RERAMIC STUDIO 
95 
It should have broad, Ijiit conservative treatment, and 
any thing primitive in design or construction, is as little pleas- 
ing as in mahoganj^ though it is suited to a heavier, simpler 
stjde than the latter. It is a wood which looks very well 
carved, not, however, the bulbovis kind which was so much used 
on it, and which not only looks but usually is stuck on. Its use 
on any kind of furniture shows lack not only of good taste, but 
good sense. Walnut is now rather scarce and costs as much as 
good mahogany, but we have always been able to get it in small 
quantities. 
These are the fotu^ woods Mr. Saugstad and 1 ii.sc most 
often and like best, and they have a wide range of ai)plications; 
but there are of course many others that the craftsman may use, 
as red and white birch, maple, (not the birdseye, which is always 
a veneer), cherrj^ sycamore, hard pine and whitewood. The 
two last, stained or painted, make excellent light weight furni- 
ture for the porch and summer cottage, and are cheap and 
available almost anywhere. They cut clean and are easy to 
work, so they are very good woods for the beginner to try his 
'' 'prentice hand " on. 
But though these woods vary so much in their color, grain 
and uses, there are, as I have said, certain things which thej- 
have in common, to a greater or lesser degree. The most try- 
ing of these properties is shrinkage and expansion as the mois- 
ture in the wood is dried out or as it absorbs more from the 
The longer it can be kept at about the temperature to which it 
is likely to be subjected, the better. 
Over drying at a high temperature makes it more apt to 
absorb moisture. Too rapid drying is likely to cause it to split 
at the ends, where the pores being more open the drying is, con- 
sequently, quicker. This can be prevented by painting or 
shellacking the ends, w4iich is a wise precaution in any case. 
The principle which wood follows in drying is shrinking 
along the line of the circumference, as the heartwood is closer 
libred and more solid than the sapwood. The diagram. 111. 2, 
explains the action and it is well tt) fi.x the principle firmly in 
mind, and remember that the heart side of boards will dry con- 
vex and the sap side concave. 
In buying wood the best way is to go to a reputable dealer, 
tell him just what kind of wood is wanted, for what purpose and 
trust to his judgment and honesty; for it requires long exper- 
ience to choose lumber in its rough, begrimed state in a yard. 
Confidience, courtesy and interest in the subject will, nine times 
out often, not only insure a much better selection than the ama- 
teur is able to make for himself, but will often draw out nmch 
information of value. 
It was a distinct shock and disappointment to me when I 
had to give up my cherished illusion, shared by most beginners, 
that with wits and patience to guide them, the old family saw 
and i3lane, rusting in the woodshed, were the only equipment 
Well braced and convenient work 'bencli of pine, witli the 
2 in. top preferably of oak or maple. Wooden vise, 
which IS less expensive, but not as rigid, durable and 
quick acting as one of iron. Bits of rubber under feet 
to koop from slipping. 
atmosphere. The first causes splitting, unsightly cracks and 
warping, and the second is what makes doors and drawers stick 
and panels split and bulge and open the joints in the frame 
work when the weather is damp. 
It is impossible to be too positive on the necessity- of well 
seasoned Avood, and if the craftsman can only be convinced of 
that before it is borne in upon him by hard experience, it will 
save him much discouragement and mortification. 
The lumber man will probably say that the wood is well 
seasoned, but what will do for ordinary building purposes will 
not do for furniture. 
If there is an available dry kiln it is well to rough out the 
wood to the general dimensions of the piece contemplated and 
put it in for from one to three weeks at a temperature of from 
8o to 100°. If this is not possible, as is often the case, the next 
best thing is to put the pieces on the cross rafters in the attic, if it 
is summer, make a draught through, if possible, and leave them 
there for not less than a month or six weeks. In the winter 
they can be put on a rack over, or near, the fvirnace or stove, be- 
ing careful, of course, that they are not so near as to be in danger 
of charring or catching fire. 
This seems a great deal of trouble, perhaps, but it is a short 
and easy cut compared to the way the old Mission Fathers 
turned and seasoned their wood for years. It is not as good a 
way, but it is the best we can do under most circumstances. 
necessary to the determined and enthusiastic craftsman. 
Good tools, well kept, are necessary for good work. It is very 
poor economy to get an inferior grade. 
It would be impossible to give an exact list of necessary 
tools without knowing the extent of each craftsman's ambition; 
Init with those in the following list it is possible to construct any 
piece of furniture illustrated in these articles. The cost will be 
between $io and $15: 
Cross cut, Rip and Back saws; jack and Block planes, 
necessary; Smooth and Fore planes, desirable: 5 Chisels, from 
\ to I i inch; Brace and 3 bits from \ to h inch; Mallet; Hammer; 
Ruler; Try-square; Bevel; Marking gauge; Gimlet; Compass 
and Brad awl, useful; a Plow is necessary in panelled work; 
Clamps. (to he continued) 
^ *f 
EXHIBIT AT PRATT INSTITUTE 
THE annual exhibition of the students' work at Pratt Insti- 
tute, Brooklyn, took' place the 5th, 6th and 7th of June. 
It was well attended and the work was the l^est that has ever 
laeen shown. 
The Art Metal room was quite a point of interest and manj^ 
good examples of metal chasing, engraving and enamelling 
were exhibited. 
Enamelling on metal has onlj^ been taken up by the class 
