Chapter II: Part 2

Square up the four side rails to 6 by 9 in. Cut one end of each post tapering with a chisel; face and sandpaper the posts and side rails before making the joints. The side rails are attached to the posts with three dowels to each joint. The place for each dowel is located by making a line exactly in the middle lengthwise on each end of each side rail. Three lines are made to intersect this middle line, as shown in the detail. Drive a 1/2-in. brad in each intersection allowing a small portion of each brad to project, and cut off the heads. Gauge a line in the middle of each post at the top where the joints are to be made and press the end of a side rail containing the brads against the post. This will mark the places to bore holes for the dowels. Pull out the brads and bore holes for the dowel pins.

When gluing up the side rails and posts, first put on a coat of glue on the ends of the side rails and let it dry. This will fill up the pores in the end grain of the wood which will make a strong joint when finally glued together. The dowel pins are made 3/8 in. square with a slight taper at the ends. These can be easily forced into the holes, when the ends of the side rails are coated with glue and ready to be put together, by clamps pressing on the outside of the posts.

The bottom is held in position with narrow strips tacked on the lower edge of the side rails. Square up the top pieces to 8 by 16 in. and fasten one piece to the top with cleats and screws as shown in the drawing. The other piece is hinged to the first one with two 2-in. hinges.

The shoe rest can be made from a block of wood and covered with sheet tin, copper or brass, or a cast-iron rest can be purchased. The rest is fastened to the under side of the hinged top. Stain the wood any dark color and apply a very thin coat of shellac. Put on wax and you will have a finish that can be renewed at any time by wiping with a little turpentine and rewaxing.

HOW TO MAKE A ROLL TOP DESK

The materials for this roll top desk can be purchased from a mill dressed and sandpapered so the hardest part of the work will be finished. The wood must be selected to suit the builder and to match other articles of furniture. The following list of materials will be required:

68 lineal ft. of 1 by 3 in. hardwood.
65 lineal ft. of 1 by 2 in. hardwood.
3 lineal ft. of 1/4 by 24 in. hardwood.
45 lineal ft. of 1/4 by 10-1/2 in. hardwood.
36 lineal ft. of 1 by 12 in. hardwood.
35 lineal ft. of 3/8 by 9 in. soft wood.
100 sq. ft. of 1/2 by 12 in. soft wood.
1 piece 34 in. wide and 54 in. long hardwood.
30 pieces 1 by 1 in. 48 in. long.

The upper and lower back panels are constructed very similar, the only difference being in the height. The inside edge of the 3-in. pieces is plowed with a 1/4-in. plow 3/8 in. deep exactly in the center and also both edges of each 2-in. piece. The 16-in. pieces in the upper back panel and the 24-in. pieces in the lower back panel must be cut 1/2 in. longer and a 1/4-in. tongue made on each end to fit into the plowed groove and form a mortise joint.

The upper back panel is filled in with four boards 9-1/2 in. wide and 16-1/2 in. long, while the four boards in the lower back panel are 9-1/2 in. wide and 24-1/2 in. long cut from the 1/4-in. hard wood. When the grooves are cut properly, the joints made perfect and the boards fitted to the right size, these two panels can be assembled and pressed together in cabinet clamps. This will make the outside dimensions as given in the drawing.

The end panels are made very similar to the lower back panel, the only difference being in the width of the filling boards, which are 10-1/2 in. for the outside end panels and 10 in. for the inside panels. One end panel and one inside panel make the sides of one pedestal. As the end panels are 1 in. wider than the inside panels they overlap the back panel and cover up the rough ends of the boards. A 1-in. piece 2 in. wide is fastened at the top and bottom of each end and inside panels as shown by the dotted lines. The lower back panel is fastened on by turning screws through the back and into the ends of these pieces. The bottom pieces have 2-in. notches cut out, as shown, into which to fit two crosspieces across the bottom of the pedestal for holding the casters. The top end panels are made as shown in the drawing, the inside edge of the pieces being plowed out, making a groove the same size as in the other pieces of the panels. The panel board is cut to the proper shape from the 1/4-by 24-in. material. The length given in the material list will be sufficient if the pointed ends are allowed to pass each other when laying out the design.

Instead of cutting a groove for the roll top curtain, one is made by fastening a 1/2-by 3/4-in. strip 7/8 in. down from the edge and on the inside of the panel. A thin 1/4-by 1-3/4-in. strip is bent to form the shape of the edge and fastened with round-headed brass screws. A 1-in. piece is fastened at the back and a groove cut into it as shown by the dotted line into which to slide a 1/4-in. back board. The top is a 12-in. board 54 in. long.

As both pedestals are made alike, the detail of only one is shown. The partitions upon which the drawers slide are made up from 1-in. square material with a 2-in. end fitted as shown. Dimensions are given for the divisions of each drawer, but these can be changed to suit the builder. The detail of one drawer is shown, giving the length and width, the height being that of the top drawer. The roll top curtain is made up from 1-in. pieces 3/4 in. thick and 48 in. long, cut in an oval shape on the outside, tacked and glued to a piece of strong canvas on the inside. The end piece is 2 in. wide, into which two lift holes or grooves are cut and a lock attached in the middle of the edge. A drawer lock can be made as shown and attached to the back panel and operated by the back end of the roll top curtain when it is opened and closed.

The top board, which is 34 by 54 in., can be fitted with end pieces as shown or left in one piece with the edges made rounding.

At this point in the construction of the parts they can be put together. The sides of each pedestal are fastened together by screws passed through the 1-in. square pieces forming the partition and into the sides of the panels. When each pedestal is put together the lower back panel is fastened to them with screws turned into the pieces provided as stated in making the end panels. The top board is now adjusted with equal edges projecting and fastened in position with finishing nails. As the top panels cover directly over where the nails are driven, the heads will not show. The upper back panel is fastened to the curved ends and the whole top held to the top board with cast corner brackets that can be purchased at any hardware store. The top should not be drawn together too close before the 1/4-in. back board is put in the grooves and the roll top curtain placed in position.

The detail showing the pigeon holes gives sizes for 30 openings 3 by 4 in., two book stalls at the ends, 3 in. wide, and two small drawers. This frame is built up as shown from the 3/8-in. soft wood, and fastened in the back part of the top with small brads.

HOW TO MAKE A ROMAN CHAIR

In making this roman chair, as well as other articles of mission furniture, the materials can be ordered from the mill with much of the hard work completed. Order the stock to make this chair as follows:

4 posts, 1-7/8 by 1-7/8 by 30 in.
2 top rails, 7/8 by 2-3/4 by 20 in.
2 bottom rails, 7/8 by 2-1/4 by 20 in.
2 rails, 7/8 by 4 by 16 in.
2 side rails, 7/8 by 4 by 28 in.
1 stretcher, 7/8 by 3 by 30 in.

Have all these pieces mill planed on the four sides straight and square, also have them sandpapered on the four sides of each. Plain sawed white or red oak finishes nicely and is easily obtained. The sizes are specified exact as to thickness and width, but the lengths are longer than is needed. This is to allow for cutting and fitting.

Begin by squaring one end of each post; measure the length 28 in. and, placing all of them side by side, square a line across the four, saw, then plane these ends square. The top and bottom side rails are treated in a similar manner, their length being 19-1/8 in. each. These pieces extend right through the posts projecting 5/8 in. beyond the surface. The mortises in the posts must be cut smoothly and of exact size. Wood pins fasten these rails and posts together. The other rails have tenons 1/2 by 3 in. shouldered on the two edges and one side. The mortise in the post is placed central. On the ends of the chair the shouldered side is turned in (see photograph), while on the front and back they are turned out. Miter the ends of these tenons. These tenons are to be glued and clamped--the ends of the chair being put together first. When this is dry the sides are clamped. The stretcher should have its ends shouldered on the two edges so as to make a 2-1/2-in. tenon. Allow the tenons to extend 1-1/8 in. beyond the cross rail and cut mortises in these tenons for the keys.

All projecting tenons, as well as the tops and bottoms of the posts, should be chamfered about 1/8 in. For the seat, screw cleats to the insides of the rails and place a platform of thin boards so that its top surface is 1/2 in. below the top of the rails.

A cushion can be made, as shown in the photograph, by lacing with leather thongs two pieces of Spanish leather cut to proper length and width. When nearly laced fill with any of the common upholsterer's fillings.

For a brown stain, dissolve by boiling in 4 oz. of water, extract of logwood the size of a walnut. Apply hot and repeat until the desired color is obtained. Stains can be bought ready prepared, however, and are quite satisfactory. Finish by applying several coats of wax.

HOW TO MAKE A SETTEE

This handsome piece of mission furniture is designed to be made up in three different pieces as desired, the only changes necessary being in the length of the one front and the two back rails. The settee can be made into a three-cushion length by adding the length of another cushion to the dimensions of the one front and two back rails. A companion piece chair can be made by using suitable length rails to admit only one cushion. The following stock list of materials ordered mill-planed and sandpapered will be sufficient to make up the settee as illustrated. Oak is the most suitable wood which can be finished in either mission or a dark golden oak.

3 rails 1 by 4 by 52-1/4 in.
4 end rails 1 by 4 by 24-1/4 in.
4 posts 2-1/4 in. square by 34-1/2 in.
13 slats 1/2 by 5 by 21-1/4 in.
2 cleats 1 in. square by 51 in.

All the rails are mortised into the posts for a depth of 5/8 in., also the slats are mortised 5/8 in. into the rails. The material list gives the exact dimensions for the rails and slats as they will not need to be squared for entering the mortises, provided you are careful to get all lengths cut to dimensions. When cutting the mortises take care to get them square and clean. The posts have 1/2 in. extra added for squaring up and cutting the corners sloping on the top ends.

The joints are all put together with glue. Nails can be driven into the posts intersecting the tenons of the rails on the inside, as they will not show and will help to make the settee more solid.

The cushions can be made with or without springs as desired. If made without springs, 15 slats must be provided in the material list 1/2 in. thick, 2 in. wide and 24 in. long to be placed on the cleats fastened to the inside of each bottom rail. The two cleats are fastened one on each inside of the front and back rails with screws. The location as to height of these cleats will depend upon the kind of cushions used. The parts necessary to make the cushions with springs are as follows:

4 pieces 1 by 2-1/2 by 26 in.
8 pieces 1 by 2-1/2 by 24 in.
4 pieces 1 by 2-1/2 by 22 in.
32 8-in. springs.
2 pieces leather about 29 by 31 in.

An open box is made from two 26-in. and two 22-in. pieces, and across the bottom are mortised and set in four 24-in. pieces to form slats on which to set the springs. The tops of the springs are tied or anchored with stout cords running in both directions and fastened to the inside of the pieces forming the open box. These should be tied in such manner as to hold each spring so it cannot slip over and come in contact with another spring.

Roan or pebbled leather are very popular for cushions for this style of furniture. The leather is drawn over the springs and tacked to the outside of the open box frame. When complete the cushions are set in loose on the cleats, which should, in this case, be placed about 1 in. from the top of the rails.

HOW TO MAKE A PYROGRAPHER'S TABLE

Any pyrographer will appreciate the construction of the table and cabinet as illustrated. Anyone doing burnt wood work will know the annoyance of building up a steady support for the arm to the level of the article on which the work is to be done. The size of this table may be made to suit the surroundings and the space of the builder. Figure 1 shows the table with a slot cut in the side support in which to place the thumb screw of the bracket as shown on top of the table. It will be noticed, Fig. 2, that while both drawer and cabinet are available for storing the apparatus, they are not in the way of the operator while sitting at his work; the drawer overhangs the knees and the cabinet is far enough back not to interfere with sitting up close to the work. The bracket shelf slides in the slot at the side of the table, and is fastened to any height by the thumb screw There is also a smaller slide bracket on the shelf to clamp irregular objects to the side of the table. The thumb screws, hinges and drawer pulls can be purchased from any hardware store. When the table is not in use for pyrography it can be used for a writing table or a round top provided and attached on which to play games. When used for this purpose the bracket, as well as the pyrographic outfit, is stowed away in the cabinet as shown in Fig. 3.

MISSION STAINS

What is mission oak stain? There are many on the market, with hardly two alike in tone. The true mission oak stain may be said to show a dull gray, the flakes showing a reddish tint, while the grain of the wood will be almost a dead black. To produce such a stain take 1 lb. of drop black in oil and 1/2 oz, of rose pink in oil, adding a gill of best japan drier, thinning with three half-pints of turpentine. This will make about 1 qt. of stain. Use these proportions for a larger quantity of stain. Strain it through cheese cloth. Japan colors will give a quicker drying stain than that made with oil colors, and in this case omit the japan and add a little varnish to bind it.

One of the most popular of all the fancy oaks has been that known as Flemish, and this in spite of its very somber color, says Wood Craft. There are several ways of producing Flemish finish; you can fill the wood with a paste filler strained with raw umber, and when dry apply a stain of transparent flat raw umber, and for the darker shades of finish use drop black with the umber. Varnish and rub down.

According to a foreign technical journal, French workmen mahoganize various kinds of woods by the following method: The surface of the wood to be stained is made perfectly smooth. Then it is given a coating of dilute nitric acid which is rubbed well into the wood fiber. Then it is stained with a mixture made by dissolving 1-1/2 oz. of dragon's blood in a pint of alcohol, this solution being filtered, and then there is added to it one-third of its weight of sodium carbonate. Apply this mixture with a brush, and repeat the coats at intervals until the surface has the appearance of polished mahogany. In case the luster should fail it may be restored by rubbing with a little raw linseed oil. The description of the process is meager, and hence he who would try it will have to experiment a little.

A good cheap mission effect for oak is to mix together equal parts of boiled linseed oil and good asphaltum varnish, and apply this to the wood with a brush; in a minute or so you may rub off surplus with a rag, and when dry give a coat of varnish. A gallon of this stain will cover about 600 sq. ft.

FILLING OAK

A very good hardwood filler for oak, either for a natural or golden effect, may be made from two parts of turpentine and one part of raw linseed oil, with a small amount of good japan to dry in the usual time. To this liquid add bolted gilder's whiting to form a suitable paste, it may be made thin enough for use, if to be used at once, or into a stiff paste for future use, when it can be thinned down for use, says Woodworkers' Review. After applying a coat of filler, let stand until it turns gray, which requires about 20 minutes, depending upon the amount of japan in the filler, when it should be rubbed off with cotton waste or whatever you use for the purpose. A filler must be rubbed well into the wood, the surplus only being removed. The application of a coat of burnt umber stain to the wood before filling is in order, which will darken the wood to the proper depth if you rub off the surplus, showing the grain and giving a golden oak effect. The filling should stand at least a day and night before applying shellac and varnish.

WAX FINISHING

In wax-finishing hardwoods, use a paste filler and shellac varnish to get a good surface. Of course, the wax may also be rubbed into the unfilled wood but that gives you quite a different effect from the regular wax polish, says a correspondent of Wood Craft. With soft woods you first apply a stain, then apply a liquid filler or shellac, according to the quality of work to be done. The former for the cheaper job. The usual proportion of wax and turpentine is two parts of the former to one part of the latter, melting the wax first, then adding the spirits of turpentine. For reviving or polishing furniture you can add three or four times as much turpentine as wax, all these proportions to be by weight. To produce the desired egg-shell gloss, rub vigorously with a brush of stiff bristles or woolen rag.

THE FUMING OF OAK

Darkened oak always has a better appearance when fumed with ammonia. This process is rather a difficult one, as it requires an airtight case, but the description herewith given may be entered into with as large a case as the builder cares to construct.

Oak articles can be treated in a case made from a tin biscuit box, or any other metal receptacle of good proportions, provided it is airtight. The oak to be fumed is arranged in the box so the fumes will entirely surround the piece; the article may be propped up with small sticks, or suspended by a string. The chief point is to see that no part of the wood is covered up and that all surfaces are exposed to the fumes. A saucer of ammonia is placed in the bottom of the box, the lid or cover closed, and all joints sealed up by pasting heavy brown paper over them. Any leakage will be detected if the nose is placed near the tin and farther application of the paper will stop the holes. A hole may be cut in the cover and a piece of glass fitted in, taking care to have all the edges closed. The process may be watched through the glass and the article removed when the oak is fumed to the desired shade. Wood stained in this manner should not be French polished or varnished, but waxed.

The process of waxing is simple: Cut some bees-wax into fine shreds and place them in a small pot or jar. Pour in a little turpentine, and set aside for half a day, giving it an occasional stir. The wax must be thoroughly dissolved and then more turpentine added until the preparation has the consistency of a thick cream. This can be applied to the wood with a rag and afterward brushed up with a stiff brush.

HOW TO MAKE BLACK WAX

When putting a wax finish on oak or any open-grained wood, the wax will often show white streaks in the pores of the wood. These streaks cannot be removed by rubbing or brushing. Prepared black wax can be purchased, but if you do not have any on hand, ordinary floor wax can be colored black. Melt the floor wax in a can placed in a bucket of hot water. When the wax has become liquid mix thoroughly into it a little drop black or lampblack. Allow the wax to cool and harden. This wax will not streak, but will give a smooth, glossy finish.

THE 40 STYLES OF CHAIRS

There are 40 distinct styles of chairs embracing the period from 3000 B.C. to 1900 A.D.--nearly 7,000 years. Of all the millions of chairs made during the centuries, each one can be classified under one or more of the 40 general styles shown in the chart. This chart was compiled by the editor of Decorative Furniture. The Colonial does not appear on the chart because it classifies under the Jacobean and other styles. A condensed key to the chart follows:

$Egyptian.--3000 B.C. to 500 B.C.$ Seems to have been derived
largely from the Early Asian. It influenced Assyrian and Greek
decorations, and was used as a motif in some French Empire
decoration. Not used in its entirety except for lodge rooms, etc.

$Grecian.--700 B.C. to 200 B.C.$ Influenced by Egyptian and
Assyrian styles. It had a progressive growth through the Doric,
Ionic and Corinthian periods. It influenced the Roman style and the
Pompeian, and all the Renaissance styles, and all styles following
the Renaissance, and is still the most important factor in
decorations today.

$Roman.--750 B.C. to 450 A.D.$ Rome took her art entirely from
Greece, and the Roman is purely a Greek development. The Roman
style "revived" in the Renaissance, and in this way is still a
prominent factor in modern decoration.

$Pompeian.--100 B.C. to 79 A.D.$ Sometimes called the Grecian-Roman
style, which well describes its components. The style we know as
Greek was the Greek as used in public structures. The Pompeian is
our best idea of Greek domestic decoration. Pompeii was long
buried, but when rediscovered it promptly influenced all European
styles, including Louis XVI, and the various Georgian styles.

$Byzantine.--300 A.D. to 1450 A.D.$ The "Eastern Roman" style,
originating in the removal of the capital of the Roman Empire to
Constantinople (then called Byzantium). It is a combination of
Persian and Roman. It influenced the various Moorish, Sacracenic
and other Mohammedan styles.

$Gothic.--1100 to 1550.$ It had nothing to do with the Goths, but
was a local European outgrowth of the Romanesque. It spread all
over Europe, and reached its climax of development about 1550. It
was on the Gothic construction that the Northern European and
English Renaissance styles were grafted to form such styles as the
Elizabethan, etc.

$Moorish.--700 to 1600.$ The various Mohammedan styles can all be
traced to the ancient Persian through the Byzantine. The Moorish or
Moresque was the form taken by the Mohammedans in Spain.

$Indian.--2000 B.C. to 1906 A.D.$ The East Indian style is almost
composite, as expected of one with a growth of nearly 4,000 years.
It has been influenced repeatedly by outside forces and various
religious invasions, and has, in turn, influenced other far Eastern
styles.

$Chinese.--3500 B.C. to 1906 A.D.$ Another of the ancient styles.
It had a continuous growth up to 230 B.C., since when it has not
changed much. It has influenced Western styles, as in the
Chippendale, Queen Anne, etc.

$Japanese.--1200 B.C. to 1906 A.D.$ A style probably springing
originally from China, but now absolutely distinct. It has
influenced recent art in Europe and America, especially the "New
Art" styles.

$Italian Gothic.--1100 to 1500.$ The Italian Gothic differs from
the European and English Gothic in clinging more closely to the
Romanesque-Byzantine originals.

$Tudor.--1485 to 1558.$ The earliest entry of the Renaissance into
England. An application of Renaissance to the Gothic foundations.
Its growth was into the Elizabethan.

$Italian Renaissance, Fifteenth Century.--1400 to 1500.$ The birth
century of the Renaissance. A seeking for revival of the old Roman
and Greek decorative and constructive forms.

$Italian Renaissance, Sixteenth Century.--1500 to 1600.$ A period
of greater elaboration of detail and more freedom from actual Greek
and Roman models.

$Italian Renaissance, Seventeenth Century.--1600 to 1700.$ The
period of great elaboration and beginning of reckless
ornamentation.

$Spanish Renaissance.--1500 to 1700.$ A variation of the
Renaissance spirit caused by the combination of three distinct
styles--the Renaissance as known in Italy, the Gothic and the
Moorish. In furniture the Spanish Renaissance is almost identical
with the Flemish, which it influenced.

$Dutch Renaissance.--1500 to 1700.$ A style influenced alternately
by the French and the Spanish. This style and the Flemish had a
strong influence on the English William and Mary and Queen Anne
styles, and especially on the Jacobean.

$German Renaissance.--1550 to 1700.$ A style introduced by Germans
who had gone to Italy to study. It was a heavy treatment of the
Renaissance spirit, and merged into the German Baroque about 1700.

$Francis I.--1515 to 1549.$ The introductory period when the
Italian Renaissance found foothold in France. It is almost purely
Italian, and was the forerunner of the Henri II.

$Henri II.--1549 to 1610.$ In this the French Renaissance became
differentiated from the Italian, assuming traits that were
specifically French and that were emphasized in the next period.

$Louis XIII.--1616 to 1643.$ A typically French style, in which but
few traces of its derivation from the Italian remained. It was
followed by the Louis XIV.

$Elizabethan.--1558 to 1603.$ A compound style containing traces of
the Gothic, much of the Tudor, some Dutch, Flemish and a little
Italian. Especially noted for its fine wood carving.

$Jacobean.--1603 to 1689.$ The English period immediately following
the Elizabethan, and in most respects quite similar. The Dutch
influence was, however, more prominent. The Cromwellian, which is
included in this period, was identical with it.

$William and Mary.--1689 to 1702.$ More Dutch influences. All
furniture lighter and better suited to domestic purposes.

$Queen Anne.--1702 to 1714.$ Increasing Dutch influences. Jacobean
influence finally discarded. Chinese influence largely present.

$Louis XIV.--1643 to 1715.$ The greatest French style. An entirely
French creation, marked by elegance and dignity. Toward the end of
the period it softened into the early Rococo.

$Georgian.--1714 to 1820.$ A direct outgrowth of the Queen Anne,
tempered by the prevailing French styles. It includes Chippendale,
Hepplewhite and Sheraton, but these three great cabinetmakers were
sufficiently distinct from the average Georgian to be worthy
separate classification.

$Chippendale.--1754 to 1800.$ The greatest English cabinet style.
Based on the Queen Anne, but drawing largely from the Rococo,
Chinese and Gothic, he produced three distinct types, viz.: French
Chippendale, Chinese Chippendale and Gothic Chippendale. The last
is a negligible quantity.

$Louis XV.--1715 to 1774.$ The Rococo period. The result of the
efforts of French designers to enliven the Louis XIV, and to evolve
a new style out of one that had reached its logical climax.

$Hepplewhite.--1775 to 1800.$ Succeeded Chippendale as the popular
English cabinetmaker. By many he is considered his superior. His
work is notable for a charming delicacy of line and design.

$Louis XVI.--1774 to 1793.$ The French style based on a revival of
Greek forms, and influenced by the discovery of the ruins of
Pompeii.

$Sheraton.--1775 to 1800.$ A fellow cabinetmaker, working at same
time as Hepplewhite. One of the Colonial styles (Georgian).

$R. & J. Adam.--1762 to 1800.$ Fathers of an English classic
revival. Much like the French Louis XVI and Empire styles in many
respects.

$Empire.--1804 to 1814.$ The style created during the Empire of
Napoleon I. Derived from classic Roman suggestions, with some Greek
and Egyptian influences.

$New Arts.--1900 to date.$ These are various worthy attempts by the
designers of various nations to create a new style. Some of the
results are good, and they are apt to be like the "little girl who
had a little curl that hung in the middle of her forehead," in that
"when they are good they are very, very good, but when they are bad
they are horrid."

HOW TO MAKE A PIANO BENCH

All the material used in the making of this piano bench is 1 in. thick, excepting the two rails, which are 7/8 in. thick. The bench can be made from any of the furniture woods, but the case may demand one made from mahogany. If so, this wood can be purchased from a piano factory. The following stock list of materials may be ordered from a mill, planed and sandpapered:

1 top, 1 by 16 by 36-1/2 in.
2 ends, 1 by 14 by 18 in.
1 stretcher, 1 by 4 by 31-1/2 in.
2 side rails, 7/8 by 4 by 29-1/2 in.
2 keys, 1 by 1 by 3-1/2 in.
6 cleats, 1 by 1 by 4 in.

The dimensions given, with the exception of the keys and cleats, are 1/2 in. longer than necessary for squaring up the ends.

The two rails are cut slanting from a point 1-1/2 in. from each end to the center, making them only 3 in. wide in the middle. The rails are "let into" the edges of the ends so the outside of the rails and end boards will be flush. The joints are put together with glue and screws. The cleats are fastened with screws to the inside of the rails and to the top. The stretcher has a tenon cut on each end which fits into a mortise cut in each end. The tenons will have sufficient length to cut the small mortise for the key.

The kind of wood used will determine the color of the stain for the finish. This also depends on matching other pieces of furniture.

HOW TO MAKE A MISSION SHAVING STAND

This attractive and useful piece of mission furniture will be appreciated by the person that does his own shaving. The shaving stand can be made at home by a handy man in his spare time as the stock can be ordered from a mill ready for making the joints and attaching the few pieces of hardware. The following is a stock list of materials:

4 posts 1-1/2 in. square by 50-1/2 in.
4 slats 7/8 by 1 by 32-1/2 in.
2 cross rails 1 by 1-1/2 by 15 in.
2 end rails 1 by 1-1/2 by 13 in.
1 top 7/8 by 16-1/2 by 19-1/2 in.
1 bottom 7/8 by 15 by 17 in.
2 ends 7/8 by 12-1/2 in. square.
1 back 7/8 by 12-1/2 by 14-1/2 in.
1 door 7/8 by 6-1/2 by 12-1/2 in.
2 drawer ends 7/8 by 5-1/2 by 7-1/2 in.
1 partition 7/8 by 12 by 14 in.
1 partition 7/8 by 7 by 14 in.
7 pieces of soft wood 1/2 by 7-1/2 by 12 in.
2 posts 1 in. square by 10-1/2 in.
1 bottom piece 7/8 by 1-1/2 by 18-1/2 in.
4 mirror frame pieces 7/8 by 1-1/2 by 14-1/2 in.
2 sticks for pins.
2 hinges
1 lock
2 drawer pulls
1 beveled glass mirror 11-1/2 by 11-1/2 in.

While this piece of furniture can be made in any kind of wood, the novice will find that quarter-sawed oak will work up and finish better than the other woods. The stock list given has dimensions 1/2 in. larger in some instances for dressing and squaring where necessary.

The tenons and mortises are first cut for the crosspieces at the bottom of the posts, and, as it is best to use dowels at the top, holes are bored in the bottom piece and also the ends of the slats for pins. The bottom piece is also fastened to the posts with dowels. The bottom must have a square piece cut out from each corner almost the same size as the posts. When setting the sides together the end board and posts can be doweled and glued together and after drying well the posts can be spread apart far enough to insert the bottom rail and two slats. The rail and slats should be tried for a bit before putting on any glue, which may save some trouble.

After the sides are put together, the back is put in and glued. The top is then put on and fastened with cleats from the inside. The partitions are put in as shown and the door fitted. Two drawers are made from the ends and the soft wood material. The drawer ends may be supplied with wood pulls of the same material or matched with metal the same as used for the hinges.

The pieces for the mirror frame must be rabbeted 1/2 in. deep to take the glass, and the ends joined together with a miter at each corner. The two short posts are tenoned and mortises cut in the bottom piece for joints and these joints well glued together. The bottom piece is then fastened to the top board of the stand. This will form the standards in which to swing the mirror and its frame. This is done with two pins inserted in holes bored through the standards and into the mirror frame.

After the parts are all put together, cleaned and sandpapered, the stand is ready for the finish.

A MISSION WASTE-PAPER BASKET

The basket shown in the accompanying sketch is designed to be used with a library table having slats in the ends and wooden handles on the drawers. The finish is made to match that of the table by fuming, when completely assembled, in a large-size size, clean garbage can, with fumes of concentrated ammonia.

The following quarter-sawed white-oak stock should be procured in the exact dimensions given. This may be had, planed and cut to lengths, from a mill for a slight extra charge. It is advisable not to have them sandpapered, as the very coarse sandpaper generally used, gives a bad surface for finishing.

4 posts, 1-1/4 by 1-1/4 by 16-1/2 in., S-4-S.
4 rails, 3/4 by 3 by 10-1/4 in., S-2-S.
4 rails, 3/4 by 2 by 10-1/4 in., S-2-S.
12 slats, 3/8 by 2-1/4 by 9-1/2 in., S-2-S.
4 handle pieces, 1 by 1 by 2-1/2 in., S-4-S.
2 handle pieces, 1/2 by 1/2 by 6 in., S-4-S.
1 bottom, 3/8 by 9-1/2 by 9-1/2 in., S-2-S.

See that the posts are absolutely square cross section. Mark with a pencil--not gauge--the chamfers on the ends of the posts and plane them off.

Carefully mark the tenons on the ends of all the rails with a knife and gauge lines. Be sure that the distance from the tenon shoulder at one end of rail to the shoulder at the other end is exactly the same on each rail. Cut the tenons, using a backsaw and chisel.

Arrange the pieces as they are to stand in the finished basket, and number each tenon and mortise. Mark all the mortises on the posts, being sure to keep the distances between the top and lower rail the same on each post. Cut each mortise to fit the correspondingly numbered tenon. Next, mark the mortises for the slats in the rails, allowing the whole slat to go in 1/4 in.

The handles are next in order. The pieces going into the rail should be fastened with a round 1/2-in. tenon cut on one end and glued in place. The crosspiece should be mortised all the way through these pieces and held in place by a brad from the under side.

Now put the whole basket together without gluing, in order that errors, if any, may be detected.

If everything fits perfectly, the basket is ready to be glued. For best results hot glue should be used. First glue up two opposite sides with the slats in place. Clamps must be used. When these have set for at least 24 hours, the other rails and slats may be glued in place and clamped. It is a good idea to pin the tenons in place with two 1-in. brads driven from the inside.

The handles are then glued in place, using hand screws to hold them until the glue sets. The bottom should rest on thin cleats, without being nailed to them, so that it may be removed when the basket is to be emptied of small papers, etc.

Before applying the stain, see that all glue spots are removed and all surfaces sanded to perfect smoothness. If a fumed finish is not desired, any good stain may be used, after which a thin coat of shellac and two coats of wax should be applied. Allow plenty of time for drying between the coats.

A CELLARETTE PEDESTAL

The illustration shows a unique article for the den. It serves as a pedestal and has one side which opens on hinges allowing the inside to be used as a smoker's cabinet or cellarette. All the lines are straight and the corners square, making it easy to construct. White oak will make up best, although ash, birch or southern pine may be used with good effect.

Stock of the following sizes should be bought, surfaced and cut to width and length:

2 top pieces, 7/8 by 12 by 12 in., S-2-S.
2 base pieces, 7/8 by 14 by 14 in., S-2-S.
2 sides, 7/8 by 8 by 35-5/8 in., S-2-S.
1 back, 7/8 by 6-1/4 by 35-5/8 in., S-2-S.
1 door, 7/8 by 6-1/4 by 34-3/4 in., S-2-S.
4 blocks, 7/8 by 4 by 4 in., S-2-S.
4 shelves, 7/8 by 6-1/4 by 6-1/4 in., S-2-S.
4 pieces, 7/8 by 1 by 10 in., S-4-S.

Make the top and base of two pieces, glued and screwed together with the grain crossed. This method prevents warping. To keep the end grain from showing, a strip of 3/8-in. lumber may be put on all around as shown in the drawing.

Have the sides, front and back squared up perfectly. The sides are to overlap the back and to be fastened to it with round-head brass or blue screws. To the center of the top and base attach one of the 6-1/4-in. square pieces. Over these, fit the sides and back and fasten them with screws or nails. The four corner blocks are now put under the base.

Two or more shelves may be set in as shown. Brass or copper hinges will look well if a dark stain is to be used.

Around the sides and back a 1-in. strip should be fastened to the base to give added strength.

If a dull finish is desired, apply two coats of stain and two of prepared wax. If a polished surface is wanted, first fill the pores of the wood with any standard filler, which can be purchased at a paint store. After this has dried partly, rub off any surplus filler, rubbing across the grain of the wood. When perfectly dry apply one coat of shellac and as many coats of varnish as desired, rubbing down each coat, except the last, with No. 00 sandpaper and pumice stone.

A DRESSER

The dresser shown in the illustration was made of quarter-sawed white oak and finished golden and waxed. The mirror is of beveled glass and the following is the stock bill:

1 top, 3/4 by 19-1/2 by 33 in., S-2-S.
4 posts, 1-3/4 by 1-3/4 by 28 in., S-4-S.
4 end rails, 3/4 by 2-1/4 by 17 in., S-2-S.
4 stiles, 3/4 by 2-1/2 by 20 in., S-2-S.
2 panels, 3/16 by 12 by 18 in., S-2-S.
3 facings, 3/4 by 2-1/4 by 29 in., S-2-S.
2 top frame pieces, 3/4 by 2 by 32 in., S-2-S.
2 top frame pieces, 3/4 by 2 by 19 in., S-2-S.
2 mirror supports, 1 by 2 by 33 in., S-2-S.
1 mirror support, 3/4 by 2-1/2 by 33 in., S-2-S.
1 drawer front, 3/4 by 7-1/4 by 28 in., S-2-S.
1 drawer front, 3/4 by 6-1/4 by 28 in., S-2-S.
2 drawer fronts, 3/4 by 5-1/4 by 14 in., S-2-S.
1 partition, 3/4 by 1 by 6 in.
2 mirror-frame pieces, 3/4 by 2 by 40 in., S-2-S.
2 mirror-frame pieces, 3/4 by 2 by 20 in., S-2-S.

The following material list may be of common stock and not quarter-sawed:

Mirror-backing pieces equivalent to 1/4 by 18-1/2 by 36 in., S-2-S.
2 cleats, 3/4 by 2 by 10 in., S-4-S.
4 drawer-support frame pieces, 3/4 by 2 by 29 in.
7 drawer-support frame pieces, 3/4 by 2 by 15 in.
Slides taken from scrap stock, 3/4 by 1 by 15 in.
3 back pieces, 3/4 by 2-1/4 by 28 in., S-2-S.
2 back pieces, 1/4 by 8 by 28 in., S-2-S.
8 drawer sides, 1/2 by 7-1/4 by 17 in., S-2-S.
2 drawer backs, 3/8 by 7 by 27 in., S-2-S.
2 drawer backs, 3/8 by 7 by 13 in., S-2-S.
2 drawer bottoms, 3/8 by 15 by 27 in., S-2-S.
2 drawer bottoms, 3/8 by 15 by 13 in., S-2-S.

In working up the various parts proceed in the usual manner. If not thoroughly familiar with the various tool processes involved, it will be necessary to investigate pieces of near-by furniture and to read up some good text dealing with the processes involved.

The exact size of the mirror is 18 by 36 in. and the frame should be rabbeted to correspond.

For a finish, a coat of paste filler colored so as to give a rich golden brown should be applied first. Allow this to harden, after rubbing and polishing it in the usual manner, then apply a thin coat of shellac. Sand this lightly when hard, and over this apply a coat of orange shellac. Over the shellac put several coats of some good rubbing wax and polish each coat well. If a striking contrast is wanted for the medullary rays of the quartering, apply a golden-oak stain first. Sand this lightly, then apply a second coat diluted one-half with solvent and sand again lightly. Apply a thin coat of shellac, then, when dry, sand lightly and apply paste, and proceed as before.

A MISSION SIDEBOARD

Oak is the most suitable material for making this sideboard and it should be first-class stock, planed and cut to the dimensions given in the following list:

1 top, 7/8 by 22 by 48 in., S-2-S.
1 top shelf, 7/8 by 12 by 48 in., S-2-S.
1 bottom, 7/8 by 22 by 48 in., S-2-S.
2 back posts, 2 by 2 by 57 in., S-4-S.
2 front posts, 2 by 2 by 36 in., S-4-S.
2 standards, 2 by 2 by 20 in., S-4-S.
2 mirror rails, 7/8 by 2 by 47 in., S-2-S.
2 mirror rails, 7/8 by 2 by 20 in., S-2-S.
3 front and back rails, 7/8 by 3 by 46 in., S-2-S.
4 end rails, 7/8 by 3 by 20 in., S-2-S.
4 standard rails, 7/8 by 2 by 10 in., S-2-S.
2 vertical pieces, 7/8 by 19-1/2 by 22 in., S-2-S.
1 horizontal piece, 7/8 by 22 by 14-1/4 in., S-2-S.
1 drawer front, 7/8 by 6 by 14-1/4 in., S-2-S.
1 piece, 7/8 by 3 by 3 in.
4 vertical door pieces, 7/8 by 2 by 17 in., S-2-S.
4 horizontal door pieces, 7/8 by 2 by 15 in., S-2-S.
2 drawer sides, 7/8 by 5 by 14 in., S-2-S.
1 drawer bottom, 1/4 by 14 by 14-1/4 in., S-2-S.
1 back panel, 1/4 by 16-1/2 by 44-1/2 in., S-2-S.
2 door panels, 1/4 by 10-1/2 by 15-1/2 in., S-2-S.
2 side panels, 1/4 by 18-1/2 by 16-1/2 in., S-2-S.

Begin work by cutting the posts to the length indicated in the detail drawing. The top ends are tapered with a 1/2-in. slant. These posts are cut in pairs and it is best to stand them up in the same position they will be in the finished sideboard, and mark the sides to be mortised with a pencil. Also cut the grooves into which the panels are to fit. These are to be 1/4 in. wide and a little over 1/4 in. deep.

The rails are cut with tenon ends to match the mortises, and also have grooves to receive the panels.

The bottom part of the back is closed with a panel and two rails, one at the same height from the floor as the front bottom rail, and the top one even with the under side of the top. The large panel is for the opening thus formed.

These parts are now put together, using plenty of good hot glue, and spreading it well on the mortises and tenon ends.

When drawing the frame together with the clamps, care must be taken to get it square.

After the glue is hard enough to remove the clamps, the top and bottom are put in place. The corners of the top are notched out to fit around the posts, while the bottom is cut to fit on the inside of the rails and is held in place by putting screws in at an angle through the bottom into the rails. The top is also fastened in this way, except that the screws are run through the rails into the top.

The two vertical pieces are now put in place. Drive nails through the bottom and into these pieces. On the top end use screws driven at an angle. Glue may be used if desired.

The doors are made to match these openings. The corners are mitered and the backs rabbeted to receive the panels. These panels may be made in art glass if so desired.

The horizontal piece for the drawer to rest upon is now put in place and fastened by driving nails through the vertical pieces. The drawer is made to fit this opening, and it should be lined with velvet to keep the silverware in good condition.

The standards and shelves are put on as shown in the drawing. The mirror is put in a frame, which is made to fit the back opening and has the corners mitered and the back rabbeted to receive the mirror.

Thoroughly scrape and sandpaper all parts that are visible. The sideboard is now ready to be finished as desired.

A HALL OR WINDOW SEAT

A simple design for a hall or window seat is shown in the accompanying sketch and detail drawing. Anyone who has a few sharp tools, and is at all handy with them, can make this useful and attractive piece of furniture in a few spare hours. Quarter-sawed oak is the best wood to use in its construction, as it looks best when finished and is easy to procure. If the stock is ordered from the mill ready cut to length, squared and sanded, much of the labor will be saved. The following is a list of the material needed:

4 corner posts, 1-1/2 by 1-1/2 by 28 in., S-4-S.
2 side rails, 3/4 by 2-1/2 by 36-1/2 in., S-4-S.
2 end rails, 3/4 by 4 by 14-1/2 in., S-4-S.
2 side braces, 1 by 1 by 36-1/2 in., S-4-S.
2 end braces, 1 by 1 by 14-1/2 in. S-4-S.
1 seat, 1 by 16 by 35-3/4 in., S-4-S.
2 top end braces, 3/4 by 2 by 14-1/2 in., S-4-S.
6 slats, 3/4 by 2 by 6-1/2 in., S-4-S.

Square up the four posts and lay out the mortises according to the drawing. To do this, lay them on a flat surface with the ends square and mark them with a try-square. The tenons on the end and side rails are laid out in the same manner as the posts. The end rails should be marked and mortises cut for the upright slats as shown in the detail drawing. Fit the end and side braces with mortise and tenon joints.

The two end frames can now be glued and clamped together and set away to dry. Put all the parts together before gluing to see that they fit square and tight.

The seat should be made of one piece if possible, otherwise two or more boards will have to be glued together. The corners should be cut out to fit around the posts. It rests on the side rails and cleats fastened to the inner side of the end rails.

When the window seat is complete go over it carefully and scrape all the surplus glue from about the joints, as the finish will not take where there is any glue. Remove all rough spots with fine sandpaper, then apply the stain best liked, which may be any one of the many mission stains supplied by the trade for this purpose. If this window seat is well made and finished, it will be an ornament to any home.

A MISSION PLANT STAND

For the mission plant stand shown in the illustration secure the following list of quarter-sawed white-oak stock, cut and finished to size:

1 top, 3/4 by 15-1/2 by 15-1/2 in., S-2-S.
4 posts, 1-1/4 by 1-1/4 by 20 in., S-4-S.
4 rails, 3/4 by 3 by 11 in., S-2-S.
2 rails, 3/4 by 2 by 11 in., S-2-S.
1 shelf, 3/4 by 6 by 10 in., S-2-S.
4 slats, 1/4 by 2 by 12-1/4 in., S-2-S.
2 slats, 1/4 by 2 by 12-3/4 in., S-2-S.

Test all surfaces of the posts with a try-square to see that they are square with each other. Lay out the tenons on the ends of the rails as shown in the sketch and cut with a tenon saw and chisel. Arrange the posts and rails as they are to stand and number each tenon and mortise. Lay out the mortises in the legs, taking the measurements directly from the tenon which is to fit that mortise. Cut the mortises, first having bored to the depth with a 1/4-in. bit.

The slats should now be made and mortised into the top rail 1/4 in. They come outside of the lower rail and are held to it with two small brads, fancy-headed tacks, or round-head screws.

In laying out the mortises for the lower rails, care must be taken to have them set 1/8 in. farther in than the upper rails so the slats may come outside.

Set up the stand without glue or screws to see that all pieces fit accurately. Then glue up the sides with the slats first. After these have set for 24 hours, fit in the other two rails and the shelf. Three flat-head screws should be used to hold the shelf in place. These must be placed so the slats will cover them when they are attached.