THE CRAFTS 
WOOD CARVING AND PYROGRAPHY. LEATHER AND METAL. BASKETRY, ETC. 
Under the management of Miss Emily Peacock, Room 2j, 22 East 16th St., New York. All inquiries in regard to the various 
Crafts are to be sent to the above address, but will be ansivered in the magazine under this head. 
All questions must be received before the 10th day of month preceding issue, and will be answered under "Answers to Inquiries" only. Please do not send 
stamped envelope for reply. The editors will answer questions only in these columns . 
several designs, all of them as regards the decoration, 
executed like the one we are to consider. 
In designing for all of this metal work you will arrive 
at results most easily with the use of shears and a medium 
thick unglazed manilla paper. 
By folding and snipping we can design outline forms 
in far less time than we could draw them. So in this 
case cut a sufficiently large piece of paper to cover your 
design and fold this paper lengthwise. Then cut the out- 
line form as in Fig. 2, and so by cutting double you will 
produce a symmetric pattern. Now all designing is done 
on + this sheet. Spaces must be planned for — reflector, 
border, decorated space and candle bracket. (See Fig. 
3, 4.) The ornamental motive is then sketched in to its 
alloted space and finished with a clean black line. (Fig. 
4.) 
Now having this clear blackline upon one half the 
sheet it is a simple matter to transfer to the other half by 
rubbing hard on the back of the lines. The completed 
Method of holding tool in the making of a metal sconce. design is pasted by the two upper corners to the brass 
THE MAKING OF A METAL SCONCE. 
F. S. Sanford. 
The following method of constructing a brass or cop- 
per sconce is simple and effective. It is really a kind of 
repousse, although lacking the fineness and possibility of 
that method of workmanship. But as far as it goes it 
is honest and although rude may be handled in a most 
artistic manner. 
It has these two great advantages, an extremely 
simple equipment and it does not require heating. 
Procure a piece of soft board — pine, cypress, bass 
wood or poplar — or better still a 2" plank free from knots 
and measuring about io"xi5". 
Gauge 19 or 20 is about right for the metal. Cut 
from this metal a piece large enough to allow \" margin 
over the size required for your design and flatten carefully 
with the mallet. This piece is then fastened to the wood 
blocks with heavy tacks or roofing nails placed not less 
than 2" apart all around close to the edge. 
By first placing the centre nails on each side and then 
working toward the corners one is more likely to prevent 
bending up in the middle. (See Fig. 1) I have given 
CT 
V 
Ficj.'t. F, .3< r 
Fv^. 1 
so that the outline comes well within the nail heads, and 
transferred by slipping a sheet of carbon paper under- 
neath and going over the outline. 
The stamping tool is a od nail filed to resemble Fig. 
5, that is with the sharp point filed off squarely. 
The backgound spaces, which are indicated by the 
dots as also the connecting lines, are all stamped in with 
this tool. The photograph of the boy at work shows the 
method of holding and striking this tool. The result is 
to depress and of course roughen the background and to 
raise the reflector and other parts in relief. 
It is not desirable to get the stamping in regular rows 
but it is desirable to have it of even depth and scattered 
in a generally even way over the space. 
There remains to pry off the sheet, trim it with the 
shears to the proper line and file and smooth these edges 
nicely. 
Any humping in the middle or wrinkling of the edges 
may be lightly tapped out witha wood mallet. 
The size of the impression of this nail stamp should 
