COPPER WORK 
 
 AN ILLUSTRATED TEXT BOOK FOR TEACHERS 
 AND STUDENTS IN THE MANUAL ARTS 
 
 BY 
 
 AUGUSTUS F. ROSE 
 
 t 
 
 RHODE ISLAND SCHOOL OF DESIGN, PROVIDENCE 
 
 ATKINSON, MENTZER & GROVER 
 
 NEW YORK CHICAGO BOSTON ATLANTA DALLAS 
 
Copyright, 1908 
 By AUGUSTUS F. ROSE 
 
TABLE OF CONTENTS. 
 
 PAGE 
 
 Chapter I. Introduction, Equipment, Materials n 
 
 Chapter II. Problems, Escutcheons and Hinge Tails 27 
 
 Chapter III. Drawer and Door Pulls and Hinges 34 
 
 Chapter IV. Finger Plates, Pad Corners, Box 
 
 Corners, Stamp Box and Match Box 49 
 
 Chapter V. Sconce, Picture Frame, Soldering, 
 
 Repousse or Embossing 67 
 
 Chapter VI. Raised Forms % 81 
 
 Chapter VII. Porringer, Trays or Plates 93 
 
 Chapter VIII. Ink Pot, Sealing Wax Set and Watch 
 
 Fobs 99 
 
 Chapter IX. Spoons, Sugar Tongs, and Tea Scoops, 
 Rivets, Drawing Wire, and Tubing, 
 
 Polishing, Stamping Work, Coloring no 
 
 Chapter X. Enameling 119 
 
 238842 
 
PREFACE. 
 
 IN this book the subject of Copper Work, as it may be 
 introduced into the public schools, is treated to the 
 extent of specifying an equipment and suggesting some of 
 the possibilities of a course. Not only will there be found 
 an abundance of illustrative material on this subject, con- 
 sisting of drawings and photographs of various objects 
 executed by upper grammar and high school pupils, but also 
 a detailed description of the processes necessary for the 
 execution of many of the designs. It is not expected that 
 the problems as given will be -^lavishly copied, but rather 
 that they will make clear the methods and processes that 
 may be applied in the working out of similar problems. It 
 is hoped that this volume will be especially helpful to 
 teachers in the Manual Arts who are trying to introduce 
 Metal Work into the regular school course. 
 
 The author is indebted to Charles J. Martin and Antonio 
 Cirino, for valuable assistance in making some of the 
 illustrations. 
 
 AUGUSTUS F. ROSE. 
 
LIST OF ILLUSTRATIONS. 
 
 PLATES. 
 
 PLATE 
 
 1. Anvils . ... 15 
 
 2. Hammers ....... 17 
 
 2A. Hammers ....... 18 
 
 3. Shears and Plyers 20 
 
 4. Escutcheons ...... 28 
 
 5- " Photograph . . . . . 29 
 
 6. Hinge Tails ...... 31 
 
 7- " ....... 32 
 
 8- .... 33 
 9. Drawer and Door Pulls ... 35 
 
 10. " "...... 36 
 
 " 37 
 
 12. " . Photograph ... 38 
 
 13. Hinges ....... 44 
 
 J 4- ... 45 
 
 15- 46 
 
 16 - 47 
 
 IT " > 
 
 1 7- ....... 40 
 
 1 8. Finger Plates 50 
 
 19. " Photograph . 51 
 
 20. Pad Corners 53 
 
 21. Box Corners ...... 55 
 
 22. ' 56 
 
 23. Stamp Box . . ... 58 
 
 24. .... 60 
 
 25. " Cover Design ..... 61 
 
 26. " Photograph . ... 63 
 
 27. Match Box ...... 65 
 
 28. " Cover Designs .... 66 
 
 29. Sconce A. . .... 68 
 
 29A. " Pattern 69 
 
 30. Desk Set. Photograph .... 70 
 
 31. Sconce B. . . . . . . .72 
 
 32. Picture Frame . .... 74 
 
 33. Picture Frame Designs ..... 76 
 
LIST OF ILLUSTRATIONS. (Continued.) 
 
 PLATE PAGE 
 
 34. Raised Forms. Photograph . . . 81 
 
 35. Raised Forms ...... 82 
 
 36. " 84 
 
 37. " Photograph .... 86 
 
 38. Pitchers ... 88 
 
 39. Raised Form. Photograph .... 89 
 
 40. Tea Set ... 91 
 
 92 
 94 
 95 
 97 
 100 
 
 IOI 
 
 103 
 
 105 
 107 
 108 
 in 
 
 112 
 114 
 
 13 
 13 
 13 
 14 
 
 16 
 16 
 16 
 19 
 19 
 19 
 19 
 
 21 
 21 
 
 41. 
 
 Pupils at Work. Photograph 
 
 42. 
 
 Porringer . . . 
 
 43. 
 
 " Handles 
 
 44. 
 
 " Photograph . 
 
 45- 
 
 Ink Pot 
 
 46. 
 
 " Photograph 
 
 47- 
 
 H 
 
 48. 
 
 Sealing Wax Set . 
 
 49. 
 
 Watch Fobs 
 
 5o. 
 
 " Photograph . 
 
 5i. 
 
 Spoons . 
 
 52. 
 
 Sugar Tongs and Tea Scoops . 
 
 53- 
 
 Rivets 
 
 
 FIGURES. 
 
 FIGURE 
 
 I. 
 
 Pickle Pan 
 
 2. 
 
 Rivet Header 
 
 3- 
 
 Bench Pin . . . 
 
 4. 
 
 Sawdust Box 
 
 5. 
 
 Annealing Tray . 
 
 6. 
 
 Draw Tongs 
 
 7- 
 
 Mortar and Pestle (Agate) 
 
 8. 
 
 Saw Frame 
 
 9- 
 
 Sand Bag or Engraver's Pad 
 
 10. 
 
 Draw Plate 
 
 ii. 
 
 Borax Slate 
 
 12. 
 
 Chasing Tools 
 
 13. 
 
 Engraving Tools 
 
LIST OF ILLUSTRATIONS. (Continued.) 
 
 FIGURE PAGE 
 
 14. Dapping Tools and Die . . . 22 
 
 15. Sawing ....... 27 
 
 ISA. Sawing. Photograph . . 30 
 
 1 6. Draw Pulls ... 34 
 
 17- " 34 
 
 34 
 39 
 39 
 39 
 .40 
 
 40 
 
 40 
 40 
 
 41 
 41 
 
 41 
 41 
 57 
 59 
 59 
 80 
 80 
 83 
 83 
 87 
 89 
 90 
 93 
 99 
 115 
 
 US 
 116 
 
 117 
 120 
 122 
 
 i8. 
 
 
 
 19. 
 
 II 
 
 20. 
 
 a 
 
 21. 
 
 i< 
 
 22a. 
 
 " 
 
 22b. 
 
 " . 
 
 22C, 
 
 d. " 
 
 226. 
 
 " 
 
 23b. 
 
 d 
 
 230. 
 
 
 
 2 3 d. 
 
 U 
 
 236. 
 
 it 
 
 24. 
 
 Stamp Box 
 
 25. 
 
 u 
 
 26. 
 
 tt 
 
 27. 
 
 Chasing. Photograph 
 
 28. 
 
 " Hammer 
 
 29. 
 
 Hammering. Photograph 
 
 30. 
 
 Raised Bowl, First step 
 
 31. 
 
 Surface Plate. Photograph 
 
 32. 
 
 Snarling Iron 
 
 33- 
 
 " in use. Photograph 
 
 34- 
 
 Soldering Porringer 
 
 35- 
 
 Dapping Tools in use 
 
 36. 
 
 Drawing Tubing . 
 
 37- 
 
 
 
 38. 
 
 Drawing Wire. Photograph 
 
 39- 
 
 Stamp . 
 
 40. 
 
 Engraving. Photograph 
 
 41. 
 
 Engraving 
 
Chapter I. 
 
 INTRODUCTION. 
 
 During the past few years many experiments have 
 been tried in the development of Manual Training Courses 
 and much time has been spent in discussing of what lines 
 of work they should consist. Wood and iron were the first 
 materials used and are yet indispensable, but experience 
 has led those who are developing this work to believe that 
 there are other materials as well adapted to Manual Train- 
 ing work in all its various forms. Clay, used not only for 
 modeling but for ceramic work as well, leather, brass, and 
 copper are materials that have also been put to the test 
 and found satisfactory in many ways. 
 
 In ancient times copper was known as a useful metal, 
 and down through the ages it not only held its own but 
 increased in usefulness. Among its valuable properties may 
 be mentioned toughness and ductility; its toughness enables 
 it to be beaten into thin strong sheets, while its ductility 
 enables it to be drawn out into fine wire. Copper readily 
 forms important alloys, such as brass from copper and 
 zinc. 
 
 Work in sheet copper and brass has been introduced into 
 the public school course with gratifying results. It has 
 proved itself to be a valuable departure from other branches 
 of Manual Training work and gives promise of being per- 
 manent. Sheet copper and brass offer possibilities for 
 various kinds of treatment, either in the flat work which 
 includes saw piercing, embossing and enameling, or in the 
 raised work. 
 
 There is something about this work that appeals to 
 pupils and holds their interest. The nature of the material, 
 
 ii 
 
hard enough to offer some resistance and yet pliable enough 
 to allow its being wrought into many forms, the durability 
 of the object when completed, and the variety of colors 
 that may be obtained, especially with copper, all tend to 
 make the subject not only interesting but fascinating. 
 
 All exercises in sheet metal should be of some real 
 value to the pupil; no time should be spent on work done 
 simply for practice, but the various steps should be learned 
 in the making of useful objects of artistic worth. In this, 
 as in other work, it seems best to give each member of 
 the class the same work for a while until he has become 
 acquainted with the different tools and learned the limita- 
 tions of the material. When this has been accomplished, 
 each pupil may be allowed to work out his own designs. 
 In this the educational value is very greatly increased. The 
 pupil conceives the idea and makes several sketches of it, 
 carrying it through repeated changes until it is brought to 
 the perfected design appropriate in every way to the idea. 
 Some may not be fortunate enough to get a full equipment 
 so that all of the various kinds of metal work may be 
 done, but such may be able to make a beginning by doing 
 light work in saw piercing, which requires a very limited 
 equipment. 
 
 12 
 
EQUIPMENT 
 
 The equipment necessary for a start in Copper work 
 need cost but little if the teacher is somewhat ingenious, 
 for the patterns of the various anvils may be made by him ; 
 from these patterns the castings can be made at any foun- 
 dry for three or four cents per pound. It is better to begin 
 
 FIGURE" 1 . 
 
 with a few anvils and toojs and to add one or two at a 
 time as the need is felt for a more varied supply. If the 
 work can be done in a room already fitted with benches and 
 vises, it will reduce the first cost considerably. Any home- 
 
 FIGURE 2. FIGURE 3. 
 
 made bench will do if a regulation one is not to be had. 
 One that has given satisfaction was made of 2" x 4" stud- 
 ding with plank tops in lengths of 12 feet, giving space for 
 four vises at each bench. A swivel vise that may be turned 
 at any angle will be found satisfactory. 
 
 13 
 
ANVILS. 
 
 6, 
 
 is. 
 
 
 /o. 
 
 f 
 
 
 3. /4 
 
 I 
 
 PLATE 1. 
 
 15 
 
An annealing tray made of a piece of sheet iron in the 
 shape of a box about 18" square and 3" deep, with the corners 
 lapped and riveted and filled with slag, answers very well, 
 but one similar to the illustration, Figure 5, is better. In 
 
 I 
 
 J 
 
 FIGURE 5. 
 
 this the top is circular and rotary, which is an advantage. 
 A pair of light, long nose-tongs are needed to handle the 
 work. Any ordinary foot bellows and blow-pipe will do. 
 A box, Figure 4, large enough to hold two 4-gallon 
 stone jars and about half a bushel of sawdust, is needed. 
 
 | R| 
 
 FIGURE 
 
 FIGURE 7. 
 
 One of the jars is for water in which the object is cooled 
 after being annealed; the other is for pickle which is used 
 to clean the work. The sawdust is used to dry the object 
 after it has been dipped in the water. 
 
 16 
 
HAMMLRS 
 
 PLATE 2. 
 
HAMMERS 
 
 LJ 
 
 PLATE 2 A 
 18 
 
Plate i illustrates forms of anvils that have been 
 found most useful. 
 
 Plates 2 and 2 A show a variety of hammers needed. 
 
 FIGURE 9. 
 Sand bag or engraver's pad. 
 
 FIGURE 8. 
 
 FIGURE 10. 
 
 Plate 3 shears and plyers. ^ 
 
 The following tools are also necessary: 
 Cutting shears straight and curved. 
 Steel square 12". 
 Jeweler's saw frame. Figure 8. 
 Piercing saws. 
 
 FIGURE 11. 
 
 Breast drill and assortment of drills. 
 
 Compasses. 
 
 Calipers. 
 
DLYE.B5 
 
 PLATE 3. 
 
 20 
 
x^x ^^ -^1 
 
 980 
 
 FIGURE 12. 
 Chasing tools and punches for embossing. 
 
 
 ^f*~~*+^^ 
 
 t 
 
 
 I 
 
 
 
 \J 
 
 \ 
 
 FlGl 
 
 Engra\ 
 
 JRE 13. 
 
 r ing tools. 
 
 V 
 
 21 
 
Surface gauge. 
 
 Surface plate. 
 
 Assortment of files. 
 
 Sand bag or engraver's pad. Figure 9. 
 
 Pitch pot. 
 
 A set of chasing tools and punches. Figure 12. 
 
 A set of engraving tools. Figure 13. 
 
 A set of dapping tools and dapping die. Figure 14. 
 
 FIGURE 14. 
 
 Flyers flat nose, round nose, and pointed. 
 
 Cloth and felt buffs. 
 
 Two 4-gallon stone crocks. 
 
 Mortar and pestle (Porcelain). 
 
 Mouth blow-pipe. 
 
 Pickle pan. Figure i. 
 
 Rivet header. Figure 2. 
 
 Bench pins. Figure 3. 
 
 Draw tongs. Figure 6. 
 
 Mortar and pestle (Agate). Figure 7. 
 
 Draw plate. Figure 10. 
 
 Borax slate. Figure n. 
 
 22 
 
ANVILS. 
 
 Plate i. 
 
 No. i. A general one; either one end or the 
 
 other is used in beginning raised work. 
 
 Nos. 2 and 3. Very useful forms; used at various stages 
 of the work as required. 
 
 Nos. 4, 5, 6. Circular flat top stakes, indispensable for 
 finishing the bottom of any circular object. 
 
 No. 7. An oval shaped stake, giving a variety 
 
 of curves, especially useful in forming 
 corners in rectangular trays. 
 
 No. 8. A square flat top stake; may be put to 
 
 many uses. 
 
 No. 9. A rectangular flat top stake; like the 
 
 square one is a very useful tool, especially 
 in forming rectangular boxes such as are 
 used for stamps and matches. 
 
 No. 10. An extension arm necessary in the making 
 
 of forms such as illustrated on Page 
 88. The length of the arm of this tool 
 requires that it be made of the best tool 
 steel to avoid breaking at the elbow as 
 would be the case if made of cast iron. 
 
 Nos. n, 12, 13, 14, 15, 1 6. Forms used in connection with 
 the extension arm. 
 
 No. 17. A socket made to hold all tools of this set. 
 
 In using tools of this nature it is very important that 
 they should be held firmly in place. To meet this 
 requirement the tools and socket have been tapered so 
 that a fit is assured in every case. A half-inch square- 
 
 23 
 
headed bolt extends through the bottom of the socket; 
 this bolt is long enough to go through the top of any 
 ordinary bench and is fastened underneath with a nut. 
 Holding the socket in this way allows its being placed 
 at any angle with the bench, and this is often an 
 advantage. The socket is drilled so that it may be 
 screwed to the bench if desired. 
 
 Any of the anvils on Plate i may be held in a vise as 
 well as the socket. 
 
 HAMMERS. 
 Plate 2 A. 
 
 Nos. i and 3. Raising Hammers. No i adapted for 
 large work and No. 3 for small or medium 
 sized forms. 
 
 Nos. 2, 5, 4. Planishing Hammers. No. 2 has two 
 round faces, one flat and one convex. 
 No. 5 has one square and one round face, 
 both flat. 
 
 No. 4 a planishing hammer used for finish- 
 ing concave surfaces, as about the neck 
 of a pitcher or cover. 
 
 No. 6. A finishing hammer found useful for many 
 
 things where a larger one cannot be used. 
 
 No. 7. A hammer used in connection with chasing, 
 
 embossing, and dapping tools. 
 
 No. 8. A fibre faced hammer for general use on 
 
 metal where the surface is to be kept free 
 from marks. 
 
 No. 9. Rawhide mallet, an indispensable tool in 
 
 connection with copper work. 
 
 24 
 
MATERIALS. 
 
 Copper is the material best suited for the work outlined 
 in this book, although the processes as described may be 
 applied to brass or silver. Brass may be used successfully 
 in the flat work, but for raised work copper is the best 
 material for the beginner. 
 
 Copper is obtainable in different thicknesses and in 
 various grades but the best grade should be used. For 
 most of the work from 18 to 24 gauge is used, while metal 
 from 12 to 1 8 gauge is used occasionally. 
 
 Copper wire is used in several sizes for making rivets. 
 
 No. 22 and 28 iron wire is indispensable for binding 
 when soldering. 
 
 Easy running silver solder, may be made by the user, 
 but as a small piece will solder many joints, and as it is 
 not practical to make it in small quantities, it is better to 
 buy it ready made as desired. 
 
 Powdered or lump borax is used as a flux in soldering. 
 Charcoal or asbestos blocks are used when soldering small 
 work. 
 
 Liver of sulphur and sal ammoniac are used for coloring. 
 
 Yellow ochre is used for protecting soldered joints. 
 
 Cut-quick and rouge are used for polishing. 
 
 Nitric and sulphuric acids are used to clean work. 
 
 PICKLE. 
 
 Pickle is a trade name given to solutions used in 
 cleaning work. Different proportions of acid are used 
 according to the work to be cleaned. For copper and 
 silver a dilute bath of sulphuric acid is used of i part acid 
 
 25 
 
to is parts of water. The solution may be used cold but 
 when used hot it becomes much more effective. When used 
 hot a copper dish is necessary. The object being placed 
 in the dish with enough pickle to cover it, it is then placed 
 over a gas plate and allowed to come to a boiling heat. The 
 pickle is then poured off and the object rinsed in clean 
 water. A dilute solution of nitric acid is used for brass. 
 
 GAUGE. 
 
 Gauge, as referred to in this book, is a term used to 
 denote the thickness of sheet metal. The Standard Wire 
 Gauge is divided in gauge numbers from 5 to 36; and is 
 used for measuring the thickness of wire and sheet metal. 
 It is usually a plate of steel having round its edge a series 
 of notches of standard openings. 
 
 26 
 
Chapter II. 
 PROBLEMS. 
 
 ESCUTCHEONS. 
 
 Escutcheons may be made of any metal; but copper, 
 brass, and iron are most used. The size and shape of the 
 escutcheon are determined by the size of the lock and the 
 space at our disposal. The outline may be circular, square, 
 
 FIGURE 15. 
 
 or rectangular, or it may be modified somewhat, care being 
 taken to keep it in harmony with its surroundings. 
 
 First make a careful drawing of the design. Take a 
 piece of metal a little larger than the drawing calls for, and 
 of the desired gauge, from 12 to 20 gauge is all right for 
 such an exercise. The design is then transferred to the 
 metal by the use of carbon paper, or a tracing is made on 
 rice paper from the drawing pasted on the metal. Then 
 take a metal saw (No. 2 or 3) and saw about the design, 
 
 27 
 
E.SCUTCME.riS 
 
 PLATE 4. 
 
 28 
 
PLATE 5. 
 
 2Q 
 
Figure 15, isA. To saw the key whole, a hole must be drilled 
 through which the saw can be placed to follow the line. 
 Before drilling use a center punch, making a slight depression 
 as a start for the drill. After the sawing is completed, a 
 file is used to true up the outline and to smooth the edges. 
 
 FIGURE 15 A. 
 
 The holes for the nails are next drilled. After using a little 
 emery paper about the edges, it is ready to finish. 
 
 The metal, as it comes from the rolling mill, is perfectly 
 smooth. If, in this piece of work, it is desired to make the 
 surface a little more interesting, it may be done by taking 
 any hammer with a smooth domed face and going over the 
 surface. This, however, should be done before sawing. As 
 the hammering stretches the metal somewhat, if it is left 
 till after the sawing is done, it means more filing to get the 
 design into shape. For a beginning this exercise has proved 
 very satisfactory, as it gives the pupil an acquaintance with 
 the metal and uses but a small piece of material. 
 HINGE TAILS. 
 
 These plates represent suggestive designs for hinges and 
 may be given among first exercises in sawing; when so used, 
 they should be treated like the escutcheon already described. 
 
 30 
 
hlNGE. TAILS 
 
 PLATE 6. 
 
MIMGE. TAILS 
 
 n 
 
 Q 
 
 X XI 
 
 Zs- 
 
 Q) 11 
 
 y 
 
 ULJU 
 
 PLATE 7. 
 
MIMGE TAILS 
 
 W 
 
 I'LATE 8. 
 
 33 
 
Chapter III. 
 DRAWER AND DOOR PULLS. 
 
 Pulls generally consist of two parts, the handle and 
 the plate to which the handle is fastened. Some pulls are 
 stationary as in Figures 16, 17, while in others the handle 
 swings from either one or two points, Figures 18, 19, 20. In 
 this case the handle may be made by taking a rod as great 
 
 FlGVRK 16. 
 
 FIGURE 18. 
 
 FIGURE 
 
 in diameter as the thickest part of the handle, and either 
 drawing it out by hammering or filing it down to the required 
 taper. After it is tapered to the required size as at Figure 
 
 34 
 
DRAW PULLS 
 
 PLATE 9. 
 
 35 
 
DRAW PULLS 
 
 PLATE 10. 
 
PLATE 11. 
 
 37 
 
PLATE 12. 
 
21, it is then bent into shape according to the design. If 
 the handle is to swing from one or two points, it should be 
 fastened by any one of the following methods. 
 
 Method i. If it is possible to have the handle support go 
 through the drawer or door, the support may be made from a 
 
 FIGURE 20. 
 
 FIGURK 19. 
 
 FIGURE 21 
 
 piece of square rod of the length desired, a hole being drilled 
 through one end, the size needed, as at Figure 22 A. A 
 shoulder is then made by filing the rod down to the size of the 
 hole in the plate. In making the shoulder the remainder of 
 the rod which is to go through the drawer front may be left 
 square or filed round; as the hole is round that is drilled 
 to receive it, this last is the better way. It is also easier to 
 
 39 
 
fasten it on the inside of the drawer when it is made in this 
 way, for it may be simply headed up as in making a rivet, 
 Figure 22 B, or a thread may be cut and a nut used, Figure 
 22 C, D. The latter method is better where taps and dies 
 are at hand. When it is fastened by riveting, a circular or 
 
 FIGURE 22. 
 
 square piece of metal called a washer, Figure 22 E, a little 
 larger in diameter than the bolt, with a hole the size of the 
 bolt, is placed next to the drawer front on the inside; this 
 makes the riveting more secure. 
 
 Method 2. Another method for fastening this style of 
 a handle is to cut a slot through the plate -^ inch wide 
 and length called for by the design, Figure 23 A. Then 
 take a strip of copper in length 7 times the diameter of the 
 handle end and as wide as the slot in the plate is long, 
 Figure 23 B. This is then bent circular a little larger in 
 diameter than the end of handle as at Figure 23 C, and 
 placed in the slot at Figure 23 D, and clinched on the back 
 
 40 
 
of the plate as at Figure 23 E. The plate is in this case 
 fastened to the drawer or door by nailing or riveting. 
 
 Method 3. When it is desirable to make the plate and 
 handle support all in one piece, it may be done in any one of 
 three ways. First. By allowing enough metal in the center 
 
 FIGURE 23. 
 
 of the plate to form the handle support as at Figure 19. 
 Second. By allowing metal at the top of the plate to bend 
 over handle as at Figure 18. Third. By allowing metal at 
 the sides to be turned up at right angles to the plate to form 
 
the support, as at Figure 20. In this case holes are drilled in 
 the side pieces and a rivet is put through from one side to 
 the other to hold the handle. For this one the handle must 
 be either bent around the rivet or drilled to receive the rivet. 
 In all three of these cases the plate is fastened to the door 
 or drawer by nailing or riveting. 
 
 HINGES. 
 
 Plate 13, Various outlines of the same hinge. 
 
 Plate 14, Hinges of same outline with interior variations. 
 
 Plates 15, 1 6, 17, Butt and Strap Hinges. 
 
 In a hinge, the joint is the important feature. The 
 size of the hinge, the strength required, and the decoration 
 must also receive attention. After these have been deter- 
 mined, a drawing should be made giving a development of 
 the joint. Whatever the size of the hinge, the following 
 principle in regard to the joint must be kept in mind. There 
 must be alternating projections left on the inner ends of 
 each leaf of the hinge to fit into one another so that the 
 pin may pass through them and allow the hinge to swing. 
 The method of making these projections is determined by the 
 size of the hinge. 
 
 In hinges of any considerable size, the projections are 
 left attached to the hinge proper ; in allowing for them there 
 will be an even number on one leaf and an odd number on 
 the other. To obtain the strength desired, the width of the 
 projections on one leaf should equal the width of the pro- 
 jections on the other leaf. This applies to any number 
 of projections. Their length should be determined by the 
 diameter of the joint; three times the diameter is the approx- 
 imate length. 
 
 In making small hinges the projections may be bent 
 into position by the use of the round nose plyers. In 
 larger work the projection is fastened in the vise and begin- 
 
 42 
 
ning at the end is bent around the pin a little at a time 
 using the rawhide mallet to work it into shape. 
 
 For small joints or hinges, such as would be used on a 
 match box, stamp box, bon-bon box, or ink pot, the joint 
 should be made of small tubing as described on page 115. 
 This tubing is sawed into the required lengths and soldered 
 to the leaves to be hinged. The parts to receive the joint 
 are sometimes filed out. 
 
 
 43 
 
 ^ * 
 
c o 
 
 
 
 
 
 
 
 
 
 
 
 
 
 o o 
 
 o o 
 
 o o 
 
 O 
 
 MINGE.S 
 
 o o 
 
 o O 
 
 PLATE 13. 
 
 44 
 
HIMGES 
 
 PLATE 14. 
 
 45 
 
HIM GELS 
 
 I LATE 15. 
 
 46 
 
HINGES 
 
 PLATE iti. 
 
 47 
 
HirtGE.5 
 
 PLATE 17. 
 
 4 8 
 
Chapter IV. 
 FINGER PLATES. 
 
 The finger plate used on the edge of a door to receive 
 the wear of the hand serves as an excellent exercise in 
 sawing and filing. The design is transferred to the metal 
 by use of carbon paper. The sawing is done as in the 
 escutcheon. The surface may be left smooth or it may 
 be gone over with a hammer having a face somewhat 
 rounded. If the design calls for any repousse work, it is 
 done as described on page 78. 
 
 49 
 
FIMGE& PLATE. 
 
 ^ 
 
 Si 
 
 o 
 
 <^s^ 
 c_^> 
 
 > O O 
 
 LETTER OPEMIhG 
 
 hAME PLATE 
 
 (\/l 
 
 *? 
 
 ^ 
 
 LE.TTE.iaf 
 
 PLATE 18. 
 
V 
 
 m 
 
 .A 
 
 Pl,ATK 19. 
 
PAD CORNERS. 
 
 Desk pad corners while not difficult to make, are very 
 useful as well as ornamental. The design may be carried 
 out in any one of three ways : pierced, embossed or enameled. 
 
 In making the pattern for the pad corner, an allowance 
 must be made for the thickness of the pad, as at A, and also 
 for laps as at B, that are to go under the pad to hold the 
 corners in place. The corner may be riveted to the pad at 
 the back or the laps may be bent in such a way as to clamp 
 them to the pad, and permit of their removal at any time. 
 
 When the design has been pierced or embossed, the 
 laps can be bent over a piece of metal equal in thickness 
 to that of the pad. If the design is to be carried out in 
 enamel, all bending must be done before enameling as any 
 expansion or contraction of the metal will crack the enamel. 
 
PAD 
 
 PLATE 20. 
 
 53 
 
BOX CORNERS. 
 
 Box corners serve primarily to protect the corners of the 
 box and to increase its strength, but they can be so made 
 that they give character to the box. The corner should be 
 designed to suit the particular box or chest to which it is to 
 be applied. The method of making a box corner is slightly 
 different from those previously described. After the design 
 has been drawn, a pattern made from it in heavy paper 
 will be found helpful, for this pattern may be used to mark 
 out the design on the metal. In this way irregularities in 
 the design are less likely to occur than when the design is 
 transferred with the carbon paper directly to the metal. 
 The decoration may be pierced or embossed, according 
 to one's choice. After the sawing or embossing has been 
 done, it should be filed carefully and smoothed up with fine 
 emery cloth to do away with crude and sharp edges. 
 
 The holes for the rivets are then drilled and the burr 
 that is made by drilling is removed with a larger drill. The 
 two edges, A A. Plate 21, that are to come together when in 
 place on the box should te beveled a little, so that they will 
 form a better corner. After this is done, the sides are bent 
 down over a block of wood or metal placed in the vise. 
 A rawhide hammer should be used to avoid marks on the 
 face of the corner. In this as in other work, if it is desired 
 that the metal have a hammered surface, the effect must 
 be given before the design is cut out. 
 
 Suitable rivets are next made as described on page 113 
 and illustrated on page 114. After being colored or polished 
 the corner is ready to be applied to the box. 
 
 54 
 
BX CRNERS 
 
 PLATE 21. 
 
 55 
 
BX CPRMERS 
 
 PLATE 22. 
 
STAMP BOXES. 
 
 Stamp boxes may be made in various ways, three of 
 which are described below. 
 
 Boxes No. i and 2, Plate 23. 
 
 On a piece of 20 gauge metal, lay out or draw the pattern 
 as shown on the plate ; first with pencil, then with a scratch 
 awl to insure permanancy, going over the lines lightly on 
 
 FIGURE 24. 
 
 the metal. By the use of a saw frame and a No. 3 saw the 
 corners of the square are cut out. 
 
 The edges that form the corners are next filed up, 
 keeping all edges straight and at right angles; after this, 
 the edges are beveled a little, forming a mitre which, when 
 soldered, makes a better joint than otherwise. 
 
 The sides are next bent up over an iron block placed in 
 the vise as at Figure 24. The corners should be brought 
 well together, using a rawhide hammer, No. i, Plate 2. 
 
 A piece of iron wire about No. 24 is then placed around 
 the box and twisted tight enough to hold the corners in 
 
 57 
 
STAMP BX 
 
 BOX Nl. 
 
 PATTER rt FR, 
 
 BOX NI. 
 
 DESIGfH o M c>VR. 
 
 E.MBSSED. 
 
 DO 
 O 
 
 O 
 DD 
 
 ODD 
 
 GOD 
 
 Od 
 O 
 
 D 
 OD 
 
 PATTERN 
 
 DO 
 
 ID 
 
 ODD 
 
 DO; 
 
 oi 
 
 |o 
 ;DD 
 
 GOO 
 
 a: 
 DD: 
 
 DOD 
 
 oj 
 
 DEPRESSION MADE BY 
 PLACING M PITCH AND 
 USING TL SHAPE *P 
 UNIT. DEPRESSIN 
 FILLED WITH E.NAME-L 
 
 ODD Q 1 
 
 a 
 
 ODD 
 
 I. IIM. 
 
 PLATK 23. 
 
place while being soldered, Figure 25. Borax and solder 
 are next applied and the soldering done as described on page 
 77. In this case, however, all of the corners should be 
 prepared at the same time for soldering. If but one corner 
 is prepared and soldered, the heat necessary for soldering 
 causes the copper oxides to come to the surface at the other 
 corners which must be removed before they can be soldered. 
 This is remedied by coating with borax and placing the solder 
 at all corners before applying any heat. 
 
 FIGURE 25. FIGURE 26. 
 
 After the soldering is done the box is pickled. Surplus 
 solder is next removed by filing. The box is again placed 
 over the iron block which is neld in the vise ; the corners 
 and bottom edges are squared up, using the round end of 
 hammer shown at No. 2, Plate 2, and the top is filed off 
 level. This completes the body part of the box. 
 
 The cover is made in the same way as the box. Much 
 care must be taken to have the pattern carefully and accu- 
 rately drawn so that when the cover is finished it will fit 
 closely to the body. The design, if there is any, whether 
 it is embossed or enamelled, must be carried out before 
 cutting it to size. 
 
 Box No. 2, although of different proportion, is made 
 in the same way as No. i. 
 
 Box No. 3, Plate 24. 
 
 Take a strip of metal as wide as the required depth 
 of the box and as long as the sum of the four sides. The 
 length of each side is measured off on this strip and a line 
 
 59 
 
STAMP BX 
 
 PAT TERM 
 
 PATTERN F 
 C-VER 
 
 SH*ULO BC MADE. 
 A LITTLE LARGER. 
 THAN BDY F 
 BX T ALLW 
 FINISHING 
 
 STH.IP 
 
 COT OUT WIT n 
 ENGRAVERS TU 
 TME.N ENAMELED 
 
 THIS -WHEN BE.MT AT RIOHT ANGL 
 LINES F-RMS BOV 
 
 CTTEO 
 <>X 
 
 BX 
 
 FR SUIOE. 
 
 AT t I 
 
 STRIP S*L.DERC.O 
 
 PLATE 24. 
 
 60 
 
PLATE 26. 
 
STAMP BX 
 
 SHULO BK MADS. 
 A LITTLE LAAGER. 
 THAN eOY F 
 BX T ALLV%/ 
 FINISHING 
 
 STRIP L,oeRE.O 
 
 PATTERN F 
 C-vtR 
 
 COT OUT WITH 
 ENGRAVERS TU 
 THEN B.NAMELEO 
 
 THIS 'WHEN BENT AT RIOMT ANGL 
 FRMS BOY 
 
 N &TTEO 
 
 AT C. IN 
 
 STRIP 8*UDEC.D 
 
 T SIDE F a X 
 M<*LOIN<a SU-iOfe 
 
 PLATE 24. 
 
 60 
 

 PLATE 26. 
 
Box No. 4, Plate 24. 
 
 The body of this box may be made like either No. i 
 or No. 3. An addition is shown on this one which allows 
 the stamp to be taken from the box more easily. A strip 
 of 20 gauge metal ^V' wide is soldered on the inside next 
 to the top edge extending from one end to the other as 
 shown in the section at D. Another piece of the same gauge 
 metal is cut, in length equal to the inside length of the box 
 and about -J" wider than the box. This is placed inside 
 the box and sprung into place as shown at C in the section. 
 This device may be applied to either of the other boxes. 
 
 The cover of this box is made of but one piece and 
 hinged with a strap hinge, which also forms the cover 
 decoration. 
 
 To give the surface of the metal of this box a bold 
 hammered surface adds much to its attractiveness. 
 
 MATCH BOX. 
 
 The Match Box may be made in the same way as the 
 Stamp Box with the exception of the cover. It seems better 
 to have the cover of the match box hinged. The hinge 
 may be made so as to form a part of the decoration of the 
 cover by making it a strap hinge as shown at Plates 15, 16, 
 17. The hinge may also be made of tubing and extend 
 across the back of the box. This method leaves the cover 
 to be decorated in some other way, either by embossing or 
 by enameling or by both. 
 
MATCH BX 
 
 
 
 PLATE 27. 
 
MATCH BX 
 CVER DESIGNS 
 
 
 PLATE 28. 
 
 66 
 
Chapter V. 
 SCONCE A. 
 
 The pattern for this sconce as shown at Plate 2pA is 
 transferred to the metal which is then cut out. The part 
 which serves as a reflector is raised by placing the metal face 
 down on a sand bag, or on pitch, and with the pein end of a 
 chaser's hammer or with a pointed horn hammer, driving the 
 center down to the required depth. If the face is somewhat 
 irregular, it can be trued up by placing it on a block of 
 wood and going over it with a rawhide hammer. 
 
 The shelf on which the candle socket rests is formed 
 by bending the lower part of the sconce at right angles as 
 shown by the dotted line. The projections at 2, 3, 4, Plate 
 2pA, when bent into shape as shown on Plate 29 form the 
 supports for the candle socket. The projection at 5, Plate 
 2pA, when bent into shape serves as a bracket to support the 
 shelf. The candle socket is made from a strip of metal bent 
 into cylindrical shape with the emds riveted together. When 
 the socket has been riveted and holes drilled as indicated, the 
 sconce is finished according to taste and mounted on a back 
 of wood stained to harmonize with the color of the metal. 
 
 67 
 
SCONCE A. 
 
 o o o 
 
 MUNTEO 
 
 PLATE 29. 
 
 68 
 
SCPMCE A 
 
 7- 
 
 J 
 
 PATTERN 
 
 FR SCMCE. A 
 
 18 q 2O GAUGE METAl. 
 
 WHICH 
 AS REFLECTR RAISE.O 
 
 ON PITCH ft SAND BAG 
 
 AT 
 
 RIGHT AMGbLES 
 ON THIS LINE. 
 
 PATTBRN 
 
 FOR 
 CANOL& SOCKET. 
 
 PLATE 29 A. 
 
PLATE 30. 
 
 70 
 
SCONCE B. 
 
 A rectangular piece of metal is cut out about -^ inch 
 larger on all sides than the design calls for and given a 
 hammered surface with the pein end of a large hammer. 
 After the design has been transferred to the back of the 
 metal, it is then placed on pitch face down, and with a 
 suitable tool the lines are sunk at A and B, Plate 31, about 
 -j^", as shown in the section at C. It is then removed 
 from the pitch and, after cleaning, is put over a sand bag 
 face up, and with a rawhide hammer, the part that is to 
 serve as a reflector is concaved a little. 
 
 The candle socket is made like the pattern as shown at 
 D. It is bent cylindrical in shape and the ends are riveted 
 together, then the laps on either side are bent nearly at right 
 angles and serve to hold the socket in place. The cup is 
 made from a circular piece of metal hammered into a slightly 
 conical shape, E. A rod the length required is bent at right 
 angles with a shoulder left at each end. The bracket is 
 made next like the pattern F and bent into shape as at G. 
 
 When all the parts are finished, they are put together. 
 Place the rod in a vise with the short end up. The cup is 
 put over the pin at H, and also the socket, so that the pin 
 passes through the holes in both laps. The pin is then 
 headed up, holding all securely in place. The bracket is 
 next riveted to the back at K, through which the rod is put ; 
 the pin passing through the back is headed up at L. After 
 finishing, the sconce may be mounted on a wood back. 
 
 ^j+ 
 
B. 
 
 PATTERN foft / \ 
 
 SOCKET \X 
 
 PLATK 31. 
 
PICTURE FRAME. 
 
 This object is made as follows : Take a piece of metal 
 quite a little larger than the outline of the frame that is 
 to be made. Draw on this piece of metal the outline of the 
 frame and also the extensions which are folded back to give 
 the thickness necessary for the reception of the picture, 
 glass, and back, as shown at B. Have the side opposite to 
 that on which the drawing is done free from scratches as 
 it is to serve later as the front. Any decoration that is used 
 must be of the simplest sort. This decoration may be pierced 
 or in repousse. The frame here illustrated and the plate of 
 designs were intended for repousse as more satisfactory 
 results have been obtained by this process. After the 
 design for the decoration of the front of the frame has been 
 transferred to the same side of the metal as the outline, 
 it must be prepared for the repousse"* process. This is done 
 by placing it on a pitch pot. The pitch is softened enough 
 so that the metal will stick to it. After placing the metal on 
 the pitch, work a little of the pitch over the edges as this 
 will hold it more securely. It is then allowed to cool or 
 harden before working. With a suitable tool and hammer, 
 after the pitch is hard, follow the lines which make up the 
 design or decorative part of the frame. The lines should be 
 gone over lightly, slowly, and carefully at first until the 
 design is fairly well started; then they may be gone over 
 again, sinking them a little deeper each time until they 
 have been carried deep enough to give the design the required 
 relief on the face of the frame. For this part of the work 
 the tool should not be used as a punch, driving the metal 
 down in one place and then moving it to another and so 
 on, but it should be kept moving all the time and should 
 at the same time receive a repeated number of light blows 
 from the hammer. By so doing the face of the work will 
 be smooth, otherwise each blow from the hammer will show. 
 
 73 
 
PICTURE. FRAME 
 
 PLATE 32. 
 
 74 
 
If there is doubt as to the depth to which the lines 
 should be carried, the work may be taken off the pitch 
 occasionally, so that the face may be seen. It is not an 
 easy thing to reduce relief in this work, therefore it is better 
 to go carefully, working it up slowly. After the repousse* 
 part of the frame is done, clean it with kerosene and pickle. 
 
 The corners may then be cut out as at B, filed up 
 square, and beveled as in the box. The sides are then 
 bent back over a block of wood or metal, bringing the 
 corners well together. They are then soldered. A metal 
 saw is used tj make the opening, A, the edges of which 
 are then filed up square. 
 
 The back for this frame is made in the same way as 
 the front except that it is left perfectly plain. This should 
 be made to fit inside of the frame tight enough so that no 
 fastening will be needed to hold it in place. 
 
 A frame of this size and kind may be made to hang or 
 to stand. If it is to hang, a small ring may be made and 
 fastened to the back as shown at C. If it is to stand, a 
 support of some kind such as is* shown at D is needed. This 
 is made of the same thickness metal as the frame and may 
 be made in many outlines. This support may be made sta- 
 tionary by riveting it to the back, or hinged, which is much 
 better, as is shown at E and F. The hinge is made by 
 taking a piece of about ^" tubing and cutting three pieces, 
 making one of the pieces equal in width to the other two and 
 having the three equal in width to the top of the support. 
 The two short pieces are soldered to the back and the long 
 piece to the support. A piece of wire equal in diameter to 
 the hole in the tube is then cut and put in place which 
 hinges the back and support together. 
 
 The method of making the tubing used for the above 
 is described on page 115. 
 
 75 
 
PICTURE: FRAME DESIGNS 
 
 PLATE 33. 
 
SOLDERING. 
 
 A piece of silver solder, a slate slab such as is ordinarily 
 used for grinding ink, powdered or lump borax, and a soft 
 hair brush of some sort are all that is necessary for the 
 process of soldering in addition to what we already have. 
 
 The pieces of metal that are to be soldered must be 
 absolutely free from all foreign matter. To insure this the 
 joint is scraped bright with some sharp-edged tool. Care 
 must be taken to keep the fingers away from the joint as 
 any moisture or greasy substance will prevent the solder 
 from running. The best results are obtained only by being 
 extremely careful as to cleanliness throughout the process. 
 Being sure that the slab is perfectly clean, a little water is 
 put on it and the lump of borax is ground around until the 
 water becomes like thin cream. If powdered borax is 
 used a block of wood will answer as a pestle to grind the 
 borax to the right consistency. 
 
 The solder may be obtained any gauge, but about 20 
 answers for most purposes. After cutting the solder into 
 pieces about ^ of an inch long and about the same width, 
 drop them into the borax that has been ground to give them 
 a coating of borax and to remove any grease that may have 
 adhered to them. Coat the surfaces that are to be soldered 
 with the borax being careful to get no more borax about 
 than is necessary. Put the parts together and bind them 
 with No. 24 iron wire, not too tightly. The pieces of solder 
 are then lifted with the brush used for the borax or with a 
 pair of tweezers and placed next to the edge that is to be 
 soldered, about one inch apart. The object is then placed 
 on the annealing tray, which answers for soldering as well, 
 and with the blow-pipe it is heated, very slowly at first, until 
 the water has evaporated and the borax crystallized and 
 dissolved ; the flame may then be applied more directly and 
 the object brought to a soldering heat. If the heat is applied 
 
 77 
 
too quickly, it will throw off the solder ; and if heated hotter 
 than necessary it is liable to melt or burn the parts being 
 soldered, so the process demands the closest attention from 
 the start. 
 
 The object is then pickled, washed in clear water and 
 dried in the sawdust. 
 
 If the above directions are carefully followed good 
 results may be expected. 
 
 REPOUSSE OR EMBOSSING. 
 
 Repousse or embossing involves practically the same 
 principle as modeling in clay or wax, the only difference 
 being that metal is used as the material and that different 
 tools are employed. In this, as in clay or wax work, it is 
 desirable to bring certain parts of a design into relief; to do 
 this with metal the work must be placed on a substance 
 which will give some resistance and yet allow each blow 
 of the hammer or tool to make an impression. The sub- 
 stance commonly used for this purpose has the following 
 composition, in the proportions given: 
 
 Black pitch i Ib. 
 
 Tallow 3 teaspoonfuls. 
 
 Plaster of Paris ^ cup. 
 
 The pitch is put in some kind of dish (agate is good), 
 placed over a gas plate, and melted. The tallow is then 
 added and the plaster sprinkled and stirred in, the whole 
 being well mixed. It is then poured into the pitch pot, or 
 whatever it is to be used in. When used in hot weather 
 more plaster must be used. A pot, hemispherical in shape, 
 Figure 27, made of cast iron about J inch thick is generally 
 used. This, when placed on a chaser's pad or ring, Figure 
 27, may be turned at any angle, and is found to be a great 
 convenience. An ordinary 7" x 12" baking pan of iron 
 
 78 
 
serves the purpose, or a box may be made of wood, but 
 of course this is not so durable. 
 
 After allowing the composition to cool partly, yet 
 while soft enough to stick, the piece of work that is to be 
 embossed is placed on it, the right side next to the pitch. 
 It is then allowed to cool still more; when quite hard or 
 when it is difficult to make an impression on it with the 
 thumb nail, it is ready to work on. The design is next 
 drawn or transferred to the metal by the use of carbon paper 
 and then scratched on with a scratch awl to make the 
 drawing more permanent, as in going over the piece of 
 work the pencil or carbon lines are easily erased. 
 
 The tools necessary for this work may be made as 
 needed according to each individual design. There are a 
 few general ones that are always found useful, such as 
 those shown at Figure 12. Figure 28 shows a hammer 
 generally used for this work. 
 
 79 
 
FIGURE 27. 
 
Chapter VI. 
 RAISED FORMS 
 
 PLATE 34. 
 
 The first exercise in raising should be a form quite 
 simple in outline, Plate 35, A. A drawing or blue print 
 should be used showing the shape and dimensions and this 
 should be worked to as closely as possible. Next select a 
 piece of copper suitable in thickness for an object of this 
 size, in this case 20 gauge. The metal for raising must be 
 circular in shape and the diameter of the piece needed for 
 this bowl determined in the following way : 
 
 Take a piece of string, place it on the drawing or blue 
 print, starting in the center of the base, and follow the 
 curve as indicated at A, on Plate 35. This will give the 
 radius needed for describing the circle, which is 5^". The 
 circle is then cut out with the shears, after which another 
 circle is described on the metal for the base. All lines 
 made on the metal should be made quite lightly. 
 
 As a rule the copper comes from the rolling mill some- 
 what hardened so the next thing to do is to soften it by a 
 process called annealing. 
 
 Place upon the annealing tray, Figure 5, the circular 
 piece of metal already cut, and apply the flame from the 
 blow-pipe upon it until it becomes red hot. It is either 
 
 81 
 
RAISED FRMS 
 
 J 
 
 35. 
 
 82 
 
FIGURE 29. 
 
 allowed to cool off gradually or dipped in cold water and 
 then dried in the sawdust. 
 
 FIGURE 30. 
 
 Select an anvil the shape of which conforms somewhat 
 to the outline of the bowl and also to the curve of the base. 
 
 83 
 
It is often necessary to use several anvils to complete an 
 object, but a little experience will help to decide which 
 should be used first. The No. i anvil on Plate i seems to 
 be about what is needed for this particular piece of work. 
 The anvil is placed in the vise and the metal held in 
 the left hand against the anvil so that the end of the anvil 
 
 PLATE 36. 
 
 comes directly under the circle which represents the base, 
 as shown at Figure 29. With a raising hammer, No. 3 on 
 Plate 2, begin hammering with light blows at first, following 
 the circle closely the first time around until the base is well 
 started. This operation is continued at each turn striking 
 a little above the previous blows until the top is reached 
 when it will take the shape as shown at Figure 30. Some- 
 times a horn or box-wood mallet is used to start a piece 
 of work. As the hammering hardens the metal it is neces- 
 
 84 
 
sary to anneal it each time after going over the surface. 
 After this is done, we proceed as at first until the required 
 form is obtained as called for by the drawing. 
 
 Care must be taken not to stretch the metal any more 
 than can be helped as the more it is stretched the thinner 
 it becomes. 
 
 The surface and outline of the bowl left by the raising 
 hammer is quite irregular and needs to be trued up by a 
 process called planishing; for this a No. 2 or 4 hammer, Plate 
 2A, with a polished face and somewhat broader than the 
 raising hammer is used. By going over the surface with 
 this hammer all irregularities are removed leaving a refined 
 curve and a finished surface. 
 
 If the bottom gets a little out of shape during the opera- 
 tion of raising, it can be easily brought back again by 
 using a No. 5 or 6 stake, Plate i, and a No. 2 hammer, 
 Plate 2A. 
 
 During the raising process the top edge has also become 
 very irregular and must novt be trimmed off level. Place 
 the bowl on some level surface (a surface plate will give 
 the best results) and with the point in the surface gauge 
 describe a line about the top making it the desired height, 
 Figure 31. A small pair of shears is then used to trim off 
 the top to the line, after which a file is used to finish the 
 edge, leaving it perfectly smooth. A piece of fine emery 
 cloth may be used at the last. 
 
 The principle of raising as here described applies to 
 forms of all sorts with few variations. Where a form is to 
 be raised with the top edge turned in as at B, Plate 35, an 
 anvil similar to the outline must be used. In raising a 
 form like C, Plate 35, the sides are carried up as shown by 
 the dotted lines and then the form is reversed and the 
 neck part drawn in. A deep form is raised more quickly 
 if, at the start, the metal is placed on a crimping block 
 and the edge crimped. 
 
 85 
 
PLATE 37. 
 
 86 
 
In all raised work after one becomes acquainted with 
 the material, it will be found that the metal can be forced 
 in any direction, giving thickness at the bottom, at the sides, 
 or at the rim, as desired. 
 
 FIGURE 31. 
 
 After raising a form like C, Plate 35, it may be desired 
 to increase the diameter a little at o-o, where an anvil 
 cannot be used; or, if the form is satisfactory it may be 
 necessary to raise certain parts of it to carry out the decora- 
 tion called for by the design. This is done by the use of 
 the snarling-iron, made as illustrated at Figure 32, which 
 
 87 
 
PLATE 38. -5^ 
 
 88 
 
shows the general outline only, as the ends vary in form 
 according to the work they are to do. One arm of the iron 
 is held in the vise as at Figure 33. The form is then placed 
 over the end and held with the left hand while, with a 
 hammer in the right hand, the iron is struck quite near 
 
 FIGURE 32. 
 
 the end in the vise which causes the other end to rebound. 
 This serves the same purpose as a direct blow from a ham- 
 mer, except that it works much ore slowly. 
 
 PLATE 39. 
 
FIGURE 33. 
 
40. 
 
 
 
PLATE 41 
 
 Q2 
 
Chapter VII. 
 
 PORRINGER. 
 
 The making of a porringer serves as a very interesting 
 exercise ; and it is so simple in form that it can be raised after 
 very little experience. A suitable handle must also be 
 designed, sawed out and soldered to the body. 
 
 After the bowl has been raised into shape according to 
 the design, the top is cut and filed off level. When the 
 handle has been sawed out and the edges trued up, it is 
 fitted to the bowl part. Mark on the edge of the bowl the 
 place where the handle is to be fitted and fit it at that place. 
 
 FIGURE 34. 
 
 The edge of the bowl where the handle is to be soldered 
 should be filed or scraped bright before the soldering process 
 is begun. 
 
 Invert bowl and handle and lay them upon a level block 
 of charcoal, as shown at Figure 34. Four or five wire nails 
 or pieces of iron wire forced into the charcoal keep the 
 handle and bowl together. The borax is applied and suffi- 
 cient solder to make a good joint. Use no more solder 
 
 93 
 
PRRiriGEQ 
 
 PLATE 42. 
 
 94 
 
HANDLES 
 
 A 
 
 PLATE 43. 
 
 95 
 
than is necessary, as it will have to be removed by filing 
 and the less filing that is done about such a joint the better 
 the work will be. After the exercise has cooled, it may be 
 pickled, washed and dried. 
 
 While the heat is being applied for soldering, the bowl 
 is at the same time annealed and becomes so soft that it 
 is easily bent out of shape. The bowl of course must be 
 hardened again; this is done by placing it on an anvil 
 that conforms to the outline of the bowl and hammering 
 lightly over the surface. The handle is also treated in the 
 same way. 
 
 Any necessary filing or finishing is now done and the 
 porringer is ready to be polished. 
 
 If we choose, the handle may be riveted on, or it may 
 be made of the same piece as the bowl by allowing enough 
 metal where the handle is to be, to be bent back when the 
 bowl is raised into shape. 
 
i 
 
 1 
 
 m 
 
 
 I ' 
 
 PLATE 44. 
 
 97 
 
TRAYS OR PLATES. 
 
 Trays or plates may be made by working 
 the bowl part over an anvil or by driving it 
 into a sand bag until the required depth is 
 obtained, or a form may be turned out of a 
 block of wood and the metal driven into it. 
 After the bowl part has been shaped it may 
 be placed on the pitch block and the outline 
 trued up with a chasing tool. The edge of the tray or 
 plate may be decorated either by piercing, embossing, 
 etching, or enameling. 
 
Chapter VIII. 
 INK POT. 
 
 This exercise is carried out as follows: 
 A form is first raised like the lower part 
 of the pot inverted, which is nothing 
 more than a bowl so far. A hole with 
 a diameter a little less than the diameter 
 the ink well is then sawed with a piercing saw in 
 the bottom of this bowl, as at A. After this a circular 
 piece of metal is cut equal in diameter to the top of this 
 bowl plus J of an inch, and soldered on G. By making 
 this piece J inch greater than the diameter of the bowl, the 
 soldering process becomes much easier. After the solder- 
 ing is finished, the projecting edges may be filed off to the 
 edge of the bowl. The bowl is then inverted so that it rests 
 on its greatest diameter H, and it becomes an ink pot. 
 
 of 
 
 FIGURE 35. Dapping tools in use. 
 
 The cover, J, is made by taking a circular piece of metal 
 and raising the sides in the same way as in the bowl except 
 that the design calls for the sides at right angles to the 
 
 99 
 
INK POT 
 
 OF THESE SOLDEBEO TOGETHC 
 KNOB on coven 
 
 
 
 RING 
 
 CLDERE.D ON TO 
 
 TO HOLD CVE.Q 
 
 IN DUACE 
 
 IMK WELL MAV 
 COVELO RAISED BE. OF feuASSoR 
 
 BOWL 
 
 HOLE CUT IN BOTTOM 
 WHEN REVERSED FORMS BASE 
 OF POT 
 
 PLATE 45. 
 
 100 
 

 PLATE 46. 
 101 
 
base. The curve is obtained by placing it on a sand bag 
 and driving it out from the inside to the required height. 
 From a strip of copper 20 gauge and j 3 ^ inch wide, C, 
 make a ring, D, equal in diameter to the inside of the 
 cover. Solder the ends of the ring together and, after 
 shaping it over a circular stake, fit and solder it to the base, 
 as shown in the section at E. 
 
 This keeps the cover in place. The knob, K, on the 
 cover is made of two hemispheres, L, by use of the dapping 
 block and tools, Figures 14 and 35. The two pieces are 
 soldered together, filed or finished about the joint, and 
 soldered to the cover, F. After dipping the different parts 
 in the pickle, then washing them in clean water, and doing 
 a little filing here and there about the joints to remove 
 surplus solder, the ink pot is ready for finishing. This may 
 be done by polishing, bronzing, or oxidizing. 
 
 The ink well proper should be made so that it may be 
 removed. It should be of glass or some other material 
 easily cleansed. 
 
 102 
 
INK PT 
 
 PLATE 47. 
 
 103 
 
SEALING WAX SET. 
 
 THE WAX POT. 
 
 The wax pot is raised into shape as described in Chap- 
 ter VI on raised forms. Instead of cutting the top off 
 level, a nose is formed as shown at A, Plate 48, which will 
 pour well. A handle is designed, sawed out, and riveted 
 on at the position indicated at B. 
 
 THE LAMP. 
 
 The body of the lamp is made by raising a bowl to 
 conform with the design; after cutting a hole in the bottom 
 it is inverted, C, and the bottom is soldered on at D. A 
 shallow cup is raised, E, a hole cut in the bottom to allow 
 for the lamp proper, and soldered to the body. Legs as 
 shown at F, and held together by a strip, H, are riveted to 
 the side of the body at G; on these the wax pot rests. The 
 lamp proper or alcohol well, which is filled with asbestos, is 
 raised with the edges turned out, as at N, which hold it in 
 place as shown in the section at J. The part at K serves as 
 a burner and is placed loosely in the cup, E, allowing its 
 removal at any time. 
 
 SEAL. 
 
 A monogram, letter or design of some sort must first 
 be decided on. When this has been done, the design is 
 transferred and scratched on a piece of 22 or 24 gauge 
 copper. If the design has a right and wrong to it, the 
 reverse should be transferred to the metal so that, when 
 stamped, the right side will appear. The copper is then 
 placed on the pitch and when cool enough to work upon, 
 the lines are followed with a chasing tool, sinking them to 
 the required depth. Care must be taken to avoid sharp 
 edges or any undercutting, if the seal is to free itself easily 
 from the wax. A handle for the seal may be made of wood 
 as shown on the plate ; the seal is cut and attached as shown 
 at Section on L. M. 
 
 104 
 
SEALIhG WAX SET 
 
 OIL. WELL 
 
 PLATE 48. 
 
 105 
 
WATCH FOB. 
 
 There are many ways of making watch fobs. 
 A very simple one is made as follows: First 
 make a drawing of the fob with some suitable 
 pendant as at A, Plate 49. The pendant design 
 is next transferred to a piece of 12 gauge copper, 
 then sawed out and filed into shape. This must 
 be done with perhaps more care than on larger 
 work as it is to be more closely scrutinized. 
 The parts of the fob must be made to conform 
 with the width of the ribbon that is to be used. 
 A bar must be made for the top, wide enough 
 for the ribbon to be passed through and fast- 
 ened. This bar is made by cutting a slot in 
 a piece of metal of the same gauge as the 
 pendant, or by bending a piece of wire around a piece 
 of metal about ylg- of an inch thick and the width of the 
 ribbon, making the ends meet in the center of one of the 
 long sides. If more than one of these pieces is needed, 
 the wire is wound around the metal as many times as there 
 are pieces required and sawed apart. The ends are then 
 bent to come in line with each other and soldered. The 
 piece is again placed over the metal and, with a rawhide 
 hammer, worked into shape. The links that connect the 
 bar and the swivel are made as all links are made. Take a 
 piece of iron or steel wire the size required and also a piece 
 of copper ; place one end of the steel wire and one end of the 
 copper wire in a vise so that the steel wire stands vertical. 
 Then wind the copper wire around the steel wire spirally 
 with as many turns as there are links required. Now take it 
 out of the vise and slip it off the steel wire, which leaves it in 
 the shape of a spring. Hold it with the thumb and forefinger 
 of the left hand and, resting it against the bench pin, saw 
 the links off with a fine saw one at a time until there are as 
 many as needed. 
 
 106 
 
WATCH FBS 
 
 PLATE 49. 
 
 107 
 
PLATE 50. 
 108 
 
One of these links is soldered to the bar that 
 holds the ribbon and one to the top of the pendant ; 
 the others are linked together to form the short 
 chain at the top. To connect the pendant to the 
 ribbon, two larger links are needed which are 
 made in the same way as the small ones. All 
 the links may be soldered or not. The links that 
 are soldered to the bar and to the pendant should 
 be filed flat to make the point of contact 
 greater. This insures a more secure joint. When 
 soldering such small pieces the charcoal block 
 is indispensable, for depressions are easily made 
 in it where necessary. The parts are placed on the block 
 in position and a small mouth blow-pipe is used ; with this 
 the flame can be more delicately applied. 
 
 When the different parts are completed, 
 they are pickled, rinsed, dried, and polished, and 
 then put together with the ribbcn. 
 
 Fobs are sometimes mad$ entirely of metal 
 as B, Plate 49. In this slots are sawed in three 
 or more bars of metal which are linked together 
 with links made from the same thickness metal 
 as. the bars. The pendant and the swivel are 
 also connected with the same kind of links. 
 
 ~r 
 
 109 
 
Chapter IX. 
 
 SPOONS, SUGAR TONGS AND 
 TEA SCOOPS. 
 
 These exercises are easily carried out after a little 
 experience. No steps are taken that have not already been 
 described, except in the case of forming the bowl of the 
 spoon. This is done by taking a piece of lead and making 
 a depression in it the size and shape of the bowl required. 
 A piece of hard wood is shaped on the end grain to fit the 
 depression made in the lead. The metal is placed over the 
 depression and the wood shape placed on top of the metal; 
 it is then driven into the form by using a hammer. This 
 will give the general shape of the bowl which may be trued 
 up later by sawing and filing. 
 
 no 
 
SPMS 
 
 PLATE 51. 
 
 Ill 
 
SUGAR JNGS 
 TEA 5CPS 
 
 PLATE 52. 
 
 112 
 
RIVETS. 
 
 The making of rivets is quite important as it is impos- 
 sible to find in the market the variety in size and shape of 
 head that each piece of work demands. Where rivets with 
 a wire -|-" or less are needed, they may be made as follows: 
 Take a piece of iron or steel, A, Plate 53, thicker than the 
 desired length of the rivet and drill a hole through it having 
 its diameter a little greater than the wire of the rivet. Take 
 a piece of copper wire of the required diameter and about 
 ^" longer than the thickness of the iron. Place the wire 
 in the hole and the iron on some smooth metal surface, 
 B. With a hammer make a burr of the wire that projects 
 above the iron. Then reverse the iron and drive out the 
 rivets. This gives what is shown at D. The rivet is then 
 cut off the required length, placed in position and headed up. 
 The head may be made conical, I, hemispherical, J, pyra- 
 midal, K, or square, L, in shape. It may be headed up 
 simply with the hammer, or with a rivet header, M. 
 
 When necessary, the process may be reversed and the 
 head made first ; but when made in this way, a rivet block is 
 needed to rest the head in while making the burr. 
 
 The rivet may be made more of a decorative feature 
 by sawing out of sheet metal some suitable design as shown 
 at P, Q, R. Drill a hole in the center the size of the rivet 
 and then use any ordinary rivet head. Nails may be made 
 by the same process, headed and pointed as at S and 0. 
 
RIVETS 
 
 PLATE 53. 
 
TO DRAW WIRE AND SMALL TUBING. 
 
 Cut a piece of copper the length required, having the 
 width about three times the diameter of the tube that is to 
 be made. The edges must first be made parallel by filing. 
 
 36. 
 
 7 
 
 FIGURE 37. 
 
 In a block of maple or some hard wood, with a wood file, 
 make a groove as shown at Figure 36. Place the strip of 
 metal over the groove and, with a somewhat pointed ham- 
 
mer, drive the metal into it until it takes the shape of a V. 
 Figure 37 A. Then place it on the flat part of the block and 
 strike on the edges with the hammer, turning them in until 
 they meet, as at B and C. 
 
 A draw plate is then placed in the vise, Figure 38. 
 
 FIGURE 38. 
 
 After pointing the tube a little, the end is placed in one of 
 the larger holes and drawn through. This will bring it 
 somewhat into shape. Repeat this operation by drawing 
 the tube through the hole the next smaller in size and so on 
 till the tube is of the diameter required. 
 
 Wire may be drawn in the same way. Rectangular, 
 triangular and square drawplates may be obtained as well 
 as circular ones. 
 
 POLISHING. 
 
 To polish work, a cloth or felt buff is placed on a lathe 
 or a polishing head. With a little cut-quick and rouge 
 objects may be brightened by holding them against the wheel. 
 
 116 
 
STAMPING WORK. 
 
 The marking of work so that it will be known to whom 
 it belongs and doing it in a neat and workmanlike manner 
 is sometimes a problem. Using a gummed label with the 
 name written on it has been tried, but the labels frequently 
 come off. The name has been scratched with a sharp- 
 pointed tool, but it is not an easy thing to do and certainly 
 
 oao 
 
 FIGURE 39. 
 
 does not look well. The way described below, however, has 
 proved very satisfactory. Have each pupil design a little 
 trade-mark of his own, and work it out on the end of a piece 
 of tool steel, J inch or ^ inch square, round or hexagonal. 
 This can be done by a little filing, perhaps the use of a drill if 
 the design should call for it, and a little emery paper to take 
 
 117 
 
off all sharp edges. This serves as a stamp with which he 
 may mark all of his work. The instructor has a book with 
 the names of the pupils, and after each name he may stamp 
 this mark and thereby register it so that he may tell at 
 any time to whom work belongs. 
 
 Figure 39 shows a stamp and a few suitable designs. 
 
 COLORING. 
 
 The most satisfactory color that can be given copper 
 is a bronze which comes naturally if left to come in contact 
 with varying atmospheres. If the object has a good pol- 
 ished surface in the first place the color seems to become 
 richer as time goes on. 
 
 A color that is satisfactory in many cases is obtained 
 in the following way : 
 
 Place in a porcelain dish and bring to a boiling heat, 
 liver of sulphur, J oz., and water, i qt. Dip the object 
 to be colored in this solution while hot and then rinse in 
 clean water. This gives the object a very dark color. 
 Take a little powdered pumice stone on a piece of cloth 
 and rub over the surface lightly, bringing the copper color 
 to the surface where desired. 
 
 A greenish color is given copper by submitting the 
 object to the fumes of spirits of ammonia. Beautiful colors 
 are obtained by heating the object to different degrees, over 
 a gas plate, but these results are not permanent. 
 
 118 
 
Chapter X. 
 
 ENAMELING. 
 
 Enamel may be applied to metal objects and add a 
 great deal to their value and attractiveness if used sparingly. 
 The enamels most used are transparent and opaque; the 
 transparent reflects the color of the metal adding a great 
 deal of life to the work, the opaque gives color on the sur- 
 face only. 
 
 The process, as described in this chapter, touches but 
 the elementary stages of the art that are within the possi- 
 bilities of high school work and possibly the upper grammar 
 grades. 
 
 Enamel may be applied by any of the following 
 methods : 
 
 First: By covering the entire surface of the object 
 with enamel. 
 
 Second: By using a flat wire which is bent into sec- 
 tions the shape of the design and soldered to the object; 
 the wire forms partitions to receive the enamel. 
 
 Third: By cutting away the design by the use of 
 engraving tools, making channels about ^ of an inch 
 deep to receive the enamel. 
 
 Fourth : By using a chasing tool either from the front 
 or from the back of the work, forming raised or sunken 
 partitions to receive the enamel. 
 
 The first and second methods are difficult ones, requir- 
 ing a great deal of experience in handling metal and enamel 
 to obtain satisfactory results. 
 
 The third and fourth methods are comparatively simple 
 and are within the possibilities of those for whom this 
 book is intended. 
 
 In the third method the design is first transferred to 
 the object by the use of carbon paper and then made more 
 
 119 
 
permanent with a scratcher. The design is cut out with 
 the engraving tools, Figures 13, 40 and 41, about -^ of 
 an inch deep. All edges should be kept as smooth as possi- 
 ble and the channels should be uniform in depth. For 
 convenience in holding, if the work is small, it may be 
 fastened to a little pitch or wax spread on a block, cr it may 
 
 FIGURE 40. 
 
 be placed on the pitch block as described under embossing 
 on page 78. The handle of the tool is held in the palm of 
 the hand, and the thumb, placed within an inch of the point, 
 serves as a guide while cutting, Figures 40 and 41. By 
 wriggling the tool a little from one side to the other, greater 
 progress is possible. 
 
 In the fourth method the design is transferred to either 
 side of the object. After placing it on a pitch block, depres- 
 sions may be made from the face or lines raised from the 
 under side. 
 
 After the partitions have been formed, the object must 
 be thoroughly cleaned and brightened by dipping in a bath 
 
 120 
 
of nitric acid. After dipping, which should be done quickly 
 on account of the rapid action of the acid on the metal, it 
 should be rinsed thoroughly in clean water. This process 
 removes all dirt and leaves the metal bright. After this 
 cleaning, the fingers should not touch any part of the object 
 that is to receive the enamel. 
 
 To prepare the enamel for application it must be ground. 
 First break it into small pieces with a hammer. To keep 
 it from flying about, it is well to roll it up in a piece of heavy 
 wrapping paper. It is then placed in a porcelain mortar and, 
 with a little water and a pestle, it is ground about as fine 
 as fine sand. The water is poured off and the enamel 
 rinsed several times in clean water until the milky sub- 
 stance disappears. Unsatisfactory results often come from 
 lack of care in washing the enamel. After washing it is 
 removed from the mortar to a small saucer by the use of 
 a palette knife. While still wet, which allows its being 
 spread more easily, the enamel is applied to the object with 
 a soft hair brush. i 
 
 All of the enameling suggested in this book may be 
 done with an ordinary blow-pipe or a Bunsen burner, but 
 more satisfactory results are obtained with a kiln. 
 
 To apply the process to a definite piece of work, the 
 steps necessary in enameling the Stamp Box cover on Plate 
 24, No. 3, will be taken up. It will be assumed that the box 
 is made, ready for the application of the design as shown 
 on the plate. The design is first transferred to the cover 
 and then cut away. It is cleaned with kerosene and dipped 
 in nitric acid as before explained. After being thoroughly 
 washed, it is ready for the enamel. In applying the enamel 
 care must be taken not to get particles outside of the chan- 
 nels. After the moisture has evaporated and the enamel 
 has been fired it settles considerably so that this must be 
 allowed for by rounding it above the surface. After the 
 enamel has been applied, the strip that is soldered to the 
 
 121 
 
under side of the cover must be protected from the heat 
 before firing, as the temperature required for fusing the 
 enamel is several times greater than that required for 
 soldering. The soldering is protected by placing a paste 
 made of yellow ochre and water about the soldered joint 
 
 FIGURE 41. 
 
 both ^inside^and outside the strip. The more of this clay 
 we bank about the joint the more protection there is. When 
 the above has been done, the object must be left in some 
 warm place until the moisture from both the enamel and the 
 clay is thoroughly evaporated. It is then ready for firing. 
 If the blow-pipe or the Bunsen burner is used, take a tripod 
 and place a piece of heavy iron netting over the top and 
 
 122 
 
place the object on top of the netting. The flame should 
 always be applied to the under side. Watch the enamel 
 as the firing goes on and when it settles and glazes the heat 
 should be withdrawn. The object should be allowed to 
 cool very slowly. Hurrying at this point only increases 
 chances for accidents. If, when cool, it is found that the 
 channels in places are not full of enamel, the object is again 
 cleaned in the nitric acid, more enamel applied, and fired 
 as at first. The cover is now ready to finish. The enamel 
 may be stoned down level with the top with an emery 
 stone, or it may be left just as it comes from the fire in the 
 first place. If stoned down, it is necessary to fire it again 
 just enough to give it a glazed surface. 
 
 The directions as given apply to either transparent or 
 opaque enamel; but, in addition to the above, when trans- 
 parent enamel is used, the surface to be enameled must 
 first receive a coating of flux to retain the transparency. 
 The flux is treated and applied just the same as the enamel 
 already described. 
 
 The upper half of Plate 26 shows boxes treated with 
 enamel. 
 
 123