RERAMIC STUDIO 
n 
to slope toward the back, which must be high enough to support 
the head and shoulders conifortabty. 
The table in illustration No. 3 is a most accommodating 
model as it can be used, in different sizes, in the h\dng room or 
library and the one from which the illustration is made I use as 
a dining table. It is strong in reality and appearance without 
being clumsy. The cross braces are set far enough in not to 
interfere with the feet, and the frame does not strike the knees. 
It has ball-bearing casters set in so far that the feet appear to 
practically rest on the floor. Straight grained pieces were 
chosen for the legs and braces and those with bold, flowing 
figures that composed well, for the top. 
The closets in the bookcase, illustration No. 4, suggest 
many uses, and the doors offer an appropriate place for decora- 
tive metal work in hinges and fastenings, or very simple carving 
in low relief. Bookcases are usually from 12 to 15 inches deep, 
and a shelf should not be more than 4 feet long, if unsupported. 
The chair-table, in illustration No. 5, is an old model and a 
verj^ useful and attractive one. The top may be square, ellip- 
tical or oblong, and the legs may be sqvxare, but look particu- 
larly weU, turned. 
The tea table in illustration No. 6 is also a model which 
may be adapted to many uses. Of mahoganj^ beautifully 
made and finished, it is fit and fine enough for any place. Of 
oak or ash, with metal work, it would delight a smoker for his 
den. It is a convenient sewing table, and may have a dozen 
uses on the porch. 
SALAD FORK AND SPOON 
Edith A. Ross 
PYROGRAPHY TREATMENT BY KATHERIN LIVERMORE. 
USE a fine etching point for tliis; keep the outlines very 
dainty and clear, as the beauts? of the design depends 
on the delicate way in which it is treated. 
Make the middle background of fine lines as indicated, 
the outer background may be stippled, or shaded flat, or 
burned very deep and dark to resenable carving; if the latter 
effect is desired, be very careful not to smoke the design; if 
it becomes smoked in places, erase with a typewriter eraser, as 
this contains enough emery to remove any shght discoloration. 
The little seed pods should be done with the end of the 
point. A high polish is required: this makes it necessary to 
wax several times. 
ANSWERS TO CORRESPONDENTS 
Mrs. C. — The tools for wrought leatlier work may be bought at tlie (.iuild 
of Arts and Crafts of New York, 109 East 23d Street. Calf and cow are the 
best kinds of leather to use. 
M. H. B. — Some very good work can be done on blocks of wood, though 
by using the cement your work is made firm and you have the use of both 
hands for your tools. 
The cement can be bouglit read>- to use in one lb. cakes at 2.5c. per cake, 
though of course it is much cheaper to make it. 
A- AV.~The dagger saw blades for metal are very good. Tliese come in 
tweh-e sizes, 00000 being the finest and No. 6 the coarsest. For hea^•^• metal 
use a coarse saw, it is easier and does the work in less time. 
There are many kinds of drUls. A pump drill is not expensi\e and is 
worked by hand. Always start the place that you want to drill through witli 
a pointed punch, then you are sure that your drUl will stay in the riglit 
place. 
METAL PAPER KNIFE— EMILY. F. PEACOCK 
THE paper knife is made of copper, brass, or silver in ex- 
actty the same wa^^ as the one described in the June num- 
ber excepting that the design is etched instead of being cut out. 
When the knife is made it must be thoroughly cleaned in 
acid solution and scrubbed with powdered pitmice stone and 
water, then with whiting until clear water will stay over entire 
surface. Draw or trace on the design and scratch in with a steel 
point, being careful not to touch any part to be etched with the 
hands; if this should happen, wash again, as the acid will not act 
on the metal where the hands have been. Paint in the back- 
ground with asphaltum varnish, using rather a small brush; if 
the varnish is too thick, thin with a few drops of turpentine. 
The painting must be done neatty and carefully, taking care to 
have the edges very even as the etching will follow the line of 
the asphaltum exactly. Paint over the blade and back of the 
knife, covering every part except the design. If there are am' 
brown spots or streaks cover again with the asphaltum. \A'lien 
this covering is thoroughly drj' make a bath of nitric acid, one 
part, and water one part, in a glass or porcelain dish. Put the 
knife in and if all conditions are good fine bubbles will soon rise 
from the exposed metal. The bubbles should be clear and dis- 
tinct. If there are no bubbles the metal has not been thorough^ 
cleaned, or the bath is too weak. If the bubbles come so rapid- 
ly as to give a cloudj' effect the bath is too strong. If all the 
conditions are favorable the etching will be finished in twenty 
minutes or half an hour. To see if etched deep enough, talce the 
knife out of the bath with a piece of wood; wash in water and 
examine it. If it is not sufficiently deep put it back in the 
solution. When etched deep enough take out and wash thor- 
oughly in water. Heat it for a few minutes in a strong solu- 
tion of lye, when the asphaltum can be easily removed with a 
cloth fastened to a piece of wood. The tye must be made in a 
porcelain or agate dish. Wash in water and dry. If the edges 
are uneven anywhere file them down with a riffle file. Polish 
with fine emery paper, then with powdered pumice and oil. 
Avoid inhaling the fumes of the bath while working over it. 
