Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/elementarymetalwOOIelarich ELEMENTARY METAL WORK. SBorfeg on Ipcacttcal OBDucation. By CHARLES G. LELAND, M.A. DRAWING AND DESIGNING. In a Series of 29 Lessons. With 42 Illustrations. Second Edition. Fcap. 410, sewed, is. ; cloth, IS. 6d. " It has a good equipment of plates, and the text is full of valuable practical directions for beginners." — Scotsman. WOOD-CARVING. With numerous Illustrations. Third Edition. Fcap. 4to. 5^. "Such patient, explicit, step-by-step teaching as Mr. Leland's is indeed the only road to excellence." — Saturday Review. "A very useful book." — Mr. W. H. Howard, Secretary to the Institute of British Wood Carvers, and Instructor at King's College, London. "I consider it the best manual I have seen." — Miss Hodgson, Instructor in Wood-carving at Manchester Technical School. LEATHER-WORK. Stamped, Moulded, and Cut. Cuir- Bouilli, Sewn, &c. A Practical Manual for Learners. With numerous Illustrations. t,s. " A delightful addition to the series of practical manuals." — Times. METAL WORK. Including Repousse, Bent Iron Work, Cut Sheet Metal and easy Silver Work. With numerous Illustrations. 5^. PRACTICAL EDUCATION. A Work on Preparing the Memory, Developing Quickness of Perception, and Training the Con- structive Faculties. Third Edition. Crown 8vo, cloth, 6^. By S. BARTER. "THE ENGLISH SLOYD." MANUAL INSTRUCTION— WOODWORK. By S. Bakter, Organizer and Instructor of Manual Training in Woodwork to the London School Board, and Organizing Instructor to the Joim Committee on Manual Training in Woodwor'r: of the School Board for London, the City and Guilds of London Technical Institute, and the Worshipful Company of Drapers. With a Preface by George Ricks, B.Sc, Lond. Illustrated by 303 Drawings and Photo-Engravings. Fcap. 4to, cloth, TS. td. Contents : Introduction— Drawing— Timber— Tools— Bench-Work— Work-room and its Fittings— List of Tools Required, &c. The abmc IVork covers the Reguiremen/s of the Examinations of the City and Guilds 0/ London Institute and the Science and Art Department in the subject. Sir Philip Magnus says : " Mr. Barter, in his book on 'Woodwork,' has succeeded in showing, what is most important, the educational value of rnanual training in school instruction, and has thus rendered a great service to those seeking a trustworthy guide in the practical study of the subject." London : Whittaker & Co., 2, White Hart Street, Paternoster Square. ^%kT^ (XJNIVEHSITTj Repousse and Sheet Metal Work from a Bronze by Ghiberii. Frontispiece. ELEMENTARY METAL WORK A PRACTICAL MANUAL FOR AMATEURS AND FOR USE IN SCHOOLS CHARLES GODFREY LELAND, Laic Director of Industrial Art Work in the riiblic Schools of Philadelphia. Aiithoi of ''' Practical Education" '^ The Minor Arts,'' "A Manual of Design," " PVood Carving" '■'Leather Work,'' ^'c., &^c., &-r. ~*^ OF THE '^ (UNIVERSITTJ LONDON WHITTAKER AND CO., PATERNOSTER SQUARE SOLD ALSO BY BARKENTIN AND KRALL, 2gi AND 289, REGENT STREET 1894 0^ WICK press:— C. WHITTINGHAM AND CO-, TOOKS COURT, (UNIVERSITTJ PREFACE. This work contains an explanation of the processes of cold metal work, chiefly as applied to decorative or industrial art, and especially with a view to their being taught to children in ele- mentary and preparatory schools. The author believes that it may be regarded as thoroughly adapted to this purpose, he having been founder and director for four years of the industrial art classes in the public schools of Philadelphia, in which some of these branches of metal work were taught with great success, so that many of the pupils on leaving school immediately obtained well-paid employment. As many as six girls at once thus went from the metal class to a factory, the proprietor of which declared that all the preliminary education, which gave him more trouble than anything else, had been perfectly im- parted. On another occasion, a principal in an ornamental metal factory, after careful examination of the design and work of the pupils, offered to take forty together, and guarantee "living wages" from the beginning, and a rapid increase of payment, if their parents would consent. All that these children knew, and much more, is set forth clearly and briefly in this work, so that no person, young or old, who wishes to learn metal work either as an art or a trade, can with a proper degree of interest and industry fail to do so. Metal Work. The principle which guides this and other books on the indus- trial or minor arts by the same author, is that the riidinients, or first and easiest stages of any thing to be mastered, must be very thoroughly acquired, and no step forzvard be allowed till the pupil is really a master in all that has preceded it. Self-evident as this principle seems, it is as yet so far from having been understood or followed, that most writers on education in anything neglect it, and in a recent book on metal work for amateurs, not only is there no full description of what may be done in the early stage, but the latter is even spoken of contemptuously, as only fit to produce inferior objects. I beg the reader to specially observe that in every subject treated there is something of special importance, which is either now published for the first time, or which was first taught and made known in my other works on industry and art. I refer here, for example, io figures in bent iron work, to an advanced style of cut metal work, to embossing for beginners on wood, nail-ornaments, and scale work. In the Middle Ages in Europe, as in the East, the vast extension of decorated work was entirely due to the fact that the rudiments were so perfectly mastered, and the very utmost made of their resources. Thus an immense proportion of the carving, and, indeed, of most kinds of ornamental work, was actually such as would be included in the first two or three lessons in an industrial or minor art school. Nowadays all pupils hasten on as rapidly as possible to the "higher stages," despising the lower, the result being vast quantities of petty elaborate foliage and fine work, valued for great skill and labour, while on every house-front, and door, and elsewhere, we see dead blank space. The art education of the present day is all wrong in this, that it constantly holds up before pupils the idea that they are to become great artists, when what the country needs is good artizans. Practical result guided by good taste Preface. fx is what the latter require, and I believe that I have had this before me in every paragraph of my work. I will now explain the nature of its subject and clearly set forth its subdivisions. Metal work may be divided into two kinds, the hot and cold. Heated or hot metal, which is naturally produced by the aid of fire, includes that which is melted and cast in moulds, or simply heated and forged till it is soft enough to be ham- mered into shape, as a horseshoe is made. To this latter, but much connected with cold metal work, belong soldering and brazing, which is the joining of one piece of metal to another by heating, and using some intermediate substance, such as solder, or borax and resin, as ^Lfliix and cement which readily promotes an union. Two pieces of red-hot iron hammered together join with difficulty, but with a flux or binder, such as solder or borax, they unite at once when hammered. Cold metal work has many subdivisions, chief among which, in decorative and easy art, are : I. Band, strip, or ribbon work. II. Cut sheet work, and stencil cutting. III. Repousse or embossed sheet metal work. IV. Nail or knob work. V. Scale work. VI. Sheet silver work. To these might be added the remarkably difficult art men- tioned by Vasari, of filing or cutting images out of solid ingots of iron, which is probably not practised by anyone at the present day, and therefore is not included among the current metal works. As regards practical experience and qualification in these, I venture to mention, with all due reserve, what is, however, well known to hundreds in authority, that it was in my work on the "Minor Arts," published in 1879, and in my "Manual of Metal Metal Work. Work," and " Repousse Album," that sheet brass work was first shown to be possible on zvood, which greatly reduced the price of materials and the difficulty of the rudimentary stages of repousse or embossing. And though it is usual for those who really do not know what can be done on wood to deny it, it is certainly true that it was the cheapness and ease of hammering on soft wood which caused the art to spread with such incredible rapidity over the United States, and, soon after, through Great Britain and Europe. It may, however, here be mentioned that I had previously practised repousse on wood in England, and explained it to a few friends, among them Mr. Karl Krall. It was also introduced at once into the Home Arts and Industries Association (Albert Hall, S.K.), where it is, I believe, still taught. Into this latter institution the Venetian bent iron or strip work was introduced at an early date by Miss Annie Dymes, the secretary, and there it is now taught by Miss M. H. C. Legh, the author of an admirable and very succinct " Handbook of Brief Elementary Instructions for Classholders in Bent or Strip Iron." I beg the reader to observe that while none of the works on this subject carry it beyond the extremely simple, rudimentary, and very monotonous ornamentation of the C and S and similar curves of Venetian iron work, this book teaches a very much more advanced, though not more difficult, art of making figures, floral ornaments, and, in short, a great advance on all that has been thus far made in the work. Nail or knob work, and easy silver work for ladies, which are fully described in this work, are subjects on which I was, as I believe, the first to write or publish, and it will be seen that even yet they are as here set forth almost entirely among the arts as yet unknown. The latter is not only extremely easy, but when guided by good taste may be made very profitable. These (like advanced bent iron work, with figures, as here taught) are Preface. xi as yet so very little known that thousands of people could easily get a living by practising or teaching them. This work is not intended " for amateurs to pass an idle hour," but to train the young to use their brains and hands, to develop ideas of design and its application, and, in short, to awake and exercise that constructive faculty which enables them to most readily learn a trade of any kind, and which, as great experience has shown, awakens all the mental faculties. It may be observed, as regards the subject of this work and its practical use, that cold metal work in such rudimentary ornamental forms as bent iron or strip, repousse, and wire work, can be mastered in a short time even by children, as I know by extensive personal experience. Secondly, it forms the very best preparation for working in -heated metal or forging, leading insensibly and easily to it. Among our early ancestors every well-educated man was a smith— smith, earl, and thrall, or the artizan, the noble, and the labouring man, were the family names of the whole human race — and there is no reason why every man should not be more or less of a smith now. All such work opens the eyes and makes deft the hands to all kinds of crafts, and the first step to it will be found in the extremely easy and entertaining art taught in this book, which is indeed so easy that there is nothing in it which any young lady or schoolboy cannot master. What children have done, children may do. In "Repousse Work for Amateurs," the author, L. L. Haslope, speaking of the various series of designs for embossing metal, says that "the best sets I have met with are by Charles G. Leland, a well-known writer on art. . . . They include designs for a great variety of subjects ; . . . some of them are very quaint and original, and would form good practice for a be- ginner." I venture to hope that the illustrations in the present work will be found in all respects superior to those so kindly Metal Work. described, and even more adapted to the use of the inex- perienced. They have all been executed in Italy, and in the home of such art, and I have spared no pains to reap good models. In conclusion I have to express my sincere thanks to Mr. Karl Krall for having read the proof sheets, And for several useful additions and suggestions. ^^UNIVERSITT) LIST OF CONTENTS. PAGE Bent Iron or Strip Work i Flat Sheet Metal Work 35 Moulded Sheet Metal Work 46 Repouss^ or Embossed Metal Work 58 Ornamental Silver Work 89 Nail, Scale, and Stencil Work 98 LIST OF ILLUSTRATIONS. Repoussi^ and Sheet Metal Work from a Bronze by Ghiberti F7'ontispiece. I and 2. Anvils 3 3. Hatchet Stake 3 4. Shears 4 5. Pliers 4 6. Punch 4 7. Bent Iron Ring 7 8. Making Rivet Hole 8 9. Clamp and Clamped Work 9 10. Chain work Clamped 9 11. Simple Bends 10 12. Vase or Eye Curves 11 13-16. Angles, Spirals, Wave-lines and Ogees .... 12 17. Samples of Curvature 13 18. Stand for a Bowl 14 19, 20, Hanging Hooks 14 21,22. Simple Receptacles in Strip Work 15 23. Card Tray 15 24. Tumbler Stand . .16 Metal Work. 25. Wooden Bowl and Iron Stand . . . . . .16 26. Flagon on Stand 16 27. Candlestick 16 28. Crossed Strips 18 29. Lamp Hook 19 30. Plain Frame 20 31-33. Methods of adapting Glass 21 34. Initial Letters 22 35. Border 22 36. Simple Plant Forms for Figure Work . . , .24 yj. Hinged Bracket 25 38. Bracket for Curtain 26 39. Mirror Frame 27 40. Photograph Frame 28 41. Circular Panel or Frame 29 42. Book-Rest 29 43. Holder for Oil Lamp 30 44. Six-sided Hall Lantern 30 45. Design for Glass Panel 32 46. Small Panel in Cut Metal 36 47. Fret-sawed Sheet Metal 36 48. Fret Saw 36 49. Attachment of Figures to Strips yj 50. Graver 38 51. Inlaid Metal Work 39 52. Book Cover 40 53. Old Swiss Sawed Iron 41 54. Sliding Ring for Graver 42 55. Hinge Plates . . .■ 42 56-58. Scutcheons . . . 42, 43 59. Book Corners 44 60. Sawed Metal Cross 45 61. Border or Frame 47 62. Patterns for Sheet Metal Work 48 63. Inkstand 51 64. Ash Tray 51 65. Cylinder 52 66. Tankard 52 67. Tankard inlaid with Coins 53 List of Illustrations. FIG. PAGE 68. Setting for Coin 53 69. Simple Candlestick 54 70. Plaque of Coloured Brass . . . . . . .55 71. Panel from the Baptistery, Florence .... 56 72. Lamp Hook 57 73. Panel in Flat Relief 59 74-78. Tools for Repouss^ Work 61, 62 79. Sheet of Brass ready for Work 63 80. First Lines 63 8r, 82. Simple Exercises in Repouss^ Work .... 64 83. Study of Simple Flower Forms 64 84. Study of Weeds in Outline 65 85. Prick Wheel 66 86. Study of Small Curves 67 87. Ornamental Plaque 68 88. Repouss]^ worked with Fine Tracer or Etched . . 70 89. Repouss^ in High Relief from the Baptistery, Florence 74 90-92. Appliances for Repouss^ Work on Pitch ... 75 93. Copper Scalding, Venetian Work -j-j 94. Studies for High Relief 79 95. Snarling Iron 80 96. Sample of Snarling 81 97. Pattern for Panel or Cylindrical Vase .... 83 98. Paper Knives 83 99. Salver 84 100. Bellows 84 loi. Repouss^ Panels on Wood. Florentine Work . . 85 102. Design for Salver 86 103. Panel 87 104. Roman Repousse Work in Bronze, 15TH Century . . 88 105. Necklace with Pendants, Silver Work .... 89 106. Scottish Cross, Engraved Silver 89 107. Silver Brooch 90 108. Old Scottish Brooches 91 109. Earring 92 no. Patterns for Pendants . .94 111. Russian Silver Crosses 95 112. Old Dutch Silver Work 97 113. Nail Work 08 Metal Work. 114. Nailed Strips 100 115. Box Front in Nail and Strip Work 100 116. Pattern for Nail Work loi 117. Complicated Pattern for Nail Work . . . .102 118. Nails on Wood 103 119. Nail Head Ornaments ........ 103 120. Scales 105 121. Scale work on Wood 105 122. Scale work Panel 105 123. Stencil Plate and Pattern 106 124. Stencils 107 \ mtai aajorft. (universitt) BENT IRON OR STRIP WORK. INTRODUCTION— TOOLS— MATERIALS— CURVES. If the pupil or reader would get an idea of the first principles of strip or bent metal-work, let him or her take a strip of cardboard six or eight inches in length, and one third of an inch in breadth. Bend this into a spiral. Then make another of the same size, or smaller, and fasten them back to back by passing a pin through them, and bending the pin flat by means of a pair of flat pincers or pliers. It is evident that this process of making spirals, and attaching them one to the other, can be continued to any extent, and by this alone we can produce an infinite amount of beau- tiful ornamentation, as will be shown by some of the examples in this book. When the strips of cardboard are attached, and made into some definite shape or object, they can be blackened with paint, Metal Work. and will then resemble iron. It is advisable for pupils, particu- larly the young, to practise such manufacture in thin cardboard — of playing-card thickness — before beginning with metal, as it rapidly familiarizes the fingers with bending and forming curves, and leads the mind to what is most important of all (yet which is much neglected), that is, the getting a good general idea of what the work in hand is, and fully mastering its requirements and meaning as regards design in the easiest manner. I lay great stress on this, and beg pupils as well as teachers to un- derstand that in metal-work, just as in wood-carving, or leather- work, those will in the end get on the most rapidly, and produce the best results with the greatest ease, who will thoroiigJily master the first lessons. For it is always easy to do this with a httle patience, and then still easier to go on step by step to more advanced work, while, on the other hand, if the hand and fingers are not practised, ready and apt at the rudiments, there will be bungling and trouble for a long time. The difference be- tween a mere amateur and a real artist amounts chiefly to this, that the latter works confidently and boldly, and knows exactly what he wants to do, and is snre that he will do it. Now let the pupil be certain of this, that the very best way by far to become such a bold and ready artist is to learn every lesson from the very beginning very thorotighly, and practise it over and over again. Let him not be in a hurry to produce masterpieces, or rather let him be satisfied to produce masterpieces of rudi- mentary easy work, which may also be done, for in all arts the most beautiful and even valuable objects are very often among those most easily made. Tools. — The tools required for rudimentary bent metal-work are very few and inexpensive, but for the more advanced pupil others will be required. Where there is a class the following should be provided, Bent Iron or Strip Work. One large square-headed and one smaller hammer. One vice. A small one will serve for the first lessons. An anvil, which may be placed on a heavy block of wood. Smaller anvils may be obtained, which can be set in the bench, or held in the vice. Figs, i and 2. With these may be classed " stakes^' such as the side and hatchet stake, and back iron, which are peculiar forms of projecting rods, or irons for hammering or Fig. I. Fig Anvils. Fig. 3. Hatchet Stake. shaping certain objects. Fig. 3. A bolt stake with a round end is extremely useful in hammering leaves and flowers. For small work, an iron weight of from one to three pounds, with one side smoothed by any smith, and set in a wooden block, makes a very good anvil. When an anvil cannot be obtained a flat-iron reversed is a very good substitute. I learned this many years ago from the Red Indians of New Brunswick, who used them for hammering o'it coins wherewith to make brooches and other ornaments. A pair of strong metal shears, from seven to nine inches in length, for cutting thin sheet metal. The larger kinds are set firmly on the side of the work-bench, and are worked by means of a handle, as may be seem in tinsmiths' shops. For beginners the hand-shears will be sufficient. Fig. 4. Metal Work. Fig.. Shears. A pair of very strong scissors of best steet, also for cutting thin metal. The use of these may at first hurt the fingers, but with a little practice one can cut out thin soft iron or tin or brass into any shape with great ease, and without pain. ColdcJiisels, or well-tempered cutters, used with a hammer for cutting out forms from sheet metal too hard for the shears. Cutting ptiers, for cutting wire and snip- ping off ends of metal. Flat nippers, pincers or long-nosed pliers. Large and small round-nosed (or ^^ pipe'') pliers. Three or four sizes. Fig. 5. Common pincers. Two sizes. A metal drill for holes. These may be had from two to ten shillings ; adjustable points of different sizes cost about one penny each. Punches or bradawls for making holes for rivets. One variety of punch for thin soft metal cuts out a round piece. A good steel nail may be used (round). Rimer, in handle, for enlarging holes. Files. Flat, half-round or bastard, and rat-tailed or round. A small square block of iron into which holes are drilled, and others in which these hollows are of different sizes, saucer- scooped, and gradually deeper (to be fastened in the vice). A centre-bit with three or four circular (or barrel) cutters, for cutting out large round holes. A screzv-zvi'ench for nuts and bolts. Iron, steel, and tin rivets. A small forge or a_/fr^ when possible. Fig. 5. Pliers. A "irVork bench or strong table Bent Iron or Strip Work. Wire. Ductile bell-wire, iron, brass, or copper. A very important article is a round bar of wood firmly set in the work bench or wall. It should be from nine inches to a foot in its projection. It is useful for rivetting and rounding curves. The pointed and rounded end of a large anvil is also adapted to such work. There is an instrument used to cut open tins of fruit, caviare, etc., which takes out a round piece from the size of a crown-piece to one of four inches diameter. This will be found very useful in broad work. Apparatus for soldering. A solid block of wood for rivetting and other special work. Templet rods and pins. These are tapering rods or sticks, round which the strip is bent to make spirals, etc. The pupil of limited means need not be alarmed at the number of tools here enumerated, nor their expense. For a beginner one pair of flat pliers or pincers, and one of the long-nosed, with table or block, a hammer, bradawl, and snip or shears, will suffice to produce very beautiful work. It is much better not to have too many implements at first, and to learn to thoroughly master what one has, and to know how to make the utmost of them. This leads to ingenuity and inventiveness, and to developing something which is even better than artistic skill. Materials and Instruction.' — Strip or band metal, or ribbon iron, consists, as its name indicates, of strips of thin sheet of varied thickness. Iron has sometimes been made as thin as ^ Instruction in all kinds of metal-work— specially artistic— as well as tools and materials, may be had of Mr. Karl Krall (Barkentin and Krall, 291, Regent Street, metal-worker for the Ecclesiological Society). Also lessons at the Home Arts and Industries Association, Albert Hall. Tools and materials of best quality are also to be had of JOHN J, Holtzapffel and Co., 64, Charing Cross, Metal Work. any note paper. It is usually made in widths of \ of an inch (used chiefly for bands, clips, or ties to connect the work), -j^^ in. and I in. Strip or ribbon iron is sold at greatly varying prices, from \od. to 3^-. a pound, not by any means in relation to the value, but to the price which it is supposed it will bring. If the pupil is provided with a stout pair of shears, he can buy thin sheet iron for about 3.''/. or A^d. a pound, and cut it up himself into strips, or have it done as cheaply by any blacksmith or tinsmith. For practice, and even for a great deal of work, old tin cans may be utilized. It may be here observed, that whatever can be made in iron, may with equal success be attempted in brass, copper, and especially in " red metal," and two or three other compounds of very great ductility. Tin-plate is also of course adaptable, it being only iron dipped into tin. I have seen a great deal of beautiful repousse work made from thin sheet pewter, coloured to imitate brass and copper. It is of course very weak, but serves admirably for ornament when placed out of reach. Bent iron work is said to be the easiest of all the arts in metal, and so it is — after one difficulty has been mastered. This is simply to bend and curve the strips smoothly, so that there shall be an even surface without irregularities or kinks, so as to have the whole " smooth as wax." This is the first step. To do this, the pupil must positively not begin by trying to produce a finished article, but practise forming the curves with pieces of strip till he can make and smooth them perfectly. If this is done, step by step, from first making a mere ring, then one curve after another, as will be described, and then twisting strips, what would otherwise be very difficult (as it is generally hurried over in a brief description) will be found easy enough. And it may be here observed, that if this is tJiorongJdy learned in cold bent strip work, it is perfectly easy to do the same in heated metal. (XJNIVERSITT) Bent Iron or Strip Work V [3j^^4 I^^^< ^^3 Fig. 40. Photograph Frame. Figure Work in Strip or Ribbon. 3 1 OF SETTING GLASS, MOTHER-OF-PEARL, ETC. The ordinary Venetian work seldom goes beyond setting disks or circles of coloured glass or square panes in lanterns, but as soft strips can be easily bent to any common curve or geometrical form, such as an oval or ellipse, circle, diamond, etc., it will be seen that there is a vast field for beautiful ornament of this kind, that is to say, for mosaic, in which the "stones" or " cubes " are to be divided by strip iron. Coloured glass is specially adapted for lanterns. It is easily enough shaped with the diamond or a shilling American steel glass cutter. It is also possible to trim flat glass into good enough shape for such work by taking a strong pair of scissors and cutting the glass quite wider water. With a little practice one can attain to great skill in this. If necessary, the glass can be made neat and smooth on the edges by grinding it on a common grindstone with water. It can also be worked with a sharp file, which cuts better if dipped now and then in spirits of turpentine. Frames made in compartments may be filled in with pieces of mother-of-pearl, with a very beautiful result ; with bone, which ran be bought sawed into thin tablets, and which is easily dyed of any colour ; with variegated wood, all of which can be fret- sawed to any shape ; and, finally, with pieces of porcelain or crockery, made from waste or broken plates, by breaking into shape, filing, and grinding. We can also employ fireclay, moulded in the strip-pattern. These pieces, when dry, can be easily fired even at home, but it may be cheaply done at any pottery ; then paint them with porcelain colours, and have them fired again. Another very beautiful and brilliant effect may be obtained by pounding coloured glass in a mortar — some may be pulverized fine, but that which is coarsely powdered is the most brilliant — 32 Metal Work. fill the compartments with Portland cement and colour the surface with the glass powder. The reader must remember, that to produce these compart- ments the strips must generally cross one another in the manner which has been already described (page i8). In this manner we can very easily form a panel of diamonds or squares, and in fact execute in strip iron any outline design whatever. Fig. 45. Design of Glass Panel. Soldering. t^'^ SOLDERING. In the ordinary strip-work nothing is used to connect the bands except riveting and clamps. But to unite portions of frames there must often be if not positive welding at least an union of metal to metal by means of soldering or "soddering," which is a kind of welding, as it joins iron by heating and using a flux or another substance which serves to soften it. Soldering can be learned by any boy with great ease from any smith, or even from the first tinker — the latter class having probably by far the most pupils, as there are few village boys who have not watched them at work. And as it is to the last degree improbable that any of the readers of this book will live where they cannot see soldering, — for I have heard of a gypsy tinker being found at work in a remote place by the Great Wall of China, — I might dismiss this subject by advising them to go to the nearest worker in metal of any kind. Solder (Latin solidare, to make solid), is a compound of ex- tremely fusible metal, yet which sets hard, and which, used in connection with certain other substances, as for instance the spirits of salts and zinc or resin, will, with a very moderate heat, at once unite iron with iron. There are different kinds of solder for different metals, as, for instance, silver solder. Spelter is another combination of metals, in different proportions, used for the same purpose but in a different way. For ordinary soldering, file the parts to be united quite clean, sprinkle them with powdered resin, and put on this a small piece or pieces of solder. Having a spirit lamp at hand, turn the blaze on the resin, which will burn and melt the solder, which will unite the iron. For larger work use spirits of salts to rub the surface, and melt the solder with a hot iron or on a brazier. The spirits of salts here serves to draw or flux the solder. Where broad surfaces I ngWIVERSITT) 34 Metal Work. are thus treated and are brought together by clamping or pressure, the process is known as binding or sweating on. Brazing is another variety of the same work. It requires greater heat, that is, a fire generally with bellows, or a blow-pipe. For this spelter is employed, being first powdered. This is mixed with borax and water, and passed between the portions which are to be united. When the heat is sufficiently high the spelter and borax will fuse and unite the iron. This is rougher work than the former, and is such as is generally practised by smiths. I I FLAT SHEET METAL WORK. SHEARING, CHISELLING, FRET-SAWING, AND PRESSING. ISTINCT from, but closely allied with strip metal work, is sheet metal work. This is very beautiful and also easy work when soft and thin sheet metal is used. It entered largely into old German designs, es- pecially in Nuremberg work. When sheet iron or brass is very thin it may be cut with strong scissors al- most as easily as cardboard. When there are small openings into which the scissors will not pass, lay the sheet on the anvil and cut them out with a narrow cold chisel, using a hammer ; or else, opening a small hole with a drill or nail, use a file. When the sheet is too thick for the scissors, use shears ; and when these fail, then you can either cut out the whole pattern with the cold chisel and hammer, or else, taking a fret-saw, treat it like a sheet of wood. Brass or soft iron from one-eighth of an inch in thickness to half an inch 36 Metal Work. can be thus sawed into patterns, but I assume that in all the work of the pupil he will rarely have occasion for sheet metal of Fig. 46. Small Panel. Cut Metal. such thickness. When the may be finished with a file. Thin sheet metal can be =2«=^ Fig. 48. Fret-Saw. to a pound. Fig. 48. Of metal with a drill or round fastened, and the cutting is Fig. 47. Fret-sawed Sheet Metal. cutting out is completed, the whole Figs. 46, 47. easily cut with a common fret-saw, such as is used for wood, but for thicker metal work a saw with a thinner blade and narrower frame is employed ; these are cheap, with one frame a dozen saws are generally supplied, the whole may be had at all prices, from a shilling course, a hole is first made in the file, the saw passed through it, then executed by working the saw up and Flat Sheet Metal Work. Z7 down.^ Whatever can be cut in wood or paper can be done in sheet metal, even to the most incredible fineness. F'igures of men or of animals, heads in profile, birds, butter- flies, flowers, grotesques, arabesques, or, in short, anything in outline cut from sheet metal can be freely combined with the strip, band, or ribbon work, already described. One way to adapt these figures to the strip or ribbon work — that is, to attach them to it — is to drill holes in the strip, leave a projecting bit on the edge of the figure, pass the projection A Fig. 49. B through the hole, and clinch or rivet it with a blow on the other side, flattening it sideways. Fig. 49 A. In other cases a leaf may be riveted in the ordinary way to the end of a strip which has been previously heated and turned round ; or a turn may be made in the neck of the leaf, etc., which is then riveted to the strip. Fig. 49 B. The surface of sheet metal work may be decorated in different ^ Arturo Fumel, Via San Paolo, No. 7, Milan, publishes a very extensive and cheap album of patterns for this work in wood, giving nearly 300 for threepence. Metal Work. ways : (i) by repouss^, or working on it with hammer and tracer and stamps, which will be described in another section of this book ; (2) by engraving by hand, which may be sufficiently well learned for mere line work in a few days ; only two or three gravers of hard steel are needed for this (Fig. 50). The lines are cut by projecting the point and pushing it forward, not by scratch- ing towards the operator. The art Fig. 50. Graver. is not difficult to acquire, and when learned, is applicable to wood- engraving, ornamenting the surface of metals, shells, and other substances ; (3) by etching, or engraving with acid. To effect this the iron or other metal is covered with a thin coating of wax, care being taken to make a little wall of wax all round the work — or else with varnish — then with a "point," or a pin or needle in a holder, scratch the design in the coating so as to expose the metal ; this done, pour on it a mixture of about one- third nitric or sulphuric acid to two-thirds of water, and with a feather remove the little rows of bubbles which will at once begin to form. After ten minutes, pour out the acid and water into a cup, dip the plate into water before handling it, then remove the wax, or wash away the varnish with turpentine, and you will find the design eaten into the metal ; the wax may be quite taken away by heating it. If there are any imperfections in the etching renew the process. When the sheet of iron is tolerably thick it may be beautifully ornamented as follows. Cut with the graver grooved lines, deep enough to receive gold or silver, brass, German silver, or copper wire, lay the wire in the groove and hammer it in. This will generally hold fast, but the process to be perfect requires that the metal be heated and fluxed with borax. Etching or engraving by hand, or with acid, may also be gilded Flat Sheet Metal Work. 39 either with gold-leaf and size, or else with gold (or bronze) powder and gum-water ; this latter may be protected with a coat of re- Fig. 51. Inlaid Metal Work. touching varnish. Even a very little gilding, tastefully applied, on black iron work greatly improves its appearance. We can, with a file, or better still with a graver, run or cut a line along the Fig. 52. Book Cover. P'rki-sawkd Mktal on a Thin Panil. Fig. 53. Old Swiss Sawed Iron Work. (1537.) 42 Metal Work. centre of a strip of iron ; this is made easy by slipping over the strip a sHding flat ring, in which there is a hole to receive the cutter, Fig. 54. We then ntrodu the point of the cutter or graver, and, Fig. 55. Hinge-Plates. Fig. 56. Brass Scutcheons. bearing on, push it along ; fill the groove thus cut with gilding or gold-powder paint. Beautiful effects may be produced in sheet metal by cutting out a pattern and then placing a larger sheet of another metal Flat Sheet Metal Work. 43 behind it ; then rivet or tack the two on the ground, taking care that no ends turn up. This is applicable to picture frames, cabinet doors, or any plane wall surfaces. Very beautiful inlaid sheet metal work is made as follows. Fig. 57. Nuremberg Work, Fig. 58. 15TH Century. Basle Museum. Cut out the pattern from thin metal, and lay it on a panel of wood, which should of course be hard and well seasoned. The metal may then be thoroughly pressed into the wood by means of any kind of screw press, or even with a roller. When thoroughly imbedded, take it out, coat the back with the 44 Metal Work. strongest Turkish or mastic cement, and if the latter be well made it will hold the metal to the wood ; should it "spring" in any places it may be riveted. Another way to imbed the metal is to lay it on the wood, draw the outline with a sharp needle, cut the wood out with great care, cement or rivet the work, and rub the cement well into all cavities or edge cracks. . A very beautiful decoration for any box or chest or door is made by cutting out either true or false hinges from thin sheet metal and screwing them on. A false hinge is only the ornament applied to the edge of the hinge on which the lid turns. See Fig- 55- 1 he same patterns may be used for book clasps. 1 ] (university) Flat Sheet Metal Wori>-^*^^^^^^^^>^^ A scutcheon is a keyhole plate used to protect the edges of the keyhole. Figs. 56-58. In both Nuremberg and Italian work these scutcheons were often very broad, as were the hinges, and sometimes very grotesque. A very effective enrichment is obtained by having two or more pierced plates laid one over the other and riveted together as a whole. In this case the lower plate will be pierced so as to leave a little margin all round the pattern above it (see Fig. 56 b), or if the top plate is pierced, leaving rather large openings, a different scroll, diaper or trellis pattern of smaller scale, may be placed underneath it. In many old examples this "double tracery" work is underlaid with velvet, leather, or cloth, not showing at the outside edges. The most ordinary wooden panel, door or shutter may be made beautiful or attractive, at very little expense, by means of such adornment. Flat strip work may be thus applied. Slighter work of the same kind may be used for making shields to protect the corners of books. Fig. 59. Stencil Cutting, which is a special form of flat sheet metal work will be found described later in the volume. Fig. 60. Cross of Sawed Metal. MOULDED SHEET METAL WORK. "HEET brass and copper, especially red metal, and also thin malleable iron when it can be obtained, can all be shaped as easily as damp leather, in fact, more easily, because they retain any form or indentation more firmly. The pro- cesses for making- leaves and flowers are indeed essentially the same with those of the old-fashioned leather or wax work, so that anybody who is familiar with one, could immediately work successfully in the other. For thick and ordinary sheet iron, which is harder and more brittle, smithing, or heating and shaping by hammering on the anvil is necessary ; of this I do not propose to write, but would say that to those who have thoroughly mastered all the lessons here given — which, it must be admitted, are extremely easy even for children, if gradually and carefully learned — ordinary forging or hammering heated metal will be found even easier, and there is also in it a certain fascination or pleasure which is indescribable. I was very much astonished when I first learned how easy it is to forge a knife, dagger, or sword, especially when the pupil has \ Moulded Sheet Metal Work. 47 some previous knowledge of design, model- ling, or wood-carving. Therefore I earnestly urge the pupil, when it is possible, to practise, even if it be but for a short time, making leaves and flowers of sheet wax, paper, or damped leather, because this very easy work is an admir- able preparation for sheet metal, especially for children, who find no difficulty in learn- ing the former, and in going from it to the latter, but who find the metal at first difficult. To make a leaf in thin sheet metal, after having moulded one in wax or leather, requires no knowledge or practice beyond being told to hold one end with the flat pliers, and give it shape with the round- nosed or pipe pincers. If the stem or vine be a wire, then let the stalk terminate in a strip which may be wound around the wire. To prevent it slipping, flatten the wire slightly in one place, and hammer the wrapper to it, or else rivet through the flattening. P^ig. 62, /, q, r, t, etc. A piece of soft sheet metal maybe easily moulded into any form of leaf, scooped or goffered, fluted or waved, by means of the pliers, round-nosed or flat, the ball-punch, or the hammer. This work may be per- formed on the anvil, on a piece of soft pine plank, or on a bed of the cement used in repousse, according to the curve required. It is quite useless to describe in detail how every kind of depression, or hollow, or boss L Fig. 61. Border or Frame. Fig. 62. Patterns for Metal Flowers, ^tc. Moulded Shed Metal Woi'k. 49 is to be made, since all such detailed descriptions are more con- fusing to youthful beginners than helpful, and even young children require no instruction to imitate the bend of a leaf in wax or paper. I have taught classes in such arts for years, and have always found that if the pupils will only begin with very easy imitations of models or designs, and, taking an interest and working indus- triously, tho7'otighly master the rudiments, they always find their way onwards, step by step. All that they require is to know exactly what they are expected to do, and to see the objects, models, or pictures, of what they are to make, and if these are not beyond their power or intelligence, they will make them, and, while so doing, learn something for more advanced work. This is well shown in this modelling of leaves and in bending metal, in which any intelligent pupil — the tools, metal, and model being given — is sure to find his way to do good work. This is the only way to make a good artizan or artist, that is, to make the learner think and stimulate his inventive power. He is the best teacher who does this. The mid-rib or lines on the leaf are very easily indicated with a tracer, like a screw-driver, the use and command of which can be acquired in an hour (•t^/^ig" Repousse," p. 61). The pupil should, however, take great pains to learn to execute all these " inside lines " very carefully. They require a rather sharp tracer, and must be light : in many cases it is best to make them with a graver, or sharp cutting tool. A rose is made by formingwhat may be described as twoorthree circles, of different sizes, with scalloped edges. Or, as described in my "Leather Work," p. 61 : — "The processes of cutting out leaves to make flowers are the same as those followed in making them from paper. Thus, to form a rose we cut out a scalloped circle, and then a smaller one, which is placed on the first. The outer, or green leaves of the calyx, are in like manner cut from a third disc [or round piece (Fig. 62 a, b, c, d, e) ]." A wire is then E 50 Metal Work. taken, to one end of which is fastened a circle, or button, or small screw by riveting, and the other end is then passed through the holes in the centres of the scalloped circles. It is to be understood that the scalloped ends which represent leaves are previously hammered into a saucer-like shape, and otherwise shaped out. If this be done first in sheet wax, or even in thin cardboard, damped, or stiff paper, the imitation in metal will be easy. As regards the saucer shape, it may be remarked, that if we take any round piece of sheet metal, thick or thin, be it half-a-crown, or a disk of sheet iron, and gradually tap it on an anvil with a small hammer, it will /