I II DM of Ma.er.e, 1 N" Name Lenflht Width fniicKntij 2 Pieces 14 fti ^ 2 (2 5i i 1 bottom le lO 4 Trim IS ^ i 4 10 f. 8 4 ^ +'-i* NtWSFAFILie T'RAY Fig. 101 Working Drawing of Newspaper Tray, Seventh Grade H Mb -i*r 11 Bill of Material ll Nome Unawmdth 1h£knc» s 5.de» 3J i s -Rails 5?- 1 k p "P„c 7 1 ^ 1 Trim 9i i Ip 1 i^ B 9 I i 1 BacK 12 54 i 1 BolTom 5 jj £4 i TELEPHONE DIRECTOR YT?ACK Fig. 103 — Working' Drawing of Telephone Directory Rack, Seventh Grade CHAPTER IV Cane Weaving There is no material wiiicli works more harmo- niously and artistically in combination with wood than the old-fashioned cane that was used in much of our grandmothers' furniture. Like many of the old arts, it is being gradually revived, not just as it was half a century ago, but in such a w^ay as to fill the needs and demands of the present modes of living. In the past, caning was used principally in the seats and backs of chairs, while now, it is used not only in this way, but many surfaces are broken in a most i:)leasing way by i)anels or friezes of cane. We enjoy and apjjreciate our surroundings only so far as we have been taught to see what is about us. It is after our attention has been called to certain combinations of materials that we begin to realize their imjiortance in the artistic and commercial world. Caning has a legitimate place in the manual training of our elementary schools. It is a very wholesome occupation, and when used in conjunc- tion with wood, adds greatly to the interest of the pupils in their manual training projects. It is a line of work that develops the mind, the hand, and the eye. Any seventh grade boy can do this work. Much of the work suggested in the following exer- cises may be pursued in the home, thus caring for many of the bo3''s leisure hours by furnishing him interesting occupation. This occupation may be carried over to the repairing of many worn-out jobs in caning for the neighbors, thus giving the boy an oi)portimity to place a money value on his work. That the work is so limited in our school shops is often due to the fact that our teachers are un- familiar with it. Many may feel that caning is not a ])art of manual training, and thus has no i)lace in such a course. The manual training teacher must take the broadest possible view of the work in his charge. He should become familiar with the various materials which will work in combination with wood. He should imderstand the handling of such materials and the processes necessary to produce the finished product. There is no doubt but the introduction of cane, splint, reed, etc., in conjunction with wood, often makes a real, live problem of the one at hand. which othen\ise Avoiild l)e dead, or at least un- interesting. To appreciate the commercial value of the com- liination i>roblem, one needs only to consult a sales- man in one of the large dcjiartment stores, or some dealer in furniture. Manual training in the grades is not designed to make carpenters, cabinet-makers and pattern-makers of our boys, any more than it is to make surgeons of them. For this reason, the greater variety' of materials which can be introduced into the work, the more mental power and skill it takes in its manipula- tion. When introducing a new material, it is always well to have the members of the class know some- thing of its origin, what it is, where it comes from, how prepared for the market, etc. It thus becomes a real, live problem in commercial geography. Cane is a in-oduct of India, China, Ceylon, and many islands in the Indian Archipelago. It is the outer covering of a kind of palm known as rattan. It grows to an immense height, often reaching the tops of the tallest trees. It is often found trailing on the ground to a length of several hundred feet, not exceeding a diameter of more than one inch. For convenience in handling, it is cut into lengths of from twelve to twentv feet. Great quantities of this material are shipped to various Euro])ean countries, where it is prepared for market, to be sent to all ]5arts of the world. It is the outer covering of the stem which makes the cane. It is stripi)ed off in widths of from 1-16" to 3-16", and tied up in bundles of about 1,000 feet each. The commercial name for such a bundle is "hank." It sells for from 55 cents to 95 cents per hank. The inner part of the stem is cut by running it thru circular dies of various sizes, thus giving to us the assorted sizes of reed such as are used in basketry. The flat reed, i)roperly called "i)ith cane," is nothing more than the inner part of the stem cut into thin, flat strands. Most of the cane and reed used in this country is imported from Germany. This exj^lains the scarcity of the material at this particular time. In market terms, cane is designated as superfine, fine-fine, fine, medium, common, narrow binder, and wide binder. Fine and medium are the best suited for pupils' work. There is no difficulty in de- termining the right side of cane, as it has a very glossy surface. The eciuipment necessary to carry on the work is exceedingly simple, consisting of the following: a stratch awl, a knife, or pair of scissors, a pair of di- viders, a rule, and four or five pegs made of j" dowel rod i)ointed as shown in the illustration, a caning noodle, constructed as shown in Fig. 105. The cost of such a needle, if made by a workman, is about 35 cents. Its direct use will be mention- ed later. As the needles are not on the market, it is neces- sarj' for some local workman, or the pu])il himself, to construct them. Th(>y are made of a piece of round steel wire about 18" long, flattened at one end. An eye is cut in the flattened portion, and the blunt point is curved, as shown in Fig. 105. The other end is run thru an ordinary tool handle and riveted. The needle is a great assistance in executing the fourth sto]) in caning. The needle, however, is not absolutely necessary, as the work may be done without it, taking a somewhat longer time. Refer- ence will be made again to this point when taking uj) the various steps. Making the Fernery There is no reason why our pupils should not learn cane weaving thru the construction of some in- teresting manual training exercises. The day of doing things just for the sake of learning the pro- cesses, has practically passed. Fig. 106 shows the working drawing of an interesting fernery for a dining-room tabl(\ It is very simple in its construc- tion, and not in the least beyond the ability of the average seventh-grade pui^il. The exercise involves the butt joint. The inner part of each side is sawed 14- to S4- 2>® 21 ^to^. :=y Fig. 105 —Working Drawing of Caning Needle ^i -- a« y&fnss Headed Ta cks (— ^- fri- Bill of r-lQterial II N« Nome cixiMIIMIti n^J 2 5.d«s a Ji i 2 5ides 7 J^i * -♦ Tleces eff ?f ^ 1 3dt=m 7 7 * ^>— o o () (biO o, Co. .. o - CAN£D FEPNERY Fig. 1 06 — Working Drawing of Caned Fernery, Seventh Grade out, leaving the opening to be caned. This kind of construction is legitimate, where the caned parts are not to be put under any great strain. It would hardly do to construct the seat of a chair in this way. Steps in Caning Fig. 106 shows the entire working drawing, and Fig. 107 shows one corner of the opening to be caned. Draw a pencil Une around the entire opening, one- half inch from the edges. It will be observed that this distance from the edge is allowed in most all com- mercial work for various widths of cane. With a pair of dividers, mark off ^" spaces on the line just drawn by beginning at the upper right-hand corner where the lines intersect, and proceed to the left. In marking the oi)posite rail, use the try-square or framing square, as this will bring the holes, when bored with a 3-16" wood bit; directly opposite each other. Fig. 107 shows all necessary details. When the boring is completed, the frames are ready for the cane. For convenience, the several steps in caning will be numbered as follows: First Step: Fig. 108 shows the first step in cane weaving. Moisten a hank of cane in either warm o-^><'^- Or f) o o o o o o o o I) (J (^ U) 3 o o o o o o o water remaining on the cane is absorbed, making it very l)liable. Start a strand right side up by drawing one end tlirough tlie hole marked 1, as shown in Fig. 108. Hold this end in place by forcing a peg into the hole. Draw the other end of the strand through the opposite hole marked 2, always keeping the right side up. This is most easily done by drawing the strand between the thumb and forefinger. This not only keeps the right side up, but prevents twisting and kinks. Another peg may now be in- serted in hole 2. See that the cane is fairly tight. The end is next l^rought uj) through hole 3, care being taken that the right side of the cane is always kei)t to the outside. To do this, the cane must be drawn between the thumb and fore- finger each time. The end is Fig. 108 - First Step in Caning now carried across the open- mg and down hole 4. The ])eg is now I'cinoved from iiole 2 and ])laced in No. 4. The end is next brought iij) hole "), and the ])eg taken from hole '.i and i)laced in Xo. ."). Continue in this way until all the holes in the i)arallel i-ails have been used, as shown in Fig. 108. Second Step: There is no difference between the first and the second steps, except that the holes in the other i)ai'- allel rails are used, and the cane is carried over the first. If there is any ])art of the hrst strand left, do not cut it, but carry the end over to the first hole in the vertical rail, and ])roceed as in the first step. Fig. 109 shows the second ste]) completed. INTove the ]iegs as the strand tr:i\-els from one hole to the othei'. Fig. 109 —Second Step in Caning Sketch of Peg. Fig. 110— Methods of Tying Cane Ends. To fasten the end, draw it under the nearest stitch on the under side of the frame, as shown in Fig. 1 10. The new end may l^e fastened in the Fig. Ill — Third Step in Caning saiiK^ way as the end of the used one. Third Step: This step is identical with the first. It runs over the first and second, and is parallel with the first. It will lie observed by this time that the same hole is used a number of times. It often becomes necessary to use the scratch awl in forcing an open- ing to allow the cane to pass through the hole. Fig. Ill shows the third step completed. Fourth Step: The weav- ing, i)roperly so called, begins at this jmrticular stage of the work. It is in this step that the needle is used. It will be observed that some holes have been used twice, and some once. Start a hole next to a corner that has hooxi used but once, and on the side toward the open space to be caned. Fig. 112— Using Needle, Fourth Step With the needle, begin to weave over and under, across the entire opening, as shown in Fig. 112. The end of the cane is now run through the eye of the needle and drawn through, being careful to avoid kinks or twists. Draw the end through the hole, bringing it u]) through the next hole. The needle is now woven across from the op- l)osite direction and the cane is drawn through. This is con- tinued until the entire surface is completed. When finished, it ai)i)cars somewhat confus- ing, as shown in Fig. 1 14. This is all adjusted by moistening the cane with a sponge or cloth, and pushing the parts forming pairs together. It will l)e observed that the cane forms itself into groups. The strands from right to left form groups, and those from front to back form groups. Fig. 113— Fourth Step After Being Woven Fiji'. 1 11 shows till' t'oui'th stc]) complctt'd. Tlu> fourth step may be ac- (•omi)lished without the needle by bringing the end of the cane over and under, follow- ing the same course as de- scribed for the needle. For convenience, the work should always be clamped to some substantial support, — the work bench, a table, or the puinl's desk, as shown in Fig. 115. F if til Step: This step be- gins \\ith the first diagonal weaving. For convenience, start a strand at the ujDper right-hand corner. With one hand under, and the other over the frame, guide the end so it passes under the first vertical group and then over the first horizontal grouj), as shown in Fig. IIG. Since the end passes over the first vertical group, it Fig. 114 — Fourth Step Completed Fig. 115— Work Clamped to Table must pass ovor each group parallel to the first ; and since it passes under the first hori- zontal groui:), it must pass under eacli horizontal group l)arallel to the Hrst. ^^'hen ])utting in the diagonal lines of cane, two parallel lines begin or end in the same hole at the corners. Fig. 115 shows the wrong way to begin. Sixth Stcj): In this step, it will 1)0 observed that the cane is carried from the l)ack left corner to the front right cor- ner, over the hrst vertical group and under the first hori- zontal group, thus making these diagonals perpendicular to the first. It is now seen that where the first diagonals ])assed under the vertical grou]) in the fifth ste]), th(> second diagonals pass over the vertical group, as in Fig. 118. i 'A p Fig. 116— Fifth Step in Caning Great care should be taken to have the cane so drawn in, that the right side is always to the outside. This is done only by drawing the strand be- tween the thumb and the fore-finger. The Binder The binding cane is broader than that used in the weaving. Its use is to cover up the rows of holes through which the weaver has been drawn. There was a time when the binder was consider- ed absolutely necessary. It is no longer considered so. Much of the very best caned furniture is left without a binder. The binding is a simple ])rocess, and is done in the fol- lowing way: Pull a cane, simi- lar to that used in the weav- ing, up through a hole. Lay the cane, to be used as a binder, over the hole, and ]mll the Fig. 117 — Wrong Way to Start Fifth Step in Caning cuiic over it , ;ill()\\in<>; it to ))ass down through the same hole. This makes a loop over the hinder, holding it secure. This is continued around the entire chair. The binder is shown along the left edge of Fig. 118-a. The Trim WIkmi the luider side of a piece of caned work is ex- posetl, it often detracts from the general appearance of the Hnished article. In such a case, narrow strijjs of wood may be grooved, as shown in Fig. 119, and tacked over the unsightly parts, thus giving it a neatly finished appearance, as in Fig. 119-a. Fig. 120 shows a finished fernery. Four Step Caning Fig. 121 shows a finished magazine rack with sides wo\- Fig. 118 — Sixth Step, Caning Complete Fig. 119— Sketch of Trim Fig. 118a — Method of Weaving Binder en in the four-step cane. The working drawing is shown in Fig. 122. Fig. 123 shows the various steps to follo\\' in the four-step caning. While this work is not so substantial as the six-step caning, it has a place in the workshop, and especially in problems where any great strength is not recjuired. The holes are Fig. 1 19a — Trim Applied to Under Side of Caned Panel Fig. 120— Fernery markod off and bored the same as jire- viously described. The cane is first carried across the opening vertically; then across horizontally, crossing the vertical strands at right angles. Following this step, the first diagonal is carried from the upper right corner to the lower left, as shown in the drawing. In the fourth step, the diagonal is started in the iii)])er left corner, brought over the first diago- nal and under the intersection of the other strands, making sim])le under and over weaving, as shown in Fig. 123. Figs. 125,120, and 128 show very interesting foot-stools- in which cane ])lays a veiy important i)art in tlic con- struction. tij^. Wl -Magazine Rack B.ll of Male N'^ Posts ,IE W.JJli -J 5 i ll ' > Ka.i-. ■ 3 5 * ! ! p 5ide5 15^ fc i. p 6, i 1 1 Bolfcrr, i 17 1 t P4 KtiUtt^' \k N'' a 111 : MAGA21NE1 5TAND Fig. 122 — Working Drawing of Magazine Stand, Seventh Grade Figs. 124 and 127 show- working drawings for the foot- stools above mentioned. In Fig. 125 is shown a binder of broad liinding cane forred into a groove. When the binder is used in this way, a groove as wide as the binder and about 3-16" deep is cut coincident witli the holes be- fore the weaving is started. It is after the caning has been completed that the bind- ing cane or half-round reed is forced into the groove. A small amount of glue, and oc- casionally a f " brad, is used to hold the binder in place. Fig. 130 shows the work- ing drawing for a combination box and foot-stool. Owing to the small flats and so often crowded conditions in the homes, it is advisable to make combination problems, as shown in Fig. 129. In this problem there is a very interesting stool, foot-stool, and shoe box. Fig. 123 -Four Step Caning Completed g — e - «-=«>- ~6 — o-i — " _1J I '■ 3^ — — t^-t*- T^ Dill of Molerrat l| N5 -» Name ,<^WJWKJH.[rhiCltnM5| z I?Qilf. Ili X * 2 Trails 0^ 2 * 2 Z t.p&il: 7i zi 2i ^ 3 CANLD FOOT STOOL. Fig. 124— Working Drawing of Caned Foot Stool, Eighth Grade - ^_ Tl Hf-r o-ef-6^^e^ ~ 'i 1 , 4"'* Coned f"'; ,-,--- -Si'-, '- ' Eirl/of rioter, a r-1 NO 4 L.3= .Hi (4 : If J 2 Z 11 ya.,i5 Mi 6- Z i 4 :r~.Ti.c^ 6i :^ 2 T.^o,<, ni '4 5 z ropib.li a ii ^ 1 "^^.'r^ ^2n -S-i 1 6t ^ 4 J --/ - CANED FOOT REIST Fig. 127 — Working Drawing of Caned Foot Rest, Eighth Grade I. """ ' i ' ' ' I I ( L -J -' '•-_ ^_[} 'n tr^^ ^i — -i [fi -t- . N» Bill ot Material J Nome ^enjhtrtidth'Thidwifsi " Z Po„=; ni_ li li 512o.h 3 Z ■ i 2 5-KO.I5 9 li 3 Z Z rEo.15 15 2 -5 rRo,l5 15 14 i ,* TKo.i,! 18 Zi ' ^ 2 TKa.l, 8i 24 i 1 Dolu™ 14i Si i • r1 r i r 1 ■fj. o o o :"-> CANED SHOE. BOX Fig. 130 -Working Drawing of Caned Shoe Box, Eighth Grade fc :;S-. inr^ 4 S^^il ot Material 1 Mamc LpnfhtUidth|T1>.ckn«ti 4 Tta,., .Ml 5 3 4 ^„.:. -' ,- ' .? Z ^.. •. ..• iii 8 T,. . • - \ -\ _l4--. .. . , i — I** tr^^ I-"' o o o ' '""O"\:::_vo:::::_o;i ri,KN STAND Fig. 131 — -Working Drawing of Fern Stand, Eighth Grade z-t^-= — \^ BiM ot Malcrwi 1 N^ Name jWffMf Vidlti fcickncsi ? Ends ^o 4 i I Top 54 .3 i 1 Bell.... 34 3* i 2 Crc.es 15 2* 5 J ' 6? i HALLMIRKOR Fig. 133 — Working Drawing of Hall Mirror, Eighth Grade Fig. 130 shows the completed exercise. Fig. 131 shows the drawing for a plant stand. Fig. 132 shows the completed stand. Fig. 133 is a working drawing for a hall mirror. This i)roblem may be worked out verj^ successfully by any eighth-grade ])ui)il. Fig. 134 shows the finished mirror. Fig. 135 show the working drawing for a sewing stand. Fig. 136 shows the finished stand. Figs. 137, 139, and 141 show working drawings of waste baskets, while Figs. 138, 140, and 142 show the finished products. The leg rest shown in Figs. 143 and 144 makes a most interesting problem to be taken into the home. There are few jjupils in the grades who are am- bitious enough to undertake a problem larger than a Morris chair. In jjlanning for such a problem, care should be taken that the designer holds to one line of design. He should not be allowed to upholster the seat, cane the sides, and have slats for the back. Such a combination is too much for one chair. If leather is used in the seat, it might be used for the back or the back might be caned. Fig. 145 gives the working drawing for a Morris chair, while Fig. 146 shows the completed chair. Fig. 132— Fern Stand Fig. 136— Sewing Table T3 I Bill ol Mater tJ r^ 2 5ide» II 2 4 1 5.de* a z t 1 II Z Pieces II i a ;■ Slides ,1 * i 24 Dov.«i* ii B,am 1 1 - ! r!q 3I1NA/ING TABLE. Fig. 135 — Working Drawing of Sewing Table, Eighth Grade f 1 i.M o Material || N« Name *nfM Udih Tk,a„-J |4 FaaU 16 1^4 li 1?o.l^ II 2i i ? lea.ls II r- 1 4 TEa.li II li i n Piece > lo * 1 10 10 i ?A Do«el5 1 Cam 1 WASTE. BASKt-T Fig. 137 — Working Drawing of Waste Basket, Eighth Grade Fig. 140 — Waste Basket Fig. 138— Waste Basket Kti-h-ti-- c^ jL^yiM:^ r „ 1 B,ll c 1 Mater al m Name in M.drh Fhickneji r PosH li ^ Eaih II 2i '" Te " f~ i 1 DotTttin lA \o 4 t* Dowata '- i WASTE. BASKLT Fig. 139 — Working Drawing of Waste Basket, Eighth Grade Care must bo taken not to allow too groat a contrast between the natural color of the cane and the finish of the wood with which it is used. It is often advisal5l(> to give the cane a coat of the same stain as used on the wood. Owing to the hard, shiny surface of the cane, only a very small amount of the oil or acid stain is absorbed. This, however, gives a most pleasing contrast, and is not so extreme as to attract attention. Fig. 147 shows the working drawing of a tea table. Fig. 148 shows a finisliod table without the use of cane. Fig. 149 shows the tal)le with caned ends. Fig. 142— Waste Basket iM + 1^ 'jt-M^-i- Sill Material | N' Name iLensM ii- n.»:Knr» ■4 ,.=,,, -ne_ 2 I?.. 15 Hi 24 J 6 Ka.15 II z i 4 ieaii3 II l± 4 16 5lat5 7 iJ _i II a Pl.crj 4 1 i 1 Bottom ■54 9* i 24 Oo-cls 1 ^ Diam WASTE BASKET Fig. 141 — Working Drawing of Waste Basket, Eighth Grade \ r ' 1 ' 1 1 ! 1 J- 1| ^ D.^wcl T'.n / rUq Bill oTMolerial 1 N« htome ien^hl WHjIhlh^knrss -* Posts z\X li a 1 Seat zok Mi i -2 jtrrtchw 2lT 2 r* II 4- 1 4 P«crs 'n~ 2i 4 "4- bract^t 14 3 4_ j2 1^ r Pin* '' « "-""I i^LL^ -'" 1 - I* "f? [rtirt- —^ CANED LUG IS EST Fig. 143 — Working Drawing of Caned Leg Rest, Eighth Grade Fig. 144— Leg Rest 4 Di(( of Material || N« Name Width WlrnoT 4 J.e«.* P^ 2.^ ■4- RaiK £•5 5i 1 e £3 ? I 4- M? I 5 t 2 Arms 3fe 5 1 -t 5r*->ct 75 S! I5 2 Post^ -^o ts l^ 1 Fail 19 y A t IP 3 5 ^ Piec-^ e3i u li I K-ct 2ii \ P li e ftr-Jf^?, 2 1 ) 1 ) Cuah-on ;? 1 £ 1 6 MORR15 CHAIR Fig. 145 —Working Drawing of Morris Chair, Eighth Grade Fig. 146 — Morris Chair Fig. 149— Tea Table. Caned Ends c^ W^- :^ I Dili ot Material i N» Name .rnfh Wirfm 3 braves ?4 fl J ' S Sides ??4 5? * Z Feet 10 U li 1 Rail ZOJ .1 1 1 Shelve eoj 4^ 4- Jrackd •) ?t 3. TE.A TABLE. Fig. 147— Working Drawing of Caned Tea Table, Eighth Grade To Cane an Old Ch^ir It is not necessary to go into all the details of caning an old chair, as such a problem solves itself to one who has had even a little experience in chair caning. What may seem confusing in any line of repair work, very soon straightens itself out when the worker begins the actual operation of caning. Even irregular openings are simple after a little practice in the more regular forms above mentioned. Fig. 150 shows the caning of the irregular chair seat. Fig. 151 shows the caning of the circular chair seat. Fig. 148 — Tea Table. Open Ends Fig. 150 Fig. 151 CHAPTER V Rush Seating A few years ago, such materials as cane, i)itli cane, round reed, split reed, ash splints, willow, hickory splints, fibre cord, and rushes were con- sidered a novelty when seen in the work rooms of our manual training schools. By degrees these materials are finding their way into the shops of the more pro- gressive teachers, who believe any material that may be used in conjunction with wood has a legitimate place in the shops of our public schools. Such ma- terials not only add interest to the problems at hand, but also increase the pupil's knowledge of materials and possible combinations, thus broadening his horizon and making it possible for him to enjoy to a far greater degree not only the products of his own shop, but those of the art world in general. It aids him in discriminating in the commercial world be- tween good and bad combinations. One api)rcciates this when one sees a group of boys gathered about the show windows of a furniture store admiring the display, and pointing out, in their limited way, the good qualities of certain combinations. There is nothing new about the rush seating of stools and chairs. Rush probably is one of the oldest known materials used in conjunction with wood. History states that it was used in the valley of the Nile long before Christ. The museums of our east- ern cities contain various examples of rush seating brought to this country by the early settlers from England, France, and Holland. The real rush seating, as the name implies, calls for the rushes, or cat-tail flags which grow in the low, wet places along rivers and in sloughs. If rushes or cat-tail flags cannot be procured, heavy hemp or sisal twine or raffia are jjossiblc. In some sections of the country ropes of corn husks are used. In Euro])e, rye straw is wound over twine or grass, and is used in seats. The most practical substitute in the north central section of the country is a twist- ed jmper cord. It is usually shipped on spools of about 100 ])ounds each, and sells at from 12 to 15 cents per ])ound. It may be procured in several colors, green and brown being most commonly used for chair seating. One kind is especially pleasing in color. The prevailing color is brown, with just an occasional suggestion of green. Imitations, as a rule, are to be discouraged. Fibre cord, however, may be considered an exception, as it is a very substantial material and may be very successfully used in chair seats. If rii.shos or cat-tail flags arc used, they should be (uit in August and the l)utt cuds removed. The drying should be done in a dark ])lace, as this aids in retaining some of the natural gr(H'n in the drying stem. Care should be exercised not to break the stems. After they are thoroly dri(Hl, they may be tied in bundles and stored away for futiu'c use. Be- fore working, allow them to lie in a wet cloth to soften. When using, squeeze the air and water out ])>• pressing each leaf from the top between the thumb and first finger. P^our leaves usually com])ose a strand. Twist in the same direction and kec]) uniform in size. With flags or rushes, the strands stretch underneath without twisting, and new leaves are introduced at the corners where the coil turns back for a new direction. The process of wra])])iiig will be described a little later. \Mien raffia is used, color may l)e introduced. Raffia is well known throughout the grades because of its general use in basketry. The original source of all materials should be considered, and well gone over at the time of their introduction. The writer well remembers the time when this phase of the work was neglected. A large suj^jily of raffia had just been delivered to the school and left in the office. As the niaterial was to be dyed, several boys of the upper grades were asked to assist in the opening of the braid(Hl bimdles. This made a loose pile of grass-looking material in one corner of the office. Just at this point a little girl came to inciuire for a l)air of lost mittens. She was referred to the Lost- and-Found Box, which was at this particlar moment under the i^ile of raffia. As the little girl was leaving the office she was asked if she had found her mittens. Her reply was that she could not get near the Lost- and-Found Box because there was so much hay around it. There are scores of pupils who have used raffia in various ways, Avho have been allowed to go on thinking that raffia is a kind of grass. In a recent article, raffia was described as l)eing the leaf of a certain palm. One needs only to dampen it and observe how nearly transparent it is, to kno\\- that it cannot be the leaf itself. Raffia is the outer covering strii)i)cd from the leaf of a certain palm, \\hich grows very extensively in Madagascar. If raffia is used it should not be soaked, but like the cat-tail flags, it should I)e wrai)i)ed in a damj) cloth, which moistens it sufficiently for twisting ])vu'poses. Rush seating cannot be called weaving. It is more properly called wrapping. For the rush l)ottom or cord seat, a frame is ])ro\'ided with rounded edges and definite, sul)- stantial corners (Fig. 152) that rise a little abo\-e the connecting frame and suggests how thick the coil should be. Fig. 153 shows the direction i)iirsued by the cord ill wrapping a chair seat. Beginning with the upper right hand corner, lay one end of the twisted cord on top of the rail, allowing the end to extend, as shown I — — I I I I I I I cz: nn Fig. 152 — Frame for Wrapping at "A;" allow tlic cord to pass over the edge and lui- der the rail, as shown at "A," then over the top and edge of the rail marked "B." This binds the start- ing end. Pull the cord right under the rail at "B" and carry it directly across to the u]ii)cr left corner of the frame and over the top at "C," around the edge and under the rail at "C," then over the top of the rail at "D," over the edge and under the rail at "D," directly across to the lower left corner, over Fig. 153 — Method of Wrappi the top of the rail at "E," around and under the rail at "E," and then over and under the rail at "F," across to the lower right corner, over the rail at "G," around the edge and under "G," over the rail at "H," around the edge and under the rail at "H," back to the upper right hand corner. The same course is repeated each time around. Care should be exercised to have the cord fit closely where it passes over the rails. Do not allow the strands to overla]) at the corners as the work ])rogresscs. Sometimes it becomes necessary to force the strand together by using a block of wood and a mallet. The fiber cord being of paper prevents it from being soaked in water for any length of time. By dipping it into the water and allowing it to remain but a moment, enough water is absorbed to make the handling of the cord somewhat easier, and in drying out it tightens about the frame, making smoother work. Splicing the Cord When the end of the cord is reached, the ama- teur usually tacks it to the under side of the frame. The new piece of cord is begun also by tacking. Even a beginner may learn to do the sjjlicing. Take a piece of new cord of the desired length and si)lice the end (which is made by severing the cord from the spool) to the end on the frame. This is done by untwisting each of the ends and cutting away a slanting piece of each. These two ends are now over- lai)ped and twisted together. The other end of the new piece of cord will not twist with the end oil the chair frame. Splicing and Twisting the Rush In using rush, the twisting is done as the wrap- l)ing progresses. It is done by rubbing the rushes against the thigh with the ])alm of the hand. When several strands of raffia or rushes are used in making the twist, different lengths are chosen, thus making the twist continuous by adding one strand at a time. Those experienced in rush seating think it ciuite im- possible for the average eighth-grade boy to do chair seating with the rushes, as the twisting is an art which is acquired only by a great deal of experience. A very valuable experience, however, is gained by allowing the boys to experiment. Stuffing the Stool As the work progresses, it becomes necessary to stuff the space between the layers of cord. Raffia, paper, rushes, or even excelsior are used to make a firm, solid seat. This stuffing must be well done in order to prevent breaking at the inner edges of the rails. When the wrapping and stuffing are com- pleted and the frame placed, the cord should be given a couple of coats of shellac. Sometimes varnisii is used. Care should be taken when shellacing that all the strands are forced into place. The shellac or varnish will aid in keeping a perfectly smooth sur- face, and is a protection against moisture. If so de- sired, a coat of stain may be ai)i)lied before using the shellac. This is especially desirable wlien the seat is to be of the same color or a tint of the same color as the frame of the chair. In a recent display of furniture, in which the combination of materials was emphasized, rush seated stools were shown on which paint had been used. Fig. 154 shows a partially wrapped top. Fig. 155 shows the working drawing of the stool. To Place the Frame Remove the cai)s at the corners and screw the frame to the posts of the stool. When this is done the caps are again returned to the corners, and with glue and brads, are tacked permanently to the corners. The return of the caps covers the screw heads used to keep the frame in place. Fig. 156 shows the finished stool. Fig. 157 shows a square seat, the wrapping having been done over the rails of the stool. Fig. 158 shows the working drawing of the stool shown in Pig. 157. Fig. 154 — Partially Wrapped Top I 6 1 - fi4.ttrt1 ^ .« O 1 1" + oj ;' « '^ 1 1 ^ ? , = « ■^ N 2 (S i J ? 2 ■•i ■» ' «- « « t ?.-J 5 (2 h — i 1 ' ' ^-! Jil rr k Wrapping a Rectangular Seat It is not absolutely necessary that the wrapi)ing be done over a separate frame and then inserted or screwed to the posts, as in the case of the stool above described and shown in Fig. 156. The wrapping is more often done over the rails of the chair or stool, as shown in Fig. 157. This is somewhat more inconvenient than wrapping over a frame. Wrapping over the rails of the chair does away with two plain squares in each corner, as must Fig. 156— Rush Seat Fig. 157— Square Stool 149 tl B.ll of Material f NO ?"""■= ^n«hl|w,dlh Th.-Kn** -* '^ •« -4- ^ ^5| -^ 94 1 ^ SA ta ^ « 2 ^ j , 1 ■f-J u roOT STOOL Fig. 158— Working Drawing of Foot Stool, Eighth Grade be true when using the frame, the post of the chair or stool making one square and the cap at each corner of the frame making the other. In wrapping a rectangular seat, pro- ceed the same as when wrapping the square, as shown in Fig. 153. In Fig. 159 is shown a partially wrapped rectangular stool top. It shows the short rails already filled while there is considerable vacant space to be filled on the long rails. The weaving around the corners is no longer possible. The problem is to fill the vacant space on the long rails. This is accomplished by going over and under a long rail, across half the frame opening, which is very definitely shown in Fig. 159, up through the center opening, across the remaining half, and over and under the other long rail. This is continued until the seat is finished. Fig. 160 shows the finished stool and Fig. 161 shows the working drawing of the stool. Fig. 159— Partially Wrapped Rectangular Top m ^ B.ll of r-1aterial II NP Ndiie m,l. W.d>h TdK-Kncs- 4. Fbats ri^ 1^ .4 ? drf'Ko.K .i * z Erid i 2 Top ,7 z i FOOT STOOL. Fig. 161~-Working Drawing of Foot Stool, Eighth Grade Fig. 160— Rectangular Stool Irregular Seat to be Rush-Seated In the foregoing directions, only the regular shapes, the square and rectangular, have been con- sidered. In order that the boy may become familiar with shapes other than those above mentioned, the one shown in Fig. 162 is introduced. This shape is often seen in the commercial market. The drawing in Fig. 162 clearly shows that the front rail is longer than the back and that the side rails are equal in length. The first step in the seating of this shape is to mark off a distance on the front rail ec^ual in length to the back rail. This is done by ])lacing one arm of the framing square along the long edge and the other arm butting against the inner edge of the cap on the short rail, and drawing the lines on the longer rail, as shown in Fig. 162. This is a sort of squaring-u]) jn-ocess, marking off or describing a perfect rectangle in the center. If the framing square is not at hand, the squaring- up may be done by subtracting the length of the short or back edge between the caps, from the length of the long or front edge between the caps, and one- half of this difference marked off on the long rail, X=H Difference between a and li. Fig. 162 — Method of Marking Irregular Frame measuring from the \unvv (Mlgcs of the corner caps, as shown in Hg. 162. In the wrapping, tlie first stej) is to fill in the space at the sides not a i)art of the rectangle. There are two ways of doing this. In the first, take a strand of cord, tie a string to the end. Tie this string around the back rail close to the left hand cap. Then pro- ceed as when weaving a square until the back rail is reached. Cut the strand about two inches from the back rail and tie a string to the cut end. This string in turn is wrapped around the back rail close to the right hand caj). Proceed in this way until the spaces marked off on the front rail are filled. There is now a perfect rectangle, which may be wrapped as previously described. Another good way of filling in the extra space at the front corners is to tack one end of a strand to the inner edge of one side rail close to the corner. Wrap the cord around the corners, as shown in Fig. 163, and tack the other end to the inner edge of the op- posite rail. Proceed in this way until the spaces on the front rail are filled. There is now a rectangular space, which is wrapped as already described. The seating of irregular seats is no more difficult than that of the square or rectangle. Any eighth- grade boy can do the work if the fiber cord is used. The twisting of the genuine rush is somewhat difficult. Fig. 164 shows a finished irregular seat. Fig. 165 gives the working drawing for a rush seated chair. Fig. 166 shows the top of a stool woven with fiber cord. F'm. 167 shows a finished stool. Fig.^163 — Method of Wrapping an Irregular Frame Fig. 164 — Irregular Shaped Seat Fig. 166 — Woven Top Fig. 167~Stool with Woven Seat Bill o( Material | N» Nome -* Width bh.t^ 2 U,. 36 i 3i li 3 IB 1 J li 1 nra.i 132 3 a ?. BieB.i» le ?> a ■§- :) Rails wS 3 5 StfetEh*. J I I Fbnel \5% 5 s 1 -tpITb.. \r>^ 2i 3 f 9 a* i X '■t^ £i 4 8 Co'^n«r» ei ei * Fig. 165 —Working Drawing of Chair, Eighth Grade CHAPTER VI Hickory Splints Hickoiy splints are the products of the hickory tree, obtained in very much the same way as are splints from the black ash and the oak trees. Many of the old colonial hickory splint seated chairs are still to be seen in the various museums in the New England and Middle Atlantic states. The chairs to be seen at Deerfield, Mass., are especially interesting. The hickory splint seated chairs, as household furniture, may still be found in everyday use in various sections of the country, especially in the south. Since civilized man has learned the value of fresh air, the inevitable demand for suitable outdoor furniture has been created. After much experiment- ing with various kinds of wood, it was found that hickory, because of its toughness and pliability, was the most suitable of all native woods. It stands all kinds of weather with placid indifference. It may be used in its natural state without paint or varnish, — the beautiful sheen and soft colorings of the smooth bark being infinitely ])rettier than any jjaint or varnish. The Splints The splints are usually furnished in two widths, one about § of an inch wide, and the other, f of an inch. Si)lints of this kind may be purchased from the original producer at about twenty cents per l)Ound. Several of the largest rustic furniture com- ]:)anies use splints made of the inner bark of the hickory for the backs and seats of porch furniture. These splints are somewhat darker in color than those obtained from the trunk of the tree. The frame work need not necessarily be of hickory. Sassafras wood is very often used, — in fact, branches of any kind of trees may be used. Hickory and sassafras retain their bark, while the branches from many local trees will not. Encourage the pupils to bring in branches trimmed from these trees during the season for trimming. Fig. 168 shows the working drawing of a stool with a woven hickory splint to]i. The construction of the frame is very simjile. Making a Form It will be observed that there is a slight curve in the side rails of the stool top. This curve is often natural, but the rails may be easily bent over a form made for this purpose. Such a form may be made of a piece of 2" plank by drawing the curve down the a I K.i)l o( Material H N'^-iNamc (er)qhIkV.dHitThrhi>m|| 4 15 1 s DiO-r. 2 Km 1-3 13^ 1 it ■ p Ifo^ 1 s lO 1 £ rriece: lO .i 1 s End '^e li T^ STOOL. Fig. 168 —Working Drawing of Stool, Eighth Grade center of the plank and sawing. Place the branch to be bent between the two parts of the form and then draw them together with the clamps. If the wood is green, it will bend without any special treatment; but if dried out, it must either be steamed or soaked in boiling water. Such pieces must remain clamj^ed in the form until thoroughly dried out; otherwise they will spring back to their original sha])c. Fitting the Tenon Care should be taken, however, when fitting the rails, not to taper the tenons. This mistake is often made, and the result is insufficient space for the glue to hold the parts together. The final outcome is that the frame comes apart in a short time. Fig. 109 shows the wrong way of cutting the tenon, while Fig. 170 shows the right way. Weaving the Top To weave the top, the splints are soaked for a short time in Avatcr. This makes them very plial^le and easily handled. To begin the seating, tack one end of a s])lint to one of the rails of the top, using a 2-oz. iron tack. The splint is wrapped around the seat frame. When the end is reached, it is fastened. with a tack. The @ Fig. 169 — Incorrect Way of Cutting Tenon K. i^ Fig. 170 —Correct Way of Cutting Tenon end of a new si)lint butts \i\) against the end of tiie one just used, and the wrapping is continued until the entire top is covered. Wrapi)ing in this way makes a doulile seat. Fig. 171 shows the wrai)i)ing. Weaving The wrapping completed, the weaving is begun about the middle of the under side of the seat. In tWs exercise, both the top and the under side of the top are woven. This is true of all hickory splint and Hat reed weaving of stool tops. If plain weaving is to be used, the weaver simply passes over one and under one. If a diagonal weave is desired, the same direc- tions may be followed as given for ash splints. W'licii tlie end of one splint is reached, the beginning of the second weave overlaps the end of the first for a couple of inches, and the weaving continues the same as at first. It is desiral)le to have the over- lapping come on the under side of the stool top. Fig. 172 shows a jjartially woven stool to]i. Fig. 173 shows the comi)leted stool. This work may be made most attractive and inex])ensive for the boys in makingJgarden and jKjrch furniture. » Fig. 172 — Partially Woven Top Fig. 173 — Stool with Woven Top Bill o f Material 1 N° rJame i.n,h Width fn,«kr.,4 a Posr^ 26 2 Diam j 2 BacK 36 S. 3 Ra.is 34 1 i 2 eg 1 i Z 29 1^ 6 16 li II 5lats 1-4- 1 y /Irms IB la SUXXElEl Fig. 174 — Working Drawing of Settee, Eighth Grade Fig. 174 shows the working drawing of a porch settee with woven seat and long, straight branches for the back. Fig. 175 shows the finished settee with woven seat. In Fig. 176 is shown the working drawing of a porch chair with woven seat and back. Fig. 177 shows the finished chair. Fig. 178 shows the working drawing of a settee \\ith woven seat and back. Fig. 179 shows the finished settee. Fig. 180 shows a settee with a woven seat and two woven panels in the back. Fig. 175— Settee. Woven Seat Fig. 177 — Chair. Woven Seat and Back U _L jE. II of |-laler,al N" Name Un,M S Posts £?7 Diarn e. 3-7 1 5 1 Rail eo 1 k £ so 1 1 1 1> IS 3 16 1 2 Ib^ 2 51a*3 <5i 1 a Armi ti 1 d;: Fig. 176 — Working Drawing of Chair. Eighth Grade Fig. 178 — Working Drawing of Settee, Eighth Grade Fig. 180 — Settee. Woven Seat and Two Panels in Back CHAPTER VII Uphols taring We may safely say that 75 per cent of the furni- ture manufactured today is upholstered in one form or another, the reason being not only for the ease and comfort that are produced, but because of the beautiful and artistic effects that can be obtained by u]iholstering. Upholstering is an art in itself, and like most arts, cannot be j^oorly done without a displeasing effect on the entire article upon which it is applied. The methods of upholstering are too numerous to mention in full, therefore we shall explain only those simple methods that are within the capabilities of the average seventh- or eighth-grade boy. The tools needed for these simple methods are very few. The materials that may be used, and that are used the most, are webbing, springs, canvas, cotton, curled hair, common tacks, ui^holstering tacks, staples, gimp, cord, leather, imitation leather, tapes- try, and fabrics of all kinds. The most simple of all upholstering is the stretch- ing of leather over a plain surface such as the top of a library table, leg rest, or footstool, where only the effect of the ui^holstering is desired. This is very good for library tables, but not for leg rests and footstools, where a little comfort must be considered. This method can be used on leg rests and footstools if a small amount of curled hair is placed under the leather before stretching it, as in the case of the leg rest shown in Fig. 181. Do not use cotton when \xy>- holstering over a plain, hard surface, such as the to]) of the leg rest, as the cotton will pack down and in time become almost as hard as the wood itself. ( 'urlcd hair will not pack as readily nor as hard as cotton. But when curled hair is used, a thin layer of cotton should be placed over the curled hair be- fore stretching the leather over it. The next method is that in which the webbing is used as a base upon which the upholstering is built. The use of the webbing adds greatly to the comfort of the article to be ujjholstered, in this case a small footstool. At A, Fig. 182, the foot- stool is shown with the webbing stretched and tacked upon it. The webbing must be pulled very tight and tacked very securely, the ends of the webbing being doubled to insure a good hold for the tacks. Fig. 181 — Leg Rest Fig. 182 — Steps in Upholstering a Small Foot Stool In B, Fig. 182 is shown the leather stretched and tacked to the stool over the curled hair and cotton, which has been placed on the webbing. In placing the leather on the stool it should be stretched from corner to corner first and tacked tcmjrorarily, then pulled from center to center, right and left, front and back, and tacked securely at the center. Then iwoceed with the tacking down of the leather from center to corner, always pulling the leather down and towards the corner. When the corner is reached, remove the tack placed there in the be- ginning, trim the leather to fit snugly around the post, then pull it tight and tack it securely, seeing that there are no wrinkles in the leather before tacking. If there are any wrinkles they can be filled out with cotton. When the leather has been stretched and tacked as shown in B, Fig. 182, we may next place the gimp around the edge of the leather and tack it with upholstering tacks as shown in C, Fig. 182. This gini]:) not only adds greatly to the beauty of the upholstering, but also covers up any defects in the stretching of the leather. If the rails are not too wide, and the piece of leather is large enough, one might stretch the leather around the rails and tack it on the under side of them, as shown in D, Fig. 182. If the leather is pulled snugly and neatly around the posts no gimp is necessary, but if not, the de- fects may be covered by placing the gimp around the posts as shown in D, Fig. 182. It may be said here that small corner blocks should be placed in each corner of the footstool to provide a place for the upholstering tacks. The gimp and tacks give the upholstering a finished appearance. The foregoing methods of upholstering may ))e used on any jiiecc of furniture, provided the open- ing is not too large. We now come to another simple method, which is used very extensively in upholstering the seats of dining-room chairs, and which may also be used very effectively on any chair or stool. It is necessary first to make a wooden frame one inch thick and the same shape as the opening in the chair which it is to cover, but ^" larger all around than the opening. Then rabbet each edge and cut each corner out on the under side as shown in Fig. 183, so that the frame \\\\\ slip down into the opening with the I" projection all around. This projection is about j" in thickness. Then round off the edges of the frame on the upper side as shown in Fig. 184. Corner blocks are now placed in each corner of the chair or stool so that the frame rests on the blocks, and the projections of the frame rest on the rails. Fig. 183— Under Side of Slip Seat Frame This removes any pressure from the projection. If these blocks were not placed beneath the frame the ])rojections would snap off when the first real pres- sure was placed upon the seat. The next operation is to ujiholster the frame. Tack the webbing on as in the case of the foot- stool, pulling the webbing tightly before tacking. Weave the webbing over and under as shown in Fig. 184. Now place the cotton on the frame and then tightly stretch the leather over it, tacking the leather on the under side of the projections. Do not use too much padding, as the seat will become bulk- some; vet have enough to make the seat comfortable, as shown in Fig. 185. The seat may be held in place by placing a screw up through each corner block and screwing it into the seat frame. The other method of fitting the seat frame to the ojicning in the chair is to rabbet out the rails and posts to fit the frame, but this method is a little too diffic\ilt for an eighth-grade l)oy to ac- com\)\iiih. The methods described in the foregoing para- gra])hs suit very well the articles mentioned in the explanation of the methods. But, one expects more comfort in a Morris chair than in a dining-room chair, therefore one must use a method of up- holstering Morris chairs, rockers, etc., that will give Fig. 184 — Webbing Tacked on Frame Fig. 185 — Leather Stretched on Frame greater comfort. There are a great number of methods of doing this. We shall take the easiest and simplest. To begin with, one must make a box frame, as sho\\Tii in Fig. 186, which is \" shorter than fhe dis- tance between the front and back rmh, and \" narrower than the distance between the right and left po.si.s of the chair in which the cushion is to be placed. The box is made of f" stock about 4" high. Along the inner lower edges of the front and back f " square strips are screwed to the box as shown in Fig. 186, and on these are placed the 4" strips of wood ujion which the siirings are tacked. Fig. 187 shows the springs held in place by |" staples, a small piece of rope about 1" long being placed between the spring and staple before the staple is hammered down. After the springs are made fast at the bottom, they are tied together with rope at the top as sho\\Ti in Fig. 187. Take a piece of rope about 4" longer than the box and tie one end of it to one side of the upper rim of a corner spring, cross over to the other side of the rim, tie a single knot, pass over to the next sj^ring, repeat the operations performed on the fir.st spring, and let the end of the cord hang over Fig. 186 — Box Frame Fig. 187— Springs Tied and in Place the side of the box. Repeat this operation until you have six strands of cord tied over the springs as sho\\ii in Fig. 187. two ends on each side and one in each corner. \Mien you have this completed pull the ropes tight and tack the ends to the upper edges of the box. This secures the sj^rings at the top. The springs may be covered with webbing as sho^^^l in Fig. 188, or with a i)iece of canvas. The cotton is then placed upon the sj^rings, allowing it to cover the sides of the l)ox frame as shown in Fig. 189. The leather is then stretched over the cotton and tacked on the under side of the box, stretching the leather as in the case of the footstool, that is from corner to corner first, and then from center to center. A piece of canvas is then tacked over the bottom of the l:)ox and the cushion, as it is now called, is complete. Fig. 189. One must decide for oneself just how many springs are to be used in a cushion. The fewer the springs the softer a cushion, while the more springs used the more serviceable a cushion. Fig. 188 — Springs Covered with Webbing Fig. 189 — Leather Stretched Over Box The methods of upholstering described in this chapter are only a few of a great many, but they will suffice all i)ur])oses for which upholstering can be used in the sixth, seventh, and eighth grades. Fig. 190 — Cushion in Place in Morris Chair CHAPTER VIII Round and Flat Reed Weaving The purpose of this chapter is to show a few of the possibihties that may be accomplished in round and flat reed, and to point out the relation reed bears to wood. Too many manual training teachers are laboring under the impression that elementary manual training concerns work in wood only. It has already been stated in a previous chapter that the one great aim of manual training is to combine judgment, a purely mental function, and execution, a purely physical function. There seems to be no work in which the two can be combined so eflficientlj' from the beginning, as basketry. The expression of thought through wood and many other mediums requires, very often, an elaborate equipment of tools. The work in basketry requires almost no tools, and yet offers great variety as to form and color, and almost unlimited possibilities in design. Much of the poor work in reed is often due to jjoor teaching, and many times in attempting prob- lems too difficult. For the purpose of experimenting, take a 10" square of 2" plank. From the center describe a 9" circle. On the circumfernce, mark off and bore I" holes to apart. There should be an uneven number of holes. In order to bring this about it would be better not to keep the spacing eciual. When an even number of stakes are to be used, a plug may be placed in one of the holes. With the above device at hand it is possible for the pupils to answer many questions which arise concerning an odd or an even number of spokes. Such a device also gives the teacher an opi)ortunity of demonstrating the single, double, triple, and quadrui)le weaves. Single Weaving Fig. 191 shows the single weave with an odd number of stakes. Fig. 192 shows the single weave with an even number of stakes. In this weave it will be observed that after the weave has passed around once, it no longer continues to pass before and back of the alternate stakes, but continues to pass before and l)ack of the same stakes, as in the first time around, as shown in Fig. 192. In order to bring about the passing back and before the alternate stakes, it becomes necessary Fig. 191 Fig. 192 Fig. 193 Fig. 194 Fig. 199 Fig. 200 Fig. 201 Fig. 202 for the weaver to pass back of two stakes each time around, as shown at "a" in Fig. 193. From this ])oint the weaving continues the same as when an odd numl)er of stakes is used. This is the Indian way of weaving, and may often be used as a means of decorative work, as shown in Fig. 194. The weaver, in its journey around the basket, passes back and forth before the same stakes until it has passed around several times. When the reverse is desired, the weaver ])asses back of two stakes as shown at "b," Fig. 194. Double Weaving Double weaving is made more effecti\T if reeds of different colors are used. Fig. 195 shows the double or ])airing weave. In weaving with two, three, or foiu' weavers, the left-hand weaver of the group is known as the rear weaver, and the right-hand one as the forward weaver. Ordinarily, weaving is done from the left to the right, except when a special design is desired. To do double weaving, two weavers are put behind two consecutive stakes and project toward the right. The rear weaver goes over the forward one back of the stake and out between the two stakes. The forward weaver now becomes the rear weaver, and ))as.ses over the back of the stake and out between the two stakes. Fig. 196 suggests the jwssibilities in decoration when one weaver is colored and an even nvunbc^r of stakes is used. Hg. 197 shows the design when the double weave is used with an odd number of spokes. To add a new^ weaver, insert the end behind and beside the end of the one already woven in, and continue the weaving as if the weavers were continuous. Triple Weaving In Fig. 198 is shown the starting of the trijile weave. The three weavers are put behind three consecutive stakes and extend toward the right. In weaving, the rear one goes over the other two and in front of the two stakes, behind one stake, and out between the next pair of stakes to the right of the forA\ard ^\•ea^Tr. The weaver that was in the middle now becomes the rear weaver, and in turn is treated as the other rear one was treated. This is continued as long as the triple weave is desired. In weaving, always be sure to take the rear weaver, and have it come out between th(> ])air of stakes to the i-ight of the forward weaver. Fig. 199 shows the result when one coloi'ed weaver and two vmcolored ones are used, and the number of weavers will go an exact number of times into the stakes. By this is meant, the number of stakes must be divisible by the number of weavers. Each color forms a vertical stripe. Using two colored weavers gives the same result, but with a different proportion of color. In Fig. 200 is given the result \\hen the number of stakes divided by the number of weavers leaves a remainder of one. This produces a spiral effect on the inside and a variegated effect on the outside. Fig. 201 gives the result when the numlxn- of stakes divided by the number of weavers leaves a remainder of tw^o. This produces a spiral effect on the outside with a variegated effect on the inside. Quadruple Weave Fig. 202 shows the starting of the ciuadruple Aveave. This may be done with most pleasing effect in using weavers of different colors. In weaving, the rear one goes over the other three and in front of three stakes, behind one stake, and out between the next pair of stakes to the right of the forward weaver. The weaver that was next to the rear now becomes the rear and the weaving continues as described. In order to make use of the suggestions given above, it will be necessary to have a simi)le i)roblem on which to work. Mats Mats are always useful, and since they embody all that is foimd in the ))ottom of a basket they may well be taken as beginning problems. Before beginning the work there are a few terms in connection with basketry that should be made a part of the child's vocabulary. The foundation pieces of reed on which a mat or bottom of a basket are A\oven are known as spokes because they radiate from the center like the spokes of a wheel. After the bottom of a basket is completed and the spokes are turned upward they are called stakes. The strands of reed used in weaving in and out of the spokes and stakes are called weavers. Fig. 203 shows a number of woven mats. The one of simplest construction is shown at A, Fig. 203. The material necessary for this mat consists of four pieces of No. 3 reed, 14 inches long, one piece 8 inches long, and two weavers of No. 2 reed. Splitting the Spokes With a No. 14 or IG darning needle, .split two of the 14-inch reeds. To do this first find the center of the reed, and about one-half inch from this point force the point of the needle through the reed. Do this by boring, rather than trying to push the needle. When thru, pull or push the needle along F G H Fig. 203— Reed Woven Mats until a slit about one-half inch long has been made. as shown in Fig. 204. Split a second reed; pass the other two 14-inch reeds through the splits just made, as shown in Fig. 205. This makes a peri)endicular top of the horizontal pair with its right hand end projecting about f of an inch to the right of the vertical group. The weaver is then brought to the right in front of the vertical group, back and down behind the Fig. 204— Split Reed cross. The eight-inch piece is placed between the upper end of the two vertical ones, making an odd number of spokes. By ])ursuing this method there is very little difficulty in holding the vertical and hori- zontal reeds together while beginning the weaving. Beginning the Weave The weaver of Xo. 2 reed is placed, as shown in Fig. 206, behind the vertical group and along the Fig. 205 Fig.»206 horizontal group, thereby binding its own end to the spokes, Fig. 207. It next comes to the left in front of the vertical group and behind the horizontal group to the posi- tion from which it started. It follows the same course for once more around as shown in Fig. 208. The weaving may now be reversed and the weaver allowed to jiass o\'er the grouj) it went under the first time around and vnider the groujis it went over, Fig. 207 Fig. 209. From this point the weavei begins to ]Dass over and under alternate spokes, Fig. 210. Fig. 208 Fig. 210 The left hand does the holding while the right hand does the weaving. When the spokes are all the same distance apart, the mat may be placed on a flat surface and the weaving continued un- til it is 3 inches in diameter. If one weaver is too short to make the mat of the desired size, add another and join the weavers as sho^\•n in Fig. 211. Be sure to hold the spokes out straight as the weaving is done. It must be understood that the weaver adjusts itself to the spokes and not the spokes to the weaver. Just as soon as the spokes begin to project in all directions, it is an indication that the workman is attempting to make the spokes adjust themselves to the weaver. While weaving, hold the work in such a way that the spokes pass between the fingers of the left A I'-zT^'f', Fig. 211 Fig. 212 — Correct Method of Holding Work hand as shown in Fig. 212. The work held in this position makes it possible for the thumb and first finger to hold the weaver in place while the right hand brings the weaver liefore and behind the spokes. Tension If the work is to be kept perfectly flat, care must be taken not to allow the right hand to pull on the weaver while the work is in progress. The right hand, in making a mat, simi:)ly carries the weaver before and behind the spokes. If the work begins to pucker and draw up like a bird's nest, it is an indication that the tension is too great. Over Casting After the desired diameter has been woven the outer edge must be overcast. Fig. 213 shows one stitch of overcasting and the second stitch ready to be pulled through. This process continues once around, when the weaver is cut off on the back side of the last si)oke. The Border In Fig. 214 are shown several ways of construct- ing l:)orders. In A, Fig. 214, one spoke goes in front of the next and inserts just before it gets to the third. In B, Fig. 214, one stake goes in front of two and in- serts just before it gets to the fourth. In C, Fig. 214, one goes in front of three, and in D, one goes in front of four. Fig. 213 All spokes must be cut the same length before be- ginning the border. The loops must be adjusted after the ends are cared for. The length of the spokes required after overcasting may be found by trial. Pairing Weave Fig. 215 shows the method of starting a mat using the pairing weave. In this exercise there are eight pieces of No. 4 reed, each 14 inches long. Four pieces l)ass through four pieces, giving 16 spokes. The spht pieces are held horizontally. The weaver is doubled Fig. 214 —Method of Weaving Borders in the middle, and is started around the vertical group just above the horizontal ones, one end being in front of and the other behind the vertical group, thus forming two weavers, A, Fig. 215. The front weaver passes in front of the vertical group and back of the horizontal group. The rear one goes to the right across the back of the vertical group and down in front of the horizontal group, B, Fig. 215. In this way the tw^o weavers continue aroimd the groups of fours several times, C, Fig. 215. At A, Fig. 216, is shown the separation of the groups into pairs, while at B, Fig. 216, is shown the separation of pairs into singles. Just as soon as the spokes are the same distance apart single weaving may begin bv taking the rear weaver and bringing it over one spoke and under the next. Continue in this way until around. The weaver now comes outside of the other weaver and stops. The inside weaver now weaves around until it comes to the same position with reference to the first one. Continue to weave with first one and then the other, each as a single weaver, until the desired diameter is reached. To Overcast The weavers are stopped on opposite sides of the weaving. One weaver is used in overcasting until it reaches the other weaver. The other weaver is then used in the overcasting until it comes op- posite the place where the first stopped. If a looped border is desired, follow the directions given in making the first mat. Fig. 216 -Separating the Groups Fig. 217 — Method of Weaving Closed Borders Closed Borders Fig. 217— A, B, C, D, E, and F— shows the Various steps in making a closed border. A, Fig. 217, shows the starting of the first row of the weaving of a closed border, and B shows the finished border. The starting spoke is No. 1. No. 1 goes behind No. 2 and out; No. 2 behind No. 3 and out, and so on around, the last spoke going be- hind No. 1 and out. Pull all ends tightly. The ends are now on the outside of the basket and must be pushed back to the inside. B, Fig. 217, shows the ends drawn to the inside. To do this. start with any 8])oke, ]iut it in front of the next to the right, through the looj) into the inside of the basket just before getting to the next spoke. When all the ends have been drawn to the inside, they are cut off close to the border. In C, Fig. 217, the first spoke goes to the right behind two and out. In D, Fig. 217, is shoAvn the finish of C. Each spoke goes in front of two and through to the inside just before getting to the next. In the first half of E, Fig. 217, each spoke goes behind one and out, the spokes all being on the outside. The second half of E shows the spokes passing- in front of two, through the loop to the inside. In F, Fig. 217, each spoke goes behind two and out and in front of three to the inside. Other Mats B, Fig. 203, shows a mat with an uneven num- ber of spokes and a single weaver. It will be ob- served that the l)eginning weaving of this mat is of raffia. Raffia is somewhat easier to weave in and out than the reed. Reed, however, is desirable in beginning the weaving. C, Fig. 203, shows a mat, the sjiokes of which are round and the weaver of si)lit reed or reed windings. D, Fig. 203, shows a mat having an uneven number of spokes and two weavers which pursue the same course as a single weaver would. When this is done it is advisable to select weavers of different lengths in order that only one will run out at a time, thus making it easj^ to add new weavers. This kind of weaving is not called double weaving. E, Fig. 203, shows a mat having an even num- ber of spokes and two \\'eavers, one natural and the other colored. This is called the pairing or double weave. F, Fig. 203, shows a mat with an imeven num- ber of spokes. (J, Fig. 203, shows a triple woven mat in which the munber of spokes is divisible by the Tuunl)er of weavers. Three weavers used. H, Fig. 203, shows a triple woven mat in which the number of spokes when divided by the number of weavers leaves a remainder of one. Three weavers are used, two colored and one natural. I, Fig. 203, shows a triple woven mat in which the number of spokes divided by the number of weavers leaves a remainder of two. Three weavers are used, two colored and one natural. In making mats and baskets it is most interest- ing to ex]ieriment, using different numbers of spokes and various combinations of weavers. This work offers splendid opi)ortimity for orig- inality. Baskets Fig. 220 shows a number of interesting baskets, some of which will be described later. In the be- ginning of basket-making care should be taken not to allow the pupils to undertake baskets too large. This is one reason why so many jioorly made baskets are turned out by inex]ierienced workers. The rirst basket is little more than a mat. The spokes are cut a little longer to allow for turnino- up. The First Basket Soak the No. 2 reed for about ten minutes if the water is warm and twenty minutes if it is cold. Cut four spokes 12 inches long and one spoke 7 inches long. Proceed as when making a mat. After weaving a diameter of about two inches with a No. 1 reed, the spokes, which are still moist, are bent upward. Sometimes when this is done the spokes slightly break. There is no particular harm in this. In weaving the first time around after turning up the spokes the weaver does not keep them in an upright position. After going around several times they are in the position as shown in Fig. 218. The face of the weaving which was next to the body of the worker becomes the outside of the bot- tom. "V\'hen the spokes are bent they are tiu-ned away from the body in order that the weaving may jDro- ceed from left to right without the interference of the stakes as shown in Fig. 219. Shaping the Basket The shape of the basket is determined at this point in the weaving. If a straight, perpendicular sided basket is wanted pull the weaver, or in other \^^ Fig. 218— Spokes Turned Up words give the weaver tension enough to hold the stakes upright. If a straight flaring sided basket is desired do not give the weaver so much tension, thereby allowing the stakes to flare. In weaving all straight sided baskets, after the stakes stand at a satisfactory angle, be careful to sec that the weaver has no tension whatever. In the beginning of liasket making the person weaving seemingly has no control of the material and the shaping of the basket. With a little experi- ence this difficulty disappears and the worker gains Fig. 219— Holding Work While Weaving control of both the material and the shapinjj; of baskets. If a curved-sided basket, similar to A and B, Fig. 220, is wanted, start with the stakes quite flar- ing, and keep an even tension on the weaver as the weaving progresses and until tlie desired cui'vc is woven in. Always remember that tension on the weaver will bring the stakes together, ^^■hen the basket is woven to the de>sired height, the top is overcast around the stakes just as it was done around the spokes of the mat. When this is done the basket may be finished satisfactorily by using the border, A or B, Fig. 214. The stakes should be cut long enough to push through the weaving until they come out at the bottom of the basket. This will stiffen the sides and give it a more finished a])pearance. After all the stakes are i)ushed througli, all the curves and loops of the border are made regular in height and outline. .This is done either by measure- ment or by turning the basket bottom side u\) on n flat surface, making all the looi)s touch this surface. Other Baskets The basket on which P, Fig. 220, stands is an interesting one. The spokes, 12 in number, are cut 30 inches long of No. 3 reed. Six of the spokes are split and the other six are passed through the split ones as described in the making of mats. To secure an odd number of spokes one of the now 24 spokes is cut away and the work proceeds as when making a mat. Weave with a No. 2 reed until a diameter of six inches is reached. Instead of breaking the spokes to turn them upward allow the weaver to do it by pulling or giving it considerable tension. By so doing a very interesting curve is se- cured at the turning point instead of an abrupt turn. In the weaving allow the stakes to flare while weaving about two inches of the upright part of the basket. At this point begin to give the weaver con- siderable tension, thus drawing the stakes closer to- gether. Continue to weave for about two and one- half inches more. The diameter of the opening at the to]i is little more than the diameter of the bottom. Finishing the Top To finish the top proceed as shown at A, Fig. 217. Each sjwke passes back of the one at the right and out. Continue until all the spokes extend out- Mard. The spokes now all extend outward as shown at A, Fig. 217. They are next, each in its regular order, passed to the inside as shown at B, Fig. 217. Cut awaA' the ends on the inside. M, Fig. 220, shows another basket constructed very much the same as the one just described, the shape being somewhat modified. C, D, and E, Fig. 220, are forms used for hang- ing baskets. D was made to hold an olive bottle and may be used for cut flowers. J, Fig. 220, is an interesting little work basket. Around the top a wooden kindergarten bead is placed on each stake. The weaving then continues several times more around and is finished as sug- gested in any of the different ways as shown in Fig. 217. Another Way to Begin Baskets Fig. 221 shows a simple and effective way for be- ginning a basket. Cut sixteen pieces of No. 3 reed and arrange in groups as shown in Fig. 221. First a perpendicular cross is formed with two of the groups. The other two groups are i)laced between the parts of the ]X'r]X'ndicular cross as shown in Fig. 221. Be- gin to weave by placing the end of the weaver under one of the groups forming the perpendicular cross. Continue to weave over and under until once around. This weaving may continue three times around, the weaver passing over and under the same groups each time around, or the course of the weaver may be changed each time around. The course of the weaver is changed by allowing it to pass under or Fig. 221 — Starting with Sixteen Strands over two groups. This changing is clearly seen in Fig. 221. After weaving over and luuler the groups of four each group is divided, and the weaver passes under and over two at a time as shown in Fig. 222. If so desired each group of two may be divided into singles and the weaving continued. Large Baskets H, B, and N, Fig. 220, show baskets somewhat larger than the others shown in Fig. 220. Fig. 222 — Dividing Groups into Pairs In all the preceding baskets the spokes were cut long enough to complete the basket. In A, B, and X, the spokes are cut long enough to make the bottom only, as shown in Fig. 223. When the bottom is completed two spokes are in- serted, one at each side of each single spoke as shown in Fig. 224. This doubles the number of spokes used in making the bottom, thus giving added strength to the completed basket. After the new spokes have been inserted the weaving continues a couple of times around before turning upward. The spokos now become stakes. Baskets A and B have curved sides. This is ac- comphshed by allowing the stakes to flare while weaving and keeping an even tension on the ^^•ea^■er as the weaving ])rogresses until the desired curve is \\o'\en in. After reaching the top of the basket other i)ieces of reed are inserted by the sides of the stakes. There are now two reeds in each jjlace insteatl of one. To finish the top allow one i)air to ]mss behind the one next to it and then to the outside of the Fig. 223 — Inserting New Spokes Fig. 224 — Dividing New Spokes 13 Fig. 225— Finishing Top of Basket Fig. 226 Finishing Bottom of Basket ba.sket a.s shown in Fig. 225. Tliest' cikIw are long enough so that each is tied to the bottom of the basket. This is best accomphshcd Jjy using a darn- ing needle threaded with a piece of string. Begin to sew the ends down by allowing the needle to come from the inside of the basket next to a stake, over the pair turned downward, pulling it close to the stake. The needle now comes out next to the fol- lowing stake, over and then in. This is continued until all the pairs have been sewed down. Fig. 225. With the pair in the i)osition as shown in Fig. 225 one end of a new weaver is inserted and the weaving is continued around the pairs as shown in Fig. 226. The bottom of the basket is finished the same as the top is usually finished. Fig. 226. F and G, Fig. 220, are two fruit trays started in the way just described. The weaver passes under and over two stakes each time instead of one. To finish tlic top follow the i^lan as shown in Fig. 225. Two stakes pass behind two and then out and down, the spokes being cut long enough to do this. Each ])air of stakes making the border is tied at the bot- tom to keep it in place. These ends at the bottom are treated as the si)okes of a basket. With a new weaver weave around the bottom several times. This weav- ing and the finish make a standard on which the tray stands. Finish the bottom as shown in Fig. 226. When all is finished the string used in tying is cut away. Handles The handle forms a very important jiart of the basket upon which it is built. It must be con- structed correctly, in order that it may add beauty and utility to the basket, and possess strength it- self. We have tried to show in Fig. 227, as clearly as possible, the successive steps in the making of a twisted handle. In explanation, let us add, that only that part of the basket which influences the making of the handle is shown in the illustrative steps in Fig. 227. It must be kept in mind, that the ninnber of times the weaver t\\ists around the foundation reed, de])ends entirely upon the diameter of the semi- circle and the size of the weaver. After a little ex- perience in the weaving of handles, one will be alile to judge accurately the ratio of the number of twists to the diameter of the semi-circle and the size of the weaver of different size handles. For example, take one end of a piece of No. 4 reed and insert it l^etween two spokes of a basket as shown at 1-A, Pig. 227. The other end of the reed is then curved over and inserted between two other spokes about three or four spokes away from the two spokes first mentioned, as shown at 2-A, Fig. 227. This semi-circle forms the foundation upon which the twisting is done. A jjiece of No. 2 reed soaked in water until very pliable is now inserted to the left and alongside of the right hand side of the foundation reed as shown at A, Fig. 227. This reed is now twisted around the foundation reed three times, coming to the out- side of the basket as shown at B, Fig. 227. It is now put through to the inside of the basket, outside of the left hand side of the foundation reed, and about three, four or five strands below the border, or just below the border, and then brought up and to the outside just below the first twisting. From here it follows the first twisting back to the starting point. Be sure to keep the weaver beside the first twist. Do not let it cross the first one but keej) it beside the first at all times. It now goes to the inside of the basket and is ])ut through to the oulside, to the Fig. 227 — Steps in the Wrapping of a Handle riglit of the risht hand side of tlic foundation reed and is brought u]). This course can be easily fol- lowed in C, Fig. 227. From here the weaver is twisted to the left, beside the first two twistings, until it again reaches the left hand sid(> of the handle. It is then placed thi'ough to the inside of the basket to the left and alongside of the weaver already there, instead of to the right of the weaver already there, as one is apt to do when learning. At D, Fig. 227, this step is shown very clearh-. The weaver is then twisted l)ack beside the others to the right hand side of the handle to the in- side of the basket, and then to the outside to the right and along side of the weaver already there as shown at E, Fig. 227, remembering that it goes to the right, not to the left, of the weaver already there. It is now twisted back beside the others, until it reached the left hand side of the handle to the out- side of the basket and then it is i)laced through to the inside to the left of the other two as shown in F, Fig. 227. From here it is twisted back to the right hand side of the handle to the inside of the basket and put through to tlie outside to the right of the other two as shown in (J, Fig. 227. It is now twisted back for the last time to the left hand side of the handle; the end is pushed in between the front and back weavers, and is cut off. The handle is then com])lete as shown at H, Fig. 227. It now has the apjiearance of a tightly twisted piece of rope. Covered Forms Very often good pottery forms may be secured at an unusually low price. The decoration, however, is so atrocious that one hesitates to make a purchase even at the lowest price. By using reed, good forms may be covered, thus eliminating the unattractive features. In Fig. 231 are shown several pieces covered as above mentioned. The sandwich plate is not in- cluded in what might l)e called iioor art. To Cover a Sandwich Plate At any department store may be found plates of good English prints. Among the most common are the Indian Tree and Parrot plates. These when covered, as shown in Fig. 231, make most attractive sandwich plates. To cover the ])latc proceed in the following way: On a piece of pine board draw a circle having a diameter equal to the diameter of the bottom ring of the i)late. Fig. 228— Starting the Weave Fig. 229 The plate itself may be })laced on the board and drawn around, thus securing the circle retiuircd. Cut 12 i)ieccs of No. 2 reed, each 16 inches long. Soak in warm water. When sufficiently pliable, bend each piece of reed at the center, and thumb tack each to the board on the circumference of the circle just dra^^'n. See A, B, and C\ Fig. 228. When all are tacked, with a number 1 reed weave around the entire circle, using the pairing weave. Weave several more times around as shown in Fig. 229. The spokes are now crossed as shown in Fig. 229. A space is left and the pairing weave again is used once around. The weaving is done as the spokes are crossed. From this point the single weave may hv used hut not until Fig. 229 is removed from the board and tied to the plate. The remainder of the weaving is done over the plate. Fig. 230 shows the underside of the finished plate. Fig. 230— Outside of Plate In Fig. 231 may be seen the ui)i)er side of the finished plate. The top is finished by using any one of the closed borders shown in Fig. 227. The handle is simply a four strand braid, using eight strands of reed but using them in pairs. The looped ends seen in Fig. 230 show the way the handle is fastened to the under part of the plate. Vase Form in Fig. 231 The tall vase form shown in Fig. 231 may be covered, or the beginning may be the same as when starting a basket. When a diameter is woven equal to the diameter of the bottom of the vase it Fig. 231 — Finished Covered Forms is tied to the vase and tlu> weaving is done ai'ound the form. The Bowl in Fig. 231 To cover a bowl proceed as when covering the sandwich plate. To finish the top use any closed hnish sho\An in Fi"-. 227. The Melon Shaped Basket The most interesting of all baskets to construct is the melon shaped basket, because of the different steps involved in its method of construction. The foundation upon which this l^asket is built is two rings. These rings may be either purchased in the form of fancy work hoops, or they may be made of heavy ash splints. If they are to be made of the ash splints, take two straight pieces of the ash splints about 3 1-7 times the desired diameter of the basket plus one inch for lap and with fine wire, iron fasten- ers, or fine string, fasten them together to form the two rings. At A, Fig. 232, is shown the position in which these two rings are placed so that they are per- pendicular to one another. If the half ring that is to form the handle looks shabby it might be improved by wrapping a winder about it. The weaver is placed behind the vertical ring parallel with the horizontal ring, one end extend- ing beyond the vertical ring about one inch as shown at 2-A, Fig. 232. Then bring the other end over and diagonally across the vertical ring from 1 to 4, and then behind and straight across the horizontal ring from 4 to 2 as shown at A, Fig. 232. Now place the strand over and diagonally across the vertical from 2 to 3 and behind and straight across the horizontal from 3 to 1. This position is shown at B, Fig. 232. Then take the strand over and diagonally across the vertical from 1 to 4 and bring it behind and straight across the vertical from 4 to 3 as shown at C\ Fig. 232. The strand now travels over and diagonally across the vertical from 3 to 2 and back to its original ])osition at 1 as shown at D, Fig. 232, by ])assing liehind and straight across the vertical from 2 to 1. The foregoing method of wrapping rci)eats it- self by going over and diagonally across the vertical from 1 to 4, up, behind, and straight across the horizontal from 4 to 2, over and diagonally across the vertical from 2 to 3, behind and straight across the vertical from 3 to 4, u]), over and diag- onally across the vertical from 4 to 1, down, be- hind and straight across the horizontal from 1 to 3, up, over and diagonally across from 3 to 2 and then back to its original position at 1 by passing behind and straight across the vertical from 2 to 1. The wrai^ping should be now as shown in E, Fig. 232. Fig. 232 — Foundation of Melon Shaped Basket This method of wrapi)ing should be continued until four pockets are formed, one at each corner, as shown in F, Fig. 232. The other side of the rings arc wrapped in the same manner as shown in F, Fig. 232, and after both are completed the center rib on both sides may be placed into these pockets as shown in Fig. 233-A. An amateur might attempt to place all the ribs in at one time, but this is too diffi- cult to try when learning how to make this basket for the first time. The ribs may lie made of the stout ash sjjlints about Ih times as long as the diameter of the basket, both ends of the ribs being tapered to a point; or if the ash cannot be had one might use ordinary lieavy reed, about a No. 8. If the reed is used a good many more spokes must be had than when using the ash splints. In shai;)ing the ash splints care should be taken that there will be a sufficient space between them when ])laced in the basket so as not to cramp the weaver. The shape of the basket when finished depends entirely upon the shape of the ribs used, so that it is very important that the ribs be made and placed correctly. The single weaving is now commenced as shown in Fig. 233-A. After three or four rows are woven A Fig. 233 B at one end, weave three or four rows at the other end, thus fastening the ribs at both ends. This method of weaving, that is, first at one end and then at the other, must be kept up through- out the entire construction of the basket, finishing the weaving at the center. Now when the three or four rows are woven at each end we place into the ]:)ockets the other four ribs as shown in Fig. 233-B, with the excejition that we ]ilace the ribs only in the pockets on one side of the basket. This makes it easier to continue the weaving, for while one is weaving at one end the ribs are continually coming out of the other end. After four or five rows of weaving have been completed at the end into which the ribs were placed, the other ends of the ribs may be ]ilaced into the Fig. 234— A pockets Oil the other side of the bask(>t, and tlie weaving done the same, as on the first side of the liasket. The weaving is then continued first from one side and then from the other. Fig. 234-A shows a partially woven basket done in this way. When the center is reached the wearing ends, and the basket is complete. Fig. 234-B shows a finished melon sha])etl basket. Fig. 234 C Finished Melon Shaped Baskets Reed and Wood We come now to a most interesting and useful combination, that of reed with wood. There is no other coml)ination with wood that gives such a large varictj^ of possibihties as reed. Serving Tray The most simjile problem in this combination is that of the serving tray, which is nothing more than a slip joint frame, as shown in the working drawing. Fig. 235. Holes the size of the reed to be used, usually a No. 3, are bored one inch a])art and an extra reed is placed in to give an odd number of stakes. The weaving is done the same as described on the wooden block shown at the beginning of this chapter. It is just the plain Aveave, using a No. 2 reed until about one inch high. Then the weaving stops; the stakes are woven to form any one of the closed l)orders shown in Fig. 217, having the ends of the stakes come to the outside of the tray. They are then cut off flush with the weaving. To form the handle bore two holes the size of a No. 10 reed about four stakes apart in place of the holes in the size of a No. 3 reed, as shown in Fig. 235. Then take a piece of No. 10 reed and bend it, placing the two ends into the holes just bored. When weaving, consider the stakes of the handle X) p or Woler Color Desrgn may be placed .n Ih.5 spoce under Giai-. BoHom &in of Material jj NO Nome enafit W'dHi fhidinos ^. Sides £0 i ^ Ends 1 A 5 i 2. C Mould \Bk s it 2 isk * 1 Gloss 165 'i^i * 1 B-HOT" ao t4- A gCo.g Moulding ^ :^ * ^ SiS ^ SERVING TRyW Fig. 235 —Working Drawing of Serving Tray, Seventh Grade tlic same as the rest of tlie stakes. To finish off the liandle wraj) it with a reed winding. The handle is wi'apped before the weaving is l)egini. Strips of f inch cove moulding are tacked to the inside of the frame. A glass is then cut to size and fitted in from the bottom. Under this glass may l)e ])laeed strips of ta]:)estry, s])lint weaving or water color design as shown in the finished tray, Fig. 236. A heavy piece of cloth board is tacked over the en- tire )x)ttom of the tray, thus holding the glass in place. Foot Stools In Fig. 237 is shown the working drawing of a simple reed woven stool. In this stool we use the flat reed, which is similar to the ash and hickory sj^lints used in the jDreceding cha])ters. The wrap- ])ing is done over the entire u]5ii(>r rails, and both the top and bottom of the seat are woven. This makes a very strong and durable seat. Fig. 238 Fig. 236--Finished Tray Fig. 238 —Woven Seat show the finished woven top, while Fig. 23S-A shows the finished stool. Fig. 239 is the working drawing of another re(Ml wo\'en footstool. In this stool dowel I'ods are used for (lie rails, and there is no weaving on the K m M m E>,II of Material 1| NO Name enqMW.dtt rh...« A Posts I i ■ a A Ka.l=, Ifl z A le a — -- li rh 1_ iiii WOVILN SEAT Fig. 237 — Working Drawing of Woven Seat, Eighth Grade Fig. 239 — Working Drawing of Foot Stool, Seventh Grade Fig. 238A— Finished Stool bottom of the seat. Fig. 240 shows the finish- ed stool. The legs may be either turned as shown in Fig. 240, or tapered as shown in Fig. 239. Sewing Stands Unique sewing stands can be made with tlie combination of reed and wood. Fig. 241 is the worthing drawing of a sewing stand with a reed woven basket near the to]) to hold the sewing materials, and a drawer imderneath the basket to hold the sewing tools. It is extremely simple in its construc- tion, easy to carry around and a very useful article to have in any home. All details of construction arc shown very clearly in the working drawing. The weav- ing is the same as used in the serving tray, the stakes being glued into the wooden block which forms the shelf. Fig. 242 shows the comi)leted stand. V— ^^v^ Fig. 240— Reed Woven Stool Fig. 241 Working Drawing of Sewing Stand, Seventh Grade Fig. 243 is the ^\■orking drawing of another sew- ing stand of a Httle different type. In this the woven basket is a unit in itself, made so it rests upon the bottom sheh", and so that it can be very readily re- moved from the stand. The box at the top may be used for the sewing tools. The construction of this stand is also very simple, being well within the capabilities of the average sevetjth-grade boy. It forms a very useful as well as an ornamental piece of furniture. Fig. 244 shows the completed stand. Fig. 245 is the working drawing of still another sewing stand, by far the most interesting of the three stands shown. The two baskets are integral parts of the stand, having wooden tops and bottoms. This reinforces the baskets and makes them more firm. The top basket is covered with a hinged lid, while the lower one is left uncovered. Instead of using the reed for the stakes use the |" dowel rods and for the ^\■eaver use the reed winding. To pre- vent the corners from drawing in place two dowel rods at each corner, one behind the other, far enough apart so that the weaver can slip between them. If placed correctly only one dowel rod can be seen at each corner. The weaver never passes to the inside of this extra stake at each corner. The construction of this stand is a little more difficvilt than the pre- ceding ones and should be confined to the eighth grade only. Fig. 246 shows the completed stand. Fig. 242 — Sewing Stand -*-^^i—t'4 TiE ,iN.8rM5c,... / -ii U U Ui f4 i:!"! m- '4- JiP f^^^^^^^ Dill of Material I N* Name lenohtf/Vidm rh<*vicM 4 L.,-. 26j' J 3 1 5heli/e II rt * J wi 7i 1 1 T?ail 10 1 \ ^. Ro.l 7 1 7 5lot5 '=f* i i I ioJfoTl 10 i 7i * z Lndb 7i ^A i £ 5ide5 II 2* i E UpK^. Si .4 * Z Tor. B 4 ^* < A FHScfT. 15 6 s ■ Ij. P.X 11 a e i i :| 5I1W1NG STAND Fig. 243 — Working Drawing of Sewing Stand, Eighth Grade Fig. 244— Finished Stand Fig. 246 —Finished Stand 4q Round I?ced to be wc»er over Oowels irTrTTTnfiT \\ _o__+___ 11 \m 3j= 4.^^ — a -o^v I '4- j 1 — Bill of nateriTll II JNO Name pnijht Width ThicKnflJ a. Po5i = £ 4 1 1 1 e Pails 13 3 4 a 7 J 4 1 i^TTorr. Tb lO 4 1 ShtI.e 15 9 i5 2 Pieces 16 1 i K 8 1 2 Oj 7 ? Z 5i 7 \ i. Id 14 B + 1 Frorit "^t 2 i i 2 Sides 7-t s * 1 BclTorr, 6t 7i 1 Bacc Bi ■;* i 2 Slides 7 i i 1 Stop 74 ^ if . ' ' ■" ,,77) i Section /l-£i Plan ot Prawer 5I1WING TABLE Fig. 245— Working Drawing of Sewing Table, Eighth Grade CHAPTER IX Textiles and Wood Heretofore very little has been done in the combination of hand-woven textiles and wood, yet there is no combination of materials that gives such a large variety of artistic effects as this one. The different ways in which this material can be used, in combination with wood, are too numerous to mention; therefore, we shall take only those simple problems which are within the capabilities of a sixth-, seventh-, or eighth-grade boy. Foot Stool The first i)rol)lem that we suggest is that of a small foot stool, u])holstered in hand-woven material. Fig. 247 shows the working drawing of this unique, but simple, little foot stool, and illustrates the wide jjossi- bilities for individual design. Here is a problem that a whole class can construct, and no two made alike. We have given a few suggestions as to how the de- sign of the legs of the stool can be altered or enlarged upon. The size of the stool itself can be changed with l^leasing results by making it longer, lower, or nar- rower, so that there is any number of ways of chang- ing the design of this stool without losing any of its artistic qualities. It is a most flexible problem. After the stool is constructed, u])holster it with a piece of hand-woven material. This maj' be either woven by the boy himself or by the girls in the weaving class of the school. Here again are more possibilities for making each piece more individual, since each piece of material may be of a dififerent ]:)attern, yet all may be wo\'en from the same thread- ing on the same loom. This material might be used wherever uj^holster- ing is possible, on any of the articles mentioned in the foregoing chapters with most pleasing and beauti- ful results. A little touch of hand-woven material gives to any article upon which it is used a most subtle appearance. Fig. 248 shows the completed stool made from the working drawing shown in Fig. 247. The design used for weaving the material used in upholstering this stool is one of the many possible ones of the Rose Path pattern. Waste Basket Fig. 249 shows the working drawing of a very simple waste basket that any sixth-grade boy could build without much difficulty, the only Seat to be upholstered H' Emit Name llratW K.(tl(i Fss;^ A l.eS5 \?. 4. ■ei Pa.lj 10 E J ■d. lifailb 'J E ^ 2 Hand It! 9 1 1 FOOT STOOL Fig. 247 — Working Drawing of Upholstered Foot Stool Fig. 248 —Finished Foot Stool difficulty being in ))()ring the lioles at tlie i)ro]ier angle. Two pieces of cloth are taken the length of two sides and the bottom. Hems are sewn at both ends so that when the dowel rods are placed through the hems and then put in place the cloth will hold the basket together. It is necessary to have the cloth stretched very tight in order to have the basket rigid. Fig. 249 shows the finished waste basket, the border around the to]) of the cloth being woven \Aith the Rose Path pattern. If the tapering of the sides of the waste basket seems too difficult, a straight sidcnl sewing basket may be constructed as shown in Fig. 251. The construction is the same as for the waste basket. The design of the hand-woven cloth is another possibility of the Rose Path pattern. Screens There i.s no article of furniture in which hand- woven cloth can be used so effectively as in a screen. Fig. 252 shows the working drawing of a screen in which the panels are of hand-woven material. Fig. 249— Finished Waste Basket Cloth Side J 5HI o( Mater. al || Narne l*n^f W.drv. rn^Kncsi 1 A Fo'^ra \ a DFods 6S J g A 10 J 4 ^ 1 waste: basket Fig. 250 Working Drawing of Waste Basket Fig. 251 — Finished Sewing Basket The inner sides of each frame are grooved the same as for a wooden panel; a key is made to fit loosely into this groove. The cloth is placed over the groove, the kej^ is placed on top the cloth over the groove, and then is forced down into the groove. This make a very good ^^•ay of fastening the cloth to the frames. A few finishing nails may be driven through the key into the frame to hold the key in place. That this comliination makes a beautiful as well as useful piece of fiu'niture can be seen from the photograph shown in Fig. 253. The cloth is woven from the Orange Peel pattern, a border being woven at the top and bottom to -break up the space. Though the construction of this screen is simple, we feel that it should be made as a group problem rather than an individual one, the boys to make the frame and the girls to weave the cloth. Fig. 254 shows the working drawing of another very attractive screen of different construction from the first one mentioned. In this screen build the inside frames, as shown, of any lumber, then cover both front and back with the cloth, tacking it along the outside edges of the frames. Make the grooved strips, as showni, and tack them on the outside edges of the frame, covering up the edges upon which the cloth has been tacked. This gives a very neat and effective finish to the screen, since all of the frame that shows is the little grooved moulding on the outside edges. Fig. 255 shows how attractive this kind of a screen can be made to look by just using strij^s of hand- woven cloth, embroidered with rojje silk. Observe how beautifully the panels are broken by skilful designing. V [i- r ■ t-iv---,ii 'r- [, 1" ..■.■'., !•>■ ]'<■ --'I'd "K a . 1 1 3 1-7 i 3 Cioth b4 e Keys ^3 4 i 1 a 1 6 i? i Cr055 5CCt,.„ Thru A'B SORE. UN Fig. 252 -Working Drawing of Screen Fig. 254 — Working Drawing of Screen Looms The following cuts sliow tlie working drawings for both the Dan- ish and Swedish looms. If light work only is desired, then the Danish loom shown in Fig. 259 is the loom to construct. Fig. 260 shows the front working drawing. Fig. 261 shows the side and Fig. 262 shows the detail drawings of the various parts. Fig. 263 shows the completed Swedish loom. If space is available this is the loom to have. On this loom may be woven very fine articles, as well as Colonial rugs. On the Danish loom only the lighter work can be successfully woven. Fig. 264 shows the working drawing for the front of the Swedish loom. Fig. 265 shows the side, and Fig. 266 the detail drawings. Fig. 259- Sketch of Finished Loom -Ki CO — C # IE 3^® ^4- i_amb5-MaKe4 ^ Heddle 5rick5-r-iaKe lo ^^ aPcwel Ftn iBoir Warp and Cloth E)eam5-MaKe a 1' F* ^^ i-t-^H ^1] ij Ratchet Wheel^-r-iaKeE Method ol fastening Loom tooether ■ h 4i^ !+ F "Rollers-Mahe e HorseS-MaKe 4 Fig. 262 -Working Drawing of Loom —Details Fig. 263— Sketch of Swedish Loom -t-ii- Hi XL i =^ ^ "FRONT VltW Fig. 264 — Working Drawing of Swedish Loom 227 4^ #^fl^fr^ H^^-f s -.,|t-2-fi n .JL_ fe. c^ if if 1- k"J Fig. 265 — Working Drawing of Swedish Loom ^-y l-H H 51DILVIEW Deg ter Warp Deam -'h ^ t ti^o ] m ] f q h*ii a^ b Meddle Slicht, riaK. lo ^ik J-a-L Treadles MaKt 6 in 7 i_ -^ Lamb5 MaKe A -4- -I" Bracket MaKe e Cloth Beam Fig. 266 — Working Di awing of Swedish Loom — Details Appe Lumber Price Table To aid the instructor in getting ra]M(lh' tlie price of lum])er, we have com])ile(l the tables on th(> follow- ing jjages. In order not to have too many of these l)lates we have considennl only lumber ranging from 1 inch to 12 inches in width, 1 foot to 12 feet in length and $30 to $100 i)er thousand in \nicv. The jM'ices of the lumber have been taken only in full numbers, ranging from 3 cents to 10 cents per square foot — that is, we consider lumber at $38 per M as 4 cents ])er foot, $43 i)er M as 5 cents per foot and $75 i)cr M as 8 cents per foot, dropping the fraction when less than h and counting the fraction as 1 when | or over. We need not take into consideration the thick- ness of the hmiber, since the price is different for each different thickness. To illustrate the tables, let us take for exam]ile the following i)ieces of wood and find the ])rice of each from the tables: 3 pieces f ".\6"x3' 4" of Oak at $54 per IM. 4 pieces |"xl0"x2' 3" of Poplar at $40 per M. 5 pieces l"x7f"xr 6" of Bass at $28 per M. 2 iiieces I"x3"x5' 0" of Oak at $58 per M. 229 ndix This will easil}^ revert into the following: 1 piece I"x6"xl0' 0" at 5c per foot 25c 1 piece I"xl0"x9' 0" at 4c per foot 30c 1 piece I"x8"xl2' 0" at 3c per foot 24c 1 piece I"x3"xl0' 0" at 6c per foot 15c Total 94c To find the i)rice of a I"x6"xl0' at 5c per foot we turn to the table marked 5c, the jirice being in the upper left hand corner of each table. The figures in the column directly under the price designate the length in feet, while the figures in the top row di- rectly opjiosite the ])rice designate the width and thickness of the boards. Go over to l"x6" in the top row and then down this column until you come to the row marked 10, which means 10 feet in length, and there is the price, 25 cents. Do the same for the other ]5ieces, using the table corresjjonding to the price of the lumber. If the stock is over 1 inch in thickness, find the l^rice at 1 inch in thickness and then multiply' this ])rice by the actual thickness. For example, take a l)iece I|"x4"x8' at 9 cents per foot. If it were 1 inch instead of 1| inches in thickness it would cost 24 cents, so take H times 24 cents and you will have the price, which is 36 cents. This is for use when the yirice is given ])er board foot instead of square foot. H 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x8 1x9 1x10 1x11 1x12 1 .003 .005 1 1 1 2 2 2 2 3 3 3 2 .005 1 2 2 3 3 4 4 5 5 6 6 3 1 2 2 3 4 5 5 6 7 8 8 9 4 1 2 3 4 5 6 7 8 9 10 11 12 5 1 2 4 5 6 8 9 10 12 13 14 15 6 2 3 5 6 8 9 11 12 14 15 17 18 7 2 4 5 7 9 11 12 14 16 18 19 21 8 2 4 6 8 10 12 14 16 18 20 22 24 9 2 5 7 9 11 14 16 18 20 22 25 27 10 3 5 8 10 13 15 18 20 23 25 28 30 11 3 6 8 11 14 17 19 22 25 27 30 33 12 3 6 9 12 15 18 21 24 28 30 33 36 H 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x6 1x9 1x10 1x11 1x12 1 .003 1 1 1 2 2 2 3 3 3 4 4 2 1 1 2 3 3 4 5 5 6 7 8 8 3 1 2 3 4 5 6 7 8 9 10 11 12 4 1 3 4 5 7 6 9 11 12 14 15 16 5 2 3 5 7 8 10 12 14 15 17 18 20 6 2 4 6 8 10 12 14 16 18 20 22 24 7 2 5 7 9 12 14 16 19 21 24 26 28 8 3 5 8 11 14 16 19 21 24 27 30 32 9 3 6 9 12 15 18 21 24 27 30 33 36 10 3 7 10 14 17 20 24 27 30 34 37 40 11 4 8 11 15 18 22 26 30 33 37 40 44 12 4 8 12 16 20 24 28 32 36 40 1 44 46 bi 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x8 1x9 1x10 1x11 1x12 1 .004 1 1 2 2 3 3 3 4 4 5 5 2 1 2 3 3 4 5 6 7 7 3 9 10 3 1 3 4 5 6 8 9 10 11 13 14 15 4 2 3 5 7 8 10 12 14 15 17 18 20 5 2 4 6 6 11 13 15 17 19 21 23 25 6 3 5 8 10 13 15 17 20 23 25 27 30 7 3 6 9 12 15 17 20 24 27 29 32 35 8 3 7 10 14 17 20 24 27 30 33 36 40 9 4 7 11 15 19 23 27 30 34 38 41 45 10 4 8 13 17 21 25 29 33 38 42 46 50 11 5 9 14 18 23 27 32 36 41 46 50 55 12 5 10 15 20 25 30 35 40 45 50 55 60 H 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x8 1x9 1x10 1x11 1x12 1 .005 1 2 2 3 3 4 4 5 5 6 6 2 1 2 3 4 5 6 7 8 9 10 11 12 3 2 3 5 6 8 9 11 12 14 15 17 18 4 2 4 6 8 10 12 14 16 18 20 22 24 5 3 5 8 10 13 15 18 20 23 25 28 30 6 3 6 9 12 15 18 21 24 27 30 33 36 7 4 7 11 14 18 21 25 26 32 35 39 42 8 4 8 12 16 20 24 28 32 36 40 44 48 9 5 9 14 18 23 27 32 36 41 45 50 54 iO 5 10 15 20 25 30 35 40 45 50 55 60 11 6 11 17 22 28 33 39 44 50 55 61 66 12 6 12 18 24 30 36 42 48 54 60 66 72 7j^ 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x8 1x9 1x10 1x11 1x12 1 .006 1 2 2 3 4 4 5 5 6 6 7 2 1 2 4 5 6 7 8 10 11 12 13 14 3 2 4 5 7 9 11 12 14 16 18 19 21 4 2 5 7 9 12 14 16 19 21 24 26 28 5 3 6 9 12 15 18 20 24 27 29 32 35 6 4 7 11 14 17 21 25 26 32 36 39 42 7 4 8 12 16 20 25 29 33 37 41 45 49 8 5 10 14 19 24 28 33 38 42 47 52 56 9 5 11 16 21 Z7 32 37 42 47 53 58 63 10 6 12 18 24 29 35 41 47 53 58 64 70 11 6 13 19 26 32 39 45 52 58 64 70 77 12 7 14 21 28 35 42 49 56 63 70 77 84 8j^ 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x8 1x9 1x10 1x11 1x12 1 .007 1 2 5 3 4 5 5 6 7 8 8 2 1 3 4 5 7 8 9 11 12 14 15 16 3 2 4 6 8 10 12 14 16 18 20 22 24 4 3 5 8 11 14 16 19 22 24 27 30 32 5 3 7 10 14 17 20 24 27 30 34 57 40 6 4 6 12 16 20 24 28 32 36 40 44 48 7 5 9 14 19 24 28 33 37 42 47 52 56 8 5 11 16 22 27 32 37 42 48 53 58 64 9 6 12 18 24 30 36 42 48 54 60 66 72 10 7 14 20 27 34 40 47 53 60 67 73 80 11 8 15 22 30 37 44 52 58 66 73 80 86 12 8 16 24 32 40 48 56 64 72 80 88 96 ^i 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x8 1x9 1x10 1x11 1x12 1 1 2 2 3 4 5 5 6 7 8 8 9 2 2 3 5 6 7 9 11 12 14 15 17 18 3 2 5 7 9 11 14 16 18 20 23 25 27 4 3 6 9 12 15 18 21 24 27 30 33 36 5 4 8 12 15 19 23 27 30 34 38 41 45 6 5 9 14 18 23 27 32 36 41 45 56 54 7 5 11 16 21 27 32 37 42 47 53 58 63 8 6 12 18 24 30 36 42 48 54 60 66 72 9 7 14 20 27 54 41 47 54 61 68 75 81 10 8 15 23 30 38 45 53 6C 68 75 83 90 11 8 17 25 33 41 50 58 66 74 83 91 99 12 9 18 27 36 45 54 63 72 81 90 99 108 \Qi 1x1 1x2 1x3 1x4 1x5 1x6 1x7 1x8 1x9 1x10 1x11 1x12 1 1 2 3 3 4 5 6 7 8 8 9 10 2 2 3 5 7 6 10 12 14 15 17 18 20 3 3 5 8 10 13 15 18 20 23 25 28 30 4 3 7 10 14 17 20 24 27 30 34 37 40 5 4 8 13 17 21 25 29 34 38 42 46 50 6 5 10 15 20 25 30 35 40 45 50 55 60 7 6 12 18 24 29 35 41 47 53 58 64 70 8 7 14 20 27 33 40 47 53 60 67 73 80 9 8 15 22 30 38 45 53 60 66 75 83 90 10 8 17 25 34 42 50 58 67 75 84 92 100 11 9 18 28 37 46 55 64 73 83 92 101 110 12 10 20 30 40 50 60 70 80 90 100 110 120 INDEX Abbreviations: (w. d.), working drawing; (ill.), illustration AKcrnatp mctliod of Ijcjiinniufj u haskft, 189 Ash splints, (if) Baskets, splint, (iti, (i'.l; (designs), 68, 70 eireular splini and raffia, 69 s|)lint and rallia, 71 fireplace, 76, S2; t\\. d.), S3 hanjjiiif;. (w. d.), 'J.'i, 1S9 large, 190 melon shape, 198 rush, 69 sewincr, 85; (w. d.), 94 waste, eaned, 127; (w. d.), 130, 134 work, 189 (See Heed Baskets) Basket rovr-r, 71 Basket. Hnisliing hiittoni. 192; (ill.). 192 fiiiisliiiiji; lo|), 191 handles. 193 reed. 18.5 weaving, in.serling sjiokes, 190 Bed, doll, (w. d.), 21 Binding, cane, 114 Bird, feedery, (w. d.). 31 feeding table, (w. d.), 31 feeding ear, (w. d.), 31 Bird Houses, 28 martin, Iw. d.), 39 woo.lpeeker, (w. d.), 41 wren, (w. d.), 27 wi-en, (w. (1.), 41 Boards, bread, (w. d.), 9 bread cooling, (w. d.), 24 cake, (w. d,), 10 game, (\v. d.), 11 Borders, reed, 1.81 Bowl, covering with reed, 197 Bread board, (w. d.), 9 Bread cooling boanl, (w. d.). 24 Book trough, (w. d.), 29 Borders, closed, reed, 184 Box frame, for upholstering, 169 Braiding raffia, with splint, 67 16 C^ake board, (w. d.), 10 Candle sconces, (w. d.), 58 Candle sticks, (w. d.), 32 Cane, equipment for weaving, 102 Cane, markets, 102 ('aniiig needle, 103 Caning, 101, 105 binding, 114 (■(imbinatinn fool stool and bnx, (ill.), 123; (w. d.), 124 chair, 140; (ill.), 141 fastening end, 108 fernery, 103; (w. d.), 104 fern stand, (w. <1.), 125 foot stool, 119; (w. d.), 120, 122 four step, 115 hall mirror, 127; (w. d.), 126 leg rest, 127; (w. d.), 135 magazine rack, 115; (w. d.), 118 morris chair, 127; (w. d.), 137 sewing table, 127; (w. d.), 129 six ,ste])s, 105 tea table, 133; (w. d,), 139 trim for, 115 waste basket, 127; (w. d.>, 131), 134 Chair, doll, (w. d.), 20 morri-s, 127; (w. d.), 137 porch, hickory splint, 161; (w, d.), K)! rush seated, (w. d.), 155 telephone, (w. d.). 44 Chair caning. 140; (w. .1.1. I II Chair seat, wiaiijiing nt rush. 1 II Chip carving, l.i: idcsignsi, 16, 17 Circular s])Iinl ba-kn (u ir,i\-, 69 (jircular splini and r,iHi;i li.iskct, weaving of Cloth and wood, waste basket, 212; (w. d.), straight -.sided waste basket, 214; (ill.), Clothes line winder, (w. d.), 12, 26 Colored reed weaving, 175 Combination foot stool and box, 1 19; (w. d.), C'ord, fiber, 144 Costumer, 43; (w, d.), 42 Cover, splint and raffia basket, 71 Cradle, (w. d.), 22 Cushion, for morris chair, 171 239 215 216 Cutting gauge, for s|ilinl, 66 Cutting splints, 66 Danish loom, 221; (w, d.), 222, 223, 224 Designs, chip carving, 16, 17 metal work, 57 splini trays and baskets, 66, 69 stationerv holders, 18 taborel, 35 Desk, writing, 55; (w. d.), 54 Diagonal weave, 73, 74, 76, 81) Doll, bed, (w. d.), 21 chair, (w. d.), 20 Double reed weaving, 175 Electric lamp, 49; (w. d.), 48 Equipment, for weaving cane, 102 Feedery, feeding table and feeding car. (w. d.), 31 Fernery, 103; (w. d.i, 101 Fern stand, (w, d.), 125 Fiber conl, 144 splicing, 145 seat top, 153; (ill.), 1.54 Fireplace basket, 76, 80; (w. d.), .S3 Floor lamp, 51; (w. d.), .50 Flower and tea pot stands, (w. d.), 14 Flower box, 80; (w. d.), 88 Fly trap, (w. d.), 40 I'^olding table, 55; (w. d.), 52 Foot stools, caned, (w. d.), 120, 122 rush seated, (w. d.), 149, 151 splint, ,80; (w. d.), 86 uphol.slercd, 212; (w. d.). 213 ucivcn rce.1, 203 Form, for bending wood, 15(i Four step caning, 11 5 Frame, for rush seat, 14M Framework, hickory sphnt mati'rial for, 1.56 Game boards, (w. d.), 11 Games, nine men morris, 8 solitaire, 7 (iauge, cutting splint, 66 Gimp, placing of, 168 240 Hairpin receivers and holders, 69 Hall mirror, 127; (w. d.), 126 Handles, 193 Handle, reed serving tray, 201; (w. d.), 202 Hanging basket, (w. d.), 25 Hickory splints, 156 Hickor'v si)lint porch chair, 161; (w. d.), 162 settee, 161; (w. d.), 160 settee, woven seat and back , 1 (i 1 ; (w. d.), 163 stool, construction of, 156; (\v. d.), 157 Irregular seat, rush seating of, 152; (w. d.). 162 Lamp, electric table, 49; (w. d.), 48 floor, 51; (w. d.), 50 table, splint, 85, 89; (w. d.), 90, 97 Leather, how stretched on box, 171 how stretched on webbing, 108 Leg rest, 127; (w. d.), 135 Looms, 221 Danish, 221 Swedish, 225 Lumber price tables, 229 Magazine rack, caned, 115; (w. d.), US splint, 85; (w. d.), 93 Markets, cane, 102 Martin house, (w. d.), 39 Materials, upholstering, 165 Mats, reed, 176, 185 reed and raffia, 185 Melon shaped basket, steps in making, 19S Metal work, processes of, 56; (designs), 57 Morris chair, 127; (w. d.), 137 Moulding of serving tray, 203; (w. d.), 202 Newspaper tray, (w. d.), 99 Nine men morris, 8 Overcasting, of circular splint and rafli;i basket, 69 reed, 181 reed weavers, 182 Padding, ujiholsterv, 169 Pairing, reed \vc:ive, ISl; (ill.), 183 Paper weaving, 73 Pen and ink stands, (w. d.), 13 Plant stand, (w. d.), 88 INDEX Continued Plate rack, (w. d.), 30 Porch chair, hickory splint, woven seat and back, 161; "(w. d.), 162 Pottery forms, reed covered, 195 PROBLEMS, SIXTH GRADE, bird house, 28; (w. d.), 27 bread board, (w. d.), 9 bread cooling board, 24 cake boards, (w. d.), 10 chip carving, 15; (designs), 10, 17 cloth and wood straight sided basket, 214 clothes line winder, (w. d.), 12, 20 cradle, 22 doll bed, (w. d.), 21 doll chair, (w. d.), 20 flower and tea pot stands, (w. d.), 14 game boards, (w. d.), 11 hanging basket, (w. d.), 25 pen and ink stands, (w. d.), 13 sink drain, (w. d.), 23 waste basket, (w. d.), 215 PROBLEMS, SEVENTH GRADE, book trough, (w. d.), 29 caii.lli' sconces, (w. d.), 59 candle sticks, (w. d.), 32 fceilcrx', feeding table and feeding car, (w.'d.), 31 fireplace basket, (w. d.), 83 fly trap, (w. d.), 40 fernery, 103; (w.-d.), 104 magazine rack, 85, 115; (w. d.), 93, 118 magazine stand, caned panels, (w. d.), 1 18 martin house, (w. d.), 39 newspaper tray, (w. d.), 99 plate rack, (w. d.), 30 reed and wood sewing stand, 200; (w. d.), 207 reed anrl wood .stool, 203; (w. d.), 205 serving tray of reed and wood, 201; (w. d.), 202 shoe polishing stand, 37; (vv. d.), 36 sled.s, (w. d.), 38 stationery case, (w. d.), 60 taboret, (w. d.), 33; (designs), 35 taboret, splint panels, (w. d.), 84 telephone directory rack, 89; (w. d.), 100 upholstering, 165 waste basket, 73, 76; (w. d.), 81 wren and woodpecker houses, (w. d.), 41 PROBLEMS, EIGHTH GRADE, chair, rush seated, (w. d.), 155 costumer, 43; (w. d.), 42 electric table lamp, 49; (w. d.), 48 fern stand, (w. d.), 125 fireplace basket, 76; (w. d.), 83 fl.M,i- hmip, 51; (w. d.), 50 flcwcr lidx. ,S0; (w. d.), 88 folding table, (w. d.), 52 foot stool, 80; (w. d.), 86 foot stool, 119; (w. d.), 120, 122 foot stool and box coiubined, 119; (w. d.), 124, foot stool, rush seated, (w. d.), 149, 151 hall mii-ror, 127; (w. d.), 120 leg rest, caned, 127; (w. d.), 135 morris chair, 127; (w. d.), 137 rush seating, 145 rush seat, (w. d.), 147 screen, wood and splint, 70; (ill.), 77, 78; (w. d.), 79 seating of irregular seats, 153; (w. d.), 152, 153. settee, hickory splint witli straight spindle back, 160; (w. d.), 161 settee, hickory splint with woven back and seat, 161; (w. d.), 163 sewing basket, 85; (w. d.), 94 sewing stand, reed and wood, 208; (w. d.), 209 sewing stand, reed and wood, 208; (w. d.),211 sewing table, caned, 127; (w. d.), 129 smoking stand, (w. d.), 01, 63; (ill.), 02 stationery holders, 19; (w. d.), 18 •stool, hickory splint, (w. d.), 157 .stool, reed and wood, 203; (w. d.), 204 table lamp, 85; (w. d.), 90, 97 taboret, 74, 70; (w. d.), 84 tea table, 80, 85; (w. d.), 90, 91 tea table, caned, 133; (w. d.), 139; wood, (ill.), 140 tea trays, 85; (w. d.), 90 telephone chair, (w. d.), 44 telephone table and chair, 47; (w. d.), 46 umbrella rack, (w. d.), 64 upholstering, 165 waste basket, caned, 127; (w. d.), 130 waste basket, caned, 127; (w. d.), 134 writing desk, 55; (w. d.), 54 (iu:iilni|>lc iccil weaving. ITIi; (ill.), 174 Ham; Uatli; Uaflii KalK: IJalli: Kfoci Hoed Heed Reod Unci Reed Hood H l:rr,l lill.-, liusll L and reed mat, 1S5 L. liraidint; (if with fi])liiit, 07 I Slating, \r.i [, use in lia.sUi'try, 185 1 w; (ill.), 188 covered pottery forms, 195 bowl, covering, 197 fruit tray, 192; (ill.), 188 •sandwich plate, 195; (ill.), 197 vase, 197 mats, 170, 185 mat, material for, 170 and wood combinations, 201 sewing stand, 200; (w. d.), 207 sewing stand, 208; (w. d.), 209 stool, 203; (w. d.), 204 stool, 203; (w. d.), 205 tray, 201; (w. d.), 202 weaving, closed borders, 184 colored, 175 double weaving, 175 binding to spoke, 178 overcasting weavers, 182 pairing weave, 181 qiiadrniile weaving, 170 single, 173 tripl<', 175 variegated, 170 raffia mat, 185 lo(]l. 203; (w. d.), 204 if splint basket, 200 seating. 142; irregular seat, 152; (w. (: 102 materials, 143 sources, 142 splicing and twisting, 145 I .'ind INDEX — Continued Hush bask<'t, (i9 chair, (w. d.). 155 seat, rectangular, 148; (w. d.), 151; wrapping of, 148 seat, frame for, 143, 140; (w. d.), 147 Screens, hand woven, 214; (w. d.), 210. 217; (w. d.), 219 splint, 70; (ill.), 77, 78; (w. d.), 79 Seating, rush, 142 Serving tray, reed and wood, 201; (w. d.), 202 Settee, hickory splints and back of straight spindles, 101; {w. A.), 160 Sewing basket, 85; (w. d.), 94 stand, 206; (w. d.), 207, 208; (w. d.), 208, 209; (w. d.), 211 table, caned, (w. d.), 129 Shoe box, caned, (w. d.), 124 Shoe polishing stand, 37; (w. d.), :?•) Simple upholstering, 165; (ill.), 160 Single reed weaving, 173 Sink drain, (w. d ), 23 Six step cane weaving, 105 Sleds, (w. d.), 38 Smoking stand, (w. d), 61, 03 Solitaire, 7 Splicing and twisting rush, 145 SpUcing fiber cord, 145 Splint, 65 basket rib, 200 braiding raffia, 67 cutting of, 00 finishing to|) of tray, ()7 making tray, tiO material for hickory, 150 S])lint weaving, 72, 73; (ill.), 75 circular basket or tray, 69 fireplace basket, 70, 80; (w. d ), 83 flower box, 80; (w. d ), 88 footstool, 80; (w. d.), 86 magazine rack, 85; (w. d.), 93 mat, 185 .screen, 76; (ill.), 77, 78; (w. d.), 70 sewing basket, ,85; (ill.), 92; (w. d.), 94 tabl,' hiinp. s.-,; (vv. d.), 96, 97 tab..!-,.), 71; w. d.), 84 tea tabic, .so, 85; (w. d.), 90, 91 telephone directory rack, 89; (w. d.), 100 trays and baskets, 66, 69; (designs), 68, 70 Splint waste basket, 73, 76; (w. d.), SI work baskets, 71, 74 Spokes, how to hold reed, 180; (ill.), I.SO length of reed, 181 sphtting of, 176 Springs, upholstery, 170 Square stool, 146; (w. d.), 149 woven seat, 153 Squaring up .stock, 7 Stands, flower and tea pot, (w. d.), 14 pen and ink, (w. d.), 13 plant, (w. d.), 83 fern, (w. d.), 125 sewing, reed and wood, 208, fw. d 208, (w. d.), 209; 206, (w. d.), '. shoe ])olishing, (w. d.), 3(5, 37 Stationery case, (w. d.), 60; (ill.), 58 Stationery holders, 19; (w. d.), 18 Stock, squaring up, 7 Stool, hickory sphnt, (w. d.), 157 Stuffing rush seats, 145 Swedish loom, 221; (ill.), 225; (w. d. 227, 228 Tabic lamps, 85, 89; (w. d.), 90, 97 Tables, folding, 55; (w. d.), 52 sewing, caned, 127; lill.l. 12S; fw. d.), 129 tea, 80, 85; (w. d.), 90, 91 tea, caned, 133; (w. d.), 139; plain, (ill.), 140 Taboret, 34; (w. d.), 33; (designs), 35 weaving of splints, 74, 76; (w. d.), 84 Tea pot and flower stands, (w. d.), 14 Tea table, 80, 85; (w. d.), 90, 91 Tea trays, 85; (vv. d.), 90 Telephone chair, (w. d.), 44, 45, 47 directory rack, 89; (w. d.), 100 table and chair, 47; (w. d.), 46 Top, finishing of sjiliiit tray and basket, 67 finishing of circular raffia and splint basket, 09 making .splint, 60 top of splint, 07 newspaper, (w. d.), 99 tea, .85; (w. d.), 90 and ba.skcts, splint, 60. 09: (designs). 6.S, 70 rimming <-aiic, 1 15 Trav. Trav Triple reed weaving, 175 Tension, in reed weaving, 181 Textiles and wood, 212 Umbrella rack, (w. d.), 64 Upholstering, 165 leather, 168 materials, 165 a hard sm-face, 165 Upholstercfl dining room cliairs, 168 Upholstered stool, 212; (w. d.), 213 Upholstery webbing, 165 Variegated reed weaving, 176 ^'ase, reed covered, 197 Waste basket, caned, 127; uv. d.), 130 caned, 127; (w. d,), 134 sphnt sides, 73, 76; (w. d.), 81 straight sides, 214 tapered sides, 212; (w. d.), 215 INDEX Concluded Weave, pairing reed, 181; (ill-)! 1S3 Weavers, joining of reed, 180; (ill.), 180 Weaving cane (sec Cane) Weaving cane six step, 105 Weaving, closed borders of reed, 184; (ill.), 184 colored reed, 175 diagonal, 73, 74, 76, 80 double reed, 175; (iU.), 174 liandle of serving tray, 201 liickory sphnt stool top, 158 paper, 73 jwsition for baskets, 186 Weaving splint iscc SiiUnt) Weaving, (luadrupli- rcid, 176; (ill.), 174 single reed, 173; (ill.), 174 Weaving, of splints, 85, 89; (w. d.), 96, 97 triple reed, 175 variegated reed, 176; (ill.), 174 \\'ebbing, ujiholstery, 165 Webbing, 168 how placed on springs, 171 Winder, clothes line, (w. d.), 26 Wood, form for bending, 156 Wood and cane (see Cane) Wood and cloth screen, 216; (w. d.), 219 waste basket, 212; (w. d.), 215 straight sided waste basket, 214; (ill.), 216 Wood and reed combinations (see Reed) Wood and splints (see Splints) Wood and textiles, 212 Wooden forms, for splint baskets, 71 \\'ooden frame, for upholstering, 168 WoodjK'cker houses, (w. d.), 41 ^\•ork baskets, 71" Wrapping, an irregular frame with rush, 153; (ill.), 153 a rectangular rush seat, 148; (ill.), 148, 150 a rush chair seat, 144; (ill.), 146 top of hickory seat, 158 Wren and woodiiecker houses, (w. d.), 41 Writing desk, 55; (w. d.), 54