HANDICRAFTS FOR 
 THE HANDICAPPED 
 
Handicrafts for the 
 Handicapped 
 
 BY 
 
 HERBERT J. HALL, M.D. 
 
 AND 
 
 MERTICE M. C. BUCK 
 
 Authors of "The Work of Our Hands'* 
 
 ILLUSTRATED WITH SKETCHES 
 
 BY THE AUTHORS AND 
 
 PHOTOGRAPHS 
 
 NEW YORK 
 
 MOFFAT, YARD & COMPANY 
 1917 
 
A 
 
 COPYRIGHT, 1916 
 BY MOFFAT, YARD & COMPANY 
 
 Second Printing, November, 1917 
 
INTRODUCTION. 
 
 In a former volume, "The Work of Our 
 Hands," the authors have studied the advance 
 which has been made along industrial lines in 
 the hospitals and asylums of this country. The 
 present volume is intended as a text book of a 
 few crafts which have proved to be of special 
 value to handicapped workers outside the in- 
 stitutions. The directions given are elaborate 
 and detailed as far as possible so that the indi- 
 vidual worker may be able to study out and 
 practice a vocation for himself. The book will 
 also be found of value to crafts workers who 
 are dealing with handicapped labor in the vari- 
 ous institutions ; and in the private practice of 
 physicians who realize that a patient at work is 
 a patient half cured. 
 
 The subject of occupation for the handi- 
 capped has fortunately received an increasing 
 amount of consideration in the past few years. 
 The time is coming before long when the mere 
 
vi INTRODUCTION 
 
 fact that a man is partly disabled will not debar 
 him from the advantages of labor. He may 
 not be able to pursue his usual work, but a com- 
 petent system for the benefit of the handi- 
 capped will promptly secure him a chance to 
 work at something, even though it brings him 
 half a loaf instead of a whole one. Not only 
 are hospital^ and asylums providing suitable 
 work for their partly disabled charges, but 
 there is on the way a larger movement which 
 will some day meet in really adequate fashion 
 the needs for the handicapped everywhere. 
 
 There are two principal reasons why an in- 
 jured man should be given something to do 
 as soon as possible after his injury. The first 
 and perhaps the most pressing reason is that 
 he should not degenerate and become a chronic 
 invalid as he is very likely to do when his facul- 
 ties are not used. The second reason is di- 
 rectly in the interest of private and public 
 economy. According to our present system of 
 compensation the injured employee often re- 
 ceives through the insurance companies a cer- 
 tain proportion of his wages while he is dis- 
 abled. It has been found that the time of dis- 
 ablement is often unnecessarily prolonged by 
 
INTRODUCTION vii 
 
 the disinclination or the apparent inability of 
 the patient to work again. This is not always 
 the patient's fault because in many cases the 
 initiative fails and the injury may easily be 
 such as to make possible progress difficult. It 
 has been suggested that experimental work- 
 shops be provided covering a variety of trades ; 
 workshops under medical supervision where 
 the sick or injured may be given instruction 
 and help along the lines of returning efficiency. 
 In these shops it would soon become evident if 
 the old trade could ever be used again, and it 
 would also be possible in many instances to 
 adapt the individual to some new occupation. 
 The experimental workshop at the Massa- 
 chusetts General Hospital has already demon- 
 strated in a number of cases the soundness of 
 this idea. During the past year one of the lia- 
 bility companies paid indemnity for many 
 months to a young woman who had received 
 a cut across the palm of the hand. This girl 
 happened to be of an hysterical tendency, so 
 that beside the actual difficulty of working with 
 stiffened tendons after the cut had healed, she 
 would become hysterical at the slightest manual 
 effort and progress would cease. She was in- 
 
viii INTRODUCTION 
 
 troduced to the workshop which is a part of the 
 hospital organization. She realized that she 
 was under medical supervision and was not so 
 much afraid as she would have been in other 
 circumstances. She was given, more or less 
 under protest, a little simple work to do in con- 
 nection with the flower pot industry which is 
 being carried on at the hospital. At first she 
 could not use the injured hand at all, but 
 worked with the other. By degrees it became 
 convenient for her to steady the work with the 
 injured hand, and finally to perform slight 
 progressive motions with it. In the course of 
 a few weeks she was using the hand satisfac- 
 torily and has since gone back to her old em- 
 ployment. The unnecessary delay was in no 
 sense the fault of the patient who might never 
 have been able to use the hand except through 
 some such gradually progressive and carefully 
 guarded method as this. A man, the subject 
 of mild multiple arthritis, had been obliged to 
 give up his work as a cooper. It was evident 
 that he could not for a long time at least go 
 back to that rather strenuous occupation. He 
 had been given all kinds of the regular treat- 
 ment including massage, electrical, and the 
 
INTRODUCTION ix 
 
 Zandar machines, without much improvement. 
 In the shop he began working at fairly simple 
 tasks requiring slight motions of the hands. 
 The interest in the work became considerable 
 and by degrees he was able to increase the mo- 
 tions of his joints until finally he was equal to a 
 full day's work at a special cement working oc- 
 cupation. He has since found permanent and 
 lucrative employment in an outside shop doing 
 the same kind of work. The reason for his im- 
 provement is at first not evident because the 
 stiffened joints of rheumatism are supposed to 
 be very difficult to relieve. The fact was that 
 the man without realizing it was protecting 
 his joints against the pain of motion. He was 
 afraid to use them as much as he could. The 
 interest of the work overcame that fear and 
 the joints were at once more effective. Grad- 
 ual use overcame most of the remaining diffi- 
 culty. These are, of course, especially favor- 
 able cases but they are typical of a great many 
 that could be benefited and even restored to full 
 usefulness by the use of modified occupation 
 which is at first easily within the compass of 
 crippled joints and minds. 
 
 It is, of course, evident that the restoration 
 
X INTRODUCTION 
 
 of disabled workmen to even partially remu- 
 nerative labor means the relief of economic 
 strain. The time has come, if it is not already 
 here, when the demands upon the family, the 
 state, and upon industries for charitable or 
 semi-charitable support of injured and dis- 
 abled workmen will be a serious burden. In 
 the workshop of the Massachusetts General 
 Hospital it has been possible through the sale 
 of manufactured products to pay the men and 
 women employed in making the cement flower 
 pots a dollar a day during the time of partial 
 disability. A considerable proportion of them 
 have been graduated into better jobs. The 
 workshop has become in a small way a labora- 
 tory where part time workers can be studied 
 with the idea of finding new occupations and 
 of reducing the time of disability. 
 
 The principle which applies so clearly to the 
 large industrial problems applies also with 
 equal force to the individual who has failed in 
 life and who needs to be put on his feet. This 
 individual problem involves not only the press- 
 ing financial difficulty but the moral situation 
 as well. Few of us are able to be idle success- 
 fully. Prolonged idleness almost always means 
 
INTRODUCTION ad 
 
 unhappiness and degeneration. Thousands of 
 men and women throughout the country who 
 have failed in their first attempt at livelihood 
 need to be studied and directed into possible 
 channels of success. A sort of revocational 
 system is needed. Every one recognizes the 
 advantages to be gained from vocational study 
 and training in youth. Is there not even a 
 greater need of similar study and direction 
 when in spite of early hopes and ambitions fail- 
 ure has come whether through illness or acci- 
 dent or through unfortunate choice of occupa- 
 tion? 
 
 The work cure idea has advanced very rap- 
 idly in the past few years, especially in the san- 
 atoria for the treatment of nervous exhaustion 
 in its various forms. It has become evident 
 that the disability of nervous exhaustion, real 
 and undeniable as it is, may be rapidly over- 
 come in a great proportion of the cases by sys- 
 tematic work planned in such a way as to avoid 
 overstrain and discouragement. It has been 
 found that many of the symptoms of nervous 
 exhaustion, the lack of initiative, the sense of 
 fatigue, irritability and fear, will be modified 
 in a most astonishing manner when the patient 
 
xii INTRODUCTION! 
 
 has become efficient along some simple line of 
 work. Of course, the work must be different 
 from that which has been customary. Among 
 brain workers the work must be largely physi- 
 cal; and among those who have worked with 
 their hands, it must usually be simpler and 
 more primitive than that which has produced 
 the fatigue. In connection with ordinary med- 
 ical treatment and with baths and special sana- 
 torium management, systematic work will give 
 a sure foundation for mental and nervous con- 
 trol. A man who has given out in business 
 comes to the sanatorium. Instead of being al- 
 lowed to worry and fret about his business, he 
 is given some simple work to do. Perhaps he 
 becomes an amateur blacksmith or a hand 
 weaver. The mental strain is relieved, the phy- 
 sique improves, and the cure is often perma- 
 nent. Beside that, the patient has acquired a 
 new interest, an avocation which will always be 
 useful to him as an offset against mental and 
 nervous fatigue. 
 
 The casual reader may wonder how a liveli- 
 hood is to be made from the crafts described in 
 this book, and it undoubtedly is true that only 
 in occasional instances will these crafts prove 
 
INTRODUCTION xiii 
 
 wholly self supporting. But if they help to 
 keep the wolf from the door, if they restore 
 confidence and courage, if they do in some 
 measure reduce the burden of public and in- 
 dustrial obligation to the handicapped, they 
 will serve a most valuable purpose. Because 
 the book is intended for the use of pupils as 
 well as teachers, its phraseology has been kept 
 simple and untechnical as far as possible. 
 Some of the crafts described can be success- 
 fully carried on without trained teaching, but 
 it is becoming increasingly possible to obtain 
 teachers for the handicapped. The sanatorium 
 workshop at Marblehead, Massachusetts, un- 
 der the control of Dr. Hall, is training teachers 
 as fast as possible to meet the needs of hospital 
 and asylum industries. Other institutions 
 should take up this normal-school idea so that 
 in days to come there will be no lack of skilled 
 direction for handicapped labor. Patients 
 themselves may easily become teachers and in 
 this way succeed in saving not only themselves 
 but many others from the dangers and positive 
 harms of idleness. In all large cities there are 
 craftsmen who will for a consideration give 
 lessons. Usually they have not the patience to 
 
xiv INTRODUCTION 
 
 teach invalids but it should be possible for pros- 
 pective teachers to obtain a knowledge of weav- 
 ing, or bookbinding, for instance, so that they 
 may become teachers of invalids. 
 
 The writers take pleasure in acknowledging 
 the valuable assistance of a considerable group 
 of craftsmen and designers, all of whom are 
 mentioned in "The Work of Our Hands." 
 Acknowledgment is also made to the Massa- 
 chusetts General Hospital for the privilege of 
 referring to cases treated there. 
 
 Thanks should also be extended to the 
 Craftsman Publishing Company for the cour- 
 tesy of reproducing both printed matter and 
 illustrations. 
 
CONTENTS 
 
 PAGE 
 
 INTRODUCTION ...,..,.. ,., ,., w .. v 
 
 GENERAL SUMMARY . ,. ... ,., ,., , ,., ,., . 3, 
 
 CHAPTER 
 
 I BASKETRY ...... 7 
 
 a. Woven Baskets 8 
 
 b. Sewed or Coiled Baskets . ... 20 
 
 II CHAIR SEATING . 83 
 
 a. Caning Chairs 88 
 
 b. Rush Seating 89 
 
 III NETTING .... . , 4-5 
 
 IV WEAVING 59 
 
 a. The Old Looms . . 65 
 
 b. Putting on the Warp 68 
 
 c. Adjustment of Harness for Rag Rug 
 
 Weaving 72 
 
 d. Starting the Weaving 75 
 
 e. Pattern Weaving 78 
 
 V BOOKBINDING 83 
 
 a. Albums, Portfolios and Guest Books . 84 
 
 b. The Rebinding of Old Books ... 99 
 
CONTENTS 
 
 CHAPTEB PAGE 
 
 VI CEMENT WORKING 115 
 
 VII POTTERY MAKING 135 
 
 VIII LIGHT BLACKSMITHING 143 
 
 IX! APPENDIX. LIST OF BOOKS ON CRAFTS AND 
 
 DEALERS IN CRAFT WORK SUPPLIES , 149 
 
PHOTOGRAPHIC ILLUSTRATIONS 
 
 FACING 
 PAGE 
 
 Potato Basket. Melon-Shaped Basket. Oblong 
 
 Flower Basket. Drop Handle Flower Basket . 12 
 
 Baskets for Holding Cut Flowers 14 
 
 Jardinieres and a Cut Flower Holder . . . . 16 
 
 Glass-bottomed Tea Tray and Small Flat Baskets . 18 
 
 Types of Sewed and Twined Baskets .... 20 
 
 Sewed Basket in Pima Style. A Washoe Basket 
 
 Made by Dat-So-La-Le 22 
 
 Example of Twined Weaving Used by the Porno 
 
 Indians 28 
 
 Tufted Coverlid with Netted and Tufted Fringe . 48 
 
 Center of Child's Cap. Old Italian Netted Lace 
 
 with Tied-in Pattern 54 
 
 A Typical Colonial Loom, Showing Principal Parts 62 
 
 An Old New Hampshire Loom with Blind Tom 
 
 Weaving 64 
 
 Putting on Chained Warp 70 
 
 Putting on New Warp Without Re-threading the 
 
 Heddles 74 
 
 An Amateur Coverlid Weaver 76 
 
 The Same Weaver After a Year's Time .... 78 
 
PHOTOGRAPHIC ILLUSTRATIONS 
 
 FACING 
 PAGE 
 
 A Light Weight Loom Recommended by Physicians 
 for the Use of Convalescents 80 
 
 Use of Sewing Frame. (Sewing on Tapes) . .104 
 Covering a Full-Bound Book 108 
 
 Cement Work. 1 The Mould Closed, Showing 
 Method of Tamping 120 
 
 Cement Work. 2 Opening the Mould . . . .122 
 
 Cement Work. 3 Lifting the Completed Flower 
 Pot from the Core 124 
 
 A Water Garden for the Birds 126 
 
 Fireplace Tools, . . 144 
 
 Foot Scraper . .. .., ... ., ,., ,., ... . . . 146 
 
HANDICRAFTS FOR THE 
 HANDICAPPED 
 
GENERAL SUMMARY 
 
 Blessed is the man that has found his work, let him 
 ask no other blessedness. Thomas Carlyle. 
 
 Pessimists so often point out to us the worn- 
 out drudge, earning his bread by the sweat of 
 his brow, that it is a relief to look at the reverse 
 of the medal, and see the worker whose toil is 
 his pleasure, who "rejoiceth as a strong man to 
 run a race." The weaver of old, the potter, 
 the metal worker, all those craf tworkers about 
 whom primitive life centered, seem to have en- 
 joyed their work, for they made it not only 
 firm and durable, but they embellished it with 
 quaint and often lovely ornamentation. As 
 Jean Francois Millet said: "It is the treating 
 of the commonplace with the feeling of the sub- 
 lime that gives to art its true value." 
 
 Among these ancient handicrafts there are 
 many which cannot be replaced by machinery, 
 or in which there is always a demand for 
 exceptionally beautiful pieces done by hand. 
 
FOR THE HANDICAPPED 
 
 Weaving, basketry and cement work are well 
 suited for such craftsmanship, and are also lu- 
 crative. Lace making, on the other hand, af- 
 fords a field for fine workmanship, but is a 
 poorly paid craft in America. The same is 
 true of wood-carving. Printing is interesting 
 and lucrative, but is better suited to the pa- 
 tients in State Hospitals for the Insane, or to 
 crippled workers than to neurasthenics. Book- 
 binding is well suited to invalid workers in 
 their own houses, as well as to shop workers. 
 
HANDICRAFTS FOR THE 
 HANDICAPPED 
 
 CHAPTER I 
 BASKETRY 
 
 A craft of great utility, and possible for many types of 
 
 hanrnpflrmerl workers. 
 
 handicapped workers. 
 
 a. Reed or woven baskets. 
 
 Materials used, and methods of handling, starting 
 round and oblong baskets, borders, etc. 
 
 Illustrations of melon-shaped baskets, cut-flower hold- 
 ers, jardinieres, etc. 
 
 b. Sewed or coiled baskets. 
 
 Typical Indian methods of basket making. Materials 
 
 used raffia as a substitute. 
 Making a Navajo stitch bowl basket and a Porno Bam 
 
 Tush twined basket. 
 Illustrations of stitches, and of finished baskets. 
 
BASKETRY 
 
 BASKETRY is one of the most satisfactory of 
 crafts, as good baskets are in demand every- 
 where, the materials are easily obtainable and 
 the work itself is interesting, affords an expres- 
 sion of artistic ability, and is not too difficult 
 for cripples or invalids to undertake success- 
 fully. 
 
 Melon shaped baskets such as are made by 
 the Kentucky mountaineers, and by the Cana- 
 dian habitants, are always salable anywhere, 
 and there are certain other types such as work 
 baskets, scrap baskets, etc., always in demand, 
 and so easy to make that it is not necessary to 
 give detailed instructions further than to ex- 
 plain the various weaves used. 
 
 The most of the baskets illustrated were 
 made by old crippled men in the Lincoln Hos- 
 pital and Home in New York City they reg- 
 ularly supply a garden store with large flower 
 
 7 
 
8 HANDICRAFTS FOR THE HANDICAPPED 
 
 baskets, a florist with holders for cut flowers, 
 and a candy and bonbon shop with candy bas- 
 kets of reed. Some workers confine their ef- 
 forts to very fine sewed or coiled raffia baskets 
 which sell for from five to ten dollars each. 
 As soon as the workers became proficient their 
 work found a ready market. Experiments 
 are now being made by them with baskets of 
 native materials, such as maple splints, rush 
 and corn husks. 
 
 WOVEN BASKETS 
 
 Baskets are, and have been from time im- 
 memorial, so essential in the carrying on of our 
 domestic life, that it is worth considering what 
 styles are most suitable for various purposes, 
 and what pleasures and profit may be derived 
 from making them. The accompanying cuts 
 are of simple reed baskets suitable for country 
 use. While of unpretentious design and of in- 
 expensive material, they offer suggestions for 
 receptacles for flowers and vegetables which 
 may be elaborated to suit the worker's indi- 
 vidual taste. 
 
 The great secrets of success in basketry are 
 careful judgment as to form (and in this the 
 
BASKETRY 9 
 
 fitness for purpose must be considered) and 
 neatness of execution. A basket may be 
 coarse, done with large material, and yet not 
 produce a rough effect; but it must be solid, 
 and tightly woven or it will soon begin to yield 
 and grow "wobbly" when it is used. The work 
 depends so much on the care of materials and 
 the patience of the worker, and so little on tools 
 all that are needed being a pair of scissors, 
 a rule, and a coarse knitting needle that it is 
 well to emphasize the importance of a little 
 time being spent in getting the reeds just right 
 before starting to weave. 
 
 A few general remarks may be helpful in 
 regard to the choice and preparation of ma- 
 terial. Reed, varying in size from No. 00, 
 which is about as thick as knitting cotton, to 
 No. 6, which is as large as a lead pencil, may 
 be procured by the pound from kindergarten 
 supply stores. In selecting it, care should be 
 taken to get bundles in which the strands are 
 white and flexible. Nos. 2, 4 and 5 are suitable 
 for the baskets shown here. If it is desirable 
 to introduce color, the completed basket may 
 be dipped in dye or painted, but it is well to 
 limit the color schemes to greens and browns. 
 
10 HANDICRAFTS FOR THE HANDICAPPED 
 
 In working in a pattern in color, dyed 
 reed may be used. So-called Easy Dye, and 
 Rainbow Dye, of light green, afford pleas- 
 ing shades, and if the reed is boiled about 
 ten minutes in the dye, the color will be fairly 
 permanent. Golden brown in the same dyes 
 is satisfactory. For those who are so for- 
 tunate as to know the old methods for dyeing 
 with walnut bark, saffron, logwood, etc., ar- 
 tistic effects may be promised which will more 
 than repay the labor expended; but color 
 should be used sparingly, and in lines and 
 simple bandings, rather than in elaborate pat- 
 terns. Perfection of execution is due largely 
 to the condition of the material when the work 
 is being done. The reeds must be rolled two or 
 three at a time into coils, and soaked about ten 
 minutes in hot water until they become pliable, 
 to insure a fine tight weave. The accompany- 
 ing pen and ink sketches show the method of 
 starting the round bottomed baskets. The 
 oval-bottomed flower baskets are more difficult, 
 and should not be attempted until some skill 
 has been attained. The drop-handled flower 
 basket is a particularly good model, as the 
 
BASKETRY 11 
 
 folding handles make it easy to pack in a 
 trunk. 
 
 In working at any basket it is well to insert 
 extra spokes where the basket turns up, stick- 
 ing in each almost to the center of the bottom. 
 
 STARTING BASKETS. 
 
 ROUND BOTTOM WITH 6 SPOKES. 
 
 ROUND BOTTOM WITH 8 SPOKES. OBLONG BOTTOM. 
 
 If necessary a knitting needle may be used to 
 enlarge the space before pushing in the spokes. 
 If it is desirable to give a spiral effect in the 
 natural color and brown or green, an uneven 
 number of spokes must be used, with one 
 weaver of white and one of the desired color, 
 
13 HANDICRAFTS FOR THE HANDICAPPED 
 
 crossing between the spokes. Up and down 
 stripes may be obtained by using an even num- 
 ber of spokes, and weaving with two strands. 
 All such designs should be bordered by a heavy 
 band of the natural color or of the dark color 
 or the pattern will lack character. Beginners 
 should be chary in the use of color. 
 
 2 STRAND WEAVE IN 2 COLORS. 
 3 STRAND (TRIPLE) WEAVE IN 2 COLORS. 
 
 Care must be exercised in putting in handles, 
 and in finishing the upper edge. A glance at 
 the cuts shows the handles as being interwoven 
 into the sides of the basket, and a close analysis 
 of the real articles would show the ends as be- 
 ing carried into the bottom so that the basket 
 will hold a considerable weight without the 
 handles pulling loose. In the melon-shaped 
 basket, the handle is part of a circle forming 
 the backbone, so to speak, of the whole struc- 
 ture. Another circle intersecting this forms 
 the top of the sides. 
 
REED BASKETRY. 
 
 Potato basket 
 Melon shaped basket. 
 Oblong flower basket. 
 Drop handle flower basket. 
 
1 
 
BASKETRY 
 
 13 
 
 While all these baskets are for practical use, 
 they are quite unlike in the purposes for which 
 they are intended, and a reed bird's nest or 
 bird-house might, perhaps, be excluded as not 
 being a real basket. It is, however, eminently 
 fitted for country use, and after a few weeks' 
 
 MELON-SHAPED BASKET. 
 
 exposure to sun and rain, the reed will take on 
 the silvery tones of weather-beaten wood, and 
 seem a part of the landscape. Among our 
 wild birds, bluebirds seem particularly willing 
 to adapt to their own use a ready-made domi- 
 cile, and even, it is said, to return to the same 
 one year after year. This nest need not be 
 
14 HANDICRAFTS FOR THE HANDICAPPED 
 
 very large, and may be fastened to a bough 
 within sight of the house, as the bluebirds do 
 not fly from their human neighbors. In Scan- 
 dinavia such nests are very common, and the 
 return of bird couples among the smaller 
 feathered friends is counted upon, just as is 
 the annual visit of the storks, who find their 
 rooftree homes prepared with a foundation of 
 a cart wheel by their hosts, ready to be added 
 to with each successive spring. 
 
 Not only birds, but their natural enemies, 
 cats and dogs, may be provided with home- 
 made resting places. A friend of the author's 
 acquaintance has a tortoise-shell cat which re- 
 joices in a hand-made basket of brown and 
 buff, with a touch of turquoise blue, which looks 
 particularly charming with his tawny coloring. 
 Finding this basket by the fireside, he pro- 
 ceeded to investigate with eyes, nose and claws, 
 and the result being satisfactory, he at once 
 took possession and has used it over two years. 
 
 The first requisites of baskets to hold potted 
 plants should be strength and simplicity; 
 coarse materials, No. 5 for spokes and Nos. 3 
 and 4 for weaving, should be used. A wooden 
 bottom may be used and this adds to the 
 
BASKETS FOR HOLDING CUT FLOWERS 
 
BASKETRY 15 
 
 strength of the basket. Basswood of % inch 
 thickness makes a good base. The size of the 
 bottom having been decided on (9 or 10 inches 
 would be suitable for a fern, or a small palm) , 
 a circle should be drawn on the wood with a 
 compass, and the circular piece sawed out with 
 a keyhole saw. The edges should be filed 
 smooth and sandpapered. Inside this circle 
 from the same center another circle should be 
 drawn % inch inside this one, as a guide line 
 along which points can be drawn for holes to 
 be bored. These holes should be not more than 
 % inch apart to insure firm weaving. The 
 holes should be bored on the points thus in- 
 dicated with a bit 1-6 inch in diameter. If it 
 proves difficult to mark the points with a rule, 
 the compass set to % inch may be used to "step 
 off" the required points on the guide line. To 
 cut the spokes for a wooden bottomed basket 
 it is necessary to first decide on the height de- 
 sired, then double this and add one inch for the 
 space between the holes, as each spoke goes 
 from the top of the basket down through a 
 hole, across the bottom of the wood to the next 
 hole and then up. There should, of course, be 
 half as many spokes as there are holes. These 
 
16 HANDICRAFTS FOR THE HANDICAPPED 
 
 long strips should be cut and rolled and soaked 
 in hot water until pliable. The weavers must 
 also be soft. The weaving may be done with 
 double or triple weave, and a row of open work 
 adds to the effect, as the dull red of the pottery 
 showing through adds a nice note of color. The 
 
 BORDERS. 
 
 border should be flat, rather than coiled One 
 of the photographs shows an open weave or- 
 namented by adding spokes to form a cross 
 in each open space. The borders illustra- 
 ted are all made strong by inserting extra 
 spokes. 
 
 Baskets to be used as jardinieres may be stif- 
 fened by staining with oil paints mixed with 
 
BASKETRY 17 
 
 much turpentine to prevent shininess. A very 
 good color combination is that of burnt sienna 
 and Prussian blue mixed so as to give a 
 cloudy effect of greenish brown. This coloring 
 harmonizes with potted ferns as well as flower- 
 ing plants. The baskets are made less liable 
 to warp by protecting the surface with the oil 
 paint, and as plant baskets are often used on 
 a veranda, this seems worth consideration. If 
 it is desired to conceal the edge of the wooden 
 bottom, this may be done by tacking a braid 
 on, over the edge of the wood, or by putting in 
 extra spokes, short ones, from the back of the 
 basket upward, leaving ends about two inches 
 long, on which a few rows of weaving and a 
 border may be put as shown in the photo- 
 graphic illustrations. 
 
 Jardinieres of all reed are rather difficult, on 
 account of the great length of the spokes re- 
 quired, but this difficulty may be obviated by 
 weaving the bottom first, on eight spokes 10 
 inches long, exactly like the bottom of a small 
 basket. When the weaving has proceeded 
 nearly to the end of the spokes, a strip 14 inches 
 long may be inserted beside each spoke, the 
 basket turned up omitting these ends, which 
 
18 HANDICRAFTS FOR THE HANDICAPPED 
 
 may be cut off or used to form a woven base 
 similar to that already mentioned. 
 
 When cut flowers have to be transported 
 from place to place it is desirable to have them 
 protected from light and dust. Two simple 
 baskets are illustrated which may be used for 
 this purpose; one represents a small basket, 
 about 8 inches across, intended especially for 
 the packing of a bunch of violets, the raised 
 cover preventing the crushing of the topmost 
 blossoms. One florist recently used five dozen 
 similar to this. The larger basket allows cut 
 flowers to lie loosely without bending the stems. 
 A side view of this large basket is shown with 
 the jardinieres. 
 
 These baskets are very suitable to decorate 
 with color. The smaller ones are attractive 
 dipped after they are completed in a soft toned 
 dye bath baby blue in Diamond Dyes gives 
 a delicate dull blue, and Easy Dye gives tan, 
 dull green and lavender. The latter color and 
 old rose, however, are hard to render perma- 
 nent on reed. Large baskets are liable to lose 
 their shape if dipped in dye, and are more satis- 
 factory stained with oil paint and turpentine, 
 as described above. 
 
BASKETRY 19 
 
 Trays are most fascinating examples of the 
 basket-makers' art. The woven one at the left 
 offers but little difficulty, as it resembles a low, 
 round basket, but the glass bottomed one is 
 quite complex. A wooden bottom must be 
 used to keep the glass in place, and the weav- 
 ing is done around this. To accomplish this, 
 it is necessary to use a large piece of cardboard 
 on which a line is drawn exactly the size of the 
 wooden bottom, to hold the weaving in place. 
 The cardboard is pierced with holes one-half 
 inch apart through which small spokes are run, 
 projecting both above and below the cardboard 
 about 4 inches. The top may then be woven 
 I~i/2 inches high. The upright ends of the 
 spokes should then be worked down through 
 as far as the wooden bottom and pulled out 
 inside to make a border as illustrated in the 
 photograph. The cardboard may then be 
 pulled out, the glass, cretonne and wooden bot- 
 tom put in place, and the weaving continued 
 to form the lower part of the tray. A very 
 good finish is made by bending the bottom of 
 the spokes in toward the center, and weaving 
 a border on the bottom of the tray to hold the 
 board solid. 
 
SO HANDICRAFTS FOR THE HANDICAPPED 
 
 Space cannot be given here to directions for 
 elaborate borders, handles and covers, as only 
 the most elementary principles can be taught 
 in so brief a paper. But the appended illus- 
 trations of actual baskets, most of which were 
 made in a home for chronic invalids, will offer 
 suggestion as to the methods of working out 
 the more difficult problems of the fitting of 
 covers and adjusting of suitable handles. The 
 large basket shown in detail, shows an inter- 
 esting method of dealing with the cover; as 
 this sinking of the handle allows the basket to 
 be packed in a trunk without taking up undue 
 space. The handles of this basket are wound 
 with heavy chair cane. It is also strengthened 
 by cords of No. 6 weave around the sides. 
 
 The most interesting feature of all these bas- 
 kets is the original manner of applying the 
 various weaves, and it is hoped that the reader 
 will devise still more quaint and practical de- 
 signs. 
 
 SEWED OR COILED BASKETS 
 
 As this paper aims to give a brief, but defi- 
 nite, description of a few ways of applying In- 
 dian basket-makers' methods to our own ma- 
 
BASKETRY 21 
 
 terials, it may not be amiss to call to mind the 
 two great classes under which all baskets di- 
 verse as they seem may be grouped. 
 
 (1) Those which are twined or woven. 
 
 (2) Those which are sewed or coiled. 
 Under the first head are included all such 
 
 as are made by twining a flexible material 
 around spokes, usually crossing at the center 
 in a wheel-like arrangement, but sometimes 
 forming an ellipse or an oblong. In these bas- 
 kets the methods of weaving are infinite. 
 Three typical Indian styles are illustrated. 
 Reed and willow baskets are also woven on 
 this principle. 
 
 There are many varieties of coiled baskets. 
 Some of the familiar stitches used in them are 
 the "lazy squaw," the "pineapple," the "Mari- 
 posa" or "knot stitch," and the "Navajo" or 
 "figure eight" stitch. The "Navajo" is an ex- 
 cellent stitch, as it produces a basket practi- 
 cally water tight and as firm as a rock. It is 
 not confined to the tribe of Navajos, but is used 
 with slight variations by the Apaches, Washoes 
 of Nevada, Tulares, and others. 
 
 One of the most famous basket makers in 
 the world is an old Indian woman of the 
 
22 HANDICRAFTS FOR THE HANDICAPPED 
 
 Washoe tribe named Dat-So-La-Le. Her 
 work commands fabulous prices. One basket 
 contains 50,000 stitches, about thirty to the 
 inch, although it is only seven and one-half 
 inches high and ten across. It sold for $1,- 
 500.00. Her baskets are wonderfully beauti- 
 ful in form, they also excel in strength, and 
 smoothness of execution. She uses very sim- 
 ple designs, and very few colors, depending 
 on perfection of craftsmanship rather than on 
 elaborate ornamentation. All Indian workers 
 use such materials as are native to the regions 
 where they live, simple grasses and barks, and 
 sometimes twigs. Usually these are of the col- 
 ors of the desert from which they were gath- 
 ered, dull browns and blues, and the creamy 
 yellow of the willow twigs from the springs, 
 the reddish brown of red-bud bark, and glossy 
 black of maiden-hair fern. Such as must be 
 dyed are prepared with vegetable dyes, which 
 only deepen with age, but these, too, are of the 
 same scheme of brown, worked into a ground 
 work of cream color. 
 
 In the East there are a few native materials 
 in the shape of meadow grasses, corn-husks and 
 rushes, but unless prepared at just the right 
 
BASKETRY 33 
 
 time, they are not satisfactory. Corn-husks are 
 the most satisfactory as they are so easily pro- 
 cured. 
 
 Raffia is perhaps the best material for the 
 outer covering in coiled baskets, but it should 
 be confined more or less to the color scheme of 
 the Indians, the natural color for a basis, with 
 touches of tan, brownish red, golden brown and 
 a little black. Olive in a dull tone can also be 
 used. Natural raffia can be obtained from a 
 florist at about twenty cents a pound. It 
 should be washed with soap, well rinsed, and 
 hung in the sunshine to dry. 
 
 No. 2 reed is a good average size. A basket 
 made in this number in Navajo stitch should 
 be practically water-tight. A very simple de- 
 sign is given of a Tulare bowl-basket. The 
 reed used must be soaked for ten minutes in 
 warm water, then sharpened to a point. 
 
 Thread a needle with the large end of a 
 strand of raffia to prevent fraying. The end 
 of the reed is coiled with the fingers into a small 
 spiral. 
 
 The center is sewed over and over, the end 
 of the reed always extending to the left. The 
 real figure eight stitch begins at the third row. 
 
TOP VIEW. 
 
 FRONT VIEW. 
 
 BOWL-SHAPED BASKET IN NAVAJO STITCH. 
 M 
 
BASKETRY 25 
 
 This stitch is so named because it crosses be- 
 tween two reeds, forming a loop over each, in 
 a perfect figure eight. 
 
 The part of the basket sewn is called the coil. 
 It is not always made of reed. Some workers 
 prefer a flexible coil of raffia, corn-husks, or 
 even cord. However, when a new thread is 
 started the ends should be secured by sewing 
 
 STARTING OF NAVAJO STITCH BASKET. 
 
 them into the coil. The last row of the coil is 
 called the lower reed and the reed which is be- 
 ing sewed in, the upper reed. 
 
 In the figure eight stitch, the thread comes 
 out toward the workers between the two reeds 
 and is carried down in front of, under, and 
 behind the lower reed, coming out again be- 
 tween the two, which completes the first half 
 
26 HANDICRAFTS FOR THE HANDICAPPED 
 
 of the figure eight. It then goes in front of, 
 over, and behind the upper reed, and comes out 
 again between the two reeds. 
 
 The thread must be pulled taut, or the sur- 
 face will be rough. 
 
 To make the bowl-basket illustrated, make 
 a bottom four inches across. Then fill a needle 
 with coarse black cotton and sew two lines of 
 stitches across through the center, at right 
 angles to each other, as shown in the illustra- 
 tion, leaving the needle with natural raffia at- 
 tached to the basket. Take a thread of dark 
 raffia and sew from the end of one of these 
 guide lines, carrying the light raffia in the coil, 
 to within an inch of the next guide line. Then 
 sew this one inch with the light, carrying the 
 dark in the coil, then again with dark to within 
 one inch of the next guide line. Finish this 
 now to correspond. Start the turn-up of the 
 basket by pulling on the reed. It must turn 
 gradually like a bowl, so do not pull too hard, 
 and hold the reed in position in working the 
 following rows. 
 
 To start the oblong designs work over each 
 light space with dark, and fill in between with 
 light. Make five rows like this, the fifth row 
 
BASKETRY 27 
 
 will be covered, as each row is gone over twice. 
 To start the next design carry the black one 
 inch to the left of the last design and go around 
 in this way, one inch to the left up each figure. 
 Make five rows like this. 
 
 Make the other oblongs in the same way. 
 Four rows from the top begin to pull the reed 
 to make the upper edge curve in. 
 
 Sometimes Indians sew in the new threads 
 but leave the ends on the inside to be cut off 
 afterwards. This basket could be worked in 
 black, yellow and natural raffia. 
 
 The Porno twined baskets are famous for 
 their lightness and flexibility. They are made 
 with spokes of the wild grape vine and very 
 close-woven as they are often conical; they are 
 easily carried in a net and form a kind of port- 
 able granary. The principle of weaving is 
 always the same, very few spokes are used at 
 the center, and to these are constantly added 
 new ones as the basket grows in size. 
 
 Very small reed, number one or what is 
 called "double nought," would answer very 
 well. Cut eight pieces fourteen inches long, 
 and about fifty pieces seven inches long. Take 
 four of the long pieces and weave a strip of 
 
28 HANDICRAFTS FOR THE HANDICAPPED 
 
 raffia near the center, weave another piece like 
 this and put the two together so that the two 
 ends of raffia come to the same corner. Weave 
 these two ends around and around, crossing 
 them over each spoke. Whenever there is an 
 
 POMO BAM TUSH. 1, 2, 3, STARTING. 4, TWINED WEAVE 
 "WATTLING." 5, "Ti" OR "TEE" BAND. 
 
 open space stick a sharpened spoke through 
 the last stitch. 
 
 After about an inch of weaving, the bottom 
 may be stiffened by putting an extra reed 
 called a "ti" or "tee" on the outside, including 
 
EXAMPLE OF TWINED WEAVING 
 
 As used by the Porno Indians watertight but 
 
 flexible. 
 
BASKETRY 29 
 
 it in the weaving. Go two or three times 
 around with this band, as it makes a base into 
 which to stick spokes. 
 
 To turn up the basket put in another ti band 
 of three or four rows. This style of weaving 
 can be done to advantage bottom-side up. The 
 Indians do it by fitting the basket on the bot- 
 tom of a stone jar. 
 
 It is better not to attempt a regular pattern 
 or a large basket at first, rather make a small 
 one and weave in bands of color. 
 
CHAPTER II 
 CHAIR SEATING 
 
 a. Cane seating. 
 
 Humble industry, but always useful everywhere. 
 Material, and its use. Illustration of steps in caning 
 various weaves. Binding, etc. 
 
 b. Rush seating. 
 
 Lucrative industry, known to but few, suitable for city 
 
 or country workers. 
 Preparation of rushes. 
 Method of working, illustrated by sketches. 
 
II 
 
 CHAIR SEATING 
 
 CANING CHAIRS 
 
 TWENTY-FIVE or thirty years ago there was 
 in nearly every household some person who un- 
 derstood how to replace the worn-out seat in a 
 "cane-bottom" chair. This useful art was 
 gradually forgotten, but in the recent revival 
 of interest in homely industries cane seating 
 and rush seating have come again to the fore. 
 The following directions, carefully followed, 
 will give good results. Cane is the bark of a 
 long, slender vine, the inside of which is the 
 material which is called reed or rattan. The 
 cane being removed, the rattan is put through 
 a tubular cutter which makes it of the desired 
 size. The cane is sold in bunches of a thousand 
 threads. It comes in several sizes ; coarse, me- 
 dium, fine, and fine-fine being the most used. 
 It is necessary also to have a few threads of 
 
 33 
 
34 HANDICRAFTS FOR THE HANDICAPPED 
 
 what is called binding cane. In order to use 
 it to the best advantage it should be soaked for 
 a few minutes in warm water and then put to 
 drain in a damp towel. The frame for prac- 
 tice may be purchased at a kindergarten sup- 
 ply store. It is like an empty slate frame, and 
 an old-fashioned slate frame with the regular 
 holes is equally good. It is necessary to have 
 some small pegs to fit these holes to hold the 
 cane in place. If the frame has an uneven 
 number of holes the first line of cane should go 
 from the center front hole to the center back 
 hole. An end three inches long being pushed 
 down through the front hole and pegged in 
 place, the long piece of cane is then pushed 
 down through the center back hole and pegged 
 in place. The weaving then goes up through 
 the next right-hand hole, each successive row 
 being pegged with the pegs from the preceding 
 row. The weaving is then done from the cen- 
 ter to the left in the same way. The second 
 process is the weaving across the frame, which 
 is done in the same way, beginning at the 
 center. 
 
 The third process is a series of vertical lines, 
 over the first series. By this time there will 
 
CHAIR SEATING 
 
 35 
 
 be ends to fasten, which may be done by mois- 
 tening each with a damp sponge, and wrapping 
 it once around the nearest cane that goes be- 
 tween two holes, as may be seen by reference 
 
 FASTENING ENDS. 
 
 to a chair. The ends must be securely fas- 
 tened, and the work should be done carefully. 
 The pegs may be removed after the ends are 
 fastened. 
 
 The next weave is the one which beginners 
 usually find the most difficult, and care must 
 
 CHAIR CANING. 
 
 be taken to avoid mistakes. The weaving 
 should be done with the right hand, the left 
 being kept under the work to guide the point 
 of cane which should be sharpened occasionally. 
 
36 HANDICRAFTS FOR THE HANDICAPPED 
 
 The work should go from right to left in this 
 order: just below the top row, over an upper 
 vertical, under a lower, across the top row, then 
 thread the cane through the hole, bring it up 
 in the next lower hole, and go back from left 
 to right, just below the second row, the only 
 difference being that the first weave is below 
 the lower vertical instead of over the upper. 
 The rows must form perfect little squares as 
 shown in the sketch, which should be studied 
 closely. When the frame is filled with this 
 weave, the threads may be dampened and 
 pushed with a peg so as to make the work per- 
 fectly regular. 
 
 The next step is called the oblique weave. 
 It starts first from the lower left corner and 
 goes over two horizontal threads and under two 
 vertical, which will bring it out at the corner 
 diagonally opposite to the one started from. 
 The sketch shows the effect. When these rows 
 are completed weave from the lower right cor- 
 ner to the upper left. When all the threads 
 are completed there remains but the binding 
 to be done. Put one end of binding cane, 
 which must be well soaked in warm water, 
 down through a corner hole and peg it well. 
 
CHAIR SEATING 
 
 37 
 
 Then take a strip of very fine cane, and thread 
 it up through a hole, over the binding cane, and 
 down through the same hole. This is some- 
 times called couching, and is very important in 
 holding a chair seat firmly in place. The proc- 
 
 BINDING OE COUCHING. 
 
 ess in caning a chair is exactly the same as in 
 caning a frame, except that owing to the ir- 
 regular shape of most chair frames new prob- 
 lems will continually arise to add to the inter- 
 est of the work. In the first place it is well to 
 try a chair that is approximately square-seated, 
 and it is an excellent plan to have a similar one 
 beside it for reference. The old cane must first 
 be removed with a sharp knife, then every hole 
 must be cleared out with an awl or a hammer 
 
38 HANDICRAFTS FOR THE HANDICAPPED 
 
 and nail. It is an excellent plan to wash out 
 the holes with weak carbolic, as disease germs 
 lurk in just such places. 
 
 The cane used must correspond in size to 
 that taken out. The work must begin in the 
 center as already described. The steps are the 
 same as in the frame, except that at the sides 
 it may be necessary to skip some holes in order 
 to make the rows an even distance apart. The 
 horizontal rows are put in as usual, also the 
 over and under, but in weaving the oblique rows 
 the lines must be kept parallel, and this may 
 necessitate putting two rows into one hole. On 
 a round-seated chair this must be done many 
 times. Sometimes there are places where it is 
 necessary to drive in a wooden plug whittling 
 it off flat, so that it will not interfere with the 
 binding. In many chairs the binding is couched 
 only in every other hole, in this case it must be 
 put in every hole at the corners, as the security 
 of the work depends largely on the binding. 
 
 Chair-caning is an excellent physical exer- 
 cise and calls in play seldom-used muscles, but 
 the worker should be warned against trying 
 to work without a low box or foot-stool, and 
 keeping at it too long at a time until the 
 
CHAIR SEATING 39 
 
 muscles are accustomed. It is work that gives 
 great satisfaction, as care and patience give 
 quick returns, and with a few weeks' practice 
 it is possible to obtain results much superior to 
 those seen in nine-tenths of the chairs done by 
 "professionals." 
 
 RUSH SEATING 
 
 The re-seating of old rush-bottomed chairs 
 is particularly interesting and also very well 
 paid, from $2.15 to $2.50 per seat. It requires 
 considerable patience, both in preparing the 
 rushes and in the actual weaving, and long 
 practice to get the smoothness attained by the 
 Colonial rush workers, but it is not as tiring 
 as less sedentary industries, for nearly all the 
 work can be done with the worker comfortably 
 seated. It has also the advantage of being a 
 craft which can be carried on in either the city 
 or country ; as there is a demand for it every- 
 where. The most practical method of getting 
 orders is through an arrangement with some 
 dealer in antique furniture. 
 
 The rushes may be procured through such 
 a dealer, but as they consist of ordinary cat- 
 tail leaves, it is easy to procure them in any 
 
40 ' HANDICRAFTS FOR THE HANDICAPPED 
 
 inland marsh. (Cat-tails growing near the 
 ocean are brittle.) The rushes should be gath- 
 ered in early autumn as soon as the tips begin 
 to turn yellow, and should be spread out 
 straight to dry, on boards laid on the floor so 
 there is a circulation of air under them. If it 
 is desirable to keep them green the room should 
 be darkened. 
 
 Before using, the rushes should be soaked in 
 a long vessel like a trough or a bathtub, and if 
 this leaves them too moist, they may be run 
 through a wringer. Long fine strands should 
 be selected, two or three being twisted together 
 to make a coil. The twisted rush starts as 
 
 RUSH SEATING. 
 
 shown in the sketch from the upper right cor- 
 ner, with the end inside. The long end is car- 
 ried down back of the frame, up, and around 
 
CHAIR SEATING 41 
 
 the right hand side of the frame close to the 
 corner, and then crosses the frame to the upper 
 left corner, where the same process is repeated. 
 (In following these directions it will be of as- 
 sistance to look at an actual rush seated chair 
 for reference. ) The same process goes on, new 
 strands being twisted in when necessary to 
 keep the coil even, the ends left under the seat. 
 If the chair seat is wider than it is long, and 
 wider in front than behind, some of the strands 
 going from front to back may be split, and an 
 extra strand of rush added to each portion to 
 fill up the front space. A few coils may be car- 
 ried from front to back without going across. 
 Ends of rush should be stuffed into the corners 
 to give a slight cushiony effect. 
 
 When the chair is completed, the seat should 
 be gone over with colorless shellac. 
 
 It is a good idea to try a square frame eight 
 or nine inches across before undertaking a 
 chair, and raffia or very fine corn husks may 
 be substituted for the rush. 
 
CHAPTER III 
 NETTING 
 
 Charming old-time craft used for all kinds of articles, 
 
 from pudding bags to window curtains. Outdoor use 
 
 for hammocks, tennis nets, etc. 
 Illustrated by photographs of netted fringes, etc., and by 
 
 sketches showing methods of working, and of Colonial 
 
 designs. 
 
Ill 
 
 NETTING 
 
 NETTING is one of the most charming of house- 
 hold arts which our grandmothers loved; for- 
 gotten except in villages like old Deerfield, 
 where the excellence of handwork has always 
 been appreciated. Netting was not confined 
 to trimmings; it was used for every kind of 
 indoor article, from a bag to hold the Christmas 
 pudding to curtains for the tester bed. One 
 of the best examples is a dear little cap made 
 for a new baby seventy-five years ago. The 
 net stitch was applied to all sorts of outdoor 
 uses including fly nets to protect the horse in 
 the summer, sacks to hold ears of Indian corn, 
 and little round bags with long handles with 
 which the small boy might go crabbing or min- 
 nowing. 
 
 It is curious that such a useful art, for net- 
 ting is both durable and inexpensive, should 
 have been relegated to the fishermen making 
 
 45 
 
46 HANDICRAFTS FOR THE HANDICAPPED 
 
 or mending their nets, and to the old salts, 
 making hammocks in the Sailors' Snug Harbor 
 while they wait the call to start on the last voy- 
 age. It is durable because each stitch is per- 
 fect in itself, and if it breaks the web is not 
 loosened, and inexpensive because it requires 
 only cord or thread as material and is made 
 with only two wooden tools, both easily made 
 at home. 
 
 With this article are shown sketches of two 
 styles of needle, the larger one for hammocks 
 and all large work, the smaller for lace and 
 fringes. Hard wood should be used ; gumwood 
 answers, and holly is also very good ; three-six- 
 teenths of an inch thickness makes a large 
 needle. One-half of a pattern may be drawn 
 on a piece of thick manilla paper (which has 
 been doubled and creased) and then cut out, 
 the paper then being unfolded and pressed out. 
 The needle may be cut out with a knife or 
 scroll-saw. This ensures the two sides of the 
 pattern being exactly alike. The mesh stick 
 or block may be of any desired width one inch 
 is an average size of mesh for a hammock made 
 of seine cord. For finer work a lead pencil is 
 often used for a mesh stick, but for lace, or 
 
NETTING 47 
 
 anything made with thread, an even smaller 
 size is required; sometimes in one pattern of 
 lace two or three sizes of mesh are used, each 
 requiring a different stick. 
 
 The needles and blocks may be procured for 
 about fifteen cents at any cord store. The 
 cord used for hammocks varies in weight; an 
 average sized soft cotton sells for about twen- 
 ty-five cents a pound, and two pounds are suf- 
 ficient. 
 
 There should be provided also five yards of 
 "side-cord" and two large iron rings. The 
 materials for a large hammock cost about fifty 
 cents, so it will readily be seen that hammock- 
 making is a fairly profitable industry for 
 women at home, as a hand-made one never 
 brings less than two dollars, and may be as 
 high as three and a half. The plain netting 
 may be varied by the introduction of fancy 
 stitches and knots. 
 
 The materials being procured, the cord 
 should be wound into balls and the needles 
 filled as shown in the sketch. The easiest way 
 to make the top of the hammock is, to my 
 mind, to put the requisite number of stitches on 
 a cord stretched between two nails, as at first 
 
48 
 
 HANDICRAFTS FOR THE HANDICAPPED 
 
 it is easier to see the meshes and avoid mis- 
 takes, working in a horizontal line. Forty- 
 two stitches make a good width for a large 
 hammock. 
 
 NETTING. 
 
 The method of using the needle is shown in 
 one of the sketches better than I can explain it 
 in words, but care must be taken to draw up the 
 thread quickly and firmly so as to avoid a slip- 
 knot. Great care must also be exercised never 
 to slip a knot. 
 
 When the first row is finished, the mesh 
 stick being moved along so as to keep it always 
 with at least half a dozen stitches on it, the end 
 loop is left extra long and the new row begun. 
 If necessary, the work may be untied and 
 turned wrong side out so that the worker may 
 always be following from left to right, but it 
 is better to learn to work either way. 
 
TTTFTF.n FRT1 
 
NETTING 49 
 
 The thread must be joined with care when 
 the needle has to be refilled, by lapping the 
 threads in the center of the knot. When the 
 hammock seems a reasonable length six and 
 one-half feet is a good size for an adult the 
 ends should be finished without cutting the cord 
 
 FINISHING HAMMOCK. 
 
 at the last mesh. The hammock should be 
 laid on a long table, so that the end meshes 
 extend straight across it two feet from the end. 
 A tack should be driven under the edge of the 
 table to hold the ring. The needle should then 
 go from the end through the ring and back, 
 
50 HANDICRAFTS FOR THE HANDICAPPED 
 
 then through two meshes, where it is caught 
 with a stitch, then through the ring again, and 
 back through two more meshes, etc. If neces- 
 sary to tie in a piece do so with a weaver's knot, 
 very near the ring. The thread should finally 
 go up to the ring, and all the threads near 
 the ring should be securely wound; a long 
 piece of cord, say five yards, should be left 
 for this. The "side-cords" must, however, first 
 be put in by lacing one through each side of 
 the hammock, so that they go through the 
 rings, and all loosely knotted around the bunch 
 of threads. The side-cords must be left just 
 loose enough to hold the hammock taut with- 
 out letting it settle too much in the middle. In 
 winding the ends the same principle may be 
 used that the sailors employ in splicing ropes ; 
 that is, the remaining end must be left so it can 
 be pulled under the twist. To do this the end 
 is laid through a loop of cord long enough so 
 the ends extend eight or nine inches along the 
 threads. As the twist is only six inches long 
 this leaves ends projecting. When the twist is 
 long enough the end may be put through the 
 loop, and these ends pulled till the end goes far 
 inside the twist. 
 
NETTING 1 
 
 Both ends of the hammock should be finished 
 this way, and it will add greatly to the effect 
 if the rings are buttonholed with cord. The 
 hammock may be decorated if desired with 
 little tassels tied into each loop along the sides, 
 or by a knotted fringe. A more elaborate net- 
 stitch is also sometimes used, with a double 
 thread. 
 
 *> 
 
 KNOTS USED IN TIED FRINGE (SOLOMON'S KNOT). 
 
 Bags of various kinds to hold clothes-pins, 
 dust-cloths, and other household articles, are 
 useful made of the coarse cord used for the 
 hammock. To make a string bag it is neces- 
 sary to have a wooden hoop; a pair of em- 
 broidery hoops from the ten-cent store will 
 supply two bags. On this hoop the first row 
 is knotted, but instead of ending, it goes on 
 around and around till the bag is as deep as 
 
52 HANDICRAFTS FOR THE HANDICAPPED 
 
 required, when the meshes are gathered in by a 
 string cord, or fastened into a small brass ring 
 by a stitch similar to that used in the ends of 
 the hammock. 
 
 Basket-ball nets and some other kinds are 
 cylindrical and do not need to be gathered in. 
 
 Bow LINE KNOT. 
 
 Tennis-nets are pleasant work, as the thread is 
 fastened to a long side-cord by half stitches 
 instead of the side-cord being put in afterward, 
 and this stiff cord makes a firm foundation for 
 the stitches. 
 
 In making netted trimmings and laces it is 
 best to have a little ivory needle. A small bone 
 
NETTING 
 
 53 
 
 paper-cutter may be easily shaved into the de- 
 sired shape and sand-papered. A small ivory 
 block is also very satisfactory. 
 
 Linen thread makes very durable lace, but if 
 
 NETTING NEEDLES. 
 
 something less expensive is required the coarse 
 cotton used for crochet work answers the pur- 
 pose. The patterns given explain themselves, 
 as they can easily be adapted for various uses. 
 Netted lace makes a particularly good trim- 
 
 NETTED LOOPS AND BORDERS, USING LOOPS FOR ORNAMENT. 
 
 % 
 
 ming for window curtains, as it is delicate and 
 lacy in effect without being perishable. 
 Dresser sets ornamented with it are also very 
 pretty. Made in small meshes, with a design 
 
54 HANDICRAFTS FOR THE HANDICAPPED 
 
 worked in, it is sufficiently heavy for table 
 linen, and is oftentimes so used, but it seems 
 to me better adapted for more lace-like effects, 
 where filminess rather than heaviness is de- 
 sired. 
 
 Netting adapts itself well to dress trim- 
 mings, cuff and collar sets being very pretty. 
 The measure of the wrist must be taken and 
 the netting done round and round, as in a bag, 
 the mesh being very small, and any filling is 
 done in flat rather than tufted work. The 
 ends of the turnover collar should be finished 
 with loops. 
 
 One of the daintiest examples of netted 
 work I have ever seen was the baby's cap al- 
 ready mentioned, made of fine linen thread, 
 with a mesh not more than one-fourth of an 
 inch long. The start was made around a tiny 
 button-holed ring, and the back made in a 
 circular piece not more than three inches 
 across. The front was a strip about three 
 inches wide sewed on with a little fulness to 
 this circular piece, for about three-quarters of 
 the way around. The enclosed sketch gives 
 an idea of a suitable design which might be 
 carried out in saddlers' silk or knitting silk, 
 
CENTER OF CHILD'S CAP. 
 
 OLD ITALIAN NETTED LACE WITH 
 
 TIED-IN PATTERN. 
 
NETTING 55 
 
 as well as in linen. All designs for netted 
 work should be drawn on paper marked in 
 squares. Reference has already been made to 
 the use of the weaver's knot in fastening 
 threads. It is one of the best methods of tying 
 a new thread to a short end. The Solomon's 
 knot is most effective in tassels, a double thread 
 being looped in the spot desired, thus leaving 
 four ends. 
 
 The bow line or bow string knot is good for 
 putting up a hammock as when pulled tight it 
 can not slip. In fact the security of most 
 knots depends upon the tightness with which 
 they are made. 
 
 Sometimes, instead of using side-cords in 
 a hammock, a braid or twist of fine cord is 
 used. In this case a pretty fancy twist is made 
 of Solomon's knots repeated. It is necessary 
 to have four very long threads to start on, 
 at least three times as long as the piece re- 
 quired. 
 
 An old-fashioned twist cord makes a good 
 side-cord. A piece of ordinary hammock cord 
 is used for this, about three times the length 
 required. One person holds each end, twist- 
 ing to the right till the cord is kinky the whole 
 
56 HANDICRAFTS FOR THE HANDICAPPED 
 
 length. It is then doubled, from the center, 
 and naturally coils itself in a perfect twisted 
 cord. Where it is difficult to get supplies or 
 a specially decorative effect is required, one 
 side-cord, with a little extra work, may be 
 used for ropes, side-cords, and everything con- 
 nected with a hammock. 
 
 Sometimes colored cotton wrapping cord is 
 used for nets. For decorative purposes Sea 
 Island cotton answers well enough, but for 
 hammocks to be used out of doors it is not 
 very durable, and is likely to fade, and crock 
 if it becomes damp. In fact plain white or 
 linen color seems far the most satisfactory in 
 fitness to purpose, but if color is required ft 
 is better to dye the cord oneself before making 
 up with vegetable dyes for cotton. The cord 
 must afterward be rinsed through many 
 waters. Colors used for carpet warp are gen- 
 erally fast, in brown and gray, and if brighter 
 tones are required logwood, cochineal, and 
 other old-fashioned dyes will answer for dye- 
 ing them. To my mind the best color comes 
 from constant exposure to sun and rain till the 
 cord takes on the silver gray tone of an old 
 seine net. 
 
CHAPTER IV 
 WEAVING 
 
 Romantic history of weaving. 
 
 Revival of interest in same. 
 
 Fascinating craft, allowing change of position and va- 
 riety of interest, possible for "shut-in" workers. 
 
 Method of setting up loom, putting on warp, and starting 
 the weave described. 
 
 Photographic illustrations of Colonial looms, and sketches 
 showing the parts and how they are used. 
 
 Illustrations of coverlid weaving by a self-taught weaver, 
 and of light weight loom suitable for convalescents. 
 
 Therapeutic value of weaving. 
 
IV 
 
 WEAVING 
 
 THE song of the loom has clicked its staccato 
 music through the primitive history of every 
 nation that has taken part in the early civiliza- 
 tion of the world. Poems have been written, 
 ballads sung to it, music composed from ro- 
 mantic memories of it. The histories of 
 epochs have been woven thread by thread on 
 the loom, love stories have been told in its 
 pictures, and the gay and sad ways of a people 
 remembered. The Persian weaves his temple 
 in his prayer rug, and kneels at its gates in his 
 own home. The religion of the Chinese may 
 be read in the rug under the feet of the atheist 
 of to-day. The French court life is portrayed 
 in the tapestries of Aubusson and Beauvais, as 
 clearly as in the paintings of Fragonard. 
 
 And so it is of no little interest to know of 
 the looms of the world, and especially of our 
 
 59 
 
60 HANDICRAFTS FOR THE HANDICAPPED 
 
 own western world. We are proud of our 
 early fabrics and carpets, and we should be 
 equally proud of the methods of their produc- 
 tion. Not only are we interested in the loom 
 as a curiosity, but many women to-day taking 
 up weaving with interest are troubled only by 
 the difficulty of setting up a loom and learn- 
 ing to use it. When we consider how primi- 
 tive women managed to produce fabrics of 
 both beauty and durability out of the grasses 
 and other natural fibers culled in their neigh- 
 borhood, it seems as if any modern worker, 
 even a "shut-in" woman, ought to be able 
 to master the problems arising in ordinary 
 hand-loom weaving. The processes are not 
 difficult, requiring patience and thoroughness 
 rather than scientific knowledge. This arti- 
 cle aims to give a description of the various 
 steps reduced to the lowest terms and in not 
 too technical language. 
 
 The primitive loom used for rag rugs and 
 simple linen weaving is much the same in con- 
 struction as those used several hundred years 
 ago. In one of Giotto's paintings of the four- 
 teenth century a loom is represented not un- 
 like those of the present day. The loom then 
 
WEAVING 61 
 
 in use had all the essential parts, and the de- 
 vices which have been added were intended to 
 save labor, increase the output of work, and 
 extend the possibilities of pattern weaving. 
 Mediaeval weavers produced much beautiful 
 pattern work. Some of these designs, handed 
 down from one craftsman to another for seven 
 or eight centuries, remain to us in the intricate 
 blue and white coverlids of Colonial days; in 
 twills or satin weaves and various bird'seye 
 and other small figures now used in machine 
 weaving for table linens and silks. These 
 patterns were seldom written out by any sys- 
 tematic method, but were recorded in a kind 
 of weavers' shorthand to be interpreted only 
 by another weaver, consequently many of 
 them were lost when hand weaving went out 
 of fashion. Notebooks of patterns are some- 
 times still found in old country attics. 
 Among the Southern mountain folk the tradi- 
 tions of how to "set up" and weave the old 
 designs have been preserved better than else- 
 where in this country, so it has been easier 
 there to revive the coverlid and damask de- 
 signs. 
 
 The Century Dictionary defines a loom as 
 
62 HANDICRAFTS FOR THE HANDICAPPED 
 
 "a machine in which yarn or thread is woven 
 into a fabric by the crossing of threads called 
 chain or warp, running lengthwise, with others 
 called weft, woof or filling." The machine 
 consists of a solid frame-work, with a roller at 
 each end over which the warp threads are 
 stretched, through a series of eyelets called 
 heddles, and the interstices called dents in a 
 comb called the reed. The frame-work is 
 sometimes arranged so that the threads run 
 up and down, as in the Navajo looms, but the 
 horizontal loom is more used and easier to pro- 
 cure and to manipulate. 
 
 The frame of the loom used by country 
 weavers is generally about four and a half or 
 five feet high, four and a half or five feet wide 
 and six feet long. The timbers used are of 
 hard wood five or six inches square, and in the 
 oldest looms hewed out by hand from hickory 
 or oak, finished with mortise and tenon joints, 
 and keyed together with wooden pins. This 
 gives a stable construction, and in some ways 
 such a loom is more desirable than one of 
 smaller size which takes up less room and 
 looks more attractive. The loom illustrated 
 in the large photograph came from central 
 
A TYPICAL COLONIAL LOOM. 
 
 1 Yarn beam. 3 Batten. 
 
 2 Cloth beam. 4 Heddles. 
 
WEAVING 63 
 
 New Hampshire, where it had lain in the attic 
 disused for sixty years. With a few extra 
 pieces made by a carpenter and a new set of 
 heddles it has proved most satisfactory, and 
 has been used for about five years by a blind 
 man. 
 
 Another of these old looms called "Aunt 
 Debby," over a hundred years old, has proved 
 equally satisfactory. It belonged originally 
 to a village weaver, known to her neighbors as 
 Aunt Debby. When she died she willed her 
 cherished loom, her choicest possession, I al- 
 most said companion, to her minister. When 
 he was called to another church he left the 
 loom with an old Englishwoman who under- 
 stood linen weaving. She called the loom 
 "Aunt Debby" for its original owner, and 
 wove hundreds of yards of linen toweling and 
 sheeting. But a few years ago, in her eighty- 
 sixth year, she decided that her weaving days 
 were over, and "Aunt Debby" traveled many 
 miles to a new home, where she is good for an- 
 other century of work as helper to the patients 
 in a sanatorium. 
 
 These old looms are easily set up, as the 
 parts are generally numbered to show how they 
 
64, HANDICRAFTS FOR THE HANDICAPPED 
 
 fit together. In buying one it is necessary to 
 see that no important piece is lacking. One 
 with all essential parts can be procured for 
 about twenty-five dollars. 
 
 It will be observed that while the essential 
 parts of the loom are similar, as shown in the 
 accompanying illustrations, there are slight 
 differences in detail. The harness or group of 
 heddles is not always swung from the top of 
 the loom in the same way, and the pedals or 
 treadles are attached sometimes at the front, 
 sometimes at the back. 
 
 The two beams or rollers must be held in 
 slots at each end of the frame work, the front 
 or cloth beam must be fixed so as to be held 
 tightly in place by an iron pawl catching into 
 a ratchet. The back or yarn beam generally 
 has large pegs by which it can be turned, and a 
 heavy wooden lever to set it and hold the warp 
 taut. The photographs show these two beams, 
 as Well as the harness or heddle group, and in 
 front of it the batten, which is a swinging 
 frame holding the reed, so called because it is 
 used to beat up each row of filling into a close 
 fabric. Lathe or sley is another name for the 
 batten. 
 
WEAVING 65 
 
 THE OLD LOOMS 
 
 In the very oldest looms the method was that 
 of darning, the needle or shuttle was carried 
 over one thread and under another. But in 
 very early times a method was devised to hold 
 up a series of alternate threads. The shuttle 
 was then passed through, and the arrangement 
 of threads changed so that the series which had 
 been above is now below ; this process is called 
 shedding. Back of the heddles two sticks are 
 inserted which keep the crossing of the threads 
 perfect. These are called shed sticks, or lease 
 sticks. The shed is formed in a modern two- 
 heddle loom by drawing up alternate threads 
 by raising the heddle through which they pass. 
 This is done by pressing the foot on one pedal, 
 lowering the corresponding heddle which 
 causes the other to raise. The warp leaving 
 the yarn beam is first threaded through the 
 heddles, sometimes called healds, the group of 
 heddles is called the harness or shaft. The 
 heddles are sometimes made by hand of string, 
 as in the second illustration in which they are 
 made of seine cord. Sometimes they are of 
 cord with a metal eye, and sometimes of brass 
 
66 HANDICRAFTS FOR THE HANDICAPPED 
 
 or iron wire. The essential part of the heddle 
 is the mail-eye. The heddles set in frames are 
 much the easiest for an amateur to use. 
 
 Directly in front of the heddles is the swiiig- 
 
 A HEDDLE OR HEALD SHOWING THE MAIL EYE. 
 
 ing batten or reed frame. Reeds are generally 
 made nowadays of steel, but in Colonial days 
 they were sometimes made of bamboo or whale- 
 
 STITCHEE AND SHUTTLES. 
 
 bone. The warp is threaded through the in- 
 terstices or dents of the reed made by thread- 
 ing two threads in a hole for six or eight dents. 
 
WEAVING 67 
 
 A stretcher with nails at the ends formerly 
 called temple or tenterhook, is used to keep the 
 goods stretched across or of uniform width. 
 The old expression to be "on tenterhooks" pos- 
 sibly arose from this connection with weaving. 
 
 A loom having been obtained and the various 
 parts of the outer frame adjusted, the heddles 
 and reed being left till later, the first step is 
 preparing and putting on the warp. This is 
 frequently done even in schools by a profes- 
 sional weaver, but it is not always convenient to 
 get one when desired. Another plan is to have 
 the warp put on the beam by a professional be- 
 fore the loom is set up. It is, however, much 
 more interesting to do as much as possible one's 
 self and the process of beaming the warp is a 
 particularly fascinating one. The making of a 
 leased warp can also be done by amateurs, but 
 it is wiser not to attempt this on the first warp. 
 Warping consists in arranging in parallel lines 
 as many threads as are required to weave the 
 desired width, and as long as the piece of goods 
 is to be. This must be done a few threads at 
 a time. These threads must be crossed near 
 the end so as to make a crossing similar to that 
 in the shed. A detailed description of this 
 
68 HANDICRAFTS FOR THE HANDICAPPED 
 
 process will be given later on, but the first warp 
 may be procured ready-made. The number 
 of threads or "ends" required may be estimated 
 by multiplying the number of inches the fin- 
 ished goods is to be by the dents in one inch of 
 the reed. Twelve threads to the inch is an 
 average number for rag weaving. The first 
 warp should be that usually required in rag 
 weaving. A sample from a rag rug may be 
 sent to the dealers. White or cream colored 
 warp is best to begin with. In a piece thirty- 
 six inches wide with twelve threads to the inch, 
 432 threads would be required; allowing for a 
 few double for the selvage, 450 ends is a good 
 number. Twenty-five yards is as much as a 
 novice can handle easily. The w r arp can be 
 procured at wholesale rates and delivered ex- 
 press C. O. D. from Tinkler & Co., Philadel- 
 phia. It should be stated in ordering that it is 
 to be chained that is, after the lease is put in 
 the whole warp is chain-stitched at the factory 
 to avoid tangling. 
 
 PUTTING ON THE WARP 
 
 The principle of the crossed threads must be 
 observed in making the warp. The crossing 
 
WEAVING 
 
 69 
 
 in making the warp is generally kept by cords, 
 and a ready-made warp comes from the factory 
 with these threads firmly tied in place. These 
 must be removed before the warp can be spread 
 out on the yarn beam, and this is where ama- 
 teurs frequently come to grief, by taking out 
 the cords before putting in lease sticks to hold 
 the cross. A very simple method of procedure 
 
 CROSSED OR LEASED WARP AS IT COMES FROM THE FACTORY. 
 TOP VIEW AND SIDE VIEW. 
 
 is to insert long, heavy cords to hold the cross- 
 ing threads. The warp must be fastened se- 
 curely to the beam at the end from which the 
 chain unlaces (there is sometimes a cross at 
 both ends) . Some yarn beams are made with 
 a long stick sunk in a groove, in which case the 
 stick may be slipped through all the loops at 
 the end of the warp, and put back in the 
 
70 HANDICRAFTS FOR THE HANDICAPPED 
 
 groove. It is tied in place in the groove after 
 the warp is spread out to the desired width. 
 The lease sticks may then be easily put in 
 place, one at a time. They should be tied to- 
 gether, or held with large rubber bands to pre- 
 vent their slipping. 
 
 A very useful device to keep the warp 
 threads from tangling and make them wind 
 smoothly on the yarn beam is a long wooden 
 comb as wide as the loom, called the raddle. 
 
 RADDLE. 
 
 With it is sometimes used an upper piece which 
 prevents the threads from slipping over the top 
 of the raddle teeth. The raddle is fastened 
 securely across the loom in a vertical position. 
 A very good plan is to fasten it to the upright 
 sides of the batten. A small portion of warp 
 is then unwound from the beam, and the 
 threads are distributed between the teeth of 
 the batten, care being taken to keep them 
 straight from the beam to a corresponding 
 position in the raddle. 
 
PUTTING ON CHAINED WARP. 
 
 Note the raddle in position, also the flat sticks under the warp on the 
 beam used to keep it from settling in. 
 
WEAVING Tl 
 
 In order to wind on the warp smoothly with- 
 out leaving loose threads, it is necessary to get 
 a very even tension. The best way to do this 
 is by winding the chain of warp on a drum, but 
 this often is impracticable for an amateur, and 
 the chain can be held firmly enough in the 
 hands of one worker while another turns the 
 beam of the loom and winds on as far as the 
 warp threads are straight. The lease sticks 
 which have been wound with the warp must 
 then be worked back toward the raddle, care 
 being taken to undo gently any little caught 
 places so as not to break the threads. This 
 plan of having the raddle stationary and the 
 lease sticks movable, gives an opportunity to 
 wind on about a yard at a time. The warp on 
 the beam should be kept from settling in by 
 occasionally laying a stick a curtain stick an- 
 swers the purpose along the beam under the 
 warp which is about to be wound on. There 
 should be one of these sticks to every six or 
 seven yards of warp. The greatest difficulty 
 which amateurs are likely to encounter is that 
 ^occasioned by the chain coming undone so that 
 the threads loosen and tangle. Care should 
 be taken not to loosen the chain for more than 
 
72 HANDICRAFTS FOR THE HANDICAPPED 
 
 a yard or two at a time. A cord tied around 
 the bunch of warp will prevent tangling. If 
 a thread breaks the ends must be tied at once 
 with a weaver's knot. 
 
 Putting on, or beaming the warp, is some- 
 times called warping the beam. When the 
 warp has been put on smoothly for its entire 
 length with but few knotted threads, it may 
 be said that the multiplication table of home 
 weaving is mastered. 
 
 ADJUSTMENT OF HARNESS FOR RAG RUG 
 WEAVING 
 
 For plain weaving two heddles are used. 
 The wire ones set in frames are the easiest for 
 amateurs to manage, but string heddles with 
 or without copper mail-eyes work very well. 
 The number of heddles is usually rather greater 
 than that of the warp threads or ends; half 
 should be on each frame. The heddle frames 
 are suspended from a horizontal beam crossing 
 the top of the loom ; usually there is a cord ar- 
 rangement sliding on a pulley at each end of 
 this beam, which allows one heddle to go up 
 while the other goes down. In threading the 
 heddle eyes it is necessary to know the number 
 
WEAVING 73 
 
 of eyes in each frame, and find the middle eye 
 of each frame. The warp must also be 
 counted and the threading must begin from the 
 center thread. A small hook, called a warp 
 hook, is inserted through the center eye in the 
 front frame and the middle thread caught on 
 it and pulled through. The next thread to the 
 right is then threaded through the eye next to 
 the right in the back frame and this process 
 is continued across the loom, taking each thread 
 in succession. The work should be watched 
 closely, as it is very easy to take two front or 
 two back heddles in succession. The ends 
 should be tied in small bunches in front of the 
 heddles to avoid pulling backwards and un- 
 threading. The last eight or ten ends may be 
 threaded two together to form a selvage. The 
 left side should then be threaded, starting from 
 the middle. The mistake to be avoided is that 
 of threads crossing in the heddles. These may 
 be discovered by pushing down the front frame 
 and looking through the shed, then pushing 
 down the back frame. There should be a clear 
 opening across the loom, but if there is a thread 
 in this space a cross is indicated, and the heddles 
 must be re-threaded to correct it; sometimes 
 
74 HANDICRAFTS FOR THE HANDICAPPED 
 
 two threads only require re-threading. Be- 
 fore the ends are threaded through the reed it 
 is well to examine the heddles straight across 
 the loom to see if there are any errors. It is 
 often necessary for a beginner to do consider- 
 able re-threading, or pulling in. 
 
 The batten is in front of the heddle and is a 
 swinging frame containing the reed. The 
 ends of the warp must be threaded from the 
 middle hole or dent of the reed and go straight 
 from the center of the heddles to the center of 
 the reed. The threading should be done with 
 the warp hook. 
 
 When the reed is threaded, and the ends tied 
 to prevent their coming out, the harness must 
 be carefully adjusted so that the threads will 
 run horizontally from the back beam through 
 the heddles and reed to the front beam. The 
 heddle frames are attached to the treadles in a 
 way to give a perfect balance, as shown in the 
 photographs. The batten must swing freely, 
 without striking the heddles or the front beam. 
 This may mean careful adjustment. 
 
 Generally on the front beam there is a series 
 of cords to which the ends of the warp are to be 
 tied, with the knot shown in the sketch, or there 
 
PUTTING ON NEW WARP WITHOUT RE-THREADING THE 
 
 HEDDLES. 
 
 After the new warp is on the beam each new end is tied to a correspond- 
 ing old end. 
 
WEAVING 75 
 
 may be a rod run through a piece of strong 
 drilling called an apron to which the ends are 
 tied. Before describing the actual process of 
 weaving it may be stated that after the loom is 
 once threaded it is not necessary to re-thread 
 the harness for every new length of warp. 
 
 TYING ENDS OF WARP AT CLOTH BEAM END. 
 
 When the warp is woven nearly to the end, in- 
 stead of pulling out the threads it is better to 
 tie them securely in small bunches in front of 
 the reed and behind the heddles, so they cannot 
 slip through. After the new chain of warp is 
 put on, the new ends may be tied one by one 
 with a weaver's knot to the old ends. 
 
 STARTING THE WEAVING 
 
 It will be found that the harness needs con- 
 siderable adjusting before it works perfectly. 
 
76 HANDICRAFTS FOR THE HANDICAPPED 
 
 The heddle must be hung so as to allow a wide 
 shed. Sometimes threads have to be retied, as 
 one loose thread destroys the perfection of the 
 web. The shed is formed by pressing the foot 
 on one treadle, and in order to keep the weav- 
 ing even, a long lease stick is slid in the space 
 across the loom. The shed is changed by 
 pressing down the other treadle. (The 
 treadles must be carefully adjusted so as not 
 to strike the floor.) 
 
 It is well to begin the weaving with a head- 
 ing of cord. The shuttle may be filled with 
 twine or warp thread. This allows any defects 
 in the threading of the loom to become very 
 apparent. 
 
 When the shuttle is filled a shed is formed by 
 pressing the foot on the right hand treadle, and 
 the batten is pushed back toward the heddles 
 with the left hand. The shuttle is thrown 
 with the right hand as near as possible to the 
 reed. The thread should not be pulled tight 
 at the selvage. The row of weaving is then 
 beat up toward the front of the loom by swing- 
 ing the batten forward. The shed is then 
 changed by pressing down the other treadle, 
 and the shuttle is thrown through from the left 
 
WEAVING 77 
 
 hand side. After about an inch of heading is 
 completed it is easy to see if there are any 
 threads to be corrected in the warp, and this 
 may be done. If not, the weaving may be con- 
 tinued with whatever filling is desired. The 
 photograph of Blind Tom weaving shows how 
 the shed should look, and the shuttle ready to 
 throw from right to left. 
 
 Many weavers nowadays use only new ma- 
 terials, long strips of denim, of figured chintz 
 or outing flannel, producing fabrics of great 
 beauty. But for those who prefer the method 
 of the olden time it may not be amiss to give 
 a description of how to use old materials. The 
 great point is to have the rags cut evenly and 
 to make them of a width to "beat up" to the 
 same thickness in weaving that is, a strip of 
 muslin should be cut much wider than a strip 
 of calico. Hit and miss rugs in soft colors are 
 always useful in a bathroom. And if the fill- 
 ing material is old it will not fade any more. 
 
 The weight of the rug must be sufficient to 
 hold it straight on the floor; two and one-half 
 pounds of rags to the square yard is a good 
 proportion that is, five or six yards of denim 
 or outing flannel. The rag strips should be 
 
78 HANDICRAFTS FOR THE HANDICAPPED 
 
 well sewed together. As the weaver becomes 
 expert the ends may be overlapped without 
 sewing if desired. The rug may be varied by 
 introducing bands of color or by using two 
 shuttles alternately, letting several colors run 
 "hit-and-miss." 
 
 The beginner will have difficulty in taking 
 out the work and it is much better to weave a 
 series of pieces one after the other, leaving six 
 inches of warp between, and weaving a cord 
 heading at each end of each piece. The pieces 
 when taken out should be finished with fringe 
 made by tying the ends of warp. 
 
 The question of coloring materials often 
 comes up. It is very easy to wind the balls of 
 rags in skeins and dip the skeins in a dye both 
 green, blue or brown. If the balls are of hit 
 and miss this will give a shaded effect which is 
 very good, and this method allows rugs to be 
 woven to match the color scheme of certain 
 rooms. 
 
 PATTERN WEAVING 
 
 After the amateur weaver has become pro- 
 ficient in making rag rugs or portieres it is in- 
 teresting to try something more elaborate. 
 
THE SAME WEAVER AFTER A YEAR'S TIME. 
 
 During which she had studied out five coverlid designs. 
 
WEAVING 79 
 
 For pattern weaving harness may be increased 
 by the addition of one, two or three heddles. 
 The weaving of coverlids is an intricate proc- 
 ess, but it can be successfully mastered by an 
 amateur as is proven by these two photographs 
 of a self-taught weaver in her summer home in 
 New Hampshire. 
 
 Eliza Calvert Hall's Coverlid Book shows 
 many lovely designs with their quaint names, 
 "Governor's Garden," "Lee's Surrender," 
 "Bachelor's Fancy," etc. It is interesting to 
 note that when such weaving was in vogue it 
 was taught to the prisoners in the State Prison 
 of Auburn, N. Y., with great success, and 
 many "prison coverlids" are still in use in north- 
 ern New York. For those who need to start 
 weaving with less strenuous work a small light 
 loom is illustrated, especially recommended by 
 physicians for the use of neurasthenics. It is 
 well adapted for the weaving of "laid-in pat- 
 terns." 
 
 The interest in hand weaving seems steadily 
 on the increase. The desire for its beauty in 
 our homes and the value of it in educational in- 
 stitutions has brought about a decided revival 
 of this most significant craft. It has proven 
 
80 HANDICRAFTS FOR THE HANDICAPPED 
 
 valuable in institutions for the deaf and dumb, 
 and the State Hospitals for the Insane. Very 
 elaborate and beautiful pattern weaving is be- 
 ing done in the Lighthouse, the School for the 
 Blind, in New York City, and at Devereux 
 Mansion, Marblehead, Massachusetts. For 
 those beginning weaving who feel themselves 
 unable to cope with the problems of setting up 
 a loom and putting on the warp, it may be in- 
 teresting to note that excellent light-weight 
 looms may be bought ready threaded at Dev- 
 ereux Mansion, Marblehead, Massachusetts. 
 
A LIGHT WEIGHT LOOM 
 
 Recommended by physicians for the use of convalescents. It is especially 
 good for weaving bags, hat-bands, etc. 
 
CHAPTER V 
 BOOKBINDING 
 
 A lucrative craft which may be carried on individually, or 
 cooperatively as in schools for cripples in Scandinavia. 
 
 a. Albums, portfolios, guest books, etc. 
 Apparatus needed, and steps in working. 
 Illustrations of processes and appliances. 
 
 b. Rebinding old books. 
 
 A special industry in itself. 
 
 Methods of procedure. 
 
 Illustrations of sewing frame, press, etc., and various 
 
 processes employed in covering a full-bound book. 
 
BOOKBINDING 
 
 THOSE wonderful volumes owned by Kings and 
 Ecclesiastical Potentates, requiring months of 
 patient labor, may be paralleled to-day by 
 workers who have the triple requisites of 
 money, time, and strength. Great libraries 
 are still in existence which demand this exqui- 
 site craftsmanship in new work and in the re- 
 pairing and preserving of precious volumes. 
 There is no better field for the worker who loves 
 intricate and laborious crafts. 
 
 But there is also an opportunity for the 
 craftsman who has less capital and less 
 strength, in the binding of music, the rebinding 
 of old books by hand, and the making of al- 
 bums and guest books. Such work is inter- 
 esting and can be done at home, it is well paid, 
 and affords great scope for exquisite delicacy 
 of workmanship. 
 
84 HANDICRAFTS FOR THE HANDICAPPED 
 
 When it is done on a large scale, as in Scandi- 
 navia, where it is a feature of the schools for 
 cripples, it is an excellent cooperative industry. 
 
 In such a case, large presses, * "guillotines" 
 to cut the edges of sheets, and other machines 
 are required, and frequently printing and book- 
 binding are combined so that large contracts 
 as for example, government reports in Den- 
 mark can be executed. 
 
 The directions given are for individual work, 
 and the list of tools and materials is kept as 
 simple and inexpensive as possible, but it is 
 safe to say that work done on a larger scale 
 would stand a fair show of success. 
 
 ALBUMS, PORTFOLIOS AND GUEST BOOKS 
 
 The question of color harmony enters so 
 largely into our furnishings to-day that we are 
 often impelled to try to manufacture in the 
 home workshop articles of daily use which we 
 have failed to procure ready made. Fitness 
 of material is also an important part of this 
 problem of making a room harmoniously beau- 
 tiful, and this applies even to the bindings of 
 the books, which in a general living room 
 should share the character of the rest of the 
 
BOOKBINDING 85 
 
 furniture. In a library there may be scope for 
 elaborate and fanciful bindings, but books like 
 guest books and albums which are used in a 
 living room should be not only durable but 
 simple and sturdy in effect. Albums espe- 
 cially should be built to endure the hard knocks 
 of family life, for in these days of kodaks they 
 hold the record of many a holiday and are fre- 
 quently referred to. For this reason home- 
 made albums are preferable, for each of the 
 parts may be chosen for some special quality: 
 strong hand-made paper of a dull gray or 
 brown for the leaves, cowhide or sheepskin for 
 the cover, and the coloring of the whole selected 
 with a thought as to the style of photographic 
 paper the family kodak fiend affects, a brown 
 color scheme for sepia prints, blue-gray with 
 gray-brown covers for black and white. If 
 more vivid color is desired there is a certain 
 leather prepared with vegetable dye called 
 Niger Morocco, to be had in a dull red which 
 deepens with age. 
 
 The making of an album is a task which re- 
 quires no great skill, although patience and 
 accuracy are essential. Let the would-be 
 binder investigate the family workshop and see 
 
86 HANDICRAFTS FOR THE HANDICAPPED 
 
 that he has in hand the following: a hard pen- 
 cil; a ruler with a metal edge; two pairs of 
 dividers, both large and small; a carpenter's 
 try square ; an awl ; a large paste brush ; a glue 
 pot and brush ; a couple of good smooth boards. 
 There are also necessary some drawing instru- 
 ments, a T-square and triangles, and a few 
 special book-binder's tools, an ivory paper 
 knife, called technically a bone folder, a paring 
 knife for leather, a small letter press, a finish- 
 ing press, backing boards and a backing ham- 
 mer. This small outfit, although it seems to 
 contain so many articles, may be bought for a 
 few dollars. For more advanced work a sew- 
 ing frame is also essential. 
 
 In the way of materials, a few sheets must 
 be procured of bookboards of various styles, 
 strawboard, a finer style for delicate work, and 
 a few sheets of paper of the desired color. 
 Half a dozen sheets of charcoal paper make a 
 good-sized album. Two sheets of a mottled 
 paper called Morris or Oxford make pretty end 
 papers, and the coloring may harmonize with 
 that of the leaves. A quantity of cheap un- 
 printed newspaper sheets should be kept on 
 hand to cover delicate work; there should also 
 
BOOKBINDING 
 
 87 
 
 be at least two sets of smooth tins and a yard 
 of coarse book linen. 
 
 The album is best made with flexible covers, 
 and should be made all in one section, that is, 
 one set of leaves folded one inside another. 
 Six sheets of paper will be ample. 
 
 Take one sheet and lay it out on a large flat 
 board. Divide the left edge into three equal 
 
 FOLDING SHEETS FOR ALBUM. 
 
 parts and draw lines across at right angles to 
 the left edge. Find the center of the top edge 
 and draw a line down exactly at right angles 
 to the cross lines. Mark corners with Xs as 
 shown in the drawing. Cut the cross lines with 
 a sharp knife held against the edge of a metal 
 rule, and fold each piece very carefully on the 
 up and down line, so that the upper edges ex- 
 
88 HANDICRAFTS FOR THE HANDICAPPED 
 
 actly coincide. Cut and fold each sheet in the 
 same way. This gives eighteen sheets, two of 
 which may be made into end papers. Cut a 
 piece of Morris paper the size of each of the 
 two sheets. Lay them figured side down on a 
 clean sheet of paper. Dip a large paste brush 
 into flour paste which has been strained smooth, 
 and cover every part of the paper, holding it 
 in the center with the thumb and fore-finger. 
 Lay the charcoal paper on the Morris paper, 
 lay a clean paper over and rub down with the 
 bone folder. Do each end paper the same way, 
 and put them to press between tins covered 
 with clean papers. 
 
 When they are perfectly dry take out of the 
 press and fold, figured side in. Rub down the 
 creases with the bone folder. Cut a piece of 
 book linen one and one-half inches wide and 
 the length of the fold just made. Paste this 
 and lay the two end papers on it about one- 
 sixteenth of an inch apart. Press till dry, and 
 fold around the other sheets, with the book 
 linen out, as it will come between the book and 
 the cover. Press the book thoroughly, and 
 knock it up, holding it between the two hands 
 and tapping the head or top on a horizontal 
 
BOOKBINDING 
 
 surface. Next place the book on a stone and 
 lay a try square across the head as shown in 
 the sketch, being careful that the try square is 
 exactly perpendicular to the back of the book. 
 This is all the cutting of edges necessary in 
 an album, so the next step, after the book has 
 
 END PAPEE WITH LINEN. 
 
 CUTTING HEAD OR TOP OF BOOK. 
 
 been well pressed, is sewing. This should be 
 done with embroidery silk, of a color to blend 
 with the book, or contrast with it. Orange silk 
 is effective in a brown album. The stitches 
 should be an inch apart, and holes should be 
 pricked through pencil marks laid off with a 
 rule before any stitches are taken. Begin in- 
 
90 HANDICRAFTS FOR THE HANDICAPPED 
 
 side, leaving a thread an inch long. The 
 stitches go over and under, from top to bottom, 
 returning in the same holes with an effect like 
 back-stitching. When the top has been reached 
 tie the ends of silk in a flat knot, cut about two 
 inches long and fray out the ends. 
 
 A flexible cover is suitable for an album, but 
 it is necessary to have inside the cover a light 
 book board to make the leather lie flat. The 
 boards should be the exact size of the leaves and 
 pasted to the end papers, with paste in which a 
 little glue has been stirred. Tins should then 
 be placed between the end papers and the first 
 sheet of the book, and the book put in press. 
 To make the pattern for the leather, which 
 should be made to project one-half inch beyond 
 the leaves of the book, place the book, back 
 down, on a large piece of manilla paper and 
 draw around the back, then tip the book to the 
 right side and draw around it; same with the 
 left. Remove the book and correct these lines 
 with the ruler, and draw another set one-half 
 inch outside these. The leather may then be 
 cut by this pattern, the lines being drawn 
 on the wrong side to correspond with those of 
 the pattern. The leather should be pasted in 
 
BOOKBINDING 
 
 t 
 
 91 
 
 place, the paste being applied to the boards and 
 back of the book, and the leather quickly folded 
 in place. Clean paper should then be laid over, 
 and the bone folder used to rub down the back 
 and sides until every particle of leather is stuck. 
 
 PRICKING HOLES. METHOD OF SEWING. 
 
 The book may then be put under slight pres- 
 sure till dry. 
 
 The last step is lacing the back with thongs. 
 Holes should be made with an awl about one 
 inch apart, and the thongs of leather run 
 through in cobbler's stitch as shown in the 
 sketch; the ends being tied in the middle. 
 
HANDICRAFTS FOR THE HANDICAPPED 
 
 A guest book is almost as simple of construc- 
 tion, except that it should be made of several 
 sections of any desired size, and sewed on tapes 
 to allow of free opening. Charcoal paper and 
 smooth, thin water color paper are both good 
 
 -</* 
 
 /:':/> 
 
 COBBLER'S STITCH. COMPLETED ALBUM. 
 
 materials and, if the paper is folded twice, that 
 is, cut in half and each half cut in half, a good 
 size is obtained. Each section should be pre- 
 pared as described above and the end papers 
 made and lined as in the album; but each end 
 paper should have, instead of a piece of book 
 
BOOKBINDING 93 
 
 linen, a guard of thin strong paper wide enough 
 to fold one over the first section and the other 
 over the last section. These being put in posi- 
 tion the book must be carefully knocked up 
 and put in press between boards as shown in 
 the sketch, with the head and back vertical. 
 It should be under heavy pressure over night. 
 A better style of end paper, too elaborate to 
 be described here, may be found in Douglas 
 CockerelFs book on Binding. 
 
 BOOK IN PRESS. 
 
 In sewing a book there are certain stitches 
 called kettle stitches, taken about half an 
 inch apart from each end, and lines must be 
 drawn for these with the try square exactly 
 perpendicular. Then the space between may 
 be divided up in tapes, five equal spaces if four 
 tapes are to be used. Lines must be drawn 
 across with a soft pencil, and on each side of 
 each of these another heavy line half the width 
 of the tape away. These lines should all be 
 
94 HANDICRAFTS FOR THE HANDICAPPED 
 
 made very distinct, and it is well to saw in the 
 lines for the kettle stitch with a back saw, about 
 one-sixteenth of an inch. The other marks 
 should be pricked through in each section. The 
 sewing always begins with the end paper, and a 
 long thread of embroidery silk should be used, 
 with the end tied to a tack in the table, so that 
 it will not pull through into the book. The 
 
 thread goes through the right-hand kettle stitch 
 hole, through the end paper and first section 
 and comes out of the hole at the right side of the 
 first tape, crossing the tape and going in at the 
 other side, and so on till the last hole is reached, 
 when the second section is laid on the first and 
 the thread goes into the hole just above, as 
 shown in the sketches. Every three or four 
 sections a buttonhole stitch is made catching 
 the threads in each tape. The ends of the 
 
BOOKBINDING 95 
 
 thread must be tied with a weaver's knot. The 
 sewing complete, the last thread is secured with 
 a triple kettle stitch, and the first end untied 
 and secured in the same way. 
 
 Rounding is an important process, as it gives 
 shape and style to the volume. The back of 
 the book should be soaked with glue, which is 
 allowed to nearly dry, the book is placed on a 
 table, and the top pressed forward with the 
 
 BACKING. 
 
 palm of the hand. The back is then tapped 
 with a backing hammer. The book is then re- 
 versed, and the other side of the back rounded. 
 Backing makes the rounding perfectly solid. 
 To back the book it must be put in a press, 
 with the backing irons placed the thickness of 
 the boards below the edge, as shown in the 
 sketch. The edges are tapped with the back- 
 ing hammer so they form a joint the thickness 
 
96 HANDICRAFTS FOR THE HANDICAPPED 
 
 of the coverboard, as shown in the end view. 
 The whole back is then tapped until it is solid, 
 a strong wrist blow being used. 
 
 BACKING BOOK IN PRESS. 
 
 The book must be allowed to dry, and thin 
 boards may then be pasted on, with Vs f an 
 inch of space between the joint and the board. 
 These should be glued in place as in the album, 
 and if the tapes are thin, they may be glued to 
 the boards and the leather put directly over, 
 but generally an extra paper or thin board is 
 necessary. The leather cover may then be put 
 on with projecting edges as in the album. 
 
 A word on the subject of portfolios may not 
 come amiss. The size and proportion being 
 decided, the number of pockets should be con- 
 
BOOKBINDING 97 
 
 sidered. A very practical style is made of a 
 whole calfskin, the pockets being formed inside 
 the covers, by folding the skin, as shown in the 
 sketch, and the top and bottom being laced 
 with thongs, which also form ends to tie at the 
 front. The center of the back should be stif- 
 fened by putting on an extra piece of leather 
 extending inside the pocket. The opposite 
 side should be cut away so as to form a writing 
 pad in which blotting paper may be inserted. 
 Another portfolio is intended especially to 
 hold sketches, which are often too long to go in 
 the pockets of the ordinary size. It is made of 
 calf or sheepskin, lined with a thinner leather, 
 the two parts sewed together all around with 
 cobbler's stitch, shown in a cut. An extra 
 piece of thicker leather stiffens the back. 
 When the sewing is completed slits are cut 
 with a sharp knife through which leather 
 straps are run, forming on the inside the 
 equivalent of a pocket for long narrow sketches 
 which may be slipped inside the strap. If de- 
 sired, the latter may be finished with buckles. 
 
 Blank books, with perforated pages to be 
 removed at convenience, telephone books, al- 
 manac pads and many other small articles may 
 
98 HANDICRAFTS FOR THE HANDICAPPED 
 
 be made with the tools used in book-binding. 
 The tools referred to in this paper are com- 
 
 :7^ w^^WwS^^ 
 
 : ~ 
 
 PORTFOLIO VIEWS OF OUTSIDE AND INSIDE. 
 
 paratively inexpensive leather is usually dear 
 if of good quality, but need only be bought as 
 
BOOKBINDING 99 
 
 required. It is, however, much easier to ma- 
 nipulate than any form of cover paper, book- 
 linen or other substitute. 
 
 A short description follows of 
 
 THE REBINDING OF OLD BOOKS 
 
 Most of the books nowadays are not bound 
 at all, they are merely cased, and that in such 
 a way that the covers pull off after a little wear 
 and the leaves are injured by deep saw cuts, or 
 wire threads holding the sections. But as 
 often these poorly bound books are printed on 
 good paper, or have some association which 
 makes them worthy of preservation the rebind- 
 ing of them is worth considering, and is often 
 developed into a lucrative craft. This is espe- 
 cially true in small towns, where the public li- 
 brary may give an opportunity for keeping 
 books in repair. Binding music and rebinding 
 old music books are also remunerative. 
 
 If an old book is to be rebound it should be 
 looked over carefully to see that no pages are 
 missing, and any torn places should be mended 
 as described in the paragraph on mending. 
 Each sheet should then be registered, that is, 
 held to the light to see if the printing on the 
 
100 HANDICRAFTS FOR THE HANDICAPPED 
 
 upper right corner of the first page coincides 
 with that on the third, if not, it should be 
 refolded so that it does, and the new crease 
 rubbed down on glass with a bone folder. 
 Each sheet should be corrected and put in 
 its place, so that the pages read correctly. 
 The next step is to cut the top, commonly 
 called by binders the "head," the bottom 
 being called the "tail" and the front the 
 "fore-edge." Probably you may have ob- 
 served that in many books the margins are un- 
 equal in different sheets. It is a distinct im- 
 provement to cut them so that every head- 
 space corresponds. To do this, a pair of 
 dividers must be very carefully set to the dis- 
 tance from the top of the printing to the top of 
 the paper in the sheet which seems to be the 
 shortest. Generally a section of eight leaves 
 can be taken at once. Two little marks are 
 made with the dividers, and a try-square is laid 
 across these, the handle-side resting against 
 the back of the book. The upper edge of the 
 try-square is then followed along with a sharp 
 knife, a potato-knife or pen-knife will answer, 
 on a piece of glass. Each section should be 
 cut in this way, or if the sheets seem fairly uni- 
 
BOOKBINDING 1<01 
 
 form, possibly it may be enough to cut each 
 section. This provides a "head" which is ex- 
 act enough to be used in "knocking up" the 
 book. This is done by holding it so it is ver- 
 tical, head down, between the palms of the two 
 hands, and knocking it against a perfectly hori- 
 zontal surface, a piece of glass or a paring- 
 stone. Knocking up is a very important 
 process and must be repeated at nearly every 
 stage in the work. 
 
 End papers, or what are sometimes called 
 the "fly-leaves" of a book, are important and 
 should always be of paper similar to that of the 
 book, and used so the grain of the paper runs 
 lengthwise. With a large steel square, get a 
 square corner, measuring from this four sheets 
 one-half inch longer and one inch wider than an 
 open sheet of the book. Mark each of the four 
 corners with a cross, and cut the edges with a 
 knife, along the lines formed by the square. 
 Paste an inch wide strip of book linen on to 
 form a "tip" or guard as in the guest book, but 
 unlined. 
 
 When the end papers are made and laid in 
 the position on the ends of the book, tip out, 
 with the corner marked X at the top, the book 
 
FOR THE HANDICAPPED 
 
 is ready to be put in press. After the "head" 
 is cut by hand, the "fore-edge" and "tail" or 
 bottom may also be cut by hand, but it is a 
 tiresome process, and can be done better on a 
 cutting machine in a bindery. 
 
 For pressing a letter-press answers very 
 well, if the book is left in long enough, say 
 forty-eight hours. The book must be knocked 
 up at the head and back with great care, and 
 laid on the center of a board. It must be 
 tested with a try-square. If it stands vertical, 
 place another board on top and put it exactly 
 under the screw of the press. Test it to see 
 that it has not slipped, as, if the sheets are 
 pressed in a wrong position the defect cannot 
 be remedied. The press should be screwed as 
 tight as possible. Several books may be 
 pressed at one time if care is taken in putting 
 in and removing them, with boards between. 
 
 When the book is pressed, the next step is 
 sewing. Knock up the book and divide the 
 back with dividers if it is to be sewed on four 
 tapes, into five parts, the one at the "tail" be- 
 ing a little the longest. At each end, mark a 
 point one-half inch in for the kettle stitch. 
 Draw lines across the book with a soft pencil, 
 
BOOKBINDING 103 
 
 using a try-square, one for each kettle stitch, 
 and one for the center of each tape. On the 
 bottom of the sewing frame, which is shown in 
 a photographic illustration, measure corre- 
 sponding distances for the four tapes and tack 
 each one in place, then carry each one to the 
 top of the frame and pin it over the ring. 
 Place the book in position and test with a try- 
 square to see that the tapes and marks on the 
 book are vertical. Screw up the rings. 
 
 The book should be sewed with medium sized 
 book-binder's thread, or with embroidery silk, 
 a soft green being satisfactory. The needles 
 should be large. In very careful work a hole is 
 pricked for every stitch in each section. Tie 
 the end of the thread to a tack at the right of 
 the book, and begin sewing the end paper, 
 starting in at the outside of the first kettle 
 stitch. If it is necessary to make a knot, it 
 should come between the tapes; the best way 
 being to attach the new thread with a weaver's 
 knot, pulling the knot through so it comes on 
 the inside of the book. 
 
 In sewing tapes, it is well to catch every 
 third thread with a button-hole stitch. The 
 sewer may sit in front of the frame, as in the 
 
104 HANDICRAFTS FOR THE HANDICAPPED 
 
 photograph, or at the end, but her position 
 must always be such as to allow her left hand 
 to go behind the tapes, in the middle of the 
 sections she is sewing on. When the sewing is 
 finished the ends should be fastened with a 
 double kettle stitch and each thread put 
 through into the book, cut off about three- 
 quarters inch long, and frayed out like a tassel 
 so it will be flat. The tapes may then be cut 
 off two inches from the book, and the book 
 taken out. It should be put in the finishing 
 press, back up, and the tapes pulled very tight. 
 
 All the processes between sewing and finish- 
 ing are included under the general name of 
 forwarding. The first of these is gluing up. 
 The book is first placed between mill boards 
 having one right angle at the corner formed by 
 head and back, and carefully knocked up. It 
 is then put into the finishing press, back up, 
 and the back daubed with hot glue. Book- 
 binder's glue is the best. 
 
 The next two processes, rounding and back- 
 ing, have already been described. If the book 
 is a valuable one, great care should be taken 
 to put it in the press just right and to use 
 regular "backing irons" so as to force a 
 
USE OF SEWING FRAME. (Sewing on Tapes.) 
 
BOOKBINDING 105 
 
 joint into which the covers will fit. The book 
 should be put between the backing irons which 
 are set in the press, ends of tapes out, in such a 
 position that the exact thickness of the boards 
 projects above the top of the irons to form a 
 "joint." If necessary, lines may be drawn to 
 mark the exact place for the top of the irons. 
 Even professionals have frequently to put the 
 book in position two or three times to get it 
 exact. Back as described in the beginning of 
 the chapter. 
 
 The book may then be left in press to dry, 
 the process of backing being completed, while 
 the boards are made. In a book sewed on 
 raised bands the best quality of mill board 
 should be used, lined with good white paper. 
 For a book sewed on tapes, the thin mill board 
 may be lined with straw board. The approxi- 
 mate size, considerable allowance being made 
 for cutting, should be decided on, and the four 
 pieces of board cut. 
 
 After the long edges are cut a line should 
 be drawn two inches in on each board, and the 
 straw board glued to the mill board outside 
 this two-inch space, which should be filled in 
 with a loose piece of paper. After the boards 
 
106 HANDICRAFTS FOR THE HANDICAPPED 
 
 are prepared in this way they should be nipped 
 up in the press. 
 
 The two sets of boards should then be stuck 
 together with a bit of paste, the cut edges ex- 
 actly coinciding and the mill boards outside. 
 They should be put in press over-night. 
 
 The boards should then be cut to fit the book, 
 allowing ^4 inch the thickness of the board 
 longer than the book, and % wider. In set- 
 ting the boards in place, an allowance of per- 
 haps one-sixteenth inch should be left to allow 
 the boards free play. The ends of the tapes 
 
 PASTING TAPES AND TIP INTO COVER. 
 
 and the tip should be cut parallel with the back 
 one and three-quarters inches away. These 
 ends and the tip should then be slipped into the 
 two-inch space left between the boards, the 
 paper being first removed. If they fit cor- 
 rectly they should then be glued in, the book 
 being protected by a paper cover. The boards 
 must be tested for accuracy before the glue 
 sets, and the book nipped up in the press. 
 
BOOKBINDING 107 
 
 In full bound books the entire cover is of 
 leather; in half bindings, leather is only used 
 for the corners and backs. A pattern for a 
 full-bound should first be drawn carefully with 
 T-square and triangles, allowing three-quarter 
 inch extra for turn in. The leather has the 
 pattern drawn on it to coincide, and the three- 
 quarter inch edge is then pared thin, the very 
 edge being as thin as possible. The space over 
 the back is also pared a little, not very much in 
 books sewed on tapes. It will pay to learn 
 how to use a paring-knife by watching some 
 one in a bindery, as it is hard to describe the 
 process in words. 
 
 The back of the book should be filled in with 
 paper between the tapes and sand-papered 
 smooth. A little paste may be put on before 
 the leather is put on. The leather should be 
 well soaked with paste, and spread out wrong 
 side up on a stone. The back of the book is 
 laid on the middle of the leather, and the book 
 turned over again for the other side. Then 
 the leather is pulled into position if the mar- 
 gins are not equal. The book is then stood on 
 the fore-edges and the leather pulled down 
 with the palms of the hands, as shown in the 
 
108 HANDICRAFTS FOR THE HANDICAPPED 
 
 photograph, and patted flat all over one side, 
 then over the other. The fore-edge is then 
 worked by pulling the leather over, lapping it 
 inside and rubbing the edge with the bone 
 folder, the other fore-edge the same way, as 
 shown in photograph. 
 
 The book is then stood up on one end and 
 the leather pushed away from the top far 
 enough to allow a space to make it lap down 
 neatly across the back that is, it must be 
 
 [f 
 
 HEAD CAP. MITERING CORNERS. 
 
 "tucked in" between the boards and the back. 
 The very middle must be pulled up a little so 
 as to make a head-cap. After each end is 
 done this way, and the edges turned in along 
 the boards at head and tail to the corners, a 
 long piece of silk is tied around the book twice, 
 pulling in the leather. The cap is then formed 
 by tapping the book, tipped slightly backward 
 on a stone, and pressing a small orange-wood 
 stick into each side of the cap to hold it in shape. 
 
COVERING A FULL-BOUND BOOK. 
 
BOOKBINDING 
 
 109 
 
 The little sketch shows the correct form. The 
 silk may be left on while the corners are being 
 mitered. The inside corner is made by stretch- 
 ing the leather diagonally onto the book, the 
 surplus leather is then pushed up and cut away 
 
 ONE SIDE DRYING. 
 
 with scissors, leaving a tiny overlap, to be 
 pasted down very carefully, covered with 
 fresh pieces of paper. The joint especially 
 must be perfectly smooth. When one side is 
 
 LLJll 
 
 FINISHING CORNERS. 
 
 done it should be left open and folded back in 
 canton flannel under a board or stone while the 
 other side is done. The book should then be 
 left open standing, with the covers held back 
 by a piece of cardboard cut as in the picture. 
 
110 HANDICRAFTS FOR THE HANDICAPPED 
 
 The paste used in the different processes 
 may be obtained from a bindery or made at 
 home. If the latter it must be rubbed very 
 smooth with a spoon through a fine sieve after 
 the materials are wet. 
 
 For leather the following proportions will 
 make a good paste : two cups flour, eight cups 
 hot water, a few drops oil of cloves. Stir con- 
 stantly, while boiling. For paper, especially 
 in mending, a paste made of starch is prefer- 
 able. One-half flour and one-half starch is a 
 good proportion. A little formaldehyde may 
 be used to make it keep. 
 
 In mending, the essential thing is to have 
 plenty of clean papers with which to rub down 
 the work, so that the fingers need never touch 
 the partly dried patch. Each mended sheet 
 should then be laid under a stone, between 
 clean papers. The thinnest Japanese paper, 
 if strong, may be used. It should be measured 
 with dividers and cut with a sharp knife and 
 glass. Often single sheets are pasted to the 
 last leaves of sections. These should be mois- 
 tened and removed, and guarded; that is, a 
 strip of paper heavy enough to hold sewing 
 should be cut just the length of the sheet and 
 
BOOKBINDING 111 
 
 wide enough to fold over and sew with the sec- 
 tion. Engravings and maps may be mounted 
 this way. In the most delicate mending the 
 edges of the paper are sometimes pared, and 
 often a piece like the page is used. The mend- 
 ing-paper should always match the book in 
 color. In making new end papers for old 
 books the paper chosen should be deeper, 
 rather than lighter in color. Novels, school- 
 books and other cheaply cased books often have 
 their covers pulled loose while the leaves are 
 still solid. 
 
 In order to repair such a book, pull the cover 
 off altogether; if the end section is loose over- 
 cast it to the book with a piece of fine book- 
 binders' thread, then take two pieces of mill 
 board as near as possible to the thickness of the 
 boards, place one on each side so as to hold the 
 joints perfectly in place, and put in the press 
 over night. If the end papers are very much 
 worn, new ones may be attached before the 
 book is pressed. 
 
 When the book is well pressed the cover may 
 be replaced. A method often used in repair- 
 shops is to take a piece of coarse-meshed linen 
 about an inch wider than the back of the book 
 
113 HANDICRAFTS FOR THE HANDICAPPED 
 
 and a little shorter and glue it on, leaving an 
 inch flap at each side. When the back is dry 
 these flaps may be pasted to the covers, and 
 when they in turn are dry, a sheet of the end 
 paper may be cut to fit and pasted over like a 
 filling-in paper. 
 
CHAPTER VI 
 
 CEMENT WORKING 
 
 Use of concrete materials for small objects, such as 
 flower pots, bird baths, stepping stones, etc. 
 
 Success of experiments at Devereux Mansion in mould 
 making, and in the use of color in tiles, etc. 
 
 Application of craft to cooperative work-shops in hos- 
 pitals and sanatoria and to individual handicapped 
 workers. 
 
 Preparation of cement, necessary appliances, and descrip- 
 tion of processes employed. 
 
 Illustrations of steps in making a cement flower pot. 
 
VI 
 
 CEMENT WORKING 
 
 ABOUT ten years ago in searching for suitable 
 occupations for the handicapped Dr. Hall and 
 one of his assistants, Miss Edith Griffin, a 
 skilled designer, hit upon the idea of using con- 
 crete materials for the making of small objects 
 such as flower pots, bird baths, and the like. 
 At the time the field was practically new. 
 There were no suitable moulds in existence. 
 The principle, of course, was well enough 
 known and well applied in large architectural 
 work. It became necessary to undertake a 
 long series of experiments in order to produce 
 small moulds which would work satisfactorily 
 and with little danger of disappointing results. 
 The better part of two years was devoted by 
 Miss Griffin and her assistants to the task of 
 designing such moulds and the more difficult 
 problem of getting them cast satisfactorily in 
 
 115 
 
116 HANDICRAFTS FOR THE HANDICAPPED 
 
 iron. Finally, however, a group of a dozen 
 very attractive flower pot moulds was evolved. 
 The materials and the moulds are not very 
 heavy; the operations may be done with com- 
 paratively little outlay of strength and the re- 
 sults are most satisfactory. 
 
 The flower pot making as it has been carried 
 out at Devereux Mansion in Marblehead and 
 in a number of hospital workshops elsewhere 
 has developed unexpected value as an emer- 
 gency occupation for people who would other- 
 wise be idle. All classes of workers find inter- 
 est and pleasure in making the flower pots. 
 There is apparently a steady market for well 
 designed and well executed concrete work for 
 in-door and garden decoration. The flower 
 pots have been found to be of special value to 
 florists and plant growers everywhere. The 
 thick walls of the pots are somewhat porous; 
 they take up considerable quantities of water 
 and hold it for a long time, keeping the earth 
 moist and serving the plant in a very satisfac- 
 tory way, much better than the ordinary terra 
 cotta flower pot which is waterproof and which 
 easily drowns the roots if the accompanying 
 saucer is kept filled with water. With these 
 
CEMENT WORKING 117 
 
 new pots it is not necessary to water often be- 
 cause of the extra moisture retained. It is be- 
 lieved that infrequent watering is a distinct 
 advantage to the plant, approximating condi- 
 tions of nature which gives but infrequent 
 showers. However that may be, it has been 
 possible to restore badly drooped and very un- 
 promising plants by the use of these new flower 
 pots. The old-fashioned flower pot is cheaper, 
 no doubt, but a considerable public is willing to 
 pay for the interest and adaptability of the new 
 ware. New possibilities are continually sug- 
 gesting themselves along this line. It is evi- 
 dent that only a beginning has been made. 
 Now that it is possible to produce satisfactory 
 moulds, it is only a question of time when de- 
 signers will give us forms and decorations 
 which will put the new ware upon a firm basis 
 of artistic and technical value. 
 
 The new flower pots represent only one 
 small field of possible work with cement. All 
 over the country there is a growing interest in 
 attracting birds and in making conditions 
 favorable for their continued stay, consequently 
 the bird bath has become a very common and 
 desirable adjunct to the garden. There is no 
 
X18 HANDICRAFTS FOR THE HANDICAPPED 
 
 end to the possibilities of shape and decoration 
 and arrangement. The making of moulds for 
 bird baths is a very simple process and com- 
 monly the amount of material used does not 
 mean heavy lifting for the worker. Garden 
 seats of cement are now used very generally. 
 They are practically weather proof and may be 
 made most attractive. Stepping stones of 
 concrete are a most interesting and useful 
 product. At Marblehead a series of experi- 
 ments is now under way which seems likely to 
 produce attractive and inexpensive mosaic tiles 
 in color, for fireplaces, vestibules, floors, and 
 garden walls. 
 
 This kind of work may be done on a large 
 scale in special workshops or it may be done at 
 home by single workers provided with inex- 
 pensive equipment. All in all, cement work- 
 ing is one of the most easily available and prac- 
 tical fields of work for the handicapped. The 
 worker need not be a designer, because the 
 moulds if properly made will determine the de- 
 sign for him. On the other hand, if he has in- 
 genuity and taste he may devise moulds for 
 himself which will be productive of good re- 
 sults. The materials used are very cheap and 
 
CEMENT WORKING 119 
 
 the products have a value sufficient to make the 
 work reasonably remunerative. 
 
 The beginner, in undertaking cement work 
 of the kind which has been suggested and used 
 so successfully as a handicapped occupation, 
 should secure for himself to start with a few 
 iron moulds, a little trowel such as is used by 
 professional moulders in the foundries, a good 
 sized mixing spoon, and some ordinary agate 
 ware basins of good size. From a dealer in 
 masons' supplies he should purchase a bag of 
 Portland cement and a few bags of medium 
 fine building sand. We use at Marblehead, 
 Atlas Portland cement ; almost any good brand 
 will do. The sand must be sharp; that is, it 
 must not be so fine or so water-worn that it has 
 not sharp cutting edges, and it must be free or 
 nearly free from loam or clay. Any practical 
 builder or dealer in supplies will pass judg- 
 ment on the materials. There will be need of 
 some half dozen primary metallic colors : these 
 can be obtained from Waldo Bros., 45 Bat- 
 terymarch Street, Boston, and from B. F. 
 Drakenfeld & Co., 50 Murray Street, New 
 York City, in the crude primary shades ; and in 
 several interesting blends of soft and pleasing 
 
120 HANDICRAFTS FOR THE HANDICAPPED 
 
 tones at Devereux Mansion Shops, Marble- 
 head, Mass. To make a flower pot it is neces- 
 sary to mix the cement and sand dry, adding a 
 little coloring matter of one sort or another as 
 desired. These materials are thoroughly 
 mixed together with a spoon in the proportion 
 of one part cement and two of sand; the 
 amount of each ingredient will be best deter- 
 mined by experience, as it varies, of course, 
 with the size of the mould. When the mass is 
 mixed a small quantity of water is added, a 
 teaspoonful at a time and stirred in. This 
 added water is taken up by the cement which 
 after a few hours will harden. If the mixture 
 is too wet, it will stick to the mould; if it is 
 too dry, it will crumble and be unsatisfactory. 
 Only experience can teach the exact degree of 
 moisture which is best. A good test is made 
 by taking a handful of the moist mixture and 
 squeezing it with the fingers; there should be 
 no excess of water, but the mass should adhere 
 together showing the imprint of the fingers. 
 This little handful which is held together by its 
 own cohesion should be easily broken apart, 
 leaving a fairly straight line of cleavage. 
 Generally speaking, about a half cupful of 
 
CEMENT WORK, 1. 
 The mould closed, showing method of tamping. 
 
CEMENT WORKING 121 
 
 water to a mixture for the ordinary sized flower 
 pot is sufficient. The usual mould consists of 
 three parts : the carrier, which is a little hollow 
 square made of brass; the core, which is of 
 smooth iron and over which the carrier sets 
 (this core is a solid shape of metal which fills 
 the space later to become the inside of the 
 flower pot) ; finally, the mould proper, hinged 
 together in such a way as to fit around the car- 
 rier, leaving a space for the cement between 
 the wall of the mould and the core. A glance 
 at the accompanying sketch will show how 
 these parts are assembled. The pots are al- 
 ways made upside down so that they may be 
 lifted off the core without difficulty. When 
 the mixture is ready the mould, the core, and 
 the carrier should be brushed over with kero- 
 sene. A small paint brush is best to use for 
 this. It is necessary to cover all parts of the 
 inside mould, the core, and the carrier so that 
 the cement will not stick later to the surface of 
 the metal. 
 
 The tamping or pressing down of the moist 
 mixture into the mould is a simple process and 
 yet it must be done with some care. A good 
 handful of the mixture is thrown into the 
 
122 HANDICRAFTS FOR THE HANDICAPPED 
 
 mould so that it will fall between the core and 
 the sides. With a stick made of ordinary hard 
 wood and having about the dimensions of a 
 foot rule, only a little thicker, the mixture is 
 pounded or tamped down hard. It is well to 
 scratch the upper surface of the tamped cement 
 with a pointed stick, so that the next handful 
 when tamped will unite with the one before. 
 This process goes on until the open top of the 
 mould is reached. It is then well to pile up 
 the mixture an inch or so above the level of the 
 mould and to press it down hard by striking 
 with a mallet over a smooth board. The last 
 layer, which will form the bottom of the flower 
 pot, must be smoothed off carefully with a 
 trowel or straight edged stick; otherwise the 
 pot will set unevenly. It often happens in 
 taking off the mould that some corner or small 
 section of the flower pot will crumble and fall 
 off. If this broken place is not too large, it 
 can be easily mended by patching a little of 
 the mixture into the defect in much the way a 
 dentist fills a tooth. 
 
 When the cement is tamped in, the walls of 
 the mould will leave their impress on the mix- 
 ture and the core will fill up the space which 
 

CEMENT WORKING 123 
 
 will later become the inside of the flower pot. 
 As soon as the tamping is finished, the sides of 
 the mould are removed with great care to avoid 
 breaking down the corners or the decoration. 
 The finished flower pot is then lifted on its car- 
 rier, leaving the core behind on the table. The 
 pot on its carrier is then placed somewhere out 
 of danger of touch, and it must be kept moist 
 for the first twenty-four hours while the 
 cement is setting. Moisture may be provided 
 by the use of little tents of wood covered with 
 cloth. These tents, placed over the soft flower 
 pot and kept moist with water will be very 
 useful. After about twelve to twenty-four 
 hours the flower pot will be hard enough to be 
 lifted from the carrier. It may then be placed 
 upon the ground or the floor or some suitable 
 shelf where it must remain as nearly undis- 
 turbed as possible for at least two weeks, being 
 kept moist all this time. It is then ready for 
 use, although a longer hardening process will 
 do no harm. After the first few days it is well 
 to turn the pots over, right side up, and to fill 
 or partly fill them with water. This insures a 
 thorough soaking. So much stress is laid on 
 wetting and keeping dry because if the pots 
 
124, HANDICRAFTS FOR THE HANDICAPPED 
 
 are allowed to dry, especially during the first 
 few days, they will always be weak and 
 crumbly. 
 
 The small iron moulds meet the require- 
 ments of a considerable field of cement work 
 and the method is particularly useful for those 
 whose physical strength is slight and whose 
 nervous energy quickly gives out. They pro- 
 duce, however, only comparatively small pieces. 
 Cement is a material well adapted for larger 
 and heavier work. In making the larger 
 pieces such as bay tree pots and the larger hol- 
 low ware for the garden, the so-called template 
 process is more practical. To make one of 
 these larger pieces the same mixture of sand, 
 cement, and coloring matter is mixed, only in 
 larger amount. The core, which is to repre- 
 sent the inside of the large pot, can be made of 
 sheet metal, in plaster of Paris, or in moulder's 
 sand which last may be fashioned into any 
 shape after it is moistened. This core is fitted 
 over a central shaft which protrudes well above 
 the top of the core. The core naturally fol- 
 lows the lines which are to be the outside of 
 the pot but need not follow exactly. This 
 core should be made or fixed upon a solid table 
 
CEMENT WORK, 3. 
 
 Lifting the completed flower pot from the core 
 which is left behind on the table. The pot is still 
 soft but is movable because it rests on the little 
 frame of metal called the carrier. 
 
CEMENT WORKING 195 
 
 and the central shaft must be screwed or bolted 
 to the table firmly. Over the core may then 
 be plastered or tamped a sufficient amount of 
 the moist cement material to cover the whole 
 surface an inch or two deep. The tamping is 
 made easily practical by placing around the 
 core a sheet metal apron or guard which will 
 hold the material firmly while the tamping is 
 going on. This sheet iron apron can be made 
 by any tinsmith and it should be built in two 
 parts so that when the tamping is done the 
 metal may be easily removed from the mass. 
 When the apron is removed, there will remain 
 the core covered thickly and firmly with the 
 tamped cement mixture, which is still soft 
 enough to be scraped or moulded into shape. 
 Through the middle of the whole structure pro- 
 trudes the central shaft. The template or 
 cutter, which is to shape the outside of the pot, 
 is made of steel or iron cut to the exact lines 
 that are required for the outside of the pot. It 
 fits over the central shaft in such a way that it 
 may be revolved about the piece, cutting slowly 
 into the mass. It is adjusted so that the cut- 
 ting edge shaves off a little at a time until the 
 final shape is secured. If the mass is cut down 
 
126 HANDICRAFTS FOR THE HANDICAPPED 
 
 too rapidly, it breaks and falls to pieces. 
 When the cutting is done, the template is re- 
 moved and the piece is allowed to remain over 
 night or longer, resting on the core. The ma- 
 terial is kept moist by the application of cloths 
 applied in many thicknesses and soaked with 
 water. Finally the core and its cement shell 
 are turned over and the core removed. These 
 larger pots, like the smaller pieces, must then 
 be kept moist for a considerable period of time, 
 two weeks or more, until the hardening process 
 is complete. The hole in the bottom of the 
 pot, left by the shaft, may be plugged with 
 moist cement which will later harden. 
 
 A considerable variety of hollow cement 
 work, bowls, and flower pots may be made 
 from very simple plaster of Paris moulds. As 
 is well known, plaster of Paris will harden into 
 any shape to which it is applied. The de- 
 signer can model in plasticene or clay any 
 shape which does not narrow at the top and 
 from this shape may be made a one piece 
 mould which will later give form to the cement. 
 It is possible to take any well shaped glass or 
 pottery or metal dish and make from it a plas- 
 ter of Paris mould which will reproduce an in- 
 
CEMENT WORKING 127 
 
 definite number of cement pieces of the same 
 shape. Take, for instance, the ordinary agate 
 ware wash basin. Such a basin is turned up- 
 side down and plaster of Paris, mixed with 
 water to the consistency of soft mud, is spread 
 over the surface. When the plaster is hard- 
 ened the wash basin is removed. It comes 
 out easily if there are no irregularities and if 
 the surface has been well oiled. The result is 
 a heavy chunk of plaster of Paris containing 
 the impression of the wash basin. Such a 
 plaster mould must be thoroughly dried in a 
 warm place. This drying process usually 
 takes a week or more. When the mould is 
 dry the smooth inner surface is covered with a 
 coat of shellac. Immediately before use the 
 mould must be painted over with linseed oil, 
 then coated with a layer of thin gelatine solu- 
 tion. Into the hollow thus produced a suf- 
 ficient amount of the moist cement mixture is 
 pressed and smoothed, making a cement lining 
 for the mould. This lining should be made 
 fairly thick, as thick as the cement bowl is in- 
 tended to be. The inner surface should be 
 carefully smoothed and finished by hand. 
 The mould and its cement lining may then be 
 
128 HANDICRAFTS FOR THE HANDICAPPED 
 
 covered with a wet cloth and left for twenty- 
 four hours. When the mould is inverted and 
 tapped lightly with a mallet, the cement shell 
 will drop out and may be treated as the flower 
 pots are usually treated; that is, set aside and 
 kept moist for a sufficient length of time. 
 Such bowls filled with earth and planted with 
 nasturtiums or the like are exceedingly effec- 
 tive. 
 
 The making of solid cement pieces such as 
 stepping stones and the tops of garden seats is 
 a comparatively simple matter. The moulds 
 are usually made of wood in such a way that 
 the sides may be easily removed. There is, of 
 course, no need of a core, so that the cement 
 mixture is tamped in solidly. A very service- 
 able stepping stone for gardens is produced in 
 this way. The stepping stone moulds which 
 have been used very successfully in Marble- 
 head are made of iron and fastened together 
 with clamps at the corners. The iron frames 
 are made ten and twelve inches square and two 
 inches high, so that the finished "stone" will be 
 thick and strong. The frames or moulds are 
 assembled on a piece of smooth marble or 
 heavy glass; the slab or glass must be oiled as 
 
CEMENT WORKING If9 
 
 well as the sides of the frame. The open space 
 is simply filled and tamped hard with the 
 cement mixture. If the mixture is well 
 tamped, the sides of the frame may be removed 
 at once. The stepping stone may be moved by 
 hand in about twenty-four hours if it is kept 
 thoroughly wet. Meanwhile it requires the 
 same wet conditions for a long period, two 
 weeks at least before it is ready to use. These 
 stepping stones set in the grass of the lawn are 
 most effective. The grass grows around the 
 sharp corners and soon gives the desirable ir- 
 regular shape to the "stone." While the 
 cement is still soft it is possible to impress upon 
 its surface any simple design, thereby adding 
 greatly to the interest of the piece. 
 
 Most interesting mosaic tiles are made in the 
 following manner. On a sheet of wax or clay 
 is made the deep beveled lines of any outline 
 picture or design. The sheet of clay should be 
 of the size of the proposed tile. Frames sim- 
 ilar to the stepping stone frames or moulds are 
 placed about the wax, and soft plaster of Paris 
 poured into the space thus formed. When the 
 frames and wax are removed, the design will be 
 found transferred to the plaster of Paris. 
 
130 HANDICRAFTS FOR THE HANDICAPPED 
 
 Such a plaster block bearing a design in outline 
 may be impressed upon a soft tile of cement. 
 Eut the plaster soons breaks down and wears 
 out, so it is much better to have the plaster of 
 Paris design duplicated in brass or iron. Any 
 first-class foundry will undertake the job, and 
 the resulting die may be used indefinitely. 
 When this die is pressed or hammered down 
 into the soft surface of the cement tile, the lines 
 of the design will be left, either raised or de- 
 pressed as the case may be. If the lines are 
 raised, it is easy to fill into the spaces of the de- 
 sign the colored cement inlays. 
 
 Of course, all this work with cement implies 
 practice if the results are to be satisfactory. 
 The beginner must not be discouraged with 
 early mistakes and failures. It is a great deal 
 better whenever possible to have a teacher who 
 has been trained in the various processes. 
 Yet such work might be taken up by any in- 
 valid with fair strength in the arms and with 
 the assistance of some one accustomed to the 
 use of cement for ordinary building purposes. 
 At the workshops in Marblehead there are al- 
 most always young women learning to teach 
 cement working. They find positions in hos- 
 
CEMENT WORKING 131 
 
 pitals and asylums, or as attendants and teach- 
 ers for individual invalids. A number of suc- 
 cessful workshops have been instituted in 
 various parts of the country. It has been the 
 intention of the management of the Marble- 
 head shop to equip with teachers and supplies 
 workshops that shall be scattered over the 
 country in such a way as to avoid competition. 
 While the market for well made cement arti- 
 cles is perennial and good, it is limited; and no 
 city would be likely to support successfully 
 more than one shop. 
 
CHAPTER VII 
 
 POTTERY MAKING 
 
 Pottery at Marblehead, established twelve years ago. 
 Started with idea of occupation for handicapped work- 
 ers. Two principal workers served apprenticeship as 
 patients. Work undertaken too general for a patients' 
 work-shop. Should have been limited to one or two 
 small specialties. 
 
 Finally given over to a professional industry, successful 
 financially. 
 
 Pottery for tubercular girls near San Francisco, Cali- 
 fornia, and for patients in State Hospitals of Massa- 
 chusetts. 
 
 Possibilities of tile industry, and description of methods 
 of working. 
 
VII 
 
 POTTERY MAKING 
 
 POTTERY making is included in the list of oc- 
 cupations for the handicapped more because 
 of the writer's belief in its .possibilities than be- 
 cause of actual accomplishments and cash re- 
 turns. Twelve years ago in Marblehead a 
 small pottery was established with the idea of 
 occupation for handicapped workers. The 
 pottery is still in successful operation. It has 
 not for a good many years been used as a school 
 or in the interest of invalids, although two of its 
 principal workers of to-day had their appren- 
 ticeship as patients twelve years ago. The 
 reasons for giving up the teaching and the 
 work for invalids will be of interest to any one 
 contemplating pottery as a special occupation. 
 The industry began with the employment of 
 one man with technical training in the art. 
 He was supplied with the necessary equipment 
 
 135 
 
136 HANDICRAFTS FOR THE HANDICAPPED 
 
 for a beginning and was advised to go ahead 
 as though he were doing it for himself, without 
 any reference to pupils or patients. There are 
 a great many details in pottery making, and 
 certain of these can be accomplished by intelli- 
 gent assistants without special training. The 
 attempt was made at Marblehead to produce 
 a considerable variety of ware ; and here proba- 
 bly was the first mistake. If the work had 
 been kept down to one or two small specialties, 
 it would have served better the interest of the 
 invalid apprentices. But the man in charge 
 was not content to go slowly; he had, in fact, 
 too much the professional idea, and was too 
 much an artist and creator to be a good 
 teacher. The result was that the pupils could 
 not keep up with him. They spoiled some of 
 the work, and it was decided to go ahead for 
 a while on a purely professional basis. So 
 with the assistance of the two apprentices who 
 have since become professional, the work was 
 carried on and developed to a very high degree 
 of perfection. Finally, it became so success- 
 ful on the new basis, that it was allowed to go 
 on so; and the idea of making a new industry 
 for the handicapped was given up. 
 
POTTERY 137 
 
 A pottery was established some years ago 
 by Dr. Philip King Brown of San Francisco 
 for the benefit of a tubercular sanatorium. 
 It was intended to give the patients, who were 
 young women from the department stores of 
 San Francisco, a chance to earn their living 
 while they were convalescing. Dr. Brown re- 
 ports that while the work has been satisfactory 
 as an occupation and while the patients have 
 turned out a fair quality of ware, the institu- 
 tion is not successful financially because the 
 product is not quite good enough to compete 
 with existing commercial potteries; and be- 
 cause, as in the venture at Marblehead, the pro- 
 fessional potter chosen to conduct the institu- 
 tion proved to be too active and ambitious for 
 the best teaching results. 
 
 Pottery has been undertaken by three of the 
 state asylums for the insane in Massachusetts. 
 So far it has been used largely as a diversion 
 and to add to the interest and permanent value 
 of clay modeling. Recent exhibitions from 
 these potteries have shown creditable work. 
 They have not been in operation long enough 
 to warrant any prediction of their commercial 
 value. There is no doubt of the interest and 
 
138 HANDICRAFTS FOR THE HANDICAPPED 
 
 desirable diversion available for mental pa- 
 tients along this line. 
 
 After ten years' observation of a small but 
 successful pottery plant, the writer feels justi- 
 fied in the following conclusions and predic- 
 tions. Work in clay should not be undertaken 
 by the handicapped except under the most 
 careful and experienced direction. They 
 should then undertake some specialty such as 
 tiles or opaque shades for indirect light fix- 
 tures. Such products, which can be made in 
 moulds and decorated by hand, have large pos- 
 sibilities of commercial success, and need not be 
 too complex or difficult in execution. In the 
 broader fields of pottery covering hollow and 
 flat ware, competition is too keen and the tech- 
 nical difficulties too great to warrant any ex- 
 tensive manufacture. Another great objec- 
 tion lies in the difficulty of securing the right 
 kind of instructors. There should be a fine 
 field here for young art students who are will- 
 ing to devote their lives to teaching without a 
 consuming personal ambition. New York 
 State University at Alfred has a school of pot- 
 tery which could easily give the required tech- 
 nical training. A graduate of that school 
 
POTTERY 139 
 
 might establish in connection with some insti- 
 tution a training school for teachers. 
 
 A small tile industry could easily be estab- 
 lished in connection with an institution or by a 
 few handicapped workers in any community. 
 It is not necessary to have a native clay, al- 
 though the existence of suitable earth in the 
 near vicinity lessens the expense of manufac- 
 ture. Decorated tiles suitable for fireplaces 
 can be easily made by hand from plaster of 
 Paris, wood, or metal moulds. The first step 
 is to trace upon clay or plaster the design in 
 outline or in low relief. From such a block 
 any one, with a little experience, may construct 
 a one-piece mould. Into this mould the clay 
 is fixed and pressed until the design and shape 
 are transferred. After drying, the clay may 
 be fired at a temperature which need not ex- 
 ceed 2000 Fhr. The product will be a terra- 
 cotta tile of comparatively little interest, as it 
 will lack color and finish. These terra-cotta 
 tiles, however, may be painted with under 
 glazes and coated with over glazes so that a 
 second firing will produce tiles of great value 
 and permanence. It is hardly necessary to 
 add that the design must be worth while; and 
 
140 HANDICRAFTS FOR THE HANDICAPPED 
 
 that the chemistry of the glazes must be such 
 as to insure good results. It has long been 
 the writer's dream that there should be some 
 central office where designs of the highest 
 quality could be produced and distributed to 
 handicapped pottery workers in different sec- 
 tions of the country. Such a central office 
 could afford to employ the best designers, and 
 could distribute suggestions and advice and ex- 
 pert criticism which would insure adequate re- 
 sults. 
 
 The equipment of a small pottery is not ex- 
 pensive and is to-day easily obtainable. The 
 kilns, which are the principal item of expense, 
 may now be obtained in compact and practical 
 form, the expense varying from $100 to $1,000, 
 depending upon the size. If gas is used for 
 heat, there is little or no objectionable smoke. 
 The whole process may be carried on without 
 prohibitive physical effort. 
 
CHAPTER VIII 
 LIGHT BLACKSMITHING 
 
 Interesting work done without great outlay of physical 
 strength. Expert knowledge of qualities of iron and 
 its behavior gained from blacksmiths. 
 
 Material easily obtained in rods of any desired size. 
 
 Requisites, forge fire, anvil and hammer. 
 
 Making of pokers and of boot scrapers described. 
 
 Illustrations of fireplace tools and of a foot scraper. 
 
VIII 
 
 LIGHT BLACKSMITHING 
 
 AT first thought it seems absurd to suppose 
 than an invalid might use with advantage so 
 strenuous an occupation as blacksmithing. 
 The term blacksmith covers a very wide range 
 of work and does not necessarily mean horse- 
 shoeing or making the heavy iron work for 
 carriages. The reader will perhaps be sur- 
 prised to learn that a great deal of very inter- 
 esting and practical light iron work may be 
 made with comparatively little expenditure of 
 energy. In almost every village there is a 
 blacksmith shop and a blacksmith skilled, to 
 be sure, in heavy work but also thoroughly ac- 
 quainted with the qualities of iron and its be- 
 havior in the fire and on the anvil. Such a 
 man will probably have no conception of the 
 artistic possibilities of light iron work, but his 
 expert knowledge of the material may be util- 
 ized if we know how to go about it. 
 
 143 
 
144 HANDICRAFTS FOR THE HANDICAPPED 
 
 Iron comes from the mills in various shapes 
 and it is always possible to obtain round rods 
 of almost any thickness. A rod of soft iron 
 three-eighths of an inch thick and four feet 
 long may be made into a most interesting and 
 practical poker for the fireplace with a little 
 practice by any one with ordinary mechanical 
 ability. The blacksmith's forge fire, an ordi- 
 nary anvil and a light weight hammer are the 
 requisites. Six or eight inches of the end of 
 the rod are heated white and pounded into a 
 ring or an oval handhold over the horn of the 
 anvil. When this end of the poker is cooled, 
 the other end of the rod is heated and turned 
 over at a right angle. The end of the rod can 
 then be hammered flat and pointed, all with 
 the same hammer and with little difficulty. 
 Such a poker is strong, large, and interesting 
 from its very quality of being hand-made. It 
 is, of course, quite possible to elaborate the de- 
 sign. But a fireplace implement made this 
 way is desirable from its very simplicity. 
 Those of us who have poked the fire with the 
 short, skimpy pokers of commerce, know how 
 to appreciate a long heavy poker which does 
 not bring the face too close to the fire and 
 
f 
 
 
 O *i 
 
LIGHT BLACKSMITHING 145 
 
 which is strong enough to use freely without 
 bending. 
 
 In a similar way a long fire fork may be 
 made and is a most useful adjunct to the group 
 of fireplace tools. The shaft of such a fork 
 should be at least four feet long with a looped 
 handle at the top. The prongs are made by 
 splitting the heated end of the rod with a cold 
 chisel, and then rounding the prongs with a 
 light hammer. A third or central prong may 
 be welded in with a little experience. 
 
 An excellent fireplace shovel may be made 
 by turning up three sides of a square of sheet 
 iron, riveting or welding on a long round 
 handle. 
 
 There is no end to the useful objects which 
 can be made of wrought iron. Fire dogs or 
 andirons of a most useful and attractive sort 
 may be made with a little practice. Great 
 hinges and hasps for the doors of country 
 houses, iron bars for fastening doors, and the 
 staples to go with them, wrought iron nails 
 with specially hammered heads, foot scrapers 
 for doorways: these are some of the interesting 
 and effective possibilities. 
 
 No attempt is made here to describe the ac- 
 
146 HANDICRAFTS FOR THE HANDICAPPED 
 
 tual technique of such work; the instruction 
 which any good blacksmith can give will be 
 worth more than the most elaborate descrip- 
 tion. The degree of heat to be used, the force 
 of the blows, the knack of turning the iron all 
 of these must be learned by experience. The 
 writer knows of no more fascinating work. 
 There is something about the flying sparks and 
 the unexpected softness and pliability of the 
 hot iron that lend to such work a charm hard 
 to describe. The accompanying photographs 
 represent articles made after a few weeks' prac- 
 tice by an amateur blacksmith who had never 
 before tried his hand at working in iron. 
 
 Often enough the village blacksmith forge 
 and anvil are too much occupied to admit of 
 teaching and experimenting. It is quite pos- 
 sible nowadays to buy of the manual training 
 houses a portable forge which can be easily 
 connected with the flue of the blacksmith's 
 chimney. An extra anvil costs little and the 
 necessary tools are not expensive. With prac- 
 tice the pupil should be able to turn out a line 
 of fireplace iron which will command a good 
 price. In the country village where there are 
 summer visitors, these special local products 
 
FOOT SCRAPER. 
 
 Made after a few weeks' experience at the anvil. 
 
LIGHT BLACKSMITHING 147 
 
 are sure to excite interest and a market. It 
 is, of course, not so easy in the city to arrange 
 for iron work, as the hammering is somewhat 
 noisy and as the city blacksmith shops are usu- 
 ally too busy to bother with pupils. 
 
IX 
 APPENDIX 
 
 BOOKS ON CRAFTS 
 
 GENERAL 
 
 Arts and Crafts in the Middle 
 
 Ages Julia de W. Addison. 
 
 Industrial Arts of Scandinavia in 
 
 the Pagan Time Hans Hildegrand. 
 
 The Origin of Gilds C. Walford. 
 
 Two Thousand Years of Gild Life . J. M. Lambert. 
 
 Revival of Handicraft in America . West. 
 
 Early American Craftsmen . . . Walter Dyer. 
 
 Training of a Craftsman . . . Lane. 
 
 Principles and Practice of Decora- 
 tion . . . . . . . . . R. G. Hatton. 
 
 Text Book in Domestic Art . . Carrie Crane Ingalls. 
 
 Art Applied to Industry . . . W. Burges. 
 
 The Art Crafts for Beginners . . Frank G. Sanford. 
 
 Decorative Arts William Morris. 
 
 Handicrafts in the Home . . . Mabel Tuke Priestman. 
 
 Home Life in Colonial Days . . Alice Morse Earle. 
 
 Arts and Crafts Movement . . . Oscar Lovell Triggs. 
 
 Design in Theory and Practice . Ernest A. Bachelder. 
 
 Architecture, Industry and Art . William Morris. 
 
 The Decorative Arts William Morris. 
 
 Hopes and Fears in Art . . . William Morris. 
 
 Handwork Construction .... Lina Eppendorff. 
 
 The Work of Our Hands . . . Hall & Buck, 
 
 149 
 
150 HANDICRAFTS FOR THE HANDICAPPED 
 
 BASKETRY 
 
 The Basket Maker ..... Luther H. Turner. 
 
 Cane Basket Work Annie Firth. 
 
 Aboriginal American Basketry . Otis T. Mason. 
 
 Practical and Artistic Basketry . L. R. Tinsley. 
 
 How to Make Baskets .... Mary White. 
 More Baskets and How to Make 
 
 Them Mary White. 
 
 Indian and Other Baskets . . . George Wharton James. 
 Basket Designs of the Indians of 
 
 Northwestern California . . . A. L. Kracher. 
 
 The Pine Needle Basket Book . . M. J. McAfee. 
 
 Raffia Basketry as a Fine Art . . G. P. and M. P. Ashley. 
 
 The Basketry Book Mary Miles Blanchard. 
 
 Raffia Work A. H. Bowers. 
 
 Basketry Book Ed. by Paul Hasluck. 
 
 Raffia Indian Basket Work . . Jacot. 
 
 The Basketry of the Pomos, Tlingits, etc., issued by the 
 
 American Museum of Natural History. 
 Articles in the Craftsman, The House Beautiful, School Arts 
 
 Magazine, etc. 
 
 NETTING 
 
 How to Make Knots, Bends and 
 
 Splices . T. G. Biddle. 
 
 Varied Occupations in String Work. 
 
 (Macram6, Netting, etc.) . . . Louise Walker. 
 
 Knotting and Splicing .... Ed. by Paul Hasluck. 
 
 Knots, Splices and Rope Walks . A. H. Verrill. 
 
 WEAVING AND ALLIED CRAFTS 
 
 Introduction to the Study of Tex- 
 tile Designs ....... Barker. 
 
 Story of Textiles ...... Walton. 
 
 Household Textiles Charlotte Gibbs. 
 
APPENDIX 151 
 
 Textiles . . W. H. Dooley. 
 
 Textiles Woolman & McGowan. 
 
 Hand-loom Weaving . . . . . Luther Hooper. 
 
 Warp and Woof (The Linen In- 
 dustry) Edith Very 
 
 Book of Hand Woven Coverlids . E. C. Hall. 
 
 Practical Loom Fixing .... Albert Ainley. 
 
 Ancient Egyptian and Greek 
 
 Looms Bankfield Museum Notes. 
 
 The Story of a Homespun Web . W. Godfrey Blount. 
 
 Spinnerei und Weberei .... Georg Lindner. 
 
 Haandbok i Vaeveing .... Halvorsen. 
 
 Art, Ethics, and Economics in 
 Handloom Weaving. Embroid- 
 ery and Tapestry Weaving . . Macmillan. 
 
 Tapestries Their Origin, History 
 
 and Renaissance ...... George Leland Hunter. 
 
 Book of the Bayeux Tapestry . . Hilaire Belloc. 
 
 The Bayeux Tapestry . . . . F. R. Fowke. 
 
 Samplers, and Tapestry Embroid- 
 eries Marcus B. Huish. 
 
 Indian Blankets and Their Makers George Wharton James. 
 
 Navajo Weavers Washington Matthews. 
 
 Art in Needlework Day and Buckle. 
 
 Rugs, Oriental and Occidental . . Holt. 
 
 Oriental Rugs Mumford. 
 
 The Craft of Hand-made Rugs . Amy Mali Hicks. 
 
 Philippine Mats. Manual of Mat Making issued by Philippine 
 Island Bureau of Education. 
 
 Encyclopedia of Needlework . .. Therese de Dillmont. 
 
 Textile World. 
 
 Master Weavers of the Desert Empire. Harper for July, 
 1915, and other magazine articles in the Craftsman, The 
 House Beautiful, Art and Decoration, School Arts, etc. 
 
HANDICRAFTS FOR THE HANDICAPPED 
 
 DYEING 
 
 Principles of Dyeing G. S. Fraps. 
 
 The Synthetic D^estuffs .... Jocelyn Field Thorpe. 
 
 Dyes and Dyeing Charles E. Pellew. 
 
 Handicrafts in the Home. (Chap- 
 ter on Dyeing) Mabel Tuke Priestman. 
 
 BOOK-BINDING 
 
 Bookbinding and the Care of Books Douglas Cockerill. 
 
 Bookbinding for Amateurs . . . W. J. E. Crane. 
 
 Elementary Bookbinding . . . Mary Stiles. 
 
 Practical Bookbinding . . * ,. P. Adam. 
 
 Art of Bookbinding Zaehnsdorf. 
 
 Directions for Mending and Re- 
 pairing Books- Stiles. 
 
 Book-binding ,. Ed. by Paul Hasluck. 
 
 CEMENT WORK 
 
 Concrete Pottery and Garden Fur- 
 niture Ralph C. Davison. 
 
 (Munn & Co.) 
 
 Concrete Stone Manufacture . . Harvey Whipple. 
 And articles in Concrete-Cement 
 
 Age, and Industrial Arts Maga- Concrete Cement Age 
 zine . . . t. . . . . . Pub. Co., Detroit, Mich. 
 
 The Bruce Publishing 
 Co., Milwaukee, Wis. 
 
 POTTERY MAKING 
 
 Pottery Making J. R. Webb. 
 
 How to Make Pottery .... Mary White. 
 
APPENDIX 153 
 
 METAL WORKING 
 
 Treatises of Benvenuto Cellini . . 
 
 Iron Work . . J. S. Gardner. 
 
 Silver Work Wilson. 
 
 Elementary Metal Work . . . C. S. Leland. 
 Art Crafting in Metal for Ama- 
 teurs Chandler. 
 
 Handwork in Wood and Metal . Hopper and Shirley. 
 
 Copper Work Rose. 
 
 MISCELLANEOUS 
 Toy Making Cassell & Co. 
 Toys and Toy-Making G. H. Johnson. 
 Making Fences, Walls and Hedges W. H. Butterfield. 
 Making Floors Abbot McClure. 
 Lantern Making H. A. Rankin. 
 Manual of Shoe Making H. W. Dooly. 
 Boot Making and Mending Ed. by Paul Hasluck. 
 Printing Jacobi. 
 
 DEALERS IN CRAFT WORK SUPPLIES 
 
 Basketry Reed and Raffia. Milton Bradley Co., 73 Fifth 
 Chair Seating Cane and Ave., New York City. 
 
 Rush. J. L. Hammet Co., Boston and 
 
 Netting Hammock cords, Cambridge. 
 
 needles, etc. 
 
 WEAVING 
 
 Looms, bobbin winders, and ( Devereux Mansion, Marble- 
 shuttles, head, Mass. 
 
 The Reed Mfg. Co., Spring- 
 Rug Looms. fleld> OMo 
 
 Mrs. W. Nott Shook, 41 W. 
 Homecraft Loom. New york CUjr 
 
154 HANDICRAFTS FOR THE HANDICAPPED 
 
 Reeds and Heddles. 
 
 Mercerized thread, gold 
 thread, and wool. 
 
 Warps. 
 
 Rug material. 
 
 Dyed Yarns for hand weav- 
 ing. 
 
 Dyes. 
 
 Book-binding Supplies. 
 Printers Supplies. 
 
 Tinkler & Co., Philadelphia, 
 
 Pa. 
 John Huber Co., 511 West 
 
 S9th St., New York City. 
 F. A. Straus & Co., 451 
 
 Fourth Ave., New York 
 
 City. 
 
 L. Littauer, 109 Greene St., 
 
 New York City. 
 Tinkler & Co., Philadelphia, 
 
 Pa. (Chained Cotton 
 
 Warps.) 
 
 Elms & Sillon, 52 Chauncy 
 St., Boston, Mass. 
 
 Milton Bradley Co., 73 Fifth 
 Ave., New York City. 
 (Spooled cotton warp. Cot- 
 ton roving. Coarse spooled 
 wool.) 
 
 The Reed Mfg. Co., Spring- 
 field, Ohio. (Spooled cot- 
 ton rug warps.) 
 
 Devereux Mansion, Marble- 
 head, Mass. 
 
 H. A. Metz & Co., 122 Hud- 
 son SL, New York City. 
 
 De Jonge & Co., 73 Duane 
 St., New York City. 
 
 Damon & Sons, 44 Beekman 
 St., New York City. 
 
APPENDIX 
 
 155 
 
 CEMENT SUPPLIES 
 
 Cement Atlas Portland Ce- 
 ment (gray). 
 
 Cement Atlas Portland Ce- 
 ment (white). 
 
 Sand Any clean sharp crys- 
 tal sand, medium size. 
 
 Cement colors. 
 
 Medusa Waterproofing. 
 
 Tools. Small trowel for 
 smoothing and finishing, 
 figure 6346^%. 
 
 30 Broad St., New York City. 
 
 Waldo Bros., Batterymarch 
 
 St., Boston, Mass. 
 B. F. Drakenfeld & Co., 50 
 
 Murray St., New York City. 
 
 Cutter & Wood, Pearl St., 
 Boston, Mass. 
 

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