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Title: Cedar chests, how to make them
Author: Ralph Flagg Windoes
Release date: March 8, 2025 [eBook #75563]
Language: English
Original publication: Milwaukee: The Bruce Publishing Co, 1918
Credits: Bob Taylor, Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK CEDAR CHESTS, HOW TO MAKE THEM ***
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[Illustration: RED CEDAR, AUSTIN, TEXAS]
CEDAR CHESTS
_HOW TO MAKE THEM_
RALPH F. WINDOES
Formerly Instructor of Manual Training, Davenport High School,
Davenport, Iowa. Author of “Shop Sketching,” “Architectural
Drawing for Secondary Schools,” “Drafting Instruments
and How to Use Them,” Etc.
[Illustration: Decoration]
SECOND EDITION—ENLARGED.
MILWAUKEE
THE BRUCE PUBLISHING COMPANY
Copyright 1918-1921
by
The Bruce Publishing Company
PREFACE
Believing that the popularity of the cedar chest as a cabinet making
project has reached considerable proportions, the author has endeavored
to embody under one cover all information necessary to the design and
construction of a variety of chests. In addition to this mechanical
aspect of the work, he has presented some information of educational
character on red cedar as a wood, and something of interest concerning
the development of the chest.
As information of this character has been lacking in the past, he hopes
that the book will meet with the approval of teachers who will use it
in their work.
Acknowledgment is due to the Forest Service for the use of the
illustrations in Chapter I, to two of the author’s students, Otto J.
Teegen and James A. Kelly, for the great assistance rendered by them
in the preparation of the drawings, and to the Metropolitan Museum of
Art, New York City, for permission to reproduce photographs of historic
chests in its collections.
R. F. W.
CONTENTS
CHAPTER PAGE
I Red Cedar 9
II Cedar Chests 15
III How to Build a Simple Chest 17
IV Cedar Chest Designs 31
V The Finishing of Cedar 78
VI Copper Trimmings 82
VII Matting Boxes 90
[Illustration: This chest came over on the “Mayflower.”]
CHAPTER I
Red Cedar
The botanical name for red cedar suitable for chest construction is
=Juniperus Virginiana=, or =Southern Juniper=, as it is familiarly
known. Commercially, it is sold as “Tennessee Red Cedar.” There are
other cedar woods but none of them should be used in chests if the
great advantages of cedar are to be derived, and especially should the
“western cedar” be avoided, as it is very common and easy to purchase,
yet it has no value as a wood for cedar chest construction. Southern
Juniper may aptly be called the “wood imperishable,” since, under
ordinary conditions, it will never decay. Placed as shingles with
copper nails, there is little doubt but that it will last for ages, or
until the attacks of rain and wind have weathered it away. Until recent
years one of its greatest uses has been in telegraph poles, fence
posts, greenhouses, etc., where constant contact with damp earth would
soon rot away a less durable wood. Now, since the rapid rise in the
value of red cedar has almost prohibited its use, cypress, “the wood
eternal,” has largely succeeded it.
LOG HOUSES OF RED CEDAR
When America was settled, one of its most valued natural resources
was found in the red cedar belt of the South. Settlers migrating to
this region found the straight cedar logs perfectly suited to cabin
construction, consequently the best trees were felled and utilized
in the building of America’s first homes. As times went on and the
settlers prospered, the logs were taken from the houses, and assembled
into barns, frame construction taking their place in the homes. Today,
these old logs, perfectly preserved, are purchased by lumber men, as
some of the most select red cedar lumber is manufactured from them. A
great many of these old logs have been cut up into lead pencil slabs,
as cedar is the best wood that has ever been found for lead pencils.
It is straight grained and easily cut with a knife, the two necessary
characteristics. Another source for pencil supply has been found in
the rail fences, so common in the South, practically all of which were
constructed of split cedar rails. This wood is so highly prized by
pencil makers that many fences have been bought up at such prices that
modern fences have taken their places, leaving a comfortable profit for
the owner.
WHERE RED CEDAR ABOUNDS
The geographical range of red cedar is very wide and hard to define.
Roughly speaking, it can be found westward to Minnesota, south
to Florida, and southwest through Texas. The finest forests were
originally found in middle Tennessee, in Davidson, Rutherford, Bedford,
Marshall, and Warren Counties, with a considerable quantity in the
breaks of the Cumberland plateau and in Eastern Tennessee. There was
considerable red cedar also in Southern Virginia, North Alabama and in
Georgia, while some is found in Arkansas in the Ozark Mountains.
[Illustration: Fig. 1. Red Cedar and Loblolly Pine; Occasional Scrub
Pine in the Background. Southern Maryland]
These belts are still the most reliable source of supply, some of
them having been cut over a great many times. Second growth, although
it is stunted, more knotty, and contains more sapwood than first
growth, finds a market in fence posts and a very little in furniture
construction.
DEPLETION OF THE CEDAR SUPPLY
The supply of Southern Juniper in this country, both first and second
growth, is rapidly being depleted. There is no reason why this
condition should exist. The early settlers, anxious to clear their
lands, destroyed it ruthlessly, it is true, yet it lends itself so
readily to reforestation that it is difficult to surmise why steps to
maintain its constant supply were not taken long ago. About two hundred
years ago, a Swedish naturalist, Peter Kalm, after traveling over the
settled portion of the country, wrote at some length upon the splendid
qualities of red cedar, and prophesied its early extinction unless
steps were taken to replenish the supply.
[Illustration: Fig. 2. Red Cedar. Longitudinal Section, Magnified 76
times.]
In Poor Richard’s Almanac for 1749, Benjamin Franklin urged the people
to plant and foster the growth of red cedar. He was of the opinion that
the rapid clearing of the land, the constant need of wood for fuel
would soon destroy the slow-growing oaks and other hardwoods, and that
“it would be to our advantage to endeavor to raise some other kind of
timber that will grow faster or come sooner.”
“The red cedar (a species of juniper) I take to be the most profitable
tree for fencing and several other uses that we can raise in our
country, considering how easily it may be raised from seeds, its
readiness to grow on most kinds of soil, its quick growth, the profits
it will afford while it is arriving at maturity, and the long duration
of the wood when grown to a proper size for the materials we want for
our several occasions in husbandry and building. I know of no other
tree that will grow so well on such different soils as this will, for
upon our sandy beaches, which are nothing but beds of sand, they grow
as thick as possible, from whence many thousand posts for fencing are
brought into Pennsylvania and York governments, and I have seen, in
a great many swamps upon a branch of the Susquehannah, great trees
growing, near 18 inches diameter, 70 feet high, and very straight.
And the inhabitants near the mountains, upon Hudson Bay, make a
great use of them for making large hovels or barracks to put their
corn in before it is threshed. They will grow well in high gravely
or clay soil, in rich or poor, or even upon a rock, if there be but
half a foot of land or earth upon it. It is much to be valued for its
quick growth from seed, the little sap and much durable heart, which
is acquired sooner than any tree that we can raise on common land.
Indeed, the mulberry and locust are of quick growth in very rich land,
but not upon poor.”
[Illustration: Fig. 3 Fifty Year Old Cedar, Job’s Swamp, Ocean County,
New Jersey]
That the predictions of Kalm and Franklin have been substantiated is
a well known fact since the cedar of commercial size grown in the
Eastern and New England States—of which they spoke—has long since been
exhausted. Neither knew of the extensive cedar growths in the South and
West, yet the original growth of these regions is very near exhaustion.
[Illustration: Fig. 4. Mature Cedar Brake Along Road. No Underbrush,
but the Young Cedar Seedlings Fill all Gaps. Marble Falls, Burnet
County, Texas]
Luckily, our efficient Forest Service is at this time doing everything
in its power to encourage reforestation of the cedar tracts, and the
future of the red cedar tree looks more promising than the present.
CHARACTERISTICS OF RED CEDAR
As has been intimated, red cedar is a very durable wood. It is also
light, straight grained, does not warp readily, will dry out rapidly,
takes a beautiful finish, and has a most pleasant aroma, but one which
is moth and insect repelling. Moths shun the red cedar, as other
insects shun the pennyroyal herb.
These favorable characteristics all combine to make red cedar the
ideal wood for chest construction. Chests must be light, yet strong;
good to look upon when finished; of such flat stock that the finish
on one side alone will not cause the wood to warp; and they must be
moth proof. Southern Juniper furnishes all of these desirable points,
and in addition its pleasant aroma permits the immediate wearing of
apparel taken from the cedar chest without airing, as must be done with
garments protected by moth balls.
[Illustration: Small Carved Wood Chest of Venetian Make (Sixteenth
Century)]
CHAPTER II
Cedar Chests
The chest, or coffer, has had a varied existence. Its present
popularity was preceded by a period in which new chests were a rarity.
Previous to this time—taking us back to our great-grandmothers’
days—the chest, in the form of the “dower chest,” was the proud
possession of every girl with vision. Why its popularity suffered is
hard to surmise, unless it was relegated as being “old-fashioned,” and,
therefore, obsolete. In recent years those in society who make things
fashionable have restored it to its place of usefulness and beauty, and
today there are very few girls whose possessions do not include a chest.
OLD ITALIAN CHESTS
Long before the era of convenient furniture, chests, or coffers, were
the one article of utility in every home. In them was kept clothing,
valuables of every description, and even food-stuffs.
In early days, these chests were crude, ugly affairs, made for utility
alone. Later, especially in Italy, they developed into articles of
beauty.
This development reached its height at the time of the Renaissance when
the greatest artists of the day took up the decorating of them. Carving
and painting, furnished to the wealthy at great expense, produced
articles whose magnificence is astounding. These beautiful chests were
usually presented to Italian “brides-to-be,” who kept their dowry of
rich velvets, magnificent brocade, and other treasures of maidenhood
safely under their covers.
With the ever-changing ideas of humanity, the beautiful chest lost
its popularity, and some wonderful specimens of Renaissance artistry
were relegated to the scrap heap. A few were saved—perhaps for the
associations they suggested—eventually to be prized and handed down
from generation to generation, preserved in the national museums, or
homes where wealth permits the collection of old furniture.
NEW ENGLAND CHESTS
In quaint old New England, the seventeenth century bride considered
her future happiness to depend largely upon the contents of her “dower
chest.” Every maid had one—sometimes more than one—in which she
assiduously collected her trousseau—her beautiful handmade linens, her
gorgeous silks and satins, preparatory to the day of her ascension into
home-making.
Nothing, perhaps, in her interesting life could she recall, in later
days, as vividly as her old dower chest, and nothing, perhaps, did she
prize as highly.
In those days few chests were made of cedar—oak being the wood
preferred. Using the chests, as did the old-time bride, merely to
assemble her trousseau, its storage properties were not considered as
they are today.
PRESENT DAY DEVELOPMENT
Why the chest lost its popularity is hard to determine. It may be that
moths, developing in the oak chest and devouring its contents, were a
determining factor, or it may be simply a passing whim of society that
relegated the chest. When red cedar came into favor as the universal
chest material, repelling moths and other insects, and permitting of
most beautiful finishes, the chest returned to its own.
The present-day mother—the far-sighted mother—is instilling the
dower chest notion into the hearts of her children as did her
great-grandmother years ago. It is not a sentimental whim which prompts
her to do this, it is strictly a utilitarian one.
Girls, the majority at least, will some day marry. If they have a chest
they will sew and save to fill it, if not, they may come to the altar
unprepared, or purchase at one time those things that their own labor
and years of association should endear to them. Even if they never
marry, bachelor girls must clothe themselves, and some even fit up
small apartments in which to live, hence this saving will not be a loss.
Cedar chests may be purchased ready made, of course, but their rather
high price prohibits their possession by some. Manual training students
or home craftsmen will find in the chest a most attractive project of
construction, and one made by a boy as a present to an older sister
will give the chest, in her sight, an added charm.
CHAPTER III
How to Build a Simple Chest
It is naturally assumed that the builder of a cedar chest knows the
fundamental tool processes, as a project of this kind is no task for
an absolute beginner to attempt, hence but little attention will be
paid to processes that would ordinarily be known by the graduate of a
grammar school.
THE MILL BILL
Chest Design Number 1, illustrated in perspective in Fig. 5, and whose
working drawing appears in Fig. 6, is of very simple construction.
Its stock can be purchased glued-up and sandpapered, coming to the
builder as in Fig. 7, almost ready to assemble, or the boards can be
secured surfaced on two sides, to be jointed, doweled, and finished by
hand. Both methods will be considered in this chapter.
The stock list, if the wood is to be glued-up and sandpapered at the
mill, should comprise the following pieces:
2 pcs. red cedar for sides ¾” × 18½” × 38”
2 pcs. red cedar for ends ¾” × 18½” × 19”
2 pcs. red cedar for top and bottom ¾” × 20½” × 40”
1 pc. red cedar for feet ¾” × 2½” × 60”
3 pcs. red cedar for inside strips ¾” × ¾” × 36”
4 pcs. red cedar for inside corners 1¾” × 1¾” × 18”
1 pc. red cedar for handles 1½” × 2” × 12¼”
[Illustration: Fig. 5]
[Illustration: _CEDAR CHEST DESIGN NO. 1_
Fig. 6]
An exact checking of the mill bill and the working drawing will show
that an allowance has been made in some instances that will need to
be cut to fit by the builder. For example, the sides are ½” wider and
about 2” longer than the working drawing calls for. This allowance
has been made so that the craftsman can secure exact dimensions with
perfectly square ends.
[Illustration: Fig. 7]
As surfaced and machine sanded stock is specified, all that remains for
the builder to do is to square up the ends and edges, cut the feet and
handles, and assemble.
SIDES AND ENDS
Plane one edge of each side and end perfectly straight and square with
the surfaces. Check these for “working edges.” Measure over 18” and
with a straight-edge, mark the width on each. Plane carefully to this
line, keeping the edges square across.
With the steel square, holding the blade against the working edges in
each case, square lines across one end of each piece about ¾”.
Saw about ⅛” outside of these lines and plane down to them, testing
constantly with the try-square across the end grain and the steel
square, the blade of which is held against the working edge. When
perfectly straight and square, measure down 36” on the sides and 16½”
on the ends, square lines across, and repeat the sawing and planing.
TOP AND BOTTOM
The top and bottom pieces are squared up in exactly the same way, but
they finish 20” × 38”. The upper surfaces of each have their edges and
ends carefully rounded, using a radius of ¾”. This is accomplished by
planing and sandpapering with a rather coarse and then a fine sandpaper.
These parts are now ready to assemble, but this will not be discussed
until the hand finishing of stock is described.
JOINTING AND GLUING WIDE STOCK
If stock that has been machine surfaced on two sides is purchased for
the chest, the builder doing his own gluing, the following stock will
be needed:
30 board feet red cedar, surfaced two sides to ⅞”
1 pc. red cedar for inside corners 1¾” × 1¾” × 72”
1 pc. red cedar for handles 1½” × 2” × 12¼”
SAWING UP THE STOCK
[Illustration: Fig. 8]
The stock will come in pieces from 4” to 10” wide and from 8 ft. to 12
ft. long. Place the strips side by side on the saw horses, and work
combinations whereby the greatest saving of stock will be affected.
There should be about 2” allowed for jointing and squaring, making
the sides and ends, rough, 20”, and the top and bottom 22”. Saw off
the lengths, allowing about 2” over-length in each case. Save the
sawed-off ends, if they are 7” or over in length, for the feet.
[Illustration: Fig. 9]
JOINTING
Mark each piece “Side A,” “Side B,” “End A,” “End B,” etc., so that
they will not become mixed. Begin with one side, putting all other
stock away.
Determine by a plane stroke or two which way the grain runs in each
piece, and mark this direction by means of arrows, as in Fig. 8. Also,
number the adjacent edges.
Assuming the position of Fig. 9, carefully run the jointer plane
over all edges that come together. Hold it =down on the knob=, when
=starting a cut=, and =hard on the handle= when =finishing=. Keep the
sides of the plane =parallel= to the sides of the board being planed.
A few strokes should make the edge perfectly straight with the grain,
when it should be tested with the try-square to be certain that it is
square with the surfaces.
When it is straight as to length and square across, lay it aside and
place the edge it is to join within the vise. Do exactly the same with
this edge, and test it by placing the edge formerly planed down on top
of it, Fig. 10. Sighting toward the light will show whether or not
exact work has been accomplished. High spots will be easily detected
and planed off.
If there is a =long, thin= opening in the center of the two edges, it
may be left, as the clamps will close it and when the wood dries out,
end-opening of joints will be prevented. But this opening =must not be
more than 1/64”= as the clamps might not pull it down and hold it if it
were greater.
[Illustration: Fig. 10]
Repeat with the other edges, and when all boards for one side have been
joined, place them into position and test with the steel square, as in
Fig. 11. If they do not combine to form a straight surface, those edges
that are not square across grain must be planed.
DOWELING
Although stock jointed and glued up at the mill is not doweled, stock
hand jointed must be. Use ⅜” dowel pins, placed about 8” apart, the end
pins starting about 3” from the ends of the boards.
[Illustration: Fig. 11]
To lay out the dowel holes, place the edges that are to be joined back
to back in the vise. With a sharp knife and the try-square, square
lines across the grain. Mark intersecting-lines with the grain with the
marking gauge, running the spur in the exact center of the edges.
At the intersections of the gauge and knife lines, bore ⅜” holes about
1” deep in both boards, Fig. 12. Slightly countersink these holes.
Cut the dowel pins about 1⅞” long, point their ends a little, and cut a
shallow groove along the edge to allow the surplus glue to escape, and
thus prevent splitting the boards.
GLUING
Place the boards in position on the saw horses near the glue pot. Have
the glue heated—if hot glue is used—and all clamps in position at hand.
Remember that you can not stop to look for anything when the hot glue
is once applied.
Pieces this narrow will have little tendency to buckle, especially if
the bar clamps are put on opposite sides, but it may be wise to have
four hand screws ready with battens cut the correct length in case they
do.
Dip the dowels, one at a time, in the glue and drive in place along
one edge of each board. Quickly tip this edge and its mate up, and
apply a thin layer of glue to each. Drop them into position and drive
them together. Repeat with the other edges, and place the bar clamps
in position, as Fig. 13 illustrates. Tighten the clamps until all the
surplus glue is squeezed out, and apply the hand screws if the boards
show any tendency to buckle.
[Illustration: Fig. 12]
It is well to warm the boards slightly if hot glue is used.
In case cold glue is used, allow it to stand ten or fifteen minutes
before applying the clamps. It will stick better.
SURFACING
After all six wide pieces have been glued up in the above manner and
allowed to dry over night, the clamps are removed and the surfaces
smoothed up.
Scrape off as much glue that has dried on the surfaces as possible, as
hard glue will dull the plane bit.
Begin with a very sharp jack plane, and plane the surface down smooth.
Cross-planing is allowable on red cedar on account of the knots, but be
very careful not to rip up deep grooves. When planed as nearly flat as
possible, scrape with a sharp cabinet scraper. This should not be held
in the hand, but should be used in a scraper plane. Scraping should
remove all rough spots from the wood.
Finally, sandpaper the entire surface with No. 1½ sandpaper, and finish
with No. 0.
SQUARING UP
Cut these pieces to dimensions and square them up as has already been
described for the mill-glued stock. Pieces that have been ripped from
the edges should be saved.
[Illustration: Fig. 13]
ASSEMBLING
Fig. 14 illustrates various joints used in chest construction. With the
simple design taken as our model in this chapter, we will employ the
plain butt, nailing the pieces together with 8d finishing nails.
It will be noticed from the working drawing that the sides are nailed
onto the ends. To prevent splitting, a number of small holes should
first be drilled through the sides. Apply glue to the ends before
driving the nails in place.
[Illustration: _JOINTS USED IN CHEST CONSTRUCTION_
_PLAIN-BUTT_ _DADO AND RABBET_
_RABBET_ _DOVE-TAIL_
Fig. 14]
When the sides and ends have been assembled, cut a stick the length
of one diagonal of the box, and use this to test on the other
diagonal. If the box is square, both diagonals will be the same length.
Place the bottom side up and screw the bottom to the sides and ends.
Use 1¾” No. 8 flat head screws well countersunk. Bore the holes through
the bottom rather large to allow for any expansion or contraction, and
use about twelve screws.
TRIANGULAR CORNER STRIPS
In the inside corners of the box, triangular strips should be securely
glued. They are made by ripping on the diagonal of the 1¾” square
pieces, and should be made 17” long, Fig. 15. They help to strengthen
the chest.
[Illustration: Fig. 15]
FEET
The working drawing gives a detail of the feet. Two pieces 7” long and
2½” wide are cut to shape as shown. Their adjoining ends are mitered,
glued, and nailed. On the inside corner a block 1¾” square is glued
to help strengthen the joint and to carry the caster. These feet are
screwed onto the bottom piece.
HANDLES
Handles may be purchased, but they are so easily made that they are not
worth the expense involved. The working drawing gives a detail of a
good shape, but this is only a suggestion. The inside is gouged out for
a finger hold.
The handles are attached with flat head screws from the inside of the
box, and glued.
[Illustration: _METHODS OF MAKING THE CHEST DUST-PROOF_
Fig. 16]
THE COVER
A good chest is dust-proof. There are three ways of rendering it so
illustrated in Fig. 16. The first has false edges glued around the
under edges of the top, this false edge extending down over the sides
and ends. The third has a strip fastened to the top inside of the edges
and ends, while the second is a combination of the other two.
In our example, the third method will be employed.
Cut two strips 34½” long from stock ¾” square, and two pieces 15” long.
Screw and glue them in place.
HINGING
Two plain butt hinges 21” long with a ¾” leaf will do on this chest.
They may be let into both the top and the upper edge of the side piece,
or entirely into the edge. Another method often used in schools is that
of placing the hinges on the outside of the back and the under side
of the top. This is the most simple as it involves no chiseling, and,
since the chest is usually placed against a wall, does not look bad,
especially if an ornamental hinge is used.
Two chains or desk supports should be used to prevent the lid from
swinging way back and straining the hinges. See Fig. 52, Chapter VII.
FINISHING
Directions for finishing and preparing the wood for finish are given
in Chapter V. Of course the nails should be well set and filled as
explained.
[Illustration: A French Chest of the Late XV Century (Gothic Period)]
[Illustration: _CEDAR CHEST DESIGN NO. 2_
Fig. 17]
CHAPTER IV
Cedar Chest Designs
Variety in design is so essential in cabinet making classes that a
number of different styles of chests are presented in this chapter.
Although a great many teachers follow the practice of giving the
student a working drawing to follow, it is recommended that the designs
herewith presented be used only as models—that from them each boy
will combine, and add his own ideas to evolve what may be called “an
original design.” Only by so doing will the student derive his greatest
benefit from the work.
DESIGN NO. 2
In Fig. 18 is presented a perspective of the chest whose working
drawing is given in Fig. 17. This chest is very similar to Design No. 1
described in the previous chapter. Its dimensions are practically the
same, but in this case, the ends are fastened to the sides, and the end
grain—appearing on the front—is covered by a curved piece of cedar 1¾”
wide. The feet also differ as the detail shows.
[Illustration: Fig. 18]
[Illustration: _CEDAR CHEST DESIGN NO. 3_
Fig. 19]
[Illustration: Fig. 20]
DESIGN NO. 3
In this design we have a larger chest than the previous, but whose
construction is the same. The end grain, appearing on the front, is
covered with strips of copper. These may be put on as corners extending
over the ends also, or merely as plates on the front, as Fig. 20
illustrates. The feet are detailed with Design No. 1.
[Illustration: _CEDAR CHEST DESIGN NO. 4_
Fig. 21]
[Illustration: Fig. 22]
DESIGN NO. 4
One of the most popular chest designs is illustrated in Fig. 21. In
this, the edges are rounded, giving it an easy, graceful appearance. It
requires careful, accurate work, as the joints can not be covered with
strips or copper as with the previous styles.
[Illustration: _CEDAR CHEST DESIGN NO. 5_
Fig. 23]
[Illustration: Fig. 24]
DESIGN NO. 5
In Fig. 24 is shown a chest whose design permits it to be used as
a window seat when covered with a cushion. Its appearance is very
attractive as it has heavy, massive ends, giving it an air of solidity.
The ends can be built up flush, as the drawing, Fig. 23, illustrates,
or paneled. A ¾” strip is glued to the front edge of the top, making
it appear to be as thick as the ends. The drawings illustrate copper
plates on the front, but, if good work is accomplished, these may well
be omitted.
[Illustration: _CEDAR CHEST DESIGN NO. 6_
Fig. 25]
[Illustration: Fig. 26]
DESIGN NO. 6
A paneled chest, Figs. 25 and 26, looks well when accurate work has
been done. It, of course, means a great deal of mortising and routing,
but, where power machines are available, does not consume a great
amount of time. A chest built up as previously described with ¼” strips
glued on will give the same effect. A study of both drawings will make
the construction clear to the average student.
[Illustration: _CEDAR CHEST DESIGN NO. 7_
Fig. 27]
[Illustration: Fig. 28]
DESIGN NO. 7
Design No. 7, Figs. 27 and 28, is a rather odd design from the fact
that it contains a drawer. It is built in the usual manner, but has
two bottoms and an opening in the front for the drawer to slide into.
It should be built of cedar throughout, but a slight saving can be
effected if the lower bottom is of a cheaper wood or even a frame.
[Illustration: _CEDAR CHEST DESIGN NO. 8_
Fig. 29]
[Illustration: Fig. 30]
DESIGN NO. 8
This chest involves a little turning, but otherwise its construction is
simple. A ¾” piece is set into the upright end pieces of stock 1½” ×
1¾”, and another piece mortised in between them at the top. This latter
piece has had a handle turned in its center, and two round tenons on
its ends. These tenons are glued into holes bored in the uprights. Fig.
29 makes this construction clear. Aside from this, the construction is
very similar to Design No. 5.
DESIGN NO. 9
At first glance, Fig. 32 presents a chest of difficult design, yet a
careful understanding of its construction will show it to be quite
simple. The box is built up with plain butt ends, and four corner legs
are cut out according to the detail on Fig. 31. A right angle groove
is cut into the center of each leg, and this fits over the corners
of the chest. Glue and long screws from the inside of the box hold
them in place, as detailed in Fig. 33. The little brackets shown in
the perspective are doweled onto the legs after the latter have been
fastened in place. At the top and bottom strips of small moulding may
be cut by hand, or special mill orders will secure it from the dealers.
The panels are made of similar mouldings but these may be omitted if
desired. The top shows a raised panel. There are two methods used to
secure this effect. In the most simple, the ¾” top is built up and
another, thinner piece, glued over it. If the shop has a veneer press,
this method is very easy. Of course there is excessive weight when this
construction is used. The alternate method is to build up a frame with
either mortised or mitered ends, and set the ¾” top into this frame. It
can be secured with nails and glue from the under side.
[Illustration: _CEDAR CHEST DESIGN NO. 9_
_DETAIL OF LEG_ _ALTERNATE METHODS OF BUILDING UP TOP_
Fig. 31]
[Illustration: Fig. 32]
[Illustration: _DETAILS OF DESIGN NO. 9_
_SECTION OF MOULDING_
_METHOD OF FASTENING CORNERS TO BOX_
_BRACKET DOWELED TO CORNER_
Fig. 33]
[Illustration: _CEDAR CHEST DESIGN NO. 10_
_DETAIL OF LEG_
_DETAIL OF MOULDING_
Fig. 34]
DESIGN NO. 10
[Illustration: Fig. 35]
Figs. 34 and 35 illustrate a chest of the William and Mary period
style. It is built up as the others have been with plain butt joints,
and over the corners, as with Design No. 9, the legs are fastened.
These are turned on a wood lathe, a quarter of the pieces being cut
out. They can be cut after the turning is finished, or before. The
latter plan is the more simple, as a frame must be constructed to hold
the legs while being sawed if they have been previously turned. If
the section is removed before turning it is a good plan to make the
two circular saw cuts through the middle of the piece without cutting
through to the ends. This will permit good centers to be obtained, and
it may prevent excessive chipping of the edges. The wood can be removed
when the ends are cut off on the lathe, or they may be carefully
chiseled out. The panel effect is secured with small mouldings mitered
at their corners. These may be omitted, if desired, without spoiling
the appearance of the chest.
[Illustration: _CEDAR CHEST DESIGN NO. 11._
Fig. 36]
[Illustration: Fig. 37]
DESIGN NO. 11
This chest is of very simple design, and would not be too difficult
a project for the average eighth-grade student. The ends are butted
against the front and back, and fastened with fine finishing nails.
Corner blocks are used on the inside, of course. The bottom is a
mitered frame which is nailed to the box. The handles are worked
out from small pieces of stock, 1½” thick. The top is built up with
a mitered frame, securely glued and nailed. Fig. 36 is the working
drawing, and Fig. 37 presents a photograph of the finished chest.
[Illustration: _CEDAR CHEST DESIGN NO. 12._
Fig. 38]
[Illustration: Fig. 39]
DESIGN NO. 12
Figs. 38 and 39 illustrate a chest very similar in construction to
those already described, but one differing in mode of trimming. In this
project Decalcomania transfers are successfully used, a description of
which will be found in Chapter VI.
[Illustration: _CEDAR CHEST DESIGN NO. 13._
Fig. 40]
[Illustration: Fig. 41]
DESIGN NO. 13
This very attractive chest is identical in construction with Design No.
12, but in this case the chest is embellished with two well designed
metal corners fastened with large-headed brass or copper nails. It will
be noted that no corners are used at the back; however, it would not
look out of place to fasten plates on the ends to give the appearance
of corners.
[Illustration: _CEDAR CHEST DESIGN NO. 14_
Fig. 42]
[Illustration: Fig. 43]
DESIGN NO. 14
The only unique parts of the chest illustrated in Figs. 42 and 43 are
the feet. After carefully forming them, they should be attached to
the chest bottom before it is fastened to the box, as in this way the
screws used to hold them can be evenly distributed.
[Illustration: _CEDAR CHEST DESIGN NO. 15_
Fig. 44]
[Illustration: Fig. 45]
DESIGN NO. 15
In Figs. 44 and 45 we have a number of departures from the chests
previously described. The most noticeable of these is the edge around
the top, which is built-up from strips one and three-fourths inches
square. The edges of these strips are carefully rounded and the outside
tapered in toward the bottom. Another point to note is that the feet
are not set in or out from the body of the chest, but are so fastened
that they give the appearance of flush sides and ends. These latter are
mitered together at the corners.
[Illustration: _CEDAR CHEST DESIGN NO. 16_
Fig. 46]
[Illustration: Fig. 47]
DESIGN NO. 16
This chest is almost identical in design with No. 13, excepting that
it has an overhanging top. When the box has been completed, a cove
moulding is glued and bradded flush with the upper edges, and the top
fitted over this moulding. As it is impossible to secure this moulding
already cut from red cedar, it will be necessary to put in a special
order for it at the mill or to work it out with a combination plane.
[Illustration: _CEDAR CHEST DESIGN NO. 17_
Fig. 48]
[Illustration: Fig. 49]
DESIGN NO. 17
There is nothing unusual about this chest, excepting possibly that it
is longer than the average. The top is built-up as described for Design
No. 15.
[Illustration: _CEDAR CHEST DESIGN NO. 18_
Fig. 50]
[Illustration: Fig. 51]
DESIGN NO. 18
This chest is almost identical with Design No. 4. It is built in the
same manner, but here we have Decalcomania decorations applied, and the
dimensions differ. When carefully constructed this is one of the most
attractive designs in the series.
[Illustration: _CEDAR CHEST DESIGN NO. 19_
Fig. 52]
[Illustration: Fig. 53]
DESIGN NO. 19
Figs. 52 and 53 present another chest with paneled ends, and the
sectional view in the working drawing shows the construction of them.
The rails are mortised into the post, and on the front panel, the wide
edge is relieved by attaching a small quarter-round. The end panel is
set into the rails at the center, hence it is not necessary to use the
moulding here.
[Illustration: _CEDAR CHEST DESIGN NO. 20._
Fig. 54]
[Illustration: Fig. 55]
DESIGN NO. 20
With a proper selection of transfer designs, this chest is one of the
most attractive that it is possible to build. Its construction is
simple and it has the wide curved pieces over the end grain that were
first shown in Design No. 2.
[Illustration: _CEDAR CHEST DESIGN NO. 21._
Fig. 56]
[Illustration: Fig. 57]
DESIGN NO. 21
Although larger than No. 20, this chest is practically the same with
the exception of its decoration. Decalcomanias are not used here, but
hinge plates and a well designed copper decoration on the front, add
the hit of relief so urgently desired.
[Illustration: _CEDAR CHEST DESIGN NO. 22._
Fig. 58]
[Illustration: Fig. 59]
DESIGN NO. 22
A paneled chest very similar to Design No. 6, is shown in Figs. 58 and
59. In this case there are but two panels on the front and top, and the
ends are fitted with corner plates.
[Illustration: _UNDER-BED CHEST_
Fig. 60]
[Illustration: Fig. 61]
UNDER-BED CHEST
As its title indicates, the chest design shown in Figs. 60 and 61 is
meant to roll under the bed. It is of very simple construction, and
most useful in small bedrooms and flats.
[Illustration: Fig. 62]
[Illustration: _CHEST OF DRAWERS_
Fig. 63]
CHEST OF DRAWERS
A chest of cedar drawers, Fig. 62, has so many advantages that
little need be said concerning it. Its additional room and separate
compartments commend it highly. Its construction is exactly like
the usual cabinet construction, all parts, wherever possible, being
mortised and tenoned together. The detail of the drawer construction,
Fig. 64, shows the fronts to extend past the sides, the edges being
rounded. This gives the chest a most pleasing appearance and renders it
dust-proof. If desired, the upper section, instead of having a large
drawer, can have a false drawer front, and a bottom put in. The top can
then be hinged and a high chest with two drawers will result. Or the
top drawer may be divided into two smaller drawers with good effect.
[Illustration: _DETAIL OF DRAWERS_
Fig. 64]
[Illustration: Fig. 65. Suggestive Designs from Commercial Sources]
SUGGESTIONS FOR DESIGN
Figs. 65 and 66 illustrate a few additional designs whose working
drawings are not given. They may offer suggestions worth while when the
builder is designing his own. The feet are especially suggestive.
[Illustration: Fig. 66. Suggestive Designs from Commercial Sources]
CHAPTER V
The Finishing of Cedar
Red cedar, contrary to supposition, is not a hard wood to finish.
Having a closed grain, it needs no filler, which greatly simplifies
its finishing. The outside, and the inner side of the cover—to prevent
warping—should be finished; =never the inside of the chest=.
PREPARING THE WOOD FOR FINISHING
The cedar chest should be prepared for finishing as any other piece of
furniture is prepared. All glue and rough spots should be carefully
scraped and sandpapered until the surface is entirely free from
defects. If the wood in the chest has been purchased glued up and
machine sandpapered, it will need a final sandpapering with No. 0 or
No. 00 sandpaper. If worked down by hand, it will need a great deal
of scraping with a =sharp= scraper, a preliminary rubbing with No. 1
sandpaper, and a final rubbing with No. 0, working =with the grain= in
each case. Careful dusting preparatory to the application of the first
coat of finish is very necessary.
FILLING ROUGH SPOTS
As red cedar contains a great many knots, planing the wood by hand—and
occasionally by machine—causes rough spots to occur around the
knots. If these rough spots are shallow, they can be scraped out and
sandpapered, but if they are deep, they must be filled.
There are a number of methods of filling. The most simple—and least
satisfactory—method is to fill them with “water putty,” a dry crack
filler purchased in powder form and mixed with water. When it has
hardened it can be rubbed down with sandpaper and colored to match the
surrounding wood. As this color will fade in time, this method is not
recommended.
A better method is to fill them with a colored wood filler. Secure a
small can of natural paste wood filler, a little rose pink dry stain,
and some Van Dyke brown dry stain. Thin the filler with turpentine or
benzine and add a quantity of the Van Dyke brown, well stirred in.
Compare this color with that of the knots around which you are going to
fill and add the rose pink until the correct shade of red is obtained.
Apply this filler to the knots, and when perfectly dry, sandpaper down
to an even surface.
A third method—much slower than the other two—is the application of
successive coats of colored shellac. To the ordinary shellac, add a
little Bismark brown dry stain until you get a color that will match,
when dry, the wood surrounding the rough spots. Apply this and allow it
to set. Sandpaper down and apply successive coats, rubbing down evenly
after each until a level surface is obtained. Repeated coats of thin
shellac will look better and stick better than a few heavy coats.
COLORING THE WOOD
Some people object to the white streaks of sap wood contrasting so
strongly with the red heart wood, while others are of the opinion that
this contrast is one of the beauties of red cedar. The author is of the
opinion that the white wood is not objectionable =if there is not too
much of it=. Just what quantity to allow is again a matter of personal
choice, so no hard and fast rule can be laid down.
To color the chest prepare an aniline dye stain of red and brown. Cover
the entire piece with a thin coat, then go over the lighter parts and
streaks with a stronger coat. If carefully done, this should even up
the color.
If the maker does not mix his own stains, a red mahogany oil stain
applied in the same manner will leave the same result. Thin the first
coat out with benzine.
WAX FINISH
After filling and coloring, if the latter is desired, the kind of
finish must be selected. The most simple is the wax but it is very
seldom used—almost never by cedar chest manufacturers. But since it is
often employed by students and home craftsmen it will be described.
Over the dry surface apply a coat of thin shellac, either white or
orange. When this has thoroughly dried, rub it down lightly with No.
00 sandpaper and apply a second coat. When this has set, repeat the
rubbing, being very careful not to rub through the coat, especially on
the edges and corners. Brush on the third coat of shellac and rub it
down with a little boiled linseed oil placed on the No. 00 sandpaper.
This should leave a smooth, unpitted surface.
Finally, apply a coat of prepared floor wax and allow it to stand over
night. Rub it briskly with a dry flannel cloth, bringing it to a good
polish. If a still higher gloss is desired, put on a second coat of wax
and allow it to stand about thirty minutes before rubbing off.
This finish can be renewed from time to time with fresh applications of
wax, and has the advantage over the varnished surface of not showing
scratches as readily.
VARNISH FINISH
For a varnish finish apply but two coats of shellac in the manner
described above, and two coats of high grade rubbing varnish.
The temperature of the room in which the varnishing is accomplished
should be 70 degrees F. or over, and perfectly uniform. The room should
be free from dust, and kept free after the varnish has been applied.
Use an oval varnish brush, well dusted in the hand. Take up a brush
full of the liquid as it comes from the can, and, starting from the
center of the top, spread it out to the edges. Where it drips over,
take up this surplus with the end of the brush. The sides should be
varnished by working down from the top edge.
The inside of the cover should be supported so that the air can
circulate around it, otherwise it would be very slow in drying.
Allow about five days for the varnish to thoroughly dry in before
rubbing it down. Then sprinkle powdered pumice stone over the surface,
and rub it with a felt pad (about 4” by 5”) moistened with water. Rub
all surfaces while they are in a horizontal position if possible. Rub
=lightly= and =evenly with the grain=, and be very sure that you do not
go below the coat in any place—edges especially.
Wash the pumice stone off with water and rub dry with a clean cloth
after which the second coat is applied in the same manner. Allow this
coat about five days in which to dry when the polishing process can
be started. Rub it down as before with pumice stone and water, then
remove the fine scratches left by the pumice stone by rubbing in a
similar manner with rotten stone and water. =Always rub with the grain
if possible.= Next, moisten the hand with linseed oil and sprinkle a
little rotten stone in it. Very lightly go over the entire surface with
this combination, rubbing with the grain. When perfectly smooth, clean
the surface with a very soft cloth saturated with clean oil, and rub
dry with cotton batting.
To finish the polish, go over the entire surface with another soft pad
of cotton batting saturated with some good furniture polish, or a thin
mixture of linseed oil, turpentine, and sweet oil. This should produce
an extremely brilliant and satisfactory finish if good materials have
been used and care exercised in their application.
OIL FINISH
If an oil finish is desired go over the wood, after it has been filled
and colored, with a coat of =hot linseed oil=. When thoroughly dry,
wipe off the “grease spots,” if there are any, and give the wood a coat
of shellac. This can be followed with a second coat of shellac, rubbed
down with pumice stone and oil, or the varnish finish as described
above can be applied over the second coat of shellac.
ENAMEL FINISH
There is a modern demand evinced for enameled and painted furniture,
especially in some of the Period designs. To meet this demand, cedar
chest manufacturers have recently introduced chests enameled on the
outside, and left natural on the inside, the designs being made to
correspond with various periods—Adam and William and Mary being
predominant.
Old ivory—a soft shade of cream—is the most popular finish, especially
when decorated parts are striped with orange, while black enamel,
striped with gold, is second best.
These finishes are applied in the conventional manner—the ivory enamel
being under-coated with flat white.
On school-made chests these finishes are not to be recommended. In the
first place, they are only temporary fads—pretty creations to catch
the popular fancy that may be “old-fashioned” next year. And secondly,
there is no good reason for hiding the natural beauties of red cedar
with enamels. Carefully selected wood, with its wonderful contrasts of
sap and heart wood, certainly give color enough.
LACQUER FINISH
The wood should be prepared as directed in the preceding paragraphs,
and after it has been well dusted, a coat of lacquer is applied.
This is the regular cotton lacquer (banana oil), and it must not be
confounded with the wood lacquers now so extensively advertised. When
dry it is sanded lightly and given a second coat, the spreading of
which must be done quickly and without overlapping.
Lacquer serves not only as a protection for the wood, but it also acts
to keep the odor of the cedar confined in the wood, and it protects
the wood against moisture better than any of the finishing coatings.
Over this second coat, apply a bit of thin wax, or a coat of rubbing
varnish, as desired.
This method of finishing cedar chests is one of the most common in the
furniture factories, as it preserves the full beauty of the grain.
CHAPTER VI
Copper Trimmings
After the finish on the chest has thoroughly dried, any copper
trimmings desired can be applied, providing, of course, that the
appearance of the chest will be improved by them. If good joints have
been obtained on the corners, copper corners will help but little, but
if the joints are open, well-designed corners will cover up the defects
without detracting from the appearance of the chest. As a rule, handles
of cedar, well executed, look better than metal pulls attached to the
ends of the box, but if metal corners are employed the pulls should
also be of the same. If a lock is attached, it will need an escutcheon,
and hinge plates on the cover go well where the other metal trimmings
are adapted.
Sixteen-gauge copper is the metal usually employed. Brass looks well,
but it does not harmonize with the red cedar quite as attractively as
copper.
The design should be first worked out on paper, and transferred to
the metal by using carbon paper. Care should be exercised with the
designing. A poor design looks worse than no design at all—copper bands
with straight edges certainly give a pleasing appearance, as Fig. 29
shows. The student will do well to co-operate with the art teacher
when designing his trimmings. The illustrations in this chapter offer
suggestions for design, Fig. 67 showing escutcheons, Fig. 68 pulls,
Fig. 69 hinge plates, and Fig. 70 corners. Although these designs
do not emphasize it, the same motif should be used in every case.
For example, straight bands across the top should not be used with
fancy-sawed corners. A reasonably plain hinge plate will not look well
on a chest with very elaborate pulls and corners. Care should be given
this designing that the different parts do not show incongruity.
ESCUTCHEONS
The escutcheon can be small and plain, or rather long and fancy. Fig.
67 illustrates both kinds. The design should be symmetrical about the
vertical center line. The key hole size is dependent upon the size of
the key furnished with the lock, and its distance from the upper edge
is governed by the depth of the key hole in the lock.
[Illustration: _ESCUTCHEONS_
SHADED PORTIONS REPRESENT SAWED OUT PARTS
1 INCH
Fig. 67]
[Illustration: _PULLS_
1 INCH
Fig. 68]
[Illustration: _HINGE PLATES_
1 INCH
Fig. 69]
[Illustration: _CORNERS_
1 INCH
Fig. 70]
After the design has been carefully traced on the metal, it should be
cut out with a fine metal saw in a jeweler’s saw frame. The edges can
then be filed smooth. The inside cutting is accomplished by first
drilling a small hole, then inserting the saw and re-fastening it in
the frame.
Holes drilled for the tacks will complete the construction.
PULLS
The backs of the pulls are sawed out exactly like the escutcheon, the
handle being the most difficult part to construct. On the even wire
design, a piece of heavy round copper can be bent to shape. It is
fastened through a piece of thinner metal, which, in turn, is spread
out after passing through a slot sawed in the plate, Fig. 71. Those of
uneven designs, the first for example, can be sawed and filed from a
piece of copper 1” thick, or, if the school teaches molding, a wooden
pattern the shape and size of the pull can be made, a mold taken
from it, and a copper casting made in the mold. A little filing and
polishing will put the metal pull in excellent shape. Where the wire is
thicker in the middle, it can be hammered out or filed before bending,
as in Fig. 72. The boring of the nail holes in the plate will complete
the construction.
[Illustration: Fig. 71]
[Illustration: Fig. 72]
HINGE PLATES
Hinge plates are used on the cover to give the chest a more massive
appearance. They extend to the back edge, or are bent over it. After
the design has been traced on the metal, they are sawed, filed, and the
nail holes drilled as before.
CORNERS
Corners are made like hinge plates with the addition of a right angle
bend in the middle. This bending is accomplished by placing the metal
between two hardwood pieces screwed up in a vise, and driving the upper
half over with a mallet. In some instances, Fig. 19 is an example, the
corner does not go around the end, a flat plate covering the end grain
being fastened on the front only.
FINISH
The metal trimmings should be rubbed very briskly with fine steel wool,
and polished with water and pumice stone. They will keep this polish if
coated with banana oil or some other good lacquer. This finish should
be applied before the trimmings are fastened on the chest.
NAILS
Copper nails with various size heads can be obtained, or brass headed
tacks copper coated can be used in their stead. The copper plating can
be done by any plating concern, and at a very small cost.
DECALCOMANIA TRANSFERS
[Illustration: Fig. 73 Chest Decorated with Decalcomania Transfers]
A line of chests has recently appeared on the market with decorations
that appear to be hand painted. Fig. 73 gives an example. This form
of decoration results from the using of Decalcomania transfers, and,
since it is very attractive and easily applied, deserves notice in this
chapter.
The transfers are applied in colors to the Decalcomania paper, in which
condition they reach the consumer. The face of the transfer is sized
with a thin coat of varnish, the paper is placed in position on the
chest, and is then soaked off, very much as the small boy soaks off the
old-fashioned transfer pictures from his hand or arm. The operation
consumes but very little time and when properly done, the decoration is
as much a part of the piece as the finish itself.
It is applied over the final finish, or it can be put on before the
last coat of varnish is placed.
Many excellent designs are available, especially in marquetry and pearl
inlay where the work has been reproduced so carefully as to challenge
detection. A chest decorated with a fine band of inlay lines of black
and holly presents a wonderfully attractive appearance.
Decalcomania transfers can be obtained only from the manufacturers. The
Meyercord Company, Inc., Chicago.
[Illustration: An Italian Chest of the Fifteenth Century (Made in
Florence about 1475)]
CHAPTER VII
Matting Boxes
Fig. 74 is from a photograph of a matting box—a form of chest
construction not devoid of popularity, as its neat appearance and
simple construction make it worthy of considerable favor.
[Illustration: Fig. 74]
Most matting boxes are made from wood other than cedar—cypress,
redwood, etc.—most any stock that can be secured in wide pieces—thus
doing away with gluing up. The pieces are simply nailed or screwed
together, corner strips glued in, and the matting applied. Such simple
construction makes this a favorable project for grammar grade students.
HOW TO MAKE A MATTING BOX
California redwood is recommended, as it is light, straight grained,
and does not warp easily. Dimensions can be secured from the working
drawings of the cedar chests given in the previous chapters.
The flat surfaces will need little planing by hand since they will be
entirely covered on the outside. The edges should be smoothly finished,
especially the upper edges, and the under side of the top should be
planed and sandpapered.
[Illustration: Fig. 75]
[Illustration: Fig. 76]
Cut the sides and ends to the desired shape, Figs. 75 and 76 offer
excellent suggestions, and square the ends of all four pieces. Nail or
screw the boards together, and glue in triangular corner strips on the
inside.
Nail the bottom in through the sides and ends, making the nail holes in
the ends about three times as wide as the nails to allow for expansion
and contraction, and give the sides a rather loose fit for the same
reason.
Fit the top carefully and round its upper edges. If the board is not
flat or glued-up from narrow pieces, it may be well to glue and nail
strips on its under side to straighten it and prevent warping, as Fig.
77 illustrates.
Shellac over the outside and inside of all pieces with at least two
coats of shellac, sandpapering the second on the inside. This is also
done to prevent warping.
[Illustration: Fig. 77]
PUTTING ON THE MATTING
The natural colored floor matting without decoration of any kind is to
be preferred. Trim off its thick edges, and cut the pieces carefully
to fit the surfaces, planning on the seams coming where they will be
covered with the strips of cane.
Allow these pieces to soak in warm water for two or three hours, then
tack them to their respective surfaces. Use ordinary carpet tacks with
large heads, or matting staples. Stretch the matting very tight over
the surface as the tacking proceeds, and when the water dries out a
perfect fit will be assured.
COVERING THE SEAMS AND EDGES
Split bamboo makes the best covering for the seams and edges, as it
blends so well with the matting. Small fish-poles may be secured,
soaked in hot water, and carefully split with a sharp knife on a
diameter, as each section should be semi-circular. Split bamboo porch
screens, at one time so popular, can be taken apart and used, or strips
may be purchased from a manufacturer of split bamboo fish-poles through
some sporting goods dealer.
Cut the strips the exact lengths desired, being very careful to make
good joints, drill small holes where the nails will come, and fasten
with round-head brads or brass escutcheon pins. Curves that require
much bending can be soaked in hot water until pliable before placing.
If a little decoration is desired on the bamboo, hold it over a flame
at intervals, scorching the surface brown. Dust this off and shellac
the strips before attaching them.
If it is impossible to secure bamboo of any kind, small strips of any
wood stained or white enameled will serve very well.
Place the hinges and chain, and the box is complete.
MAKING THE BOX MOTH-PROOF
If a cedar chest has been constructed and poorly finished, a covering
of matting will greatly improve its appearance, and without impairing
its moth-proof qualities if it is not finished on the inside.
If an ordinary matting box has been made, it can be rendered moth-proof
by putting in a bottom of red cedar, or covering the bottom with cedar
shavings, also mixing shavings in with the contents of the box when
storing them.
[Illustration: A chest used at the end of the Fourteenth Century]
INDEX
Page
Characteristics of Red Cedar, 14
Chest Design No. 2, 31
Chest Design No. 3, 33
Chest Design No. 4, 35
Chest Design No. 5, 37
Chest Design No. 6, 39
Chest Design No. 7, 41
Chest Design No. 8, 43
Chest Design No. 9, 43
Chest Design No. 10, 47
Chest Design No. 11, 49
Chest Design No. 12, 51
Chest Design No. 13, 53
Chest Design No. 14, 55
Chest Design No. 15, 57
Chest Design No. 16, 59
Chest Design No. 17, 61
Chest Design No. 18, 63
Chest Design No. 19, 65
Chest Design No. 20, 67
Chest Design No. 21, 69
Chest Design No. 22, 71
Chest of Drawers, 75
Coloring the Wood, 79
Copper Corners, 88
Copper Nails, 88
Copper Pulls, 87
Copper Trimmings, 82
Corner Strips, 27
Cover, 29
Decalcomania Transfers, 88
Depletion of the Cedar Supply, 11
Doweling, 22
Enamel Finish, 80
Escutcheons, 82
Feet, 27
Filling Rough Spots, 78
Finishing, 29
Finishing Cedar, 78
Finishing Copper, 88
Gluing, 23
Handles, 27
Hinge Plates, 88
Hinging, 29
Jointing, 21
Jointing and Gluing, 20
Joints Used in Chest Construction, 26
Lacquer Finish, 81
Log Houses of Cedar, 9
Making the Box Moth-Proof, 93
Making the Chest Dust-Proof, 28
Matting Boxes, 90
Mill Bill, 17
New England Chest, 15
Oil Finish, 80
Old Italian Chests, 15
Placing Bamboo, 92
Placing Matting, 92
Preparing Wood for Finishing, 78
Present Day Development, 16
Red Cedar, 9
Sawing Up Stock, 20
Sides and Ends, 19
Simple Chest Design, 17
Squaring Up, 25
Suggestive Designs, 77
Surfacing, 24
Top and Bottom, 20
Under-Bed Chest Design, 73
Varnish Finish, 56
Wax Finish, 79
Where Cedar Abounds, 9
William and Mary Design, 47
Transcriber’s Notes
pg 15 Changed: who kept their dowery of rich velvets
to: who kept their dowry of rich velvets
pg 93 Changed: without imparing its moth-proof qualities
to: without impairing its moth-proof qualities
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