Carpentry Made Easy - The Science and Art of Framing - With Specific Instructions for Building Balloon Frames, Barn Frames, Mill Frames, Warehouses, Church Spires. William E. Bell
CARPENTRY MADE EASY;
OR,
The Science and Art of Framing,
ON A NEW AND IMPROVED SYSTEM.
WITH SPECIFIC INSTRUCTIONS FOR
BUILDING BALLOON FRAMES, BARN FRAMES, MILL FRAMES, WAREHOUSES, CHURCH SPIRES, ETC.
COMPRISING ALSO
A SYSTEM OF BRIDGE BUILDING;
WITH
BILLS, ESTIMATES OF COST, AND VALUABLE TABLES.
ILLUSTRATED BY
Thirty-eight Plates and near Two Hundred Figures.
BY WILLIAM E. BELL,
ARCHITECT AND PRACTICAL BUILDER.
Copyright © 2018 Read Books Ltd.
This book is copyright and may not be
reproduced or copied in any way without
the express permission of the publisher in writing
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from
the British Library
Woodworking
Woodworking is the process of making items from wood. Along with stone, mud and animal parts, wood was one of the first materials worked by early humans. There are incredibly early examples of woodwork, evidenced in Mousterian stone tools used by Neanderthal man, which demonstrate our affinity with the wooden medium. In fact, the very development of civilisation is linked to the advancement of increasingly greater degrees of skill in working with these materials.
Examples of Bronze Age wood-carving include tree trunks worked into coffins from northern Germany and Denmark and wooden folding-chairs. The site of Fellbach-Schmieden in Germany has provided fine examples of wooden animal statues from the Iron Age. Woodworking is depicted in many ancient Egyptian drawings, and a considerable amount of ancient Egyptian furniture (such as stools, chairs, tables, beds, chests) has been preserved in tombs. The inner coffins found in the tombs were also made of wood. The metal used by the Egyptians for woodworking tools was originally copper and eventually, after 2000 BC, bronze - as ironworking was unknown until much later. Historically, woodworkers relied upon the woods native to their region, until transportation and trade innovations made more exotic woods available to the craftsman.
Today, often as a contemporary artistic and 'craft' medium, wood is used both in traditional and modern styles; an excellent material for delicate as well as forceful artworks. Wood is used in forms of sculpture, trade, and decoration including chip carving, wood burning, and marquetry, offering a fascination, beauty, and complexity in the grain that often shows even when the medium is painted. It is in some ways easier to shape than harder substances, but an artist or craftsman must develop specific skills to carve it properly. 'Wood carving' is really an entire genre itself, and involves cutting wood generally with a knife in one hand, or a chisel by two hands - or, with one hand on a chisel and one hand on a mallet. The phrase may also refer to the finished product, from individual sculptures to hand-worked mouldings composing part of a tracery.
The making of sculpture in wood has been extremely widely practiced but survives much less well than the other main materials such as stone and bronze, as it is vulnerable to decay, insect damage, and fire. It therefore forms an important hidden element in the arts and crafts history of many cultures. Outdoor wood sculptures do not last long in most parts of the world, so we have little idea how the totem pole tradition developed. Many of the most important sculptures of China and Japan in particular are in wood, and the great majority of African sculptures and that of Oceania also use this medium. There are various forms of carving which can be utilised; 'chip carving' (a style of carving in which knives or chisels are used to remove small chips of the material), 'relief carving' (where figures are carved in a flat panel of wood), 'Scandinavian flat-plane' (where figures are carved in large flat planes, created primarily using a carving knife - and rarely rounded or sanded afterwards) and 'whittling' (simply carving shapes using just a knife). Each of these techniques will need slightly varying tools, but broadly speaking, a specialised 'carving knife' is essential, alongside a 'gouge' (a tool with a curved cutting edge used in a variety of forms and sizes for carving hollows, rounds and sweeping curves), a 'chisel' and a 'coping saw' (a small saw, used to cut off chunks of wood at once).
Wood turning is another common form of woodworking, used to create wooden objects on a lathe. Woodturning differs from most other forms of woodworking in that the wood is moving while a stationary tool is used to cut and shape it. There are two distinct methods of turning wood: 'spindle turning' and 'bowl' or 'faceplate turning'. Their key difference is in the orientation of the wood grain, relative to the axis of the lathe. This variation in orientation changes the tools and techniques used. In spindle turning, the grain runs lengthways along the lathe bed, as if a log was mounted in the lathe. Grain is thus always perpendicular to the direction of rotation under the tool. In bowl turning, the grain runs at right angles to the axis, as if a plank were mounted across the chuck. When a bowl blank rotates, the angle that the grain makes with the cutting tool continually changes between the easy cuts of lengthways and downwards across the grain to two places per rotation where the tool is cutting across the grain and even upwards across it. This varying grain angle limits some of the tools that may be used and requires additional skill in order to cope with it.
The origin of woodturning dates to around 1300 BC when the Egyptians first developed a two-person lathe. One person would turn the wood with a rope while the other used a sharp tool to cut shapes in the wood. The Romans improved the Egyptian design with the addition of a turning bow. Early bow lathes were also developed and used in Germany, France and Britain. In the Middle Ages a pedal replaced hand-operated turning, freeing both the craftsman's hands to hold the woodturning tools. The pedal was usually connected to a pole, often a straight-grained sapling. The system today is called the 'spring pole' lathe. Alternatively, a two-person lathe, called a 'great lathe', allowed a piece to turn continuously (like today's power lathes). A master would cut the wood while an apprentice turned the crank.
As an interesting aside, the term 'bodger' stems from pole lathe turners who used to make chair legs and spindles. A bodger would typically purchase all the trees on a plot of land, set up camp on the plot, and then fell the trees and turn the wood. The spindles and legs that were produced were sold in bulk, for pence per dozen. The bodger's job was considered unfinished because he only made component parts. The term now describes a person who leaves a job unfinished, or does it badly. This could not be more different from perceptions of modern carpentry; a highly skilled trade in which work involves the construction of buildings, ships, timber bridges and concrete framework. The word 'carpenter' is the English rendering of the Old French word carpentier (later, charpentier) which is derived from the Latin carpentrius; '(maker) of a carriage.' Carpenters traditionally worked with natural wood and did the rougher work such as framing, but today many other materials are also used and sometimes the finer trades of cabinet-making and furniture building are considered carpentry.
As is evident from this brief historical and practical overview of woodwork, it is an incredibly varied and exciting genre of arts and crafts; an ancient tradition still relevant in the modern day. Woodworkers range from hobbyists, individuals operating from the home environment, to artisan professionals with specialist workshops, and eventually large-scale factory operations. We hope the reader is inspired by this book to create some woodwork of their own.
PREFACE.
THE: Author takes great pleasure in acknowledging the eminent services rendered him in the literary and scientific portions of this work, by E. N. JENCKS, A. M., Professor of Mathematics and Natural Sciences; and the Public cannot fail to appreciate the value of his labors in these departments.
The inception of the work, its original designs, and the entire system,