Repoussé work for amateurs : being the art of

Transcription

Bi
rf
oN?
^
^
iTION
av
op
OCT i 3
2
MAY
8
1933
DEC 3 1938
MAY 6 id
i
28
dec j o
m?
f943
Digitized by the Internet Archive
in
2011 with funding from
Boston Public Library
http://www.archive.org/details/repoussworkforamOOhasl
GROUP OF
LEAVES.
Repousse
Work
for Amateurs.
REPOUSSE WORK
FOR AMATEURS:
BEING THE ART OF ORNAMENTING THIN METAL
WITH RAISED FIGURES.
tfjLd*-
By
L.
L.
6
HASLOPE.
ILLUSTRATED.
L.
UPCOTT
LONDON
GILL, 170, STRAND, W.C,
1887.
PRINTED BY
A.
BRADLEY,
170,
3W
STRAND, LONDON.
PREFACE.
these days,
JjJjtfN
^*^
when
making books there
" of
and every description
amateur, has a literature of
of work,
its
own,
is
no end,"
whether professional or
it is
strange that scarcely
anything should have been written on the fascinating arts of
Chasing and Repousse Work.
few articles
It is true that a
have appeared in various periodicals on the subject, but with
scarcely an exception they treated only of
Working on Wood,
and the directions given were generally crude and imperfect.
This
is
the more surprising
Repousse
Work
America;
brass
?
"
written the
in
consider
how
fashionable
has become of late years, both here and in
indeed,
is
when we
said
in
to
the
be
latter
a very
following pages
in
"Do you pound
country,
common
question.
the hope that
some measure, supply a want, and prove
I
have
they might,
of service to
my
brother amateurs.
It has been hinted to
me
that some of
my
chapters are
rather "advanced;" in other words, that I have gone farther
than amateurs are likely to follow me.
this is
I do not think that
the case, for amateurs are a very enterprising class,
PREFACE.
VI
and seem
sees
to think nothing
them attempt organ
beyond their range.
building,
When
one
and even the manufacture
of violins, I do not consider that there is anything in
I have written that need deter them.
At
all
what
events, I have
described nothing that I have not done myself; and I would
remind them of the proverb
may
—"What
man
has done,
do."
L. L. H.
«
JTW »
«fcj
man
CONTENTS.
page
CHAP.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XL
Introduction
1
Materials
8
13
Appliances.
Tools
.21
.
Preparing the
Work
32
Working on Wood and Lead
38
Working on Pitch
43
Bepousse
.
Work
54
Finishing
6?
Forming
74
Mounting
84
Designs and Designing
.
.
.
.
.
•
•
91
Work
Repousse
FOR AMATEURS.
INTRODUCTION.
To climb steep
Bequires slow pace at
hills
first.
Antiquity of the Art of Working in Metal
work —Abundance
" Original
—Shakespeare.
— The Bible and
Metal-
of Gold and Silver in Ancient Times
Home "
of Metal-work
—Metal-working
— The
in India,
Spain, Damascus, Greece, and Italy —Benvenuto Cellini — Metal-
working in England
—Repousse
Work
:
Definition of; Revival
An Endless Source of Amuseof; Within the scope of Ladies
ment and Pleasure to the Amateur; An Employment for the
" Young Hopeful " Ready Sale of Repousse Work at Bazaars
;
—An
Elegant Occupation
ledge of
to
the
Drawing
The
may
be
Required
—My Introduction
—
Tools Where Tools and
Obtaining
Purchased
— Where Lessons are Given.
art of working in metal appears to have been
the earliest ages.
—A Know-
not Absolutely Necessary
Art—Difficulty of
Materials
—Little Plant
The
first
record
we have
of its
known from
being practised
—
;
REPOUSSE WORK FOR AMATEURS.
is
Holy
in
Tubal Cain (who
Scripture, where
have lived about 3504
every artificer
described as an
B.C.) is
in brass and
supposed to
is
" instructor of
This appears to show that
iron."
metals were very commonly used in his day, and also, no doubt,
long prior to
it.
The
earlier
books of the Old Testament teem
with allusions to work in metal such as I
The
first
am
about to describe.
mention of the precious metals being used for the
purposes of ornamental art
is
when Abraham's servant
to take " a golden earring, of half a shekel weight,
is
said
and two
bracelets for her (Rebekah's) hands, of ten shekels weight of
gold."
(The gold shekel was worth, according to our present
currency, about £1 16s. 6d.)
Numerous other
articles, for
references are
ornament as well as
made
use,
in these books to various
worked out of the precious
metals, such as rings, chains, crowns, bowls, cups, hooks, pillars,
candlesticks, tongs,
&c; and
in the directions given for the
Mercy Seat in the Tabernacle, and the Cherubims that were
surmount it, it is expressly stated that they were to be made
" beaten gold."
Hammers and
to
of
graving tools are recorded as
having been used; so that the process of forming the metal
into the required shape
was doubtless very similar to that in
use in the present day.
Gold and
silver
much more abundant
appear to have been
in those days than they are at present, as
Solomon's drinking vessels were of
it
was nothing accounted
we read
that all
King
gold— " none were of silver
of in the days of Solomon."
It is
also stated that he received 666 talents of gold in one year
nearly equal to twenty- seven tons in weight.
marvel as to what has been done with
As the East was the
original
home
all this
We
cannot but
wealth.
of metal- work, so it has
continued ever since to produce most skilful workers, not only
in the precious, but also in the baser, metals.
yields
some beautiful specimens
of work,
and
India especially
its
natives are
;
INTRODUCTION.
justly celebrated for the originality
upon
it,
though
With only a
primitive description.
clay,
and
skill
they bring to bear
appliances are of the rudest and most
all their
charcoal stove, a
lump
of
a blowpipe, hammer, and a few small tools to aid them,
they will produce work not to be surpassed by those having at
command
their
The
that Western civilisation can give them.
all
work
chief centres of Indian
beautiful silver
work
is
are:
Kurtch, where very
made, chiefly beaten down from the face
and Benares, celebrated for
brass trays, vases, &c, orna-
its
mented with chased work, often of very quaint and curious
A
design.
great deal of work
Persian work
and Delhi.
at Dinapore
silver,
done, both in brass
is also
is
and
accounted
very beautiful, but partakes more of the character of inlaying
than of chasing.
In Spain, and along the shores of the Mediterranean,
collector of
works in brass
labours.
to be increasing,
of
them
Some
and
an excellent
field for his
Damascus, always
large, is said
will find
The brass industry
of
a
trays, aiguieres,
and other
articles,
many
of great beauty, are produced there in large numbers.
of the
most
exquisitely-finished specimens of art, as
applied to metals, have been produced in Greece and Italy.
Articles of great beauty were found
among the
and are preserved in the Museum at Naples
;
ruins of Pompeii,
these
still
serve as
models from which the Italian jewellers work.
The mention
of Italian art
notice of one of its
most
would be incomplete without some
skilful artists,
Benvenuto
Cellini,
flourished in the middle of the sixteenth century.
apprenticed to a jeweller, and for
on metal.
Many highly
many
years worked exclusively
artistic vases, chalices,
him, are to be found in the churches and
land.
&c, wrought by
museums
of his native
In his later years he worked in bronze and marble.
most important work
is
who
He was
His
a statue in bronze of Perseus holding
the head of Medusa in his hand.
b 2
many
In our own country, for
ebb,
and a great deal
Owing mainly
most
of
years art was at a very low
inartistic
work was produced.
to the efforts of the late Prince Consort,
establishment of art schools, the tide has
now
and the
turned, and oui
metal manufactures have assumed a totally different character,
and no longer offend the eye
of the artist
the work produced by Messrs. Elkington
&
indeed,
;
some
of
Birmingham,
Co.,
and also by the principal metal-workers of London,
rivals
any
that has come from abroad.
recommend any
I strongly
up
this fascinating art to
of
my readers who
intend to take
examine carefully the collections of
metal-work at the British and South Kensington Museums;
in both these places specimens of the highest character will
be found, which will be of great service in the study of metal-
They should not be
working.
but
inspection,
should
characteristics of the
real
with a mere casual
much time
spend
studying
in
the
various styles, and thereby acquire a
knowledge of what they are about to undertake.
Having given a
we
satisfied
will
now
slight sketch of metal-work past
consider
more
and present,
branch of
it
"beaten back," and
is
fully the particular
under notice.
The word Repousse means,
literally,
applied to the art of ornamenting thin metal with raised figures.
The process
is
a twofold one
face of the work, by
means
The
:
of a
outline is first chased
hammer and
on the
small tools, and
the figures are afterwards raised by beating the metal up from
The work has met with a very warm
the back.
and
it is
forms,
it
not strange that
it
has done
meets the requirements of so
so, as,
many
reception;
in its various
classes of
amateur
workers.
In the
first
place, the
ladies, especially if
which they
will
work
is
we except some
have no
quite within the scope of
of the rougher parts of
difficulty in getting
it,
done for them.
—
INTRODUCTION.
They soon become
proficient at
owing, no doubt, to their
it,
adds an additional charm
if
they are able to design their
To the amateur already
patterns.
forms a never-ending source of pleasure
designing patterns, inventing and
ornamenting them
it,
moreover, he
remains something more to be attempted.
home
hopeful,"
sisters,
for
may
the result
he
is
of
wood and a
And
may
valuable to
always
even "young
of teasing
piece of sheet brass,
nail
;
and though
still
mischief for a time, and this small
develop a taste for the fine arts which
him
his
may be
not quite equal one of Cellini's masterpieces,
will be kept out of
beginning
and
not likely
worries his "forbears" for "something to do,"
work away with a hammer and a French
to
articles,
be, there
the holidays, who, tired
down before a block
set
it
him most agreeable
however good his work may
as,
own
and amusement
forming the
afterwards, will give
occupation for his leisure hours;
it
mechanics
in
skilled
.
to tire of
Of course,
touch and refinement of feeling.
delicacy of
may be
hereafter.
Those who are fond of helping forward any good work within
an excellent means of doing
their reach will find this
know nothing
brasswork en
As
done.
rejoous&e, particularly if
it,
chasers
who
is
carefully
;
and well
manufacturers are not likely to pur-
as they can readily obtain anything they
who have
will
it
a means of increasing a small income I cannot speak
with the same confidence
chase
so, as I
that meets with a readier sale at bazaars than
served a long apprenticeship to the trade, and
supply them on very low terms.
also, is that,
want from
Another reason,
though the amateur may very quickly attain to a
considerable measure of success,
it
will take a great deal of
hard labour and much experience before he will be able to turn
out his work as a professional does.
Taken
in the light of
an elegant occupation,
I
know nothing
equal to this art; and so great are the decorative qualifications
WORK FOR AMATEURS.
REPOTJSSE
ornament our homes
of artistic brasswork, that it enables us to
with great ease, and at a
It " goes well " with
trifling cost.
almost everything, especially with the mediaeval style of furnishing so
much
nothing lights
in vogue in the present day;
up a room more than brasswork judiciously hung on the
walls.
Another great advantage
may
that the work
is,
on almost anywhere, as no "plant," so
be carried
to speak, is required;
the appliances can be easily taken, as required, to some
all
convenient spot for working, and removed again when done
In
with.
work can be taken up and
fact, this
as the amateur's fancy or convenience
My
by
at a
seeing,
very
simple
was considered
reward of a
2s.
it
tools;
was
of course,
it
The tray was afterwards
It
sold for
mention this instance as an encouragement to
may
designs
be procured and traced
easily
on to the metal, a knowledge of drawing
who
was rough and
good by the judges to merit the
sufficiently
As
though,
necessary;
made by a
and to show how much may be done with small
readers,
appliances.
best
just
not be denied.
artistic could
silver medal.
I just
tray
exhibition, a brass
local
unfinished, but that
my
down
attention was first called to this art, a few years ago,
lady with
£2
may
laid
dictate.
are
of
most
course,
skilled
is
hot absolutely
persons
those
off
succeed
will
with the pencil, and who have
the most feeling for the beautiful.
Having once made up
my mind
to turn
working, I never rested until I had
I soon
found that
channels
—in
difficult to
fact,
it
arose.
to
to metal-
made myself master
of
it.
was not to be learnt through ordinary
that
it
was a trade
get a knowledge
purchased at the tool shops,
workmen
my hand
make them
of.
it
secret,
Even the
and one very
tools could not be
being part of the business of the
for themselves, as the necessity for
It would, probably, only
weary
my
readers
if I
them
were to
INTRODUCTION.
recount
all
the obstacles I met with at every turn
say, I succeeded
at
last,
and hope in
;
suffice it
to
work, by going
this
systematically and carefully through each process, from the
simplest to the most
difficult,
remove the obstacles that
to
would be otherwise met with, and to smooth the path to the goal
of
one
success.
;
it is
am
I
quite aware that the task is not an easy
one thing to do a thing yourself, and quite another
method
to teach on paper the
this case,
of doing
it,
where a slight motion of the
of a finger,
may make
or
to time, as descriptions
mar the work.
of them occur,
and particularly so in
wrist, or a
movement
I propose
from time
to indicate the places
where special tools or appliances, not readily obtainable at
ordinary shops,
may
be purchased
;
but I
may
just say here,
that Mons. A. Francois, Ryland Road, Birmingham, supplies
amateurs with
I can also specially
all requisites.
recommend
Long Acre, London, whose quaint
little shop, in the Old London Street, at the " Inventories," will
doubtless be remembered by many of my readers. He not only
Mr. T.
J.
Gawthorp, of
16,
provides materials, tools, and all the appliances required for tht
art,
but gives lessons to amateurs, and finishes their work in
any
style required.
endeavour to show
done, and to put
I cannot
but
Though
my
them
and more
lessons,
and
in the
skill
of the
work
the
rougher
and experience.
is
for themselves,
they would gain their object
satisfactorily, i£
entrust
Mr. Gawthorp's
how each part
way of doing it
readers
feel that
quicker,
in the succeeding pages I shall
much
they were to have a few
part
of
the
work
to
—
CHAPTER
I.
MATERIALS.
Metals usually Employed
chasing
tility
"
—
to be
Recommended for
—Brass
the
of
account of
Recommended
:
work,
materials
the
to
:
Difficult
it is
desirable to have a knowI
suitable
therefore
for
give
some
Repousse Work,
far, at
concerns that work.
The metals
repousse
:
to
Amateur Workers.
employed;
metals most
—Iron
—
—Lead
noting the principal peculiarities of each of them, so
least, as
Pur-
Britannia Metal
the Amateur's Use
Patterns of Tools
Before commencing any
ledge
;
—
Metal "
" Gilding
;
Suitable for talcing
Work
of Working
Malleability and Duc-
:
Not
:
:
Standard ; The Best Metal for the Chaser's Art
"
Brass Inclusive of Copper and Spelter ; " Boiled ;
Brazing Metal "
Pewter
Facility
:
— Silver
Relative Values of
;
of;
Copper
— Gold
are
usually employed for chasing and working en
gold,
silver,
copper,
brass,
Britannia
metal,
pewter, lead, and iron.
Gold, not only on account of
its
because of the facility with which
its
it
great malleability and ductility,
metal-workers, and
expense
is
is
intrinsic worth,
but also
can be worked, owing to
is
in great esteem with
largely used for the finest work, where
not an object.
Some
of the best specimens extant
of the chaser's art are in this metal.
In purchasing gold,
it
:
MATERIALS.
9
should always be borne in mind that the quality varies greatly.
Gold in
poses in the arts, as
of ordinary use
;
it
therefore becomes necessary to incorporate
it
to
it,
give
it
the required degree of
The gold used by
hardness and durability.
is
pur-
too soft to stand the wear and tear
it is
some other metal with
ping teeth
many
pure, or fine state, is not employed for
its
dentists for stop-
mixed with
as nearly pure as possible, the alloy
amounting only to the one-thousandth
Fine, or pure gold,
is
parts, called " carats."
part.
supposed to contain twenty-four equal
When
two parts of alloy are added to
twenty- two parts of fine gold, the resulting mixture
is
said to be
22 carats fine; and so on, in accordance with the quantity of
22-carat gold
alloy used.
it is
not greatly used by the jeweller, as
rather too soft for his purpose
18-carat gold
coin of the realm.
use
is
;
made
and
this is very malleable
to take any
its principal
is
for the
and can be readily
ductile,
15-carat gold
is
this is not allowed to receive the
also
much
and can be worked with great
jewellery,
use
the next quality in general
form under the hammer.
Gold of a lower quality than
Hall mark.
:
is
used, especially for
Gold much
facility.
below this quality can hardly be considered as gold at
though
is
it
used as low as 7-carat
gold to seventeen parts of alloy.
— that
The
all,
seven parts of
is,
alloys used for gold
are copper, silver, and zinc, or spelter, as
it
is
called.
One
rather curious peculiarity of gold, which is not generally known,
is
that
it
is
green when seen by transmitted light;
appears of a brilliant green colour
The following Table
will give
when
some idea
fine is
of the relative values
worth <£4
5s. Od.
„
^3
3s. 9d.
,,
<£2 Ids. l^d.
»
18
»
»
,5
15
,,
j,
»
9
„
„
„
7
„
„
„
£1
£1
also
in a state of fusion.
of the different qualities of gold
Gold 24 carats
it
per
lis. 10|d.
4s.
9*d.
„
,,
„
„
oz.
REPOUSSE WORK
10
Silver.
— This beautiful
AMATEURS.
FOE,
metal
of a purer white than
is
It is capable of a very high polish
other.
was used by
It
glass.
so
;
much
so,
any
that
it
the ancients for mirrors before the discovery of
extremely malleable and
is
and can be
ductile,
extended into leaves not exceeding the ten-thousandth part of
an inch in thickness, or drawn into wire much
human
Standard
hair.
made) consists of pure
silver (of
silver, 11*10,
which our
silver coins are
and copper,
0*90.
also tougher,
it is
metal to work upon.
than brass, and
Indeed, take
it all
~No silver
Though
of inferior value to this can be Hall-marked.
harder,
than a
finer
is
silver is
a most agreeable
together, I consider
it
the best metal for the chaser's use.
— This
Copper.
is
the only metal, with the
titanium, that has a red colour.
and
ductile,
the colour
and can be
It is tough, very malleable
easily forged with the
not objected
is
to,
exception of
it
is,
hammer.
Where
on the whole, a suitable
metal for Repousse Work.
Brass.
—A
great
number
included under the generic
tedious to
my readers
if
I
of alloys of copper
name
of brass.
It
and spelter are
would only be
were to dwell upon them
is
the ordinary
of copper
" rolled brass "; this contains sixteen parts
and eight parts of
zinc.
This
alloy,
fusible with the blowpipe, is not well adapted for
to be brazed
;
if
brass, containing
good proportion
being easily
work that has
the work requires hard soldering, a harder
more copper and
is
— copper,
should be used.
less zinc,
sixteen parts,
and
is
hammer
used by the makers of
;
under
as the ordinary rolled, brass, though the colour
not quite so good.
metal "
A
zinc, six parts.
This mixture, called "brazing metal," works as well
the
I will,
and Repousse
therefore, at once say, that the best for chasing
Work
all.
Another description of
common
this has a fine colour,
and copper, and can be made
brass,
much
jewellery, is called " gilding
somewhat between yellow brass
to look very
much
like gold.
MATERIALS.
Britannia Metal.
— This
is
11
an alloy of
tin,
addition to the amateur's stock of materials.
and with care heats up
unfortunately does not retain
metal that are made in
silver,
spoons, forks, cups, &c.
Any
it
such as sugar tongs, napkin rings,
of these
would form good practice
how
to
work on curved
The amateur would
which
surfaces,
some-
is
—An
and
alloy of tin
lead, not
much used now
for
Indeed, I should hardly have thought of mentioning
chasing.
metal here, had I not seen some exquisite specimens of
chasing on
it
rightly, these
therefore,
at the
South Kensington Museum.
If I
remember
were executed in the sixteenth century. Pewter
damaged, and
soft, easily
is
It is
it is finished.
difficult at first.
Pewter.
this
It chases easily,
long; this disadvantage can be
before commencing on the precious metals.
what
a useful
obtain the same class of articles in Britannia
difficult to
also learn
is
It will take a fair polish, but
well.
got over by having the work plated after
not
and
recommend
it
will
not take a high polish
;
I cannot,
for the general use of the amateur.
usually cast into form, and would, I apprehend, be with
for rowing
and other
why any
my readers who may
athletic contests,
win one should not try
Lead.
—This
metal
It
diffi-
Pewter cups are often given as prizes
culty obtained in sheets.
of
is
his
is
no reason
have been fortunate enough to
hand
very
is
and there
at chasing
soft,
and beating
it.
and, taking no polish,
of very little use for chasing, though, at the
same time,
it is
is
a
convenient material for taking patterns of tools, and keeping a
register of designs for future use.
sheet lead, 6in. by
&c, as
I
4in.,
on which
I
have several pieces of thick
I chase patterns of borders,
meet with them, and these
I find very useful for
reference.
Iron.
but,
as
—Yery
it
is
beautiful
work has been done in
this metal;
hard, and, consequently, difficult to work,
not very suitable for an amateur's purpose.
it
is
12
Having mentioned some
most
for
suitable
branch of
mend
the
my
of the peculiarities of the metals
Repousse Work,
I
by saying, that
I
subject
amateur
commencing
to
will
now
close this
would strongly recom-
work en repousse to go
through a course of working on brass before he attempts to
work on any other material.
cheap, and easily procured
and may be beaten up
when
;
This metal has the merit of being
it is
tough, will take a good polish,
to almost
any height.
The work,
well finished, has a most artistic appearance.
also,
Though one
can hardly imagine an amateur rash enough to commence on the
precious metals, there
them
;
indeed,
it
work on anything
is
nothing to prevent his ultimately using
seems almost a pity to put really
else.
I
may
first-class
add, that all the directions given
in the succeeding chapters, except where otherwise indicated,
apply equally to the precious as well as to the baser metals.
—
CHAPTER
II.
APPLIANCES.
Simple, and Inexpensive — Bench — Cushion —
—
Wood Block Lead Block —Bitch Block — Chaser's Bowl—
Pitch Pan—Anvil — " Sad Iron " Pitch Kettle —Ladle — Stove
—Fletcher's Burners — Stool for Stove—Buff Board — Buff
Leather—Loose Sleeves —Apron.
Appliances Few,
The
appliances required for Repousse
and inexpensive.
is
A
Bench,
of course necessary,
Work
or steady table, on which to work,
and needs no description;
placed in front of a window, as a good light
Cushion
(Fig.
1).
—This
is
Fig.
;
and
this latter
is
fixed.
It
desirable.
is
placed
serves to
produced by the blows of
also to raise the work to
is
most
should be
Cushion.
the concussion and noise
the hammer,
height
1.
is
it
a soft ring, on which
the block to which the chaser's work
lessen
are few, simple,
a convenient
a matter of some importance, for,
if
;
14
the work be too low, the chaser cannot see the edge of his tool,
and in consequence cannot direct
when the top
is
middle of
am now
the chest
The best
position
raised to about the level of the
is
workman
the
of
aright.
sitting
before
I
it.
speaking of the best height for chasing; for beating
up, the block
more
of the block
it
better lower, as the effect of the blows can be
is
The cushion
easily discerned.
to be readily turned in
any
also
direction,
to
enables the work
suit the
chaser's
convenience.
Anyone can make a cushion
for himself; it merely requires,
for a foundation, a ring of iron, 7in. across
wrapped round with
this is
the ring
a
list is
is
still
is
up the
is
is
ring,
only used for the most primitive
merely a piece of wood, of any convenient
wood
Flannel
elastic cushion.
—This
larger the better,
of the
strips of rag until the thickness of
better material to use for thickening
Block.
work, and
|in. thick
increased to something like 2în. or 3in.
and makes a nice
Wood
and
and about
not of
much
2în. or 3in. thick.
size,
the
The quality
importance, but I should use beech
woods are close-grained, and
or sycamore for choice, as these
stand the hammering better than a softer wood.
Lead Block. — A
piece of
wood
similar to the above, with a
square sheet of lead, |in. thick, screwed
down upon
it.
There
should be a screw at each corner, and the heads of these screws
should be countersunk
so
—that
as to be out of the
is,
way
let in to
of the
the level of the block,
work to be beaten.
The
amateur can easily cast the lead for himself by using for a
pattern a smooth piece of board of the required size; mine
lOin.
by
9in.
This should be
casting sand, and the sand well
piece of
carefully pressed
rammed
all
wood should then be drawn over the
round.
into
is
some
A straight
pattern, which can
be lifted out of the mould by two French nails lightly driven
into
it.
The
lead
may now
be poured into the mould from a
;
APPLIANCES.
Care should be taken to
ladle.
15
level the pattern
when
in
it is
the sand, or the sheet of lead will be thicker in one part than
in another.
Fitch Block.
—"We
now come
most useful appliance
to the
a chaser has, and without which no really good work can be
Professionals generally use a stone slab as the basis of
done.
their pitch blocks, the size of
provided the surface
lin.,
which
Any kind
sions of their work.
regulated by the dimen-
is
of stone will answer the purpose,
tolerably smooth.
is
It should be about
Suitable stones can generally
or rather more, in thickness.
be procured from any stonemason; an old lithographic stone,
by
18in. long
of
mine
A
common
13|in. wide,
I can
;
and
lîn. thick, is a great favourite
work any plate up
brick, even,
to about lOin. wide on this.
may be used
occasionally for small
work.
Chaser's Bowl.
—This appliance
the precious metals
for small
much used by workers
is
articles,
those having curved surfaces.
made
It is
resembles half
centre.
It is filled with melted pitch,
down upon
When
it
in the
same way as
in
for
and
the
and the work fastened
on the pitch block.
is
it
placed on the cushion, the convex surface of the bowl
into the centre of the cushion, and
fits
of cast iron,
cannon-ball, hollowed out
greatly
a
and particularly
in
makes a most convenient
arrangement, as the ball and socket contact allows the work
to be turned with ease in every direction, not only horizontally,
as in the case of the pitch block, but almost,
vertically, as
Fitch
may
Fan
best suit the work in hand.
(Fig.
2).
—This,
another arrangement for sup-
porting the pitch, consists of a shallow pan,
and
will,
perhaps,
be
found by
more convenient than the stone
about, and, having a handle
it
is
not,
not quite,
if
however,
as
at
steady
ladies
slab, as
it
each end,
as
a
filled
in
with pitch,
some respects
is lighter
is
stone
to
move
easier carried
block.
On an
REPOUSSE WORK
16
common
emergency, a
baking-tin,
ironmonger, might be used.
I have myself
AMATEURS.
FOE,
be
to
procured
any
of
In order to try the pitch pan,
beaten up a crumb-tray on
and found
it,
it
to answer the purpose very well, though, in a general way,
much
I very
prefer stone.
If
Fig.
pan
for their pitch, I should
2.
any
my readers
of
Pitch Pan.
recommend
riveted
large
by a tinman;
in length
their having one
corners turned
sheet iron, galvanised, with the
of
elect to use a
made
up and
should be l|in. deep, and sufficiently
it
and width
to allow of a
good margin round
the work.
Anvil.
—A
small anvil with a good surface
common
"sad
iron, or, as
and exactly the
iron,"
it
is
purpose better.
sometimes
must be held
is
required
3).
—This,
for
across
ladle,
about
is
made
A
useful size
across the top,
made
of
of
cast
readily
it
is
is
one about
the mouth, and about 7in. high.
5in.
is
the same kind of kettle as
melting the pitch;
obtainable at any ironmonger's.
8in.
the handle
if
in a vice.
used by plumbers for melting their lead,
and
for
If the handle be cut off with a cold chisel,
Fitch. Kettle (Fig.
iron,
called,
same as laundresses use
can be used on the workman's bench; but
left on, it
I learnt the
I do not think that anything could answer the
ironing linen.
it
flat
very necessary
The chaser from whom
for the Repousse worker.
art used a
is
wrought
A
plumber's
iron, is also
necessary for ladling out the pitch from the kettle.
Stove.
—All the operations I shall describe, except lacquering,
APPLIANCES.
can be carried on with the aid of a
there
will
is
be
convenience for
much
gas
is
a stove
is
common fire but when
much handier, and there
;
probability of capsizing the kettle full of
less
pitch over the
it,
17
floor,
a proceeding
available, a very simple
much
to be deprecated.
If
and perfect arrangement can
be made, at a small expense, by using one of Fletcher's Patent
Fig.
3.
Pitch Kettle.
Solid
Flame Burners.
sizes,
from Messrs. Deane and
These can be obtained, of different
Co.,
King William
London, E.O., or direct from the maker,
If the stove is to be used
stool should be
made
for
it
to stand
Warrington.
at
on an ordinary
Street,
table, a small iron
upon;
this will prevent
the table being injured in the slightest degree by the heat
of
the
burner.
The upper
be more than 2§in. above the table.
iin. thick,
and
1ft.
the
surface of
A
stool
need not
piece of boiler plate,
square, is quite large
enough to hold the
c
;
18
The
burner comfortably.
Fig. 4 shows
the
legs should be of |in. round iron.
with the burner on
stool
Fletcher's
it.
burners were originally intended for saucepans and other
bottomed
feet, will
vessels,
not stand steadily upon them without further support
the best plan
is
to
have a light square iron frame
square, and 6in. high) with four legs (Fig. 5)
placed on the iron
stool,
Fig.
and
over the burner.
4.
stability, it is well to
Burner on
To
obtaining
bracket, without in any
a
this is to be
Stool.
have two sockets (shown at A, in
on to opposite sides of the
for
;
(llîn.
insure steadiness
Fig. 4) for two of the legs of the frame to
method
flat-
and, consequently, the pitch kettle, having
stool.
way
brazed
6 shows a simple
Fig.
supply of gas
into,
fit
from
an
ordinary
interfering with its original use.
shown with and without the attachment; the
The bracket
is
latter can be
added by the amateur himself,
all
that
is
necessary
being to unscrew the pipe at A, screw in the cross-piece containing the taps, and fix the pipe into the end of
stiff
white
lead,
rubbed on to the
it;
screws before
together, will insure their being gas-tight.
An
a
little
putting
indiarubber
;
APPLIANCES.
tube of sufficient length,
other end
slipped on to the tap B,
attached to the patent burner.
is
these
surpass
is
19
and the
Nothing can
burners as a clean, economical, and effective
source of heat.
Fig.
If gas
is
not
cooking stoves,
5.
Frame to Support Kettle.
available,
now
so
one of the
common, may be
numerous petroleum
used,
and
will
make
a fair substitute.
Fig.
6.
Gas Brackets, with and without Improved Attachment.
Buff Board.
— Chasing tools are not
like ordinary cutting tools, as
ground and sharpened,
they are required to be blunt
c 2
20
still,
to turn out good work,
it is
important that the cutting
The
edges be kept perfectly smooth, and in good order.
thing to use for this purpose
2iin.
wide and
larger each
a piece of buff leather, about
is
glued down on to a piece of wood
7in. long,
way than the
soldier's old belt
leather,
answers very
and
well.
fin. thick.
A little
be sprinkled on the board occasionally.
readily procure buff leather,
As
it is
they
and Son, Bromsgrove
C. Harris
best
may
Street,
impossible to keep the left
If
piece of a
dry crocus should
my
get
A
|in.
it
readers cannot
from Messrs.
Birmingham.
arm
altogether
away from
when working, it is a very good plan to wear a loose
on that arm, made of linen, and reaching to above
the pitch
sleeve
the elbow.
It should
have a piece of
upper part, and a button to fasten
apron, with a bib to
it, is
it
elastic
run into the
at the wrist.
A
linen
another great advantage for this work.
» r-s*
•
:=;
CHAPTER
III.
TOOLS.
Hammer— Chasing
—Matting
—
—
Pick
Tools
Freezing Tool Border Tools Cup and Ball
Tools — Oval Tools — Repousse Tools — Tool-holders —Mallet—
American Mallet— Snips, or Hand Shears — Spatula— Square—
Scriber—Making Chasing Tools
Forging Filing Tempering — The Old Blacksmith's Method of Tempering — Tools made
:
Tools
:
Curved and Straight Tracers
;
:
;
;
with a Graver.
Hammer. —The
tool,
chaser's
hammer
about 10|in. long, and from
în. to
Its chief peculiarity is in the handle,
than usual, to give
elasticity,
it
Fig.
form
of
7.
and
lin. across
which
at
is
the face.
much, thinner
the end assumes the
Chaser's Hammer.
an egg-shaped bulb, to
fit
the palm of the hand.
workmen
flatten the sides of this bulb;
matter of
taste.
for chasing,
a light, handy
(Fig. 7) is
It is well to
but this
have two hammers
and another, rather
—
is
Some
a mere
a light one
heavier, for beating up.
REPOUSSE WORK FOR AMATETJRS.
Chasing Tools.
—The
number
tools required by. a pro-
of
fessional chaser is always large, not unfrequently
to several hundreds
work often requiring
special
it
and the number
;
however, be alarmed at
with only a few
this, as
being obtuse, and from
xîn. to fin. broad; a
made
for
straight
slightly
rounded
off
;
may
be done
tools,
of his
the edges
medium
size is
The wider ones are principally
Straight Tracer.
8.
deal
The most important
tools.
one mostly in use.
adapted
a great
These are chisel-ended
tools are the tracers.
Fig.
just
even a professional does the bulk of his
;
work with about a dozen
the
made before
commencing need not,
and he can purchase or make more as
tools,
he requires them
continually increasing,
special punches to be
The amateur
can be executed.
is
amounting
Fig.
9.
Straight
lines.
Curved Tracer.
tracers
convex on the edge, and with
(Fig.
are
8)
corners
the
perhaps I ought rather to say, that the edge
section of a very flat ellipse, this enabling the tool to
is
a
work
with great freedom.
Curved
tracers
largely
are
The curvature
lines of every description.
from almost a straight
used for
line
leaves,
and curved
of these tools varies
to a complete semicircle;
tools
having the latter are mostly used for borders, and for knocking
in at one blow scales of fish, &c.
tracer
is
shown
at Fig.
tool is often quite flat,
9.
For
A
useful form of curved
slight curves, one side of
and the other
slightly rounded.
the
Chasing
tools should not, as a rule, be too thin on the edge, or
it
will
TOOLS.
23
A good length
be difficult to obtain a sufficiently bold outline.
from
for these tools is
Sîn. to 4in.
;
if
much
they are
longer,
they are not so easy to work with, as they are more apt to
slip
aside
soon find out for themselves that there
in tracers, and,
value
it
when they meet with a
readers will
a great difference
is
good one,
really
will
accordingly.
Matting Tools.
—These
are used for filling in the ground-
The simplest
work of the design.
Fig.
a small
My
when struck with the hammer.
tool,
10.
of
them
a pick (Fig. 10),
is
Pick.
with a tolerably sharp
point
;
it
is
used for
covering the groundwork with a multitude of fine dots, and
is
also useful for other purposes, such as putting the light into
a bird's eye
—indeed,
wherever a small spot only
is
required.
For grounding in an ordinary way, more ornamental
tools are
used, the ends of
other devices.
punch,
When
which are engraved with
Under this head I
called a freezing
the work
is
tool,
may
figures, stars,
also
and
mention a small
which produces a small
closely covered with these, it gives
appearance of frosting, and has a very pleasing
star.
the
effect.
v
Fig. 11.
Border
Tools
mentioned, and
are
Border Tool.
rather
larger
than
those
already
have figures of various kinds engraved on
REPOUSSE WORK
24
the ends, which are
flat
FOE,
AMATEURS.
they are either used by themselves,
;
for corners, or, in combination with other tools, for borders.
A
pretty pattern
may
made by repeating the
often be
either in straight or curved lines.
punch which
of a
is
Cup and Ball
Fig. 11 gives the outline
a good specimen of this class.
Tools.
— Cup,
or ring tools, are circular at
the ends, and have their centres hollowed out
make
struck on the work they
for birds' eyes, beads,
Fig.
circle is
cup
and for
12.
tools, their
-
^
They
a circle.
all
therefore,
;
when
are required
purposes where a complete
Cup and Ball Tools.
wanted; several
^gin, ^° »i n
from
figure,
sizes
n diameter.
of
Ball
them are
in use, ranging
tools are just
ends being like the half of a ball
;
the reverse of
they are more
Cup
often required on the back than on the face of the work.
and
ball tools should be purchased in pairs {see Fig. 12).
Oval Tools.
—These are
they are so shaped as to
similar to the cup tools, except that
make
ovals instead of circles.
They are
not in any very great demand, though occasionally useful.
Repousse Tools.
tools
is
a great difference between these
and those previously mentioned; they are much
and take a variety
of them,
size;
—There
tool of the
if
the work
particularly suitable for beating
birds' bodies,
and other large
surfaces.
same character, and used
Fig. 15 represents a
larger,
Fig. 13 shows one of the largest
and one used as often as any
it is
figures.
of forms.
up
is
pears,
of
any
apples,
Fig. 14 shows another
for similar,
though smaller,
most useful kind of
tool,
which
TOOLS.
is
especially valuable for
25
working up the stems of
trees,
and
for this purpose is used with the front corner slightly raised.
A
chaser's stock of tools should contain several sizes of this
kind, as they
come
Fig.
two with square,
A tool or
in useful for all kinds of designs.
flat ends,
13.
Beater.
should also be purchased
;
these are
used on the face as well as on the back of the work.
Tools with oval ends, and slightly rounded on
also
most useful in beating up the work
several sizes, ranging
from
Fig.
Tool-holders.
sorted,
(Fig.
—All
or the
it is
well to have
în.. to fin.
14.
Beater.
chasing and Repousse tools should be
and each kind kept by
16),
;
the face, are
workman
will
itself,
in a small tool-holder
have considerable trouble in
Fig. 15. Beater.
promptly finding any particular tool he
tool-holders are
the top.
They
could readily
made
of tin,
may
require.
These
and are 2f in. high, and lîn. across
and anyone who can solder
are simple in design,
make one
for himself.
The
piece of tin for the
26
body
is
down.
cut out
and the edge turned over and beaten
first,
It is then
worked with the hand round a
stake,
or
even a piece of wood, and then soldered down the seam;
of
course, the
is
two edges should overlap a
then flanged out about
Fig.
on the bottom, which
is
-g-in.,
16.
to give the solder a better hold
Tool-holder.
only a circular piece of
diameter, with the edge turned over.
made
holders might be
The lower edge
little.
As
flat tin, 2in. in
a makeshift, tool-
of cardboard; but even
if
the amateur
cannot make a tool-holder for himself, he can procure one
so very cheaply
from a tinman that
it
is
hardly worth his
while to have an inferior one.
Mallet.
mallet,
—Fig.
which
in diameter;
is,
17
shows the form of a tinman's
in fact, a
it is
ordinary
wooden hammer with a face
2|in.
required for flattening sheet metal before
working, as well as in making the different articles out of
afterwards.
it
One end should be rounded, and the other flat,
off.
If an iron hammer is
with just the sharp edge taken
St
TOOLS.
used on the work,
come
it
leaves marks, which
A
to be polished.
mallet
Apple
possessing a lathe.
27
is
easily turned
the best
is
show when the
wood
plates
by anyone
for the head,
and
ash or lancewood for the handle.
Fig.
The Americans, always
tools,
17.
Mallet.
to the front with
new and improved
have lately brought out a new form of mallet,
specially,
designed for the use of silversmiths and workers in brass.
It
is,
in shape, like a tinner's ordinary mallet, but instead of being
made
of
wood
the metal.
are
made
formed
of
raw hide, so that
It is altogether a
most
shall not bruise
it
effective tool.
These mallets
in different sizes, to suit different classes of work.
Snips, or
sheet metal.
various sizes.
quite
is
strong
Hand Shears
(Fig.
18)
are used for cutting
They can be purchased, of any ironmonger,
They need not exceed llin. long, as this size
Repousse work.
A
18.
Snips.
smaller pair, with curved blades, will be
found very convenient for cutting out circular work.
reqiure a little practice to use
is
is
enough to cut the metal generally used for
Fig.
metal
of
them
It will
well, particularly if
at all thick; the secret is to grasp
them
the
firmly in
28
the hand, and to press the upper handle outwards with the
thumb
ball of the
;
press the lower handle inwards, with the
ends of the fingers;
blades together.
The
this
keeps the cutting edges
of
the
rivet should not be too tight.
The Spatula (Fig. 19) is a chemist's tool, and used by
them for spreading plaisters it comes in very usefully in our
;
work for arranging the pitch round the metal on the
Fig.
and saves the fingers
19.
Spatula.
Any
greatly.
do as a substitute, so that
block,
I look
flat
upon
piece of iron will
this tool rather as a
luxury than as a necessity.
Square.
— Some
sort
square
of
the sheets before they are cut.
is
the glazier's square (Fig.
tool shop.
It
The best
one, in
my
squaring
opinion,
which can be obtained at any
has the advantage of being graduated in inches
on the
blade, so that the
at the
same time.
Scriber.
20),
necessary for
is
—The
work can be squared and measured
scriber, a piece of
steel
ground to a sharp
point at each end, comes in handy for marking metal;
or
an etching needle may be used for the same purpose.
MAKING CHASING
As
it is
tools,
first
TOOLS.
distinctly part of a chaser's business to
the amateur
difficulties,
make
his
own
should, as soon as he has got over his
try his
hand
at
it.
Small pieces of
steel,
MAKING CHASING TOOLS.
" brindles," are
roughly forged into shape, and called
factured and sold for the purpose.
red hot, and then forges
it
29
The chaser
about
and then quickly
course,
by hammering
flatten it
must be held during
it
Fig.
have to be heated again.
he then either grinds or
file
It is then
be used, as
it is
a piece of
20.
anvil.
Of
may
Square.
Having got
files it
The
on the
it
soon cools, and
it
until
rubbed up on the
marks are removed.
select
this operation with a pair of
small tongs or pliers; being small,
required.
end
bring the end to a bright red heat,
square,
£in.
heats, the
into whatever shape he requires.
For instance, to make a tracer he would
steel
manu-
tool is
roughly into shape,
it
it
is
exactly the shaj>e
oil-stone, until all the
now made, but cannot
too soft to cut the metal
;
processes
:
it
must, therefore,
be tempered.
Tempering
Cooling;
(3)
involves
three
Tempering, or letting down.
(1)
Heating
;
(2)
Fletcher's burners,
V
30
mentioned
already
admirably, and the tool has
The cooling medium
varies according to the class of work,
workman;
water in various
oil,
soon as
if
we
the tool
it
—
making
are
a small one,
is
keeping
work
if
;
would be better to dip
it
there until cold.
it
was before too
as it
This
propei* temper.
it
is
we cannot do
larger
now
as
much
and must be
soft,
—say
The
:
let
made
more, from the cutting end
is
reached
;
to a
;
it
500degs. Fahr.
bright up to about
is
arrived at
lin.,
or rather
then cautiously heated, and
it is
It will be
carefully watched.
down
done by re-heating, and cooling
is
tool is first
a £in.
too hard for
the right temperature for percussive tools, and
thus
his
quickly into cold water,
it
It is
again when the exact degree of heat
is
mercury, and even
states,
leaves the flame, into a tallow candle, and,
better than follow his example
tracer
or the fancy of the
The watchmaker plunges
cold iron, have all been used.
tool, as
heating
of
merely to be held in the flame
comes to a bright red heat.
until it
purpose
the
serve
18),
(p.
found to turn,
colour, then a darker yellow, then a
first
a pale straw
brown yellow;
at the next
stage the yellow becomes tinged with purple, which gets darker,
until
itself,
it
"When the brown yellow shows
turns to a blue colour.
the tool should be immediately plunged into the cooling
medium, as exactly the right heat has been reached.
taught tempering
I
am
sorry to say,
to say
:
"
You
hare's back,
many
had strong poaching
should just bring
and then squench
for anything."
And
I
I
was
years ago by an old blacksmith, who,
it
it,
believe
up
to the colour of
and you
my
He
proclivities.
will
used
an old
have a tool
readers will find,
if
fit
they
follow his receipt, that he was right.
Curved tracers are made in the same manner, except
when
the tool
to
be made
is
a large one, the end of
beaten into a groove to produce the curve
curvature
is
made with a small round
file.
;
if it
is
that,
it is
small, the
MAKING CHASING TOOLS.
Ball tools are
first
forged,
and then
np
filed
One
accurate, if the end is turned in the lathe.
self-centreing chucks will hold
31
they are more
;
American
of the
them without any
The
trouble.
cup tools are made from the ball tools after they are hardened
and
The
finished.
made
piece of steel
from which the
tool is to be
roughly forged into shape, and rendered quite soft by
is
being allowed to cool as slowly as possible after being heated
to a red heat
or
is
then fixed in a
proper size
ball tool of
file,
it
;
;
vice,
the outside
and indented with a
then finished with a
is
by grinding.
There
a class of tools,
is
much used by
produce a matted or frosted appearance
;
these
come
principally
from France, and are made by driving the end of the
soft,
with a tolerably heavy hammer, on to a
bench
file
;
which
silver chasers,
laid flat
file
while
tool,
on the
the pattern produced will vary according to the kind of
used.
Matting tools are generally made with a
times a small cold chisel
is
used
;
file
;
some-
made
occasionally they are
with a graver.
Border tools are made with a graver.
business,
die-sinker's
and a process that
This
it
is
amateur's while to attempt, as he will not want
tools,
and
it
not worth an
many
of these
would take weeks of practice before he could
make a decent
one.
The
larger tools for beating
to be forged
by a good smith;
the ends,
he
if
essentially a
is
up
will
the amateur can then
feels so disposed.
>—
»
_;
i
finish
All tools will have to be
hardened and tempered in the way already described.
i
have
CHAPTER
IV.
PREPARING TllE WORK-
—Boiled and Sheet Brass —Price of Brass —Flattening
A Difficult Process Method Pursued in— Tinman's
Bolls —Polishing — Transferring the Design Pricking Holes
Choosing Brass
;
:
:
;
French Chalk and Whiting
bonic Transfer
Paper ;
Wax Bed
White
;
;
Chalk ; Car-
Spirits of Turpentine.
BRASS.
Choosing Brass.
—I
shall assume,
my
paration of the work, that
I have given them,
Some ordinary
It
in treating of the pre-
readers will take the advice
and try their "'prentice hands" on
brass
rolled
must,
width that an amateur
6in. are useful sizes.
noticed
is
The
that amateurs
likely to
— at
want;
seem, as a rule, to
a moderate-sized
;
article, really well
any
all events,
12in.,
and
9in.,
I
have
go in for
size
price increases after 12in.
rather than quality of work, which I think
take
be procured.
therefore,
can be obtained of almost any width
brass.
is
done,
a great misfar prefer-
is
able to one of large size indifferently executed, besides being
more
way
useful,
is
and better as a decoration.
The most economical
to purchase a roll of brass the width required,
length that
lengths,
is
likely to be used.
and cut
it
up
as I
want
I generally
it
;
and
buy mine
this plan saves a
of
any
in 6ft.
good deal
PREPARING THE WORK.
Sheet brass differs in quality.
of waste.
33
That selected should
be homogeneous, uniform in colour, and without any loose
scales
on the surface.
or flaws
I have
had some marked
with spots and streaks of a red colour, apparently caused by
metal having
the
As
this entails
metal
or
should,
been
much
overheated,
additional labour in polishing, all such
possible,
if
Anything
be avoided.
good work, as no
pieces are fatal to
loose
imperfectly mixed.
or
like
scales
amount of
polishing will get rid of them.
Sheet brass can be had of any thickness, but about 10 M.G.
is
what
is
laborious,
generally use;
I
and the
if
effect,
Thicker metal
not so good.
much
when
also
is
the beating
thicker,
work
the
more
is
finished,
up
is
liable to spring off
the pitch while being worked.
Flattening.
of the
it
and the
snips
flattened;
—The brass
having been cut square by the aid
done by laying
this is
with the mallet.
will
glazier's square,
it
to be
Flattening requires practice and judgment,
and should be done cautiously, or the plate
instead of better
now have
on the anvil and striking
by the
will
be made worse
more
It is impossible to do
process.
than give general directions as to the mode
of
procedure.
One thing my readers must note specially, is that the
plate must be moved to and fro with the left hand as the
work requires, the right arm being kept perfectly steady, and
the mallet
This
is
always
more
difficult to
sight, as the right
movements
falling
will strike the plate
ing to
commence
do than
it
;
and,
if it
be allowed to do
on the edge of the
In a general way,
at the centre,
it is
that
is
required.
anvil,
first
to follow the
so,
the mallet
and inevitably
a tolerable safe proceed-
and give a
from there to each corner in succession
all
anvil.
would seem to be at
hand has a strong tendency
of the left
spoil the work.
on the same spot on the
;
series of light
blows
this will frequently do
Should any inequalities remain, they must
34
be reduced to a
level
by cautious blows around them. The
part being slack, and the surrounding parts tight,
it
raised
follows
that, the blows being directed to the latter parts, they will
be
expanded, and the bulges will come down by degrees to a
level.
As a
than a thin one;
blows applied to
difficult to
If
reduce a thick plate to a true plane
rule, it is easier to
my
bring
the latter
it,
it
even approximately to a
would refer them to the
" Turning and Mechanical
practical
and
first
level.
information on
where they
Manipulation,"
instructive, article
this
volume of Holtzappfel's
a thoroughly exhaustive, as
p. 414,
by the
that, unless great caution be used, it is
readers wish for any further
subject, I
find, at
so readily influenced
is
well
as
will
highly
on flattening thin plates with
the hammer.
Even when
are apt,
plates are flattened
when
polished, to
by a
workman they
the mallet. The
skilled
show the marks of
best way, therefore, to prepare your plate for chasing,
a tinman to run
it
through his
rolls for
you; these
to get
is
rolls are
too cumbersome and expensive to form part of an amateur's
them
so that a minute description of
stock-in-trade,
is
un-
necessary here, and I shall content myself with saying that
they consist of three iron
and
rolls,
two of which are adjustable,
can be so arranged as to curl
assumes a circular form
;
the plate
up the opposite way, which
up a
is
effectually
now lowered
plate of metal until it
then reversed, and curled
removes
is
level of the
space between the other two.
rolls,
all
If
the plate be
commencing with one
perfectly level plane will be the result.
that
The
until it is but slightly above the
outside roller
then passed through the
all bulges.
corner, a
Care should be taken
burrs or rough edges left by the snips are removed before
rolling, or the result will not
possesses these
rolls,
and
be satisfactory.
will roll
plates
As
every tinman
for a
mere
trifle,
PREPARING THE WORK.
I
should advise
at
first,
rather
with the mallet.
my
readers
employ
to
35
one,
at
events
all
than run the risk attendant on flattening
If
good work
to be attempted,
is
very
it is
worked upon be true and
desirable that the surface to be
level.
Polishing.
—The next process
The usual mode
of doing this
to roughly polish the plate.
is
by " sanding," which method
is
be fully described under the head of Finishing.
will
readers have not the proper appliances, they can get
my
up the
way
of the grain with oil
flour emery, or rotten stone, applied
with cloth or flannel
work
and
If
fairly well
by rubbing
the
it
wrapped round a small piece of
flat
wood, until
all
imperfections
A rub over
are removed, and the plate is of a uniform colour.
with a clean cloth will leave the plate ready for the design.
Transferring the Design.
—In
the matter of design, the
professional chaser trusts very greatly to his eye, and, like the
hardly ever
engraver,
Not
so the
accurately
help
amateur.
a
requires
In his
carefully-drawn
the
case,
design
pattern.
should be
—which will be a great
beaten up — and then trans
drawn upon paper, shaded
when the work comes
to be
There are several ways of doing the
ferred to the brass.
latter.
Chasers generally lay the design on the anvil, and prick holes
with the pick (Fig. 10)
lines of the
drawing
great rapidity.
;
—used
with the
practice enables
The design
is
then
—
hammer along
them to do
laid
the
this with very
upon the metal, and
dabbed over with French chalk in powder, or fine dry whiting,
tied
Though the result is sufficient for their
cannot recommend the plan to the amateur, the dis-
up in muslin.
purpose, I
advantage being that the outline
before
it
it
could be worked upon,
by going over
it
is
it
so very readily effaced that,
would be necessary to secure
with an etching needle, thus replacing the
dots with continuous lines.
Another, and a better plan,
rub a piece of white wax lightly over the plate, and then
D
2
is
to
warm
WORK FOR AMATEURS.
REPOTTSSE
36
the latter over the stove, or before a
wax, and give a thin film
it is
all
fire
;
this will distribute the
over the work
;
as soon as
cool
it is
ready for the design.
The back
of the paper
on which the design
is
drawn must now
be rubbed over with a stick of red chalk (to be obtained of any
colourman),
artists'
taking
drawing are covered.
a
design
now
is
any
and
rag,
soft
to be placed in position
by
its
tracer,
though
a
purpose
all
chalk
superfluous
carefully gone over with a
needle, held
that
care
the
H
rubbed with
dusted
The
off.
on the work, and the
pencil.
the
of
lines
It should then be gently
The eye end
lines
of a large
middle in a crochet holder, makes a very good
steel
crochet
answers
hook, reversed,
the
course,
that the end be
I adopt is to adjust the design
on the brass, and
even
better,
provided,
of
smooth and round.
The plan
then, while
held
it is
down by one
edge, I slip a piece of blue
carbonic transfer paper underneath, and proceed to trace as
before described.
and
This method answers admirably in
I can reproduce the
most
my
It is well to place a piece of cardboard
certainty.
hand while
hands,
intricate design with ease
and
under the
tracing, or the pressure of the fingers will cause
marks on the
plate,
and confuse the design.
Owing
greasy nature of the carbonic paper, this method
is
to the
tolerably
permanent
;
purposes.
It is better to begin the chasing at the left-hand
at all events, quite sufficiently so for all practical
lower corner of the plate, as then the fingers which rest on the
brass will not have to pass over the outline until
it
has been
chased, and there will be, therefore, less danger of its being
erased.
it is
The drawing
will
have to be retained in position while
being transferred by means of weights placed upon
these can be
moved from time
it;
to time as required, taking great
care not to alter the position of the drawing on the brass, or
the work will have to be cleaned, and the tracing
Commenced
PREPARING THE WORK.
de novo, as
it is
impossible to place
tlie
design,
37
when once
same position that
been moved, in exactly the
it
it
has
occupied
originally.
If the
brass does not take the design readily, rub
with a few drops of
spirits of turpentine, applied
it
over
with a piece
of rag, and all difficulty will vanish.
If
my
readers do not
mind the extra
trouble, the outline
on
the brass can easily be made permanently secure by tracing
over with an
who cannot
safest
etching needle.
draw, will
course,
as,
if
Amateurs, particularly those
find this,
the
outline,
at all events at
as
left
it.
"
•
•&£
•
first,
the
by the carbonic
paper, were effaced, they would find considerable
renewing
it
difficulty in
CHAPTER
V.
WORKING ON WOOD AN© LEA©.
Working on "Wood Elaborate Tools not Required— Fastening
the Work — The Outline — Gutting Lines—Patterns — Beating
Down— Setting —Borders. Working on Lead Easier and
:
More
Satisfactory than
Working on Wood.
WORKING ON WOOD.
will now endeavour
I
to
describe
the
The
employed in executing Repousse Work.
one requiring fewest appliances,
tools
though
first-class
hammer,
of
the
are not required,
work cannot be produced, a good amount
Properly speaking, this
effect
and the
working on wood, the only
Elaborate tools
of rough effect can be arrived
raised
simplest,
absolutely necessary for this process being a
a tracer, and a punch.
as,
is
methods
various
is
the worker
at if
not Repousse
pattern
is
Work
at
not produced,
is
all,
as
clever.
as the
in
real
Repousse Work, by beating up the design from the back, but
by beating down the ground that surrounds
quently, those modulations of
to Repousse
Work
it
holds the tool
;
form which give such a charm
lay the brass on the
in its place
but
and, conse-
are altogether absent here.
Some workers merely
trust to keep
it,
it is
by pressing on
it
better to fasten the
wood
block,
and
with the wrist that
work down to the
WORKING ON WOOD.
block by screws,
it
if
being done; and
the wood
on to the edge of the block,
assist in
The
keeping
Outline.
sufficiently large to
is
if it is not,
39
a fretworker's cramp, screwed
hold the brass down, and
will
steady.
it
—This
is
the
first
it
if
give
jumps
firmly enough, or too
with the plate
;
progress
will
continuous line behind
of the
readers
must be
must not be discouraged
To keep the
their first efforts prove failures.
on the work, and to produce a
tool steady
well-cut, even line, is certainly
not easy until considerable practice has
is
If
it.
face has been in contact
to obviate the latter, the front corner
My
along
steadily
has either not been held down
it
much
raised a little more.
if
it
clear,
sideways,
off
to în. wide,
blows with the
a few decided
it
held rightly,
the outline, leaving a
it
-^-in.
firmly in the left hand, with the corner only
touching the brass,
hammer;
Take
thing to attempt.
a moderate-sized straight tracer, say about
and, holding
admit of
made
it
so
;
but
it
the key note to the whole process, and should be carefully
persevered with until lines running in any direction can be
cut
with ease.
My
readers
must always remember
whereas for general purposes the
in chasing
right
left
hand
is
but
little
and Repousse "Work everything depends upon
that,
used,
it,
the
hand having nothing to do but to wield the hammer.
It will take
some time before the awkwardness consequent upon
give fuller instructions for
To avoid repetition, I shall
holding and using the tools when I
come
on Pitch.
state of things is overcome.
this
I
to speak of "Working
would recommend
my
readers, before
commencing any
regular design, to fasten a piece of brass, about 6in. or Sin. square,
firmly on to the block,
by means
of four screws,
and then to
draw, with a soft pencil, lines of various forms ; these should be
repeatedly chased, until a thoroughly satisfactory result has
been obtained.
The
easiest line for a beginner to cut is a gentle
;
40
and a straight
curve,
difficult,
the difficulty being increased
The amateur
the most
or a complete circle,
line,
when the
lines are double.
will require considerable practice before
be able to cut perfectly two lines exactly parallel and
the easiest are on the
;
will
iin. apart.
such as I should recommend a
Pig. 21 shows a few lines
beginner to practise upon
he
left,
and they
increase in difficulty as they proceed to the right.
Patterns.
—Large,
bold patterns, which depend for effect
rather on the vigour of the design than on highly-wrought
details,
are the
most suitable for this kind of work.
Curves.
Fig. 21.
arum
lily
with large leaves
is
an instance of what I mean, and
forms a very suitable subject.
Braiding patterns also come
out very well, and are easily obtained
made
An
for transferring to cloth,
;
those that are specially
by passing a heated iron over
them, can be transferred to brass in exactly the same way,
thus saving time and trouble.
Should
over once,
not
the outline
it
may
effect,
sufficiently
bold
after
going
be gone over again with the tracer, of course
taking care that the tool
the best
be
however,
at the first attempt.
is
is
kept exactly on the original track
produced when the lines are finished
;
WORKING ON WOOD.
Beating down.
—Having
next thing to be done
design
;
this
is
41
obtained a firm, clear outline, the
to beat
down the ground
may be done with an
round the
all
ordinary brad punch with
a circular end, such as carpenters use to punch down nails
with after they have been driven into wood.
produce,
when struck with the hammer, a
This tool will
of
series
dots,
with which the whole of the surface, excepting the design,
Care should be taken to keep the dots
should be covered.
as nearly equidistant as
possible;
the
at
same time, they
should be placed irregularly, so as not to form any pattern
amongst themselves, or
design.
it
from the
will detract
It tends to keep the
work in better form
marks are thinly distributed
at
first,
effect of the
the punch
if
and the ground gone
The punching
over again and again until sufficiently covered.
should commence between those parts of the design which are
to appear raised,
and be carried gradually towards them
—in
other words, you should work towards the outline, not from
this has the effect of raising the part
untouched by the punch.
Another method in use by some amateurs,
ground with a
flat-faced tool, beating it
and then using an ornamental
tool, in
described with the brad punch
—When
go over the
is to
down equally
the same
way
all over,
as I have
rather better work can be pro-
;
duced in this way, but, on the other hand,
Setting.
it
it is
more
difficult.
and grounding are
the outline
finished,
the plate will probably be found to be more or less bent out
of
shape.
block,
To
restore
it
a
to
level, place
it
flat
on the
and then, holding the tracer perpendicularly on any
part of the outline which
blow with the hammer.
surface of the plate
is
is
too high, give
it
one decided
Repeat this process until the whole
brought to a
course, should be exercised, as,
if
level again.
Some
care, of
the blows are too strong, and
the brass thin, the plate will be cut through, and the work
spoilt, or, at all events, seriously
damaged.
REPOUSSE WORK FOE AMATEURS.
42
Borders.
—A
two straight
work; or a
plain border, from iin. to |in. wide, between
helps
lines,
line of small circles,
be run round the edge.
may be
the plate
a finish to this class of
give
to
made with a cup
tool,
If a still better effect is desired,
reversed
on the block, and each
punched up from the back by a smart blow from a
applied to
may
the centre of
circle
ball tool
must correspond
The circles should
this ball tool
it;
exactly in size with the cup tool used.
must not
just touch one another, but
overlap, or the
effect
will be spoiled.
WORKING ON
This process
somewhat
is
easier,
Lead being
working on wood.
and, consequently, less noise.
to
LEAD.
and more
satisfactory,
inelastic, there is less vibration,
It
is,
also, altogether pleasanter
work upon than wood, and rather better
can be done on
should be
it;
much
still,
the
same as those
just
and
described.
A
The
plate will
in
is
the manner
become
finished,
already
few blows occasionally with the mallet, on the
plate,
tend to prevent
lie flatter
The method
by the time the work
have to be straightened
back of the
work
exactly similar to that for working on wood,
is
less out of level
will
of
recommended, as
effectively rendered.
so I need give no further directions.
more or
class
the general character of the designs
minute details cannot be
of working
than
its
during the progress of
getting too
on the block, and
much
the work, will
out of shape, and
so easier to
work upon.
make
it
The mallet
should only be used on the grounding, and the raised design
should be carefully avoided, though
down
as might be imagined.
it is
not so easily beaten
;
CHAPTER
VI.
worKtN© oN
Cement: Preparing
;
pitciI.
Recipes for; Method of Applying
—Fixing
—Pitch Pan Manipulating— Warming Pitch Contrivances for— Chaser's Bowl — Cleaning— Chasing —Manner of
Holding the Tools — Bad Habits Easily Acquired — False
Strokes —Difficulty of Striking with the Hammer — The Best
Cut—
Tool
Begin with — Slight Curves the Easiest Lines
—
—
Curved Tracers The Conventional
Feebleness of Outline
—
—
—
Rose Circles Water Shading — Feathers — Grotesque Head
—Matting—Figured Punches—Inexactness of Tools—Even
Plate
;
:
to
to
Grounding.
I
have thought
before coming
it
well to describe working on
to pitch,
wood and lead
on account of the former methods
requiring fewer appliances, and giving less trouble in preparing
the results are, however, very inferior, and the process itself
very
A
much more
difficult
is
than the one we are about to consider.
plate well secured to the block is a delightful material to
work upon, and,
as is the case
with
much
produced.
as it has
no tendency to
when worked on wood
slip about, or
or lead, the lines
bend up,
may
be cut
greater precision, and work of the finest character
The
noise, also,
which
feature in the other methods,
therefore, strongly
recommend
is
is
such an objectionable
almost absent here.
my
I would,
readers to work entirely on
44
more trouble attendant on
pitch.
There
manner
of working, but the comfort, and the improved results,
is,
I admit, a little
amply compensate
Cement.
— The
for
this
it.
first
to be done is to prepare the
thing
cement; this consists of about equal proportions by weight
of
Burgundy pitch and
first
melted in the
plaster
of
The
Paris.
pitch
low a temperature as possible,
kettle, at as
and the plaster added by degrees, the mixture being
continually.
If the
weather
is
size of
stirred
very cold, or the cement in
use has been re-melted very frequently, I
Russian tallow about the
is
add a piece of
a large walnut, though I have
rarely found this to be necessary.
It is desirable that there
should be a certain amount of hardness as well as toughness
about the cement, or
firmness,
and the
not hold the work with sufficient
it will
plate
dragging the pitch with
will curl
upwards as
;
brick dust, 8oz.
mix as
spoonful;
worked,
is
it.
Another good recipe for cement
pitch, 6oz.
it
the following
is
rosin, loz.
;
in the last recipe.
than the foregoing, and gives excellent
;
linseed
oil,
This cement
:
Black
1 tableis softer
results.
If a stone block be used, the pitch should be allowed to cool a
to keep
on the block
little
before use
Now
place the block on the cushion, and level
ladleful of
;
it is difficult
pitch,
and pour
spreading and arranging
it
it
it
it
too fluid.
then take a
;
in the middle of
with the back of the
if
the stone,
ladle.
Add
pitch from time to time, taking care that you have sufficient
space covered to allow of a good margin round the work, and
pausing to allow one ladleful to cool a
is
added.
The
little
before another
pitch should be about fin. in thickness.
Fixing Plate.
—The plate may now be gently laid down upon
the cement, beginning at one end, and lowering
so as to exclude air bubbles.
polished,
The
it
gradually,
plate should be roughly
and have the design transferred
to it before it is
WORKING ON PITCH.
laid
down on the
When
pitch.
consistency of putty,
it
45
the pitch has assumed the
should be pushed up to and over the
edge of the plate, until the face of the work
width of about
round
|in. to fin. all
;
is
covered to the
this will
form a sort of
frame, and' tend greatly to prevent the plate coming
The spatula
the pitch.
here;
if
it
from
Chasers use
it.
but as
arranging the pitch;
will be
found most useful
is dipped occasionally in cold water, the pitch
will not adhere to
fingers
(Fig. 19) will be
away from
when once
it,
it
very
is
it
their
only
fingers
difficult
to free the
has got on them, the spatula
found much the best thing for the amateur to use.
work may now be
laid aside to cool.
chased while
warm, or there
it is
in
The
will not
The
plate should not be
be resistance enough
in the pitch to keep the metal in shape.
Fitch Fan.
—The pitch pan (Fig.
The
manipulation.
melted in the way
pan
into the
it
is
;
this
it
must be
and ladled out
and the work
re-heated,
necessary
is
laid
is
If
to place the
pletely fluid.
If
an oven
is
of a gas jet, brought
the pan by attaching an indiarubber
gas bracket.
is
"When the pitch
to
warm
once on the pan;
if it
weighted until
is
cement.
an oven
pan in
it
it
is
tube
to
down
to
an ordinary
of a soft nature, all that is
the brass
is
be com-
not available, the surface of the
may be melted by means
required
re-
cement assumes the right consistency, and looks and
feels like black putty; it is better that it should not
pitch
when
down
each operation, and
need not be done with the pitch pan.
that
;
In the case of the stone block,
to be removed after
at hand, all
until the
must be
used, the pitch
is
I have already described,
exactly as on stone.
the pitch has
melted
it
rather different
until it is filled to within în. of the top
required for use,
on
time
first
2) requires
pressed
sufficiently,
down
and lay
it
equally all over,
at
and
cold, it will attach itself firmly to the
Mr. Gawthorp has a clever
little
contrivance for
46
warming the surface
my
readers for
of the pitch,
and
simplicity
its
which I can recommend to
If the
efficiency.
work be
laid aside for a time, or the weather be very cold, it is well to
put the pan down before a
•cement,
loose
and render
it less brittle,
warm,
it up, re-melt the pitch,
Chaser's Bowl.
or the plate
When
is
allowed to set until
been
it is
it is
hollow work
is
is filled
but to take
wrought upon
it,
with pitch, which
sufficiently stiff not to
The bowl can be made
of larger diameter than
about
it
pour out
then capsized upon the bowl, which has already
with pitch.
filled
apt to become
used just the same as the pan
such as cups, teapots, &c, the work
is
is
toughen the
and commence again.
—The bowl
for ordinary articles.
easily;
so as to
this should occur, there is nothing for
if
;
to
fire
4in. deep,
and of
twine passed round
it
It
and
work
by the aid of an iron band,
itself
sufficient
the article to be chased.
available for
diameter to inclose with ease
must be secured from opening by
tied.
Place a layer of sand (which
should be damped) inside the iron band, and put the work
now pour pitch upon this until
the iron band will hold no more. The bowl should also be
filled with pitch, and, when the cement is nearly cold, but
that is, placed mouth downwards
still tough, must be reversed
npon
face
it,
downwards;
—
on the pitch in the iron band
may be
;
as soon as
pitch from
The only use
of the sand is to prevent the hot
sticking to the under surface.
Cleaning.
—When the
work
is finished,
from the block, or pan, by chipping
;
if
the band
removed, the work turned over, and the chasing pro-
ceeded with.
it
it is cool,
off
it
should be raised
the cement that lies on
now inserted under one corner, the work will
without much trouble. More or less of the pitch is
a chisel be
spring off
sure to adhere to the work, but this can be got rid of by heat-
ing
it
over the stove, or a spirit lamp, until the pitch softens,
and then wiping
it off
with cotton waste
;
a few drops of petro-
WORKING ON PITCH.
leum
will greatly assist the operation.
and wipe
—an
stock of
still
ad-
brush,
stiff
old toothbrush
Cotton waste
generally use for the purpose.
material,
pitch
the plate again, and,
with petroleum, rub well with a
it
with cotton waste
off:
If the
warm
heres to the outline and grounding,
after sprinkling
47
what I
is
a most useful
is
and the amateur mechanic should always keep a
for polishing
Chasing.
all
The work
ironmongers.
is
now ready
and lacquering.
—The
first
thing the learner has to acquire
Bad
proper manner of holding the tools.
to begin right at once.
fingers
The
is
the
habits are easily ac-
quired, but are difficult to eradicate, so that
and second
and can be
It is the waste of the spinning mills,
it.
procured of almost
it is
much
better
tools should be held with the first
and the thumb
of the left hand, the tip of
the second finger resting on the nail of the third; this finger
and the
little
one should be firmly placed on the plate, thus
steadying the whole hand (Fig.
The
22).
third finger has most
important duties to perform, inasmuch as
forms
it
of pivot, on which the fingers holding the tool turn
finger
must be kept
close
up
to the third finger,
materially in keeping the tool
The
steady.
grasped firmly, and held down with some
brass, to counteract
any tendency
when struck with the hammer.
it
It
may
As
left to right,
sort
the
little
and
tool
little
will aid
must be
force on the
have to jump aside
must be remembered that
false strokes cannot be erased, so due care
so as to avoid making them.
;
a
the pen
is
must be
exercised,
always used from
the beginner has a natural tendency to cut all
I should
his lines in that direction.
recommend that
this
habit be not encouraged, but that, from the commencement,
lines
a
be cut in
all directions
little practice,
and
will
;
this will
become very easy after
tend greatly to facilitate the work.
Unlike most other work, in chasing the right hand plays quite
a subordinate part,
its
duty simply being to wield the hammer,
1/
48
which, should be held lightly
by the bulb at the end of the
handle, with the forefinger stretched along the handle which
tends to give precision to the blows.
the
the tool;
if
hammer
the
of
centre
should
found rather
difficult,
Fig. 22.
mar
tool,
At
the work.
on
Manner of Holding Tools when
but after some practice
no matter which way
the
it is
the two
is
fairly
end
of
it
will be
on the head.
be
constantly
Chasing.
hands
work
will
hammer
will readily follow
turned.
If the right elbow
be raised until the arm be horizontal, or nearly so
in Fig. 22),
is struck,
first this will
as the position of the tool
together without an effort, and the
the
fall
a blow
this matter be not attended to, the tool is apt to
spring on one side, and
varying,
When
(as
shown
found much easier to strike the tool
When
working on
pitch, the blows
need
not be nearly as heavy as when working on wood or lead.
rapid tap, tap, tap, makes better work
A
than more decided
WORKING ON
blows with a longer interval
weight of the
line.
A
hammer
alone
straight tracer
have before
retouching
to
if
an
effort
it
if
cases, the
the easiest line to cut.
is
makes
necessary, though this should not be resorted
As soon
can be avoided.
made
should be
to put
as a good line can be cut
some expression into
The
be used just like an
to
and other
forming shadows, which tend to throw up the
and give vigour and
able
it.
be made thicker in some parts than others, deep,
places, thus
are
will
of one uniform thickness,
it
telling touches, being put in at the junction of lines,
design,
As I
The
The beginner
and decided.
clear,
at first he
it if
line should
many
In
quite sufficient to cut a suitable
is
curve
said, a slight
succeed best
between.
49
the best tool to begin with.
is
outline should be bold,
PITCH.
draw
effect to it
artist's pencil.
greatly
will
;
in fact, the tool should
It is here that those
Beginners
excel.
who
have
a
strong tendency to feebleness of outline, and I would especially
warn them against
Nothing looks more
it.
flat
and uninterest-
ing than a weak outline, without lights and shades.
may
shows a group of leaves which
illustrate
what
serve for practice, as they
Tracers vary not only in width, but
I mean.
also in thickness
The Plate
the sharper ones are used for putting in
;
the fibres of leaves, markings on feathers, &c, and the blunter
ones for the broader outlines just alluded
to.
Curved tracers are very useful for some work, but in general
a straight tracer
are very sharp.
is
used for the outline, even when the curves
The conventional
rose (Fig. 23) is an instance
where, with the exception of the centre, a straight tracer
be used for the whole outline.
In going round the inner curves,
which are very sharp, the tool must be much
extreme corner only touches the brass
must be inclined outwards
In cutting a complete
is
somewhat
easier
—that
circle,
to
use,
may
is,
;
raised, so that the
and the top of the tool
from the centre of the curve.
a curved tracer of the same sweep
unless
the circle
is
sufficiently
E
REPOUSSE WORK FOB AMATEURS.
50
small to be knocked in at one blow with a cup
call
my
readers' attention to the
this work, as it is only
can be obtained.
by
It is
would here
motto at the commencement of
steady, careful practice, that success
much
over and over again, until
I
tool.
better to cut the
same pattern
has become quite familiar, and can
it
be cut correctly and well, even though the process be a
little
irksome, than to go from one thing to another in a hasty and
perfunctory manner.
Water.
—I
now
will
ticular objects,
give a few hints on representing par-
which can only be indicated, and not shown by
Fig. 23.
a
"Water
definite outline.
Conventional Rose.
is
curved lines only are used to express
effect of it
may
the edge.
it,
also be very well given
and rather sharper
In some subjects
one of these.
tool than usual,
as in Fig. 24.
by using a straight
and without any curve on
This tool should be held quite upright, and about £in.
above the brass
;
if it
be struck with the hammer,
fine line, and, the fingers acting as springs, will
its original position.
The hand being
at the
in a zigzag direction, the result will be as
and
at
The
will give as
it will
cut a
rebound into
same time moved
shown
in Fig. 25,
good a representation of water as can be arrived
under the circumstances.
Shading
may
also be
done after
WORKING ON
51
PITCH.
the same manner, using a straight or curved tool, as occasion
may
is
in
require.
In
flat
much shading may be used as
though it is better not to have too much
chasing, as
considered desirable,
Repousse "Work, as the beating
effect,
and the light
falling
itself
on the bright
gives the necessary
lines of the
shading
interferes with the general appearance.
Feathers
are difficult to delineate, and should merely be
indicated by a few slight strokes, which
manner
I
may
be done in the
have just been describing, care being taken that the
result be not stiff
and hard.
Fig.
Of
2A.
course, a vast variety of sub-
Water.
jects
may have
will
be impossible; but the foregoing illustrations
to be worked, to give directions for all of which
some idea how they may be
will
give
treated.
Fig. 26 shows a grotesque head, which forms part of a rather
elaborate scroll, and will serve to show the
which an advanced pupil may aspire
Matting merely
consists in
the design with markings.
class
of
work
to.
covering the spaces between
These
may be arranged
touch one another, forming a close mat, or placed a
so as to
little dis-
tance apart, as an open mat, so as to form a grounding to the
e2
52
picture.
The simplest form
for this the pick is used
of matting is
if
;
made by
carefully done,
A
it
and
dots,
looks well,
may
and for some subjects
is
made
matting by arranging the dots so that
in this kind of
very suitable.
variation
be
they shall form a continuous line of looped figures winding
about in every direction
;
this looks particularly
Where
the spaces to be covered are large.
well where
the work
is small,
figured punches are generally preferred; the variety of these
it
would
by engraving the peculiar
effect
I do not give an illustration of them, as
is endless.
lii
Fig. 25.
be
impossible to
render
Water.
they produce on the brass; so I leave
dealers' hands, to select for themselves.
grounding
is
not at
greatly depends
all
upon
it,
my
readers in
To produce an even
easy, and, as the effect of the
I
the
must impress upon
my
work
readers
the importance of using due care in this part of their work.
As
the tools (with the exception of circular ones) are never
mathematically exact,
the work
if
it
will
tend greatly to the success of
one side of the tool be marked with a
file,
and
WORKING ON PITCH.
this side always kept
under the thumb.
53
In matting, the tool
should be held quite upright, and the face of
metal;
must
,it
also be held firmly, or it will spring
It is better to go
give a blurred impression.
line first,
and work from there to the
on the
it flat
off,
and
round the out-
centre, so as to avoid
having partial impressions where they would show the most.
Fig.
The
plate
may now
26.
be taken
I have already described;
off readily
enough.
Grotesque Head.
if
If the
off
the pitch, and cleaned as
the pitch be cold,
work
is
intended for
only, it is now, with the exception of polishing
finished;
though, of course,
be flattened, the same as
if
if it
it
be at
all
will
flat
chasing
and lacquering,
distorted, it
worked on wood
come
or lead.
must
CHAPTER Y1L
WORt
REPOlJSSE
Raised Work
—Beating —An
Easy Pattern
— The
—Plaste
Pear
on the Reverse Side— Tool Marks — Scrolls —
Cracking of Brass —Annealing — Setting —Flattening A Good
Method for—Hollow Work — The Snarling Iron How
Use
—Flutes—Pierced Work— Watch Cocks.
liaised Work. — If the design has to be raised,
will have
Casts — Working
:
to
:
it
to he laid, face downwards, on the block or pan, in exactly
way
the same
as
it
was
for chasing.
and illustrated
described
(Figs. 13,
The beating tools already
14, 15) must now be had
recourse to.
"We have now come to what
is
decidedly the most difficult
part of the process, and which will require a good deal of
practice and experience before good
work can be executed.
The
fact that the
principal difficulty lies
in
the
workman
cannot see the effect of his blows on the face of the plate,
and that the
appearing
result will be reversed, the parts beaten
raised,
and those
left
unbeaten depressed.
beating should be commenced as soon as the pitch
ciently set to
Take the
bear the
blows, the brass
largest- sized beating tool that
you
still
will
is
down
The
suffi-
being warm.
have to use,
and roughly beat down the principal parts of the design, not
Fig.
27.
Pear,
REPOTJSSE WORK.
going in any case to the
57
depth that will be ultimately
full
go over the lesser parts
required; then, with a smaller tool,
in the same way, and you will have your work roughed out.
must now be
It
the marks left by the
that requires
to,
it.
worked over again, smoothing out
carefully
The
beating,
first
must
outline
also be carefully attended
and the adjacent parts brought
readers
must use due caution
My
their full depth.
to
in their first attempt,
what they are about
sider well
and deepening any part
and con-
to do before they do
it,
for,
comparatively easy pattern, such as the pear (Fig.
27),
as in chasing, mistakes cannot afterwards be rectified.
A
should be chosen for a
the plate, the outline,
distinctly
it is
On
first essay.
has been properly cut, will appear
if it
should be preserved,
this, as far as possible,
;
once beaten out, there
examining the back of
is
nothing
left to
as, if
guide the workman,
and mistakes, which cannot be remedied afterwards, are sure
to occur.
Most
be found, in this respect, where
difficulty will
the same part of the design
is
raised to different heights
instance, a raised pattern on a vase.
to beat
up the pattern
first,
the pattern
if
the repousse tool
on the lower part
raised,
of the
(Fig.
fruit,
13)
and,
on the part next to the stalk
;
should
first
when that
the sides.
In
all cases it is better to
the shallowest parts.
When
out,
is
be
used
tolerably
the middle of the pear
be used on the centre, working
first
and then
In the case of
should not be so high as either of the other parts.
should
better
knocked
is
can be raised from time to time as required.
the pear,
it is
so as to secure the outline,
work up the vase afterwards;
it
In such a case,
for
;
off
The
tool
gradually towards
work from the deepest
the work
is sufficiently raised,
to
the
protuberances round the eye and stalk should be worked up,
taking care that they die away gradually into the body of the
fruit.
The
leaves should
now be
Fig. 15 will be suitable for these.
beaten;
the tool shown in
Take care that the work does
58
not become tame and uninteresting, but endeavour to put some
life
and "go" into
other.
In
it,
by raising one part higher than the
become necessary for the be-
all probability it will
ginner to take up the plate before the process
is finished,
and
examine his progress, though in time experience
will enable
him
to dispense with this.
which he
is
It is a great help if the design
working be shaded
;
or, still better, if
cure a plate already beaten to work from.
he can pro-
Plaster casts of
good work may now be readily obtained, and these
great assistance to a beginner.
in chasing the design should be
all faults
are eliminated,
much more
if
I
will be of
have before recommended,
worked again and again until
and the
rapid progress will be
than would be the case
My
As
from
result is quite satisfactory;
made by adopting
this course
fresh subjects were always taken up.
readers will see at once that the effect and value of the
work depends upon the nice gradations
that' too
much
of relief, and, therefore,
care cannot be taken in this part of the work.
In working, the tools should be held in different positions, sometimes inclined and sometimes vertical, as either the edge
It is quite im-
the centre will best effect the purpose required.
possible to do
more than give very general
head, and for further details I must
that best of masters
hand
directions
my
or
on
this
readers over to
—Experience.
Some works of large size, and in high relief, are occasionally
commenced on the reverse side, and the most prominent parts
beaten up, the artist finishing the face side afterwards; bat
the process I have described
is
much
the most usual one.
If
the directions already given are carefully and well carried out, a
very good result
may
be arrived at;
but
if
really first-class
work be intended, the plate should be laid down again on the
Special care must be taken, when doing
pitch, face upwards.
this, to fill all the hollows in the back of the plate with cement
before
it is
laid
on the block or pan, so that
it
may
be quite
REPOUSSE WORK.
Now, with
solid.
59
suitable tools, carefully
work over the whole
down any portion that stands up
and sharpening the outlines where necessary. The
of the raised part, beating
too high,
ground round the design should also be beaten down with a
This process
work.
and beauty
this in itself will give great vigour
flat tool ;
in fact, modelling in metal, and gives
is,
scope for any amount of skill and taste.
work has to be finished on the
face, to
It is advisable,
run
particularly
when
a line with a blunt
tracer just inside the original outline, where
on the back.
to the
it
shows through
This gives wonderful sharpness to the figure,
if
a blunt tracer be run over the outline on the
Fig. 28. Scrolls.
face afterwards.
see
As
the plate
is
face upwards,
what parts require beating down, and the
put upon
it
;
difficult one,
method
easier to
effect of the
work
but, notwithstanding this, the process is a very
and should not be attempted
of beating
mastered.
it is
until the ordinary
up from the back has been thoroughly
After the modelling of the design
is
completed,
those parts that require special markings to show the texture,
such as hair, drapery,
scales, feathers,
&c, should be worked
over with suitable tools; the markings on leaves and stems of
trees
may
also be put in.
Last of
all,
finished with matting or other tools,
be ready for lacquering.
the ground should be
and then the work
will
\S
60
~No attempt
should be
on the face
left
made
obliterate the tool
to
of the plate, either
marks
by rubbing or burnish-
ing them out; on the contrary, they should be so
made
in
the direction of the texture as to give the idea of form, and
and shade, and help the
light
effect
As
generally.
it
is
hardly possible for this process to be effectively executed by
v
anyone who has not seen
my
it
shown
in
Figs.
28 and
recommend
done, I would strongly
readers to take lessons before attempting
are examples of
29
The
it.
scrolls
work requiring
this treatment, as they cannot be finished perfectly
from the
back only.
If the
work
the brass so
may harden
cracking. To
in high relief, the constant beating
is
much
that there
a danger of its
is
Fig. 29. Scrolls.
avoid
this,
annealing
work on the stove
allowing
it
is
required
until it
is
done by heating the
hot,
and then
For brass worked up to moderate
not usually necessary, but in the case of silver
has very commonly to be done.
experience, but I believe
The
this is
becomes nearly red
to cool gradually.
heights this
;
Of gold
I have little or
also requires frequent annealing.
it
plate will now, after cleaning with cotton waste
petroleum, want
" setting,"
no
and
particularly in those parts where
the beating has been carried beyond the
should be exercised in doing
this,
outline
or the marks
;
due care
of the tool
REPOUSSE WORK.
be
will
visible,
now ready
A
and
interfere with
61
the
18in.
by
is
for finishing.
very good way of flattening the plate after
and which
The work
effect.
I
have lately adopted,
and
14in.,
is
lin. thick, nail
it is
the following
some thick
downwards, on
:
beaten up,
On
felt.
a board
Lay the
and, with a
plate to
be flattened, face
raw hide
mallet, go gently over the parts that are out of level.
this,
The mallet should be of some considerable size, say 2în.
across the face. With a little care the work may, by this means,
be made beautifully level without in any way damaging the design.
Fig. 30.
Snarling Iron.
—
Hollow Work. I have already described the method of
laying this down on the pitch, and there is, therefore, no need
to recapitulate
this purpose.
The chasing
same way as with
in the
the
a
The bowl
it.
manner
flat plates,
of
is
is
almost invariably used for
proceeded with in exactly the
but there
beating up.
is
It being
a marked difference
impossible to
ordinary tools inside, say a teapot, a special
{Snarling
Iron, has
to
be
requisitioned.
tool,
use
called
Fig. 30 gives
i^
62
"the
appearance
from a piece
of
when
it
down
exclusive of the part turned
is
held in the vice
the
;
formed into a knob.
work
classes of
As they
so
made
is
at right angles,
end
other
These tools vary in
some
easily
size
them are made with
of
and which
and
bent upwards,
is
for
different
shifting heads.
made, and, consequently, very cheap,
sizes.
largest one need not be above în. in diameter across the
Tiead.
To use the
of a vice.
If the
with the
snarling iron,
work
is
small
firmly fixed in the jaws
it is
— say a
cup
—
hand, with the part to be raised exactly over
left
given at the point marked A-
a blow on the inside of the
The
vessel,
the same form as the end of the
^person holds the
employed to
work
hammer
strike.
Flutes,
so
which
then
raises the metal in
In large works, one
tool.
another
is
commonly seen on the lower
this way they are set out first
;
with compasses, on the surface of the vase, and are then
manner
snarled up by a series of blows in the
the head of the iron being made
size of the flutes.
it lies
is
rebound of the iron gives
with both hands, while
portion of vases, are formed in
all,
held firmly
it is
the head of the snarling iron; a blow with a
of
It
vice.
have two or three of the most useful
better to
it is
The
are
;
a
in
fixed
iron lin. wide, Jin. thick, and 14in. long,
of
The work
on the cushion, the
is
I have described,
of a suitable shape to suit the
now
filled
with pitch, and, while
flutes are finished
with chasing tools,
some of these forming counterparts with the
worked.
During
the article
the work
—
if
sometimes used for
this process lead is
made
is finished.
of copper or brass
— which
weight depending on the
Work. — It
certain articles
effected
if
size
of the
much
work
filling
melted out when
The ordinary chasing hammer
to be used with the snarling tool, and a
Pierced
is
is
too light
heavier one
—will
—
portions of the ground are removed
(Fig. 31).
its
be necessary.
often adds greatly to the beauty
by means of a piercing saw
be
flutes to
;
Many
of
this is
of
my
REPOUSSE WORK.
63
readers are doubtless acquainted with fretwork
as are
it
;
is
merely
fret-
done mainly in the same way, the
principal differences being that the saw frame
that used for wood, and the saw
A
the teeth.
hole
itself
the frame,
is
is
is
smaller than
narrower, and finer in
is drilled in the piece to
at one corner, and the saw, after being
The saw
them
will be sufficient to say that piercing is
work applied to metal, and
-*of
to such of
be removed, generally
undamped
at one end
passed through the hole, and fastened again.
now worked
piece required to be
carefully along the outline until the
removed
Fig. 31.
is
Care must be taken to
cut out.
Piercing Saw.
keep the saw always vertical, or
it
will break.
The saw may be
brought to a proper tension by loosening the screw A, and
pressing on the end B
when it is sufficiently tight, the screw
;
A
must be firmly screwed down again.
Too much pressure should not be put upon the saw, and
a fine one should be used. If, as is most likely to be the
case, the sawn edges are at first uneven, they must be filed
smooth with a
fine
file;
which can be obtained, of
suitable for .the purpose.
what are
called
all shapes, of
"With a
any
little
"needle
files,"
and
tool maker, are very
practice piercing can
64
be done very rapidly.
when the
The saw
will
be found to work better
strokes are given tolerably quick.
It greatly facilitates the use of
the saw
if
the work be
«
«&.
Fig.
laid
32.
Pierced Finger Plate.
on a piece of wood shaped somewhat
and screwed firmly down
to the bench.
like
a bootjack
The work may
also
be
done very rapidly with a fret-cutting machine, provided that
REPOUSSE WORK.
it
65
be one of those in which the saw rises and falls vertically.
have cut brass nearly
Fig. 32
gives
finger-plate;
with one of these machines.
în. thick
an example of pierced work intended for a
this, as
well as all other
chased and beaten before being pierced.
old verge watches,
quisite specimens
amount
many
the
of skill
piercing
now
of
so
is
much used
such work, should be
The watch cocks from
for jewellery, are ex-
old English pierced work, an
immense
and labour having been brought to bear on
The drawing
of them.
I
wonderful
;
is
beautifully free and artistic,
in
many
that I
and
have seen, the
thickness of metal left between two saw cuts did not exceed
the width of a hair, and, at the same time, the sides were
perfectly even
and smooth.
My
by carefully examining some of
readers will get
many
these.
F
hints
——
—
CHAPTER
;
VIII.
FINISHING.
— The Polishing Head— The American Polishing
—
Head Spindles — Sanding — Trent Sand — The " Bob " Liming
— Silver—Polishers' Lime — The " Buff" — " Glossing up " The
" Dolly "
Dipping — Dipping Aquafortis — Method of Dipping
—Drying the Work — Bronzing —A Curious Effect—Recipes for
A Necessary Process
Bronzing Liquids — Lacquering
—
—
Method of Removing Lacquer Recipe for Lacquer—Benares
Brassivork — Colouring Silver— The Scratch Brush How
Use—An Excellent Plan of Finishing Brass
Make; How
—Freeing the Work from Grease—Parcel Gilding.
Definition of
:
to
:
to
By
"finishing"
several
is
meant polishing and lacquering.
methods by which a good
"colour," can be given to brass.
with what
Fig. 33.
is
termed a
There are
polish, or, as it is termed,
By
" polishing
It consists of a steel spindle,
professionals
head "
;
this is
it is
done
shown in
mounted very much
after
the manner of a lathe head, and driven either by steam or by
a wheel and
treadle.
It differs, however,
from a
lathe, inas-
much as both ends of the spindle can be made
One end consists of a long taper screw only; and
available.
the other,
besides the screw, has a flange and nut, with which are held
the various wheels employed.
The Americans make a very
nice light pattern, very suitable for an amateur's use
;
these
FINISHING.
can
be obtained
of these heads on it
bed,
&
from Messrs. Churchill
Amateurs having a lathe may
the
67
by
easily
Finsbury.
Co.,
contrive to fasten one
some wood in the opening of
fitting
and screwing the head on to
with their wheel and treadle.
They
it,
and so drive
will find
it
it
very handy
by
for grinding small articles, as well as for polishing,
fitting
emery wheels, or a small grindstone, on the end having the
flange
and nut;
may be
or,
if
it
preferred,
is
the
dispensed with by using a spindle, such as
Fig.
33.
head
polishing
is
em-
Polishing Head.
ployed for carrying small circular saws, between the heads
of the lathe.
maker.
These spindles can be obtained from any
If the lathe is a valuable one, this plan is not to
be commended, as the dust which
of
tool-
grinding
and polishing
is
is
inevitable in the processes
apt,
notwithstanding
every
precaution, to get into the working parts of the lathe, and
quickly wear them away.
Sanding.
—This
on the work.
is
the
first
step in getting a
The material employed
good polish
Trent sand which
is
has been already used by glass-cutters, and the greatest part
of the cut, consequently, taken out of it;
sifted before use.
A
it
must be
carefully
"bob," or wooden disk covered with buff
f 2
;
68
leather,
having been
fitted
on the work, which
laid
while
and
passed to-and-fro under the bob
is
on the surface of the brass, and renders
fections
an
of
even
It
colour.
and
it,
beating up
and the
this
now
is
any sand that may attach to
after
is
in rapid motion; this quickly removes all imper-
is
it
on the spindle, a handful of sand
brushed,
smooth,
to
remove
ready for chasing
is
completed
are
it
must be
it
limed.
Liming.
pose,
and
—Sheffield lime
is
nnslacked
is
generally preferred for this pur-
called " silver-polisher's lime."
being merely finely powdered and
state,
"buff," which
is
made
a disk
employed for the lime
used at
is
lard oil or Russian tallow, and,
when
by the sand are removed, the work
all
with a
little
the markings
made
first
" glossed np " with
is
mop
dry lime and a "dolly," or mop.
This
number
joined
disks
of
of
coarse
calico,
or
is
a
by two
them
side of
of
the
;
fastened together either with screws or rivets,
by sewing with leather thongs.
through the centre, to
fit
A
small
hole
is
made
the taper screw of the polishing
Polishing can be done very perfectly, and with great
head.
rapidity,
by
and
power,
materials
used
made
is
together
on each
pieces of sole leather, placed one
whole thing
A
sifted.
of walrus, or seahorse, hide, is
this
;
an
It is used in
this
is
method, but
very
a
dirty
it
requires
process.
All
must be kept
carefully
separate,
own
purpose.
When
only
for
its
mulates
on the bob, or
common
chisel,
buff,
it
used as a turning
a useful addition,
particularly for
a
good deal of
the
polishing
and each wheel
the
brass
accu-
can be removed with
tool.
A
a
circular brush is
chased
work.
A
thick
paste of whiting and water, spread thinly over the plate, and
brushed
off
with the
especially if the
" dolly."
circular
brush,
plate be glossed
gives
a good polish,
up afterwards with a dry
;
FINISHING.
Dipping
work, particularly
brass has
be dipped
A
The
article
copper wire,
must be placed
to be dipped,
must be removed and
the colour
The
the ordinary
;
least
two other
dipping
close to the
suspended from a piece of
plunged into the aquafortis; the moment the
is
with minute
becomes covered
surface
At
will not answer.
vessels filled with water
bath.
brass-
such as chandeliers, &c.
with " dipping aquafortis "
commerce
aquafortis of
cast,
up
bath large enough to contain the articles to
filled
is
be
if it
in getting
to be cleaned with a brush, used with sand
first
and water.
much, resorted to
very
is
69
not
be
bubbles
washed in the
well
first
the
article
water; should
must be dipped again,
satisfactory, it
then well washed in both waters, and afterwards under a tap,
The period
until every trace of acid is removed.
of immersion
in the dipping bath should not exceed one or two seconds, or
the brass will turn black, and have to be scoured again with
sand and water.
hand.
Brass after dipping
dead surface
as
To dry the work, use sawdust,
have
I
;
if this is
applied with the
of a fine gold colour, with a
is
objected
to,
the work must be polished
described, or burnished
with a steel burnisher,
moistened with stale beer.
For those amateurs who have not the means of finishing
their
of
is
work in the regular manner, the simplest method
to roll
secure
oil
and
it
up a
by serving
"When
it
all
and well rub the plate the way of
scratches and imperfections are removed,
surface can be produced by these means alone.
is
and
over with twine; moisten the end with
clean the plate with cotton waste and petroleum.
brilliant polish
know
piece of cloth, 3in. wide, very tightly,
fine rotten stone,
the grain.
I
desired,
it
A
very fair
If a
more
can be obtained by using a
pomatum made for the purpose by Messrs. Yogt & Co., Berlin
many ironmongers keep it the genuine has a spiked helmet
as a trade mark. The amateur may, if he pleases, altogether
;
70
and uninteresting work of
relieve himself of the dirty
ing
by
purchasing
who
G-awthorp,
required.
brass
his
prepared from
already
recommend
Mr.
work when completed,
will also finish the
I strongly
polish-
this course,
if
at all events
to ladies.
Bronzing.
which
—This
gives a dark, antique look to the brass,
very suitable for some subjects.
is
variety of recipes for the purpose;
There are a great
the simplest, and, on the
whole, the best, though the most expensive,
platinum bichloride in rain water.
with a brush, or the brass
effect is
produced
applied to the work
is
immersed in
until a sufficient
it
then washed in water, dried in sawdust,
it is
;
is
This
a solution of
is
The best
and lacquered; a
fine black colour is the result.
of mathematical
and optical instruments are bronzed in
way.
A very curious effect may be produced
of clean brass into the platinum solution,
removing
it.
If it is
now
class
this
by dipping a piece
and immediately
undisturbed, various colours,
left
ranging from pale yellow to deep blue, will appear on the
surface;
cleverly done, the result will exactly resemble the
if
As soon
old-fashioned blued
gun
ance
the work should be washed, and dried in
is
arrived
sawdust.
at,
To the
best of
locks.
my knowledge,
ing metal has never appeared in print.
bronzing
is
:
Sulphate of iron, 2oz.
of salts, 20 fluid oz.; mix,
;
as the desired appear-
this
method
Another good recipe for
white arsenic, loz.
and apply as
ments for polishing, can be obtained
Great
Lacquering.
how
Hampton
Street,
tected in
some way
;
spirits
all
other imple-
of Messrs.
Hopwood &
Birmingham.
—All metals when exposed to the
well polished, will tarnish or
;
Bobs, mops,
before.
brushes both straight and circular, as well as
Co., 103,
of colour-
air,
no matter
become oxydised unless pro-
to avoid this, brass is always lacquered, or
coated with a thin film of hard, transparent varnish, which
dried by heat.
is
In theory this appears simple enough, but in
FINISHING.
practice
it
one of the most
is
accomplish.
may be done
It
71
difficult
readily
things I
enough
know
of to
after a fashion;
but to lacquer, say an 18in. tray, so that the lacquer shall
be quite invisible, and the polish not at all interfered with,
puzzles all the amateurs I ever
many
of that,
at
to purchase the lacquer,
first,
colours
gold
—pale,
as useful
is
16), if
It is better, at all events
gold,
amber, &c.
medium
;
Nothing can answer better for
as any.
stove I have already described
a piece of sheet iron, about 15in. or 16in. square,
be laid over
Place the
it.
and dusting, on
hand can
with, and, for the matter
which can be had of different
medium, and dark
heating the work than the
(p.
met
professionals also.
this
plate,
work,
it.
polishing
careful
until it is just as
and then remove
bear,
dipped a broad
after
warm
as the
Then, having previously
camel hair brush in the lacquer, give
it
one sweep across the work, and continue these strokes until
the whole surface
is
covered,
and on no account go twice
All working of the brush backwards and for-
over a place.
wards as in painting must be studiously avoided.
Too much
lacquer should not be taken on the brush at one time, and
the whole manipulation
should be conducted as quickly as
The work must now be returned to the stove, and
should remain there until the solvent of the gums is evaporated,
possible.
and a perfectly
clear,
detect, results.
My
transparent film, which the eye cannot
readers should
remember
that, provided
every part be covered, the thinner the coat the better.
however, the work require
the
first
or the
has become hard.
work
will
it,
another coat
may
Should,
be given after
Too much heat must not be
applied,
turn a dark colour, and be spoiled.
All
draughts must be carefully excluded, and dust prevented from
settling
on the work.
the brass too
laid on.
little
It is better to err
on the side of heating
rather than too much, before the lacquer
If the lacquer bubbles or smokes, the
work
is
is
too hot.
^
72
During the process of lacquering the
marks
in the fingers, or
afterwards.
is
but re-lacquering; this means removing the
it
work
made by adding quicklime
A
remain which cannot be removed
will
by boiling the
lacquer
must not be held
the operation does not prove successful, there
If
nothing for
articles
in
soda
caustic
to a strong solution of the alkalis.
strong solution of washing soda will answer, but
a longer time to
The lacquer having been got
act.
must be washed, dried
article
As
another attempt made.
skin, the
the
requires
it
rid of, the
and repolished, and
in sawdust,
the caustic solution will act on the
work must be held by
processes I have
potash,
or
copper wire.
pliers, or
By
mentioned above the original colour
and beauty may be restored to old brasswork, no matter
how much dirt and verdigris cover it.
The
basis of lacquer
is seedlac,
dissolved in methylated spirit,
in the proportion of 3oz. of the former, by weight, to 20oz., by
This
measure, of the latter.
coloured with annatto, dragon's
is
blood, gamboge, saffron, turmeric, &c, according to the purpose
for which
it is
I do not consider that
required.
lacquer for oneself, as
Benares brass work
may be bought
it
is
it
pays to make
very cheaply.
apparently unlacquered, as the colour
can always be renewed by rubbing
it
with a
slice of
lemon,
washing, and drying with a soft cloth.
Silver
may
be made of a beautiful white colour by heating
red hot, and plunging
it
into sulphuric acid diluted with water
(about four parts of water to one of acid)
in the mixture until
it is
Scratch Brushing.
finisher is the Scratch
and in the
a
number
them
whitened
;
or
it
may
be boiled
sufficiently.
— Another useful implement to the brass
Brush; this
is
used both by the hand
made by
lathe.
For use by hand,
of
wires to a uniform length, and binding
fine
tightly round with
in the
it
lathe, it is
made
some
in
of
the
it
is
the same wire;
if
cutting
for use
same way as an ordinary
;
FINISHING.
73
circular .brush.
To use
wood, against
and the work just below, so that the extreme
it,
article to
with beer,
size,
lathe is in motion,
The brush
be operated on.
and other
This method
work.
hold a circular piece of cork, or
when the
points of the brush,
upon the
it,
is
fall
moistened
according to the class of
fluids,
much
is
may
in use
amongst
jewellers,
and
produces a nice frosted appearance.
An
don,
excellent plan of finishing brass, in great favour in Lon-
is
the following
:
Dip the work, when
clean, in aquafortis,
and, after washing, and drying in sawdust, sand
then brush
all
the sand
off,
it
carefully
and dip again; now apply the
scratch brush, either by hand or with the lathe, using a solution
cream of tartar in \ gal. of water dry in sawdust,
and lacquer with dark amber lacquer, The work will now have
of ôz. of
a
;
soft, gilt
appearance, which
is
much
admired.
Before dipping or bronzing the work must be freed from
grease by boiling in a strong solution of
common washing
soda.
Parcel Gilding.
—If desired, Repousse "Work may be readily
silver-plated, or "parcel
of the
work being
gilded,"
plated,
which consists in the body
and certain portions
gilded.
I saw
a card tray, not long since, chased with a design of wheat,
leaves,
and poppies, coloured with
the effect
of which was
excellent.
> <
«
i
gold,
silver,
and copper,
CHAPTER
IX.
FORMING.
—Stamped Goods
How Made— Working with the Sam.
—
mer Stakes Side Stake Beak Iron Hatchet Stake —Fixing
Stakes — Coffee-pot Stand — Trays —Finger Rings — Brooch —
Spinning
:
;
;
;
Sconces.
It would take a very long treatise to describe, and would lead
altogether beyond the scope of this work,
if
I were to endeavour
methods
to give anything like a detailed account of the various
employed in manufacturing the numerous
into the chaser's
me
that come
articles
hands to be ornamented, so
I
shall
merely
glance at one or two of the most usual.
Spinning.
are "
—A great
many
things having a circular outline
spun " in the lathe, or gradually worked
by pressing burnishing
fixed in the lathe,
and
mould placed against
up out of the
flat,
tools against the pliant metal while
it is
so forcing it to take the
it.
form
of a
wooden
many other
way they come from
Trays, cups, teapots, and
things of a like character, are
made
in this
;
the lathe very smooth, and in good order for chasing.
Stamped
goods are pressed into form by dies and counterparts of the
required shape
;
crumb trays
are good examples of this kind of
work.
Of
course, unlike spinning, the
work may be of any
form.
The silversmith and coppersmith
raise the bulk of their
FORMING.
work with the hammer
;
75
in other words,
it is
forged into shape by
a series of blows applied in a circular direction, commencing with
the centre of the disk to be raised, and thus gradually compelling
it
to take the
long practice
I
know
form required.
;
of one
but great
The work
skill is
man who made
is difficult,
Stakes.
—Although
tools,
and by the
will first describe
hammer
alone.
Side Stake.
these methods are beyond the reach of
ordinary amateurs, there are
with few
it.
the whole of a copper tea-kettle
out of an old-fashioned penny piece, with the
Fig. 34.
and requires
often brought to bear upon
many
things that
may
be made
exercise of ordinary ingenuity.
I
some of the most common appliances for
working in sheet metal, and then give illustrations to show the
method
of using them.
work
the Side
is
Stake
One
of the
(Fig. 34).
can be worked into shape on this
most useful
A
tool,
being used, as best suits the work.
tools for this
great variety of articles
the round or square end
Fig. 35
shows another very
76
useful tool (the
stake,
Beak
Iron), very similar in
its
but intended for work of a smaller
size.
Tubes of
made on the round part,
&c, on the other end. Fig. 36 is a Hatchet
various kinds, and circular boxes, are
and square boxes,
uses to the side
FORMING.
These
Stake.
tools
range from
77
2in. to lOin.
wide on the face,
and are very much used for bending sheet metal to a sharp
angle, as also for
beaten down
square,
turning
the edge to be afterwards
A
variety of anvils with round,
and oval heads, are required for
the foregoing tools are
and any
them
over
with the mallet.
all
that the amateur
is likely to require,
forms could be added as the necessity for
special
arose.
Fig. 36.
The
Hatchet Stake.
must be
stakes I have described
top of a good strong bench or table.
2ft. 6in. long,
and
1ft. 9in.
legs are 3in. square.
wide, with holes in
&c, employed.
wide
;
fixed in holes
My bench is
the top
Along each
it
2ft. 8in.
in the
high,
If in. thick, and the
side is a strip of wood, If in.
several holes to receive stakes
tail vice is fixed at
usually stands
is
made
to hold the various hammers, mallets,
The top has
such like tools; a
man
special purposes, but
when
at
bench should be regulated to
As the work-
one end.
this work, the
and
height
suit the individual.
of
the
repousse wore: for amateurs.
78
Coffee-Fot Stand.
thing which
may
—The
Frontispiece represents a simple
be made by almost anyone, and will
easily
serve very well for a first essay.
when
pot stand, and should be,
The design must
square.
and
be
finished,
from
care that the lines are perfectly square,
marked A A A A
6in.
the form of the feet should also
marked out on the brass with a
feet precisely similar.
to
5in.
be transferred, and the chasing
first
polishing completed;
clearly
intended for a coffee-
It is
The
scriber,
taking
and the width of the
pieces of metal along the
sides
are first to be cut out with the snips,
and
the sides turned down; this will bring the two edges of the
To make a neater
feet together.
Fig.
37.
joint at the point
of junc-
Tray.
tion, it is desirable to chamfer, or file off, the inner edges of
the feet where they meet
feet cut
quite
square, the
;
this
if
is
neatly done, and the
joint will be hardly perceptible;
they should be secured by a solder joint being run down the
inside of the joint.
Trays.
of the
—The
tray shown at Fig. 37
amateur; in this case
before chasing
it.
size to allow a
To do
this,
is also
within the scope
make
the tray
on a piece of brass of
sufficient
it
margin of about
is
better to
lin. all
round the design,
set
out with the square and compasses the extreme length and
width required, mark out the width of the
sides,
and turn
these and the ends up over the side stake, using the mallet
for the purpose.
The
ears at the corners are to be gradually
FORMING.
79
formed, as the sides are turned up, by beating them over the
extreme end of the round part of the beak
should be too large for the purpose, they
a taper piece of round iron held in the
if
may
vice.
the points of the corners are rounded
off:
iron.
If
this
be formed over
It looks better
before the sides
are turned up.
Round
trays with fluted edges, as
These, also, should be
well.
made
shown
in Fig. 38, look very
before they are chased.
The
Tray with Fluted Edges.
Fig. 38.
brass having been cut to the size required, and an inner line
marked out with the compasses, giving the width
of the sides,
divide the edge of the metal into equal spaces the width of the
intended flutes
;
now hold the metal with the thumb and
fore-
finger of each hand, the thumbs on the upper surface, and one
of the
marks denoting the position
and one between them
beak
iron,
;
under each thumb
press the metal on the end of the
and the commencement
Repeat the operation until
of a flute
all
of one flute will be formed.
the flutes are slightly raised, and
;
80
then go over them again and again until they are sufficiently
deep
this is better
;
than trying to make them at once, as any
imperfection can be more readily rectified.
large trays perfectly, but for small ones
with a pair of round-nosed
flutes
it is
This plan suits
better to bend the
pliers.
may
In this and the last instance I have given, the work
done either in
flat
be
chasing or en repousse, but the coffee-pot
stand should not be beaten up, or the pot will not stand steadily
upon
it.
Finger Rings.
—Rather
a pretty illustration of what
hammer alone is the making a
a shilling. To do this, punch a hole
be done with the
ring out of
centre
a
of
shilling,
made
mandrel,
slip
Mine
of iron.
than
fin. to less
and
is
finger
the
in
on the
end of a taper
8in. long,
and tapers from
it
Rest the
în.
may
small end on the bench,
and, holding the other end in the hand, tap the edge of the
shilling
if
this
with the hammer, turning the mandrel
be continued, and due
will gradually enlarge,
shilling
care
and a ring having a
and the process a gradual one,
spoilt.
Of
course, flat rings
the time
taken, the hole in the
round section will ultimately be formed.
light,
all
may
half-
The blows must be
or the work will be
be formed in the same way,
though the others, I think, look the
best.
After they are formed,
they
may
be just skimmed in the lathe, though a clever work-
man
will
make
alone.
My
a very good job of
readers will find that the fair sex appreciate these
rings highly;
they like to wear three of them on one
If desired, they
Brooch.
to be very
them with the hammer
may
be chased after they are made.
—Another small
much
admired,
article,
is
shown
which the amateur
in Fig. 39.
This
brooch, in the shape of a ship's steering wheel,
a half-crown.
finger.
To make
it
a
is
a silver
made out
new half-crown should be
and the part occupied by the spokes and handles
will find
of
selected,
slightly turned
;
FORMING.
down
81
The spaces between them having been
cut out with the piercing saw, they must be rounded up, and
in the lathe.
finished with needle
files.
The wreath and crown should be
All that
carefully preserved, as seen in the engraving.
now
required
this
can be obtained at any jeweller's.
is
a brooch pin, to be soldered on to the back
Brooch made from Half-crown
Fig. 39.
Sconces.
sconces
;
—Brasswork
makes an
excellent
indeed, I do not think this
much advantage
as
when
attached to the front of
it.
lighted
An
is 9|in.,
.
background for
work ever shows
up
and the width
4in.
is
shown
the
centre
of
the projecting
Two
part,
The socket
is
which
made
of
the under
;
two projections, or pins,
side should be filed away, leaving
long,
in Fig. 40;
The lower
a piece of brass tube rather more than lin. long
x^-in.
so
old-fashioned form of sconce,
holds the candle socket, projects 3in.
rather more than
to
night by candles
at
which was much used when I was a boy,
the height
is
holes
part
to
must be
receive
drilled in
these
pins,
which are to be riveted on the under side by placing the
socket on the anvil, and tapping
of
a
prove
them gently with the pane
hammer this will hold the
much better than soldering,
;
socket quite
as
it
firmly,
and
cannot be loosened
by the heat occasioned by the candle burning down in the
a
82
socket.
A
up
In case a suitable piece of tubing
by.
it will
hole should be
not be
to
difficult
made
at A,
make a
socket
to
hang the sconce
is
not procurable,
by bending a piece
of brass round the pointed end of the beak iron, and soldering
the seam together.
"
Sconce (Old-fashioned Form),
Fig. 40.
Another and more elaborate form of sconce
Eig. 41.
The
is
shown
at
socket may be made by either of the methods
I have
just described,
snips.
The tray
to
and the Vandykes cut out with the
which the socket
is
fastened
may be
chased and beaten, and the edge turned up with the mallet
on the round end of the side
stake.
This pattern was taken
from one in the South Kensington Museum, and
for attaching to a
is
very suitable
handsomely worked piece of brass to be
framed and hung on a
wall.
A
disk of
metal should
be
FORMING.
fitted into the
bottom of the socket, to hold the wire A, which
screwed into
is
and
is
83
In any case where a solder joint shows,
it.
unsightly,
it
may
be touched with a piece of sulphate
of copper, or bluestone, slightly wetted, which will give
coppery
If
tint,
any of
and render
my readers
it
a
it less visible.
should be at a loss
how
to proceed
when
they are endeavouring to make an article for themselves, their
Fig. 41. Sconce.
best course
them out
to
is
to apply to a
of their difficulties.
form out
good tinman, who
A
will
soon help
tinman's daily occupation
is
of thin metal articles of every conceivable shape
and form, and he
is,
consequently, very expert and quick.
a
,
CHAPTER
X.
MOUNTING.
— Picture
— Ebonising: Recipe for — Walnut
—
Stain; Recipe for Best Woods for Staining —Mounted Brasswork — Plush Frames — Furniture — Fire Screens — Looking
Glasses: Elaborate Method of Framing —Portfolio Covers —
Bellows — The " Ball-headed " Screw — Screw-making.
Staining
Many
Frames
articles that pass
cups, vases, &c, require
selves.
through the chaser's hands, such as
no mounting, but are complete in them-
Again, some kinds of brasswork, even when intended
solely for ornament, provided they
have a border worked on
them, will look well, when hung on a wall, without any frame
round them.
wire bent
headed
Trays and plaques
into
1
an angular shape, and hung upon a brass-
.
— Ordinary
missible for brasswork,
used,
this
may
frames are quite
picture
and should never be used.
look well,
I generally use,
particularly
and much
be done
The following
is
first,
if
inadIf oak
carved.
prefer, is ebonised
be either carved or used plain.
the carving should
wards.
gilt
frames
picture
But tbe material
wood;
be supported by brass
nail.
Staining
be
may
If carved,
and the ebonising
after-
an excellent method of ebonising
wood: Boil a handful of logwood chips in a quart of water,
until all the dye
is
extracted.
Apply
several coats of this dye,
;
MOUNTING.
85
while hot, to the wood, allowing one coat to dry beforeânother
is
As soon
laid on.
as the last coat
is
pay
dry,
strong solution of sulphate of iron or copperas
the wood an intense black.
first
time, the sulphate
Mr. H.
again.
makes an
If
it
iron
of
is
2 this
will
turn
not black enough the
should be applied
solution
0. Stevens, of 171,
;
over with a
it
Aldersgate Street, London,
excellent ebony stain, which merely requires to be laid
on the wood with a
soft brush,
one coat being usually
sufficient.
Some very excellent black mouldings, properly prepared, and
ready to be made up into frames, are now imported from Germany these the amateur will find very suitable for his purpose,
;
particularly those that are of a dead black.
Walnut
Stain.
warm brown
—A
most useful
to frames, is
stain,
made by
which gives a rich
dissolving powdered
Van-
dyke brown in a saturated solution of common washing soda.
It imparts to
any light coloured wood, especially sycamore,
When
a very close resemblance to walnut.
gives it the dark colour produced
by
age.
portions of the materials used are not of
the best
it
when
stain
way
is
make
to
required for use.
by me, as
purposes.
it
If the
it
The
much
it
relative pro-
consequence
as strong as possible,
and
dilute
I always keep a large bottle of this
comes in useful for a great variety
wood has
to be varnished,
or two coats of size as soon as the stain
The best woods
used on oak,
is
it
of
must have one
dry.
for staining are beech, sycamore, lime,
and
Honduras mahogany.
I do not purpose to enter into the details of picture-frame
making, as
it is
a
difficult art,
and holds a very subordinate
position with reference to Repousse
Work;
confine myself to giving a few hints
I shall therefore
as to the best style of
frames for our purpose.*
* Further particulars as to frame -making may be found in " Pictureframe Making for Amateurs " (L. Upcott Gill, 170, Strand, London).
\
86
Mounted Brasswork.—Fig.
42 shows piece of brasswork
mounted, with two sconces in front of
of
German moulding,
Fig. 42.
black in colour.
the frame
— that
lin. wide, of
it.
This frame was made
a reeded pattern, and dead
Brasswork Fitted with Sconces
The crossbars were halved
is,
the upper portion of
into the sides of
each bar was cut
away, and the lower part of the frame recessed to receive
When
it.
these were accurately fitted together they were secured
;
MOUNTING.
87
with wood screws.
In cutting the bars, great care should be
taken that they are
all
be
left,
which
exactly the same length, or a gap will
and unworkmanlike.
will look very unsightly
Flush Frames.
— These
different classes of work.
made
are
of various shapes, to suit
The round ones should be turned
in a
and the square and oblong ones framed together, so that
lathe,
way of the grain of the wood will not show this also
Elaborate mouldings are not
prevents them from splitting.
the end
;
suitable for covering with plush.
My
readers will find that
nothing looks better for this sort of frame than what
the "
thumb mould," from
After the frame
is
its
is
called
resemblance to a thumb reversed.
put together, and made quite smooth with
glass paper, the plush, cut to the proper size, can be attached
with glue, which must not be too thin, or
plush,
and completely
spoil
it will
permeate the
The edges only need
it.
glueing, the
glue being applied to the frame, and not to the plush.
my
ing to
taste, a
Accord-
deep crimson plush suits the colour of
brasswork better than any other shade.
Furniture, particularly
greatly improved
overmantels,
gether,
may
of
by the addition
and
all
kinds
the
mediaeval class,
of brasswork.
is
often
Inlaid cabinets,
of articles that are
framed
to-
with advantage have the panels removed, and
brass plates introduced in their stead;
if
there are wooden
knobs, or drawer handles, these should be taken
off,
and brass
ones substituted, so as to keep up the character which the
brass panels give.
Fire-screens form another suitable vehicle for Repousse
Work.
I
should not recommend that the whole screen be
formed of brass, as the thin
for chasing,
it
is
better
A
which
most suitable
is
would not be substantial enough for
to
make the frame
stained sycamore,
leaf.
brass,
of
wood,
and introduce a panel
of
this purpose
say walnut
brass
or
on each
very effective screen, consisting of three leaves, hinged
together witli brass hinges, might be
made
wood,
each,
leaf to have two panels, the lower one being longer
than
of
the upper, and painted with a conventional flower, done in
oils
the upper panel should be brass en repousse.
;
screen might be
made
plates of brass let in
Or the
of deal, covered with plush, with square
from the back.
Five plates would be
re-
one somewhat larger than the others
quired for each leaf;
should be in the centre, and one at each corner, not too near
These frames look better
the outer edge.
if
the leaves are
rather wide.
Looking Glasses
One way
utilising brasswork.
each way than
less
also afford
held in
the frame.
strips of
which must be
metal soldered on the back of
with thin wood, attached by screws
specially for this purpose,
A
ing."
by small
to receive the glass,
The back may be covered with strong brown
or, better still,
sawn out
of doing this is to cut a piece, Sin-
The edge must be beaten up from the
form a rebate
its place
for
the glass to be mounted, out of the centre
of the sheet of brass.
back, so as to
an excellent opportunity
and
is called "
;
paper,
thin deal
is
picture back-
rather more elaborate method of framing looking
glasses is the following
:
Make
a frame, in the ordinary way, of
ebonised wood about lin. wide, with mitred corners, of such a
size that the glass will
it
;
then cut a groove,
drop easily into the rebate at the back of
iin. wide, all
round
the edge of the brass plates, and to keep
plates
must now be
fitted
it
;
this is to receive
them
steady.
round the frame, and another frame,
wider than the inner one, made to inclose the whole.
the lower plate
may
be
may be wider than
fitted into
arrangement.
it.
Four
If desired,
the others, and two sconces
This forms a very useful and handsome
Picture backing should be fitted so as to inclose
the whole of the back, and protect the glass from dust and
injury.
this
Plate glass with bevelled edges should be used for
looking glass, and can be obtained, of any
size,
from
;
MOUNTING.
89
Houghton & Son, High Holborn, London.
Messrs.
I
may
add,
that oblong glasses look better than square ones.
Covers.
Portfolio
—A
small
variety of
articles
may
be
decorated with brasswork, either inlaid or merely fastened on
covers are an instance of the former,
the
surface;
and
bellows of the latter.
portfolio
cover (walnut
is
reduced to
for a portfolio
the best for this purpose) should be about
is
worked
fin. thick,
The wood intended
off
from the centre to the edges until
The
and with the edges rounded.
|-in.,
it
easiest
way
to fix the brass plate is to cut a rebate in the back of
the
wood
to receive
it,
having
first
removed a piece of the
cover of sufficient size to allow the part of the plate which
has
been worked to be seen.
It is not advisable for this
purpose to use plates worked in very high
relief,
parts are apt to have the lacquer rubbed off
portfolio is in use,
and thus
to
as the raised
them when the
become unsightly; for
this
reason, the highest part of the plate should not rise above
the level of the surrounding wood.
edge
of
rounded
covers
is
wood, where
the
off
a
little.
it
It looks lighter
surrounds the
way
Another
of
brass plate,
treating
to sink a round medallion into the centre,
four angular plates a short distance from each
is
portfolio
and put
corner.
In
should work the medallion en repousse, and the
this case I
If the
amateur has a lathe of
corners in
flat
cient size,
the recess for the medallion
otherwise,
the
if
it
chasing.
must be made with a
best merely screwed on.
It is a
may
chisel.
suffi-
be turned out
The corners look
great improvement to add
imitation strap hinges to the portfolio;
these
may
be cut
out of sheet brass, with a piercing saw, chased, and fixed on
with ball-headed
thirds of the
way
screws.
They should extend about two-
across the portfolio, one end being fastened
close to the back.
The
plates for bellows should cover the whole of one side of
90
the woodwork, and
may be
suitable screw for this
" ball-headed
ball
and
similar purposes
is
the so-called
the head of which forms one-half of a
screw,
"'
The most
attached with screws.
all
of course, this is not countersunk, but stands out from the
;
surface.
The distance between the screws should be uniform,
or
These screws have a nick in them,
they will not look well.
and are driven, by a screwdriver, in the ordinary way; they
should, of course, be of brass.
When
a sconce has to be fastened on to a brass plate,
it is
necessary to use small screw pins, with a nut on the back side
These can
of the plate.
easily be procured at
A
or of the makers of model engines.
is
quite large
tool shops,
screw iin. in diameter
enough for amateurs' purposes.
Screw-making.
their own screws,
method of doing
—As
some amateurs might
like
to
make
I will give a short account of the readiest
A
so.
piece
chuck.
A
die,
stout, brass
of
enough to cut into several screws,
self -centreing
most
fixed into
is
wire,
long
an American
having radial teeth, and a centre
hole of the size of the screw intended,
the dead centre in the poppet head.
is
The
then placed against
die is
now advanced
cautiously against the wire running in the lathe head, and
the wire rapidly reduced to the required diameter.
As soon
as a sufficient length has been cut, the die is removed,
the thread
is
cut with small stocks and dies;
to cut the screw
off,
tool.
The nick
it
a
The only precaution required
taper the wire slightly, so that
in the die with ease.
only remains
and round up the head, by giving
few touches with a turning
is to
it
and
may enter
screw may be
it
in the
the hole
cut with
an ordinary metal saw, the pin being held in a vice during
the operation.
cut
If
many
them with a small
running in the lathe.
screws have to be cut,
cutter (which
is
it is
better to
sold for the purpose)
—
CHAPTER
XI.
DESIGNS AND DESIGNING.
Designs; Choice of ; Most Suitable
— American Designs — "Pound-
—English Designs — Transferring the Design — Carbonic Paper — Tracings — Enlarging
and Reducing Designs — Proportional Compasses — The Pentagraph How
Make How
Use — Tracing Easel —DesignBrass "
ing
Japanese
to
:
Designs
to
;
List of Necessary Instruments for ; A Knowledge of
Mechanical Drawing and Practical Geometry Necessary for
ing
;
—
Find
Where
of the Hand in Designing —
The Kaleidoscope a Valuable Instrument for the Designer—
Sharpen Lead
The Standard Work on Designing — How
—
Pencils Conclusion.
to
Designs —Position
to
In
this
chapter I
propose
designs most suitable
them, and
how
to
for
to
give
some hints
as
to the
Repousse Work, where to obtain
draw or copy them, as
also a
few words
on original designing.
DESIGNS.
—
Choice of Design. It is not every kind of design that looks
well when cut on brass, so that the amateur should take some
little
trouble in selecting his subjects.
formed me, with much
pride, that
tray, a view of his residence
An
amateur once
in-
he had chased, on a large
and the surrounding landscape, and
seemed rather surprised when I told him that he could hardly
REPOUSSE WORK
92
have chosen a worse subject.
cularly
and
when more
FOR.
Birds, animals, or flowers, parti-
or less conventionalized, form good subjects,
when worked
especially so
AMATEURS.
Arabesque
in relief.
scrolls,
interspersed with grotesques, form an endless mine for the
metal to draw from.
artist in
patterns, especially those
my
look, to
flat
all
over " patterns,
taste, as well as any.
I
should recommend heads and
do them justice, should always be in
figures, which, to
need not necessarily be high
this
chasing, geometrical
which are called "
For the advanced student,
though
For
;
indeed, I
am
relief,
disposed
to think that, the lower the relief, the better the effect produced,
assuming, of course, that the relative heights of the various
An
parts are properly preserved.
or medals will show
The amateur
will
examination of good coins
how much can be done
find that
it
more
is
in this direction.
difficult
to
work
in
low than in high
relief, as,
parts being
the difficulty of keeping every part in due
proportion
less,
the gradations between the different
is greater.
American Designs. —Demand
the
always creaes supply, and
number of workers en repousse having greatly increased
during the last few years, the publication of designs suitable
for this
work has increased
in a corresponding ratio.
Americans, being very active just
"
now
in
pounding brass," have published several
The
what they term
series
of
designs.
The best sets I have met with are by Charles Leland, a wellknown writer on art work
these sets are published by
;
"William Whitlock, 140, Nassau Street,
New
York, and include
designs suitable for a great variety of subjects, and seem to
be intended principally for the rough work on wood or lead,
or for
flat
chasing.
Some
of
them
are very quaint and original,
and would form good practice for a beginner.
&
Messrs.
Goodnow
"Wightman, of 176, Washington Street, Boston, U.S., also
publish
a,
large variety of suitable designs.
DESIGNS.
Japanese
drawings
Designs.
of
birds,
—Many
&c,
which might be easily
93
Japanese
vigour
great
of
books
are
and
excellence,
by anyone having
utilised
of
full
sufficient
knowledge of drawing to enable him to adapt them to the
article
he wishes to decorate
this
;
would form a sort of
inter-
mediate step between using a ready-made drawing and making
an original
and would prove very helpful to the amateur
one,
artist.
—
English Designs. The Art Designer, published quarterly
by John Heywood, 11, Paternoster Buildings, London, contains
some
of
really
by distinguished
beautiful designs
many
artists,
and
which are specially intended for metal-work;
others,,
though designed for china painting, look equally well on metal.
I
my
would again recommend
work
at
readers to study well the metal-
South Kensington, and to make sketches of some of the
best examples to be found there.
If they do so, they will find it
very helpful in acquiring a thorough knowledge of the
the
way
most
it
On
should be carried out.
artistic
modern designs
by Mr. T.
J.
of design
and vigour
G-awthorp, 16,
of
I have
Long
art,
and
the whole, the best and
met with were those made
Acre,
London
;
for originality
treatment they are unequalled, and,
being made by a practical man, are perfectly adapted to the
intended
purpose.
The designs
I
have used were those in-
tended for advanced pupils, and were made expressly for me;
but I understand that Mr. Gawthorp supplies drawings to suit
every class of worker, from the merest novice onwards.
Transferring the Design.
—Having
obtained a suitable
design, the next thing is to transfer it to the brass plate.
have already described the best method of doing
is
by placing a
piece of carbonic paper between
it
this,
and the
I
which
plate,
and going over the outline carefully with a hard pencil or
tracing point.
sides
If the surface of the brass be curved
of a vase,
or the
bottom of a cake basket
—
— as the
it will
be
;
REPOUSSE "WORK FOR AMATEURS.
94
found impossible to keep the drawing in
it;
way
the best
by small
design
made from
to attach the
is
modelling wax, placed
pieces of
each
at
too valuable to be treated in
have described, a careful tracing should be
the manner I
way.
to get over this difficulty
If the design itself is
corner.
by weighting
place
its
and transferred to the metal in the usual
it,
Great care should be exercised in transferring, or a large
portion of the beauty of the original will be
"it
said that
is
easier
draw than to
to
It has
lost.
trace."
been
Without
make
a good tracing is far more difficult than anyone who has
Numberless tracings made by
not tried it would imagine.
altogether endorsing this statement, I
my
v
amateurs have passed through
I
am
must
say, that to
hands, and most of them.
sorry to say, were fearful productions, nearly
all
them requiring re-drawing before any use could be made
them.
There
—some
loss
is
— except in very
almost sure to be
of effect in
skilled
of
of
hands
making a tracing from a drawing
amateurs should, therefore, by the exercise of great care, endeavour to make the loss as small as possible.
It is better
to use tracing cloth than tracing paper, as the latter will not
stand any rough usage.
The paper on which some
American designs are printed would,
'
excellent for tracing purposes, as
and durability
it
of
the
were procurable, be
if it
combines, with the toughness
of the best writing paper, the transparency of
tracing paper.
Enlarging and Reducing Designs.—It not unfrequently
happens that
purpose
is
decorated,
a design otherwise suitable
to
the amateur's
either too large or too small for the surface to be
and
has, therefore, to be reduced or enlarged.
ready method of doing this
is
design in pencil, and dividing
a number of smaller squares.
A
by drawing a square around the
it
vertically
Then
having the relative proportion to the
and horizontally into
describe
first
another square
square that
may be
Fig.
43.
The Pentagraph.
;
DESIGNS.
This latter square must also be divided, by horizontal
desired.
and
97
same number
vertical lines, into the
The
in the original square.
lines in both squares should be
By
numbered with corresponding numbers.
where each square
not be found
of squares as contained
observing carefully
cut by the lines of the drawing,
is
it will
copy the original inside the second
difficult to
Proportional compasses, having two working ends,
square.
which are capable of being
set so as to bear a definite relation
to one another, are a great help in this work,
The amateur must use
to the accuracy of the result.
own judgment
number
as to the
divide the squares into
his
divisions necessary to
of
say that, the larger the
suffice it to
;
and tend much
number, the more accurately the work can be done, though,
being more complicated,
it
becomes, of course, more
difficult.
This plan will be found useful by those who do not possess
drawing instruments.
The Pentagraph. — As
the plan just described
and by no means too accurate, I do not employ
it
is
tedioun,
myself, but
reduce or enlarge by means of the pentagraph, an instrument
specially designed for the purpose.
If
money
is
no
object, the
amateur can readily purchase one of these at any mathematical
instrument maker's.
As the
price, however, is high,
ranging
from between £7 and £8
to £14, it is very probable that he
hesitate before doing so.
I will therefore describe one
I
made
and which answers
myself,
Mine
is
graduated by
one-thirds
the
it
is
A
eighths,
A
and
from
is
with the
The arms B,
drilled.
long, measuring
arm
D,
and two-thirds marked on
tion a hole
18in.
—A, B, 0, and
C
being graduated.
to
it.
0,
It consists of
1.
I have
also
At each graduaand D, are exactly
from the pinholes on which they work
18in. in length
arm
-§-
which
purpose perfectly.
its
Fig. 43 shows the instrument ready for use.
four wooden bars
may
to
the
from the pin 3 which connects
centre
of
the
hole
5.
H
The
;
98
supported on a brass
pentagraph
is
to keep
steady, cast into
it
To make
pin
-with,
a screw (A)
a heavy lead weight (Fig. 44).
the instrument, plane
up accurately the four arms
out of a clean, dry piece of beech, until they are fin. wide
and
yîn.
then
thick;
drill
the pinholes
1,
which should be done with an American twist
Fig.
The
3,
drill,
4,
5,
6,
and not
Lead Weight.
44.
with a gimlet, as accuracy
great importance.
2,
in
the size
position of
of
the holes
is
of
the holes must be set
out with great care, or the instrument will not work correctly
3
T gin.
is
a convenient size for the holes.
Fig. 45.
brass pins (Fig. 45), in the
so that they shall
yet
without
be tapped.
fit
four
Brass Pin.
way
I have described
on page
90,
the holes drilled in the arms easily,
any shake; only one-half
The
Now make
of
each
pin should
holes in the lower arm, at the places where
they are joined together, should now be drilled and tapped;
DESIGN'S.
09
must only be made
of course, these holes
of
The graduations on
allow of the tap cutting a full thread.
arm
A
sufficient size to
must be one-eignth, one-quarter, &c, of the length
from hole 3 to hole 5
be graduated
—that
The arm
18in.
is,
must now
from
to do this, stretch a thin piece of cotton
;
marked
the centre of the hole
6 to the centre of the hole
marked ^th on arm A, and which should be the hole nearest
to the arm C. Make a mark at the point where the cotton
arm
crosses the
and
0,
this as ^th.
the
drill
Proceed with
all
hole there, marking
first
the holes on the
same way, and the instrument, when screwed
A
arm
in the
together, will be
complete.
To use the pentagraph, say
three-fourths of
for
original size, place
its
or drawing board of sufficient
weight on which
it
size,
arm C marked
6,
and a sharply-pointed pencil
point,
f.
Place the
centre
Insert a blunt tracing
design to
the
in
be
hole
table,
pin, in
the
now
point in hole
marked £ on
under the tracing
copied
and a sheet of clean paper under the
tracing point be
drawing to
on a smooth
it
the
a
works, having been inserted in the hole
in
arm A.
reducing
If the
pencil.
carefully passed over every line of the
make an accurate copy exactly threethe original. The tracing point, centre pin,
drawing, the pencil will
fourths the size of
and
pencil,
not mark
arm A.
must always be
sufficiently,
By
point in one
in a straight line.
If the pencil does
may
be placed on the
a few coppers
putting the pencil in hole
of the
make an enlarged
holes in
copy.
Some
6,
and the tracing
arm A, the instrument
practice is required
to
will
work
a pentagraph well, but the instrument will be found most
when once the necessary skill is acquired.
Tracing Easel. If much tracing is likely
useful
—
it
may
be worth while to have a tracing
easel,
to be
which
done,
is
a
sheet of glass, surrounded by a frame of wood, with folding
h
2
—
100
props attached to the frame, so that
an angle
in front of a window.
may
stand at about
when
in use, should be placed
The drawing
to be copied should be
The
of 45degs.
it
easel,
covered with a sheet of paper, and both secured to the glass
with small pieces of wax.
By
the use of this easel tracings
can.be made with great accuracy and despatch.
DESIGNING.
any of
If
selves,
my
making designs
for themfor the
they will have to procure some instruments
purpose
;
these need not be either numerous or costly.
The following
A
A
readers think of
be necessary
will at least
:
pair of compasses with movable pen and pencil joint.
pair of dividers.
Blacklead pencils (H and HB).
A
A
drawing pen, for ruling
set of
Two
scales.
set squares.
Drawing
A
drawing
lines.
pins, for fastening
paper to the drawing board.
rolling parallel ruler.
anyone to attempt designing until they
It is useless for
possess some knowledge of mechanical drawing and practical
geometry.
at the
This will be very evident
first
attempt.
Suppose, for instance, our object be to design a pattern for
a waiter.
The
first
thing necessary would be to strike out
a circle of the same size as the centre of the waiter, and
then to divide
by
it
into a
number
lines radiating to the centre.
were
elliptical,
an
ellipse
of equal parts, say eighteen,
Or,
if
the pattern required
of given dimensions
would have to
be drawn and divided, as a groundwork on which to found
the design.
detail
It is
beyond the scope of
on these subjects, so that
all I
this
work
can do for
to go into
my
readers
;;
DESIGNING.
101
to indicate where the required information
is
recommend a
I can specially
" Practical
entitled,
may
be found.
book by John
little
Geometry for Art Students
"
Carroll,
this is a
;
thoroughly useful and practical work, and contains instructions
which
will enable the student
form he may
the skeleton of
the
compasses, &c,
by attaching
them with
it
has been drawn by the aid of
design
may
be comparatively easily ornamented
and offshoots to
leaves
uncommon
mingled with
it,
and interspersing
in mediaeval decoration to find such
Many
fox watching poultry, &c,
scrolls
and conventionalised foliage and vege-
serial
works now published have ornaments at
the beginnings and endings of the various chapters
of,
my
them very
readers will find
in the British
Museum, and
suggestive.
foliage very suitable
may be
The
and
old missals
figures
and conven-
reproduction
for
much
used with
on brass
entwined
success
which they often merge altogether.
scrolls, into
In designing
many
in
elsewhere, will afford excellent
hints to the artist, being full of quaint
dragons especially
;
or adaptations from, the antique,
cases these are copies
with
may term
After what I
of equal parts.
scenes as a hunt or tournament,
tionalised
any
figure of
faces, grotesques, &c.
It is not
tation.
draw a
require, or to divide either a curved or straight
any number
line into
to
scrolls, or
rest
on the paper.
and
first
The
and second
bold designs, the hand should not
pencil should be held with the
fingers
only,
thumb
the hand being over
it
then, with a bold sweep, dash in very lightly the rough outlines of
what you want
to produce.
The
shoulder,
and not
the wrist, or elbow, should be the pivot on which the pencil
should turn.
At
first
nothing more should be aimed at than
to get the positions of the
main
lines of the design
;
having
got these roughly, they can be corrected by degrees, until
the curves run smoothly, and without
flat
places in
them
;
all
the
REPOUSSE WORK TOR AMATEURS.
102
can then be
detail
My
filled in.
readers will be surprised at
the vigorous drawings they will be able to make, after a
practice,
by
little
this method.
The Kaleidoscope
a very valuable instrument to
is
the
designer,
and the basis of many a good design has been got
from
but
it
;
should not be too closely adhered
it
to.
Free-
hand additions should always be interspersed with the formal
lines the instrument gives, so as to avoid stiffness.
The mere
repetition of a suitable object will often produce a
pleasing design.
To prove
about
and hinge them together, by paper pasted at
3in. wide,
their backs, so that they
this,
take two pieces of looking glass,
may open
book
like a
stand them
;
upright on a table, and place between them a small sketch, say
The
of a conventional flower.
figure
formed by the repeated
reflections will at once give pleasure to the eye, thus
that repetition
one of the
is
first
principles
showing
decorative
of
design.
Owen
work on
The
Jones' "
Grammar
design,
and the student
most
people,
published lately by
much more
to
my
will
"
is
still
it
but I understand that
Quaritch,
reasonable rate.
15,
the standard
do well to consult
was so high as to place
original price
reach of
Ornament
of
Piccadilly,
it.
beyond the
it
has
been
London, at a
would also specially recommend
I
readers Hulme's "Suggestions in Floral Design," pub-
lished by Cassell
&
Co.
suggestive works I
use to the student.
This
know
is
of,
one of the most beautiful and
and cannot
fail
to be of great
It consists of a multitude of designs,
of
great variety, founded on conventionalised floral forms.
Many
borders given might well be transferred to
metal,
of
the
especially in flat chasing, without
It
may seem but
know how
proceed
any alteration whatever.
a small thing to mention, but few people
to sharpen a lead pencil properly.
is first
to cut
away a
The
way to
the wood
best
sufficient quantity of
DESIGNING.
103
with a penknife, and then to sharpen the point by rubbing
it
gently on a piece of fine glass paper, or a fine
better point will be obtained
last
much
longer;
which are very
it is
by
this means,
file.
A
much
and the pencil
will
especially useful for very hard pencils,
difficult
to
bring to a sharp point with a
knife alone.
my
In conclusion, I must remind
worth doing at
the
if
art hastily
they
fail
;
all
is
and
but,
readers that " what is
worth doing well."
carelessly,
If
they take up
they must not be surprised
on the other hand,
if
they use due care
and perseverance, learning patiently each part
of the process
before they proceed to another, they will be surprised
soon success will attend their labours.
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PRIZE MEDAL, INVENTIONS EXHIBITION, 1885.
SILVER MEDAL, R. Cornwall Polytechnic Exhibition,
1886.
Amateur Repousse Work.
TRACERS, RAISING, MATTING, and PATTERN TOOLS,
From 9d. to 2s.
'31 JEMS,
2 s. 6d.;
HA M
lTimW?>
B0£
6E
WMWWk&
Prepared Brass, Blank Waiters, Trays,
Silver,
Panels,
Blow Lamps, Cement Bowls and Blocks.
PMUtMTB LSMOft
SERIES OF
SIX,
ONE SHILLING
Will be found
Scojices,
21S.
@F
Oft
ONE GUINEA,
per
Pound,
and cleanly, avoiding the annoyance caused
and non-adherence of common pitch.
soft, tenacious,
by the
splintering
AMATEUR WORK MADE UP & FINISHED INEXPENSIVELY,
Impressions from Tools, and Price Lists, Free on application to
T. J.
16,
GAWTHORP,
LONG ACRE, LONDON,
W.C.
.
INDEX.
A.
American designs
Polishing head
Annealing
.
.
.
92
66
60
Antiquity of the art of worl
ing in metal
1
Anvil
16, 77
Appliances
Anvil
16,77
Beak iron
76
Bench
13
Bob
68
Buff
63
Buff-board
19
15
Chaser's bowl
Cushion
13
Hatchet stake
76
Lead block
14
Pitch block
15
Pitch kettle
16
15
Pitch pan
66
Polishing head
Side stake
75
Snarling iron
61
Stakes
75
16
Stove
14
Wood block
69
Aquafortis, dipping
:
Ball tools
Tools,
Beak iron
.
.
.
.
make
to
...
...
Beaters
Beating down
Bellows, plates for
Benares brasswork
Bench
Benvenuto
Cellini
Bible, the,
and metal-working
.
.
how
.
Pitch
Wood
Bob, the
Borders
Border tools
.
.
.
.
.
Tools,
how
to
make
...
31
...
15
46
Bowl, chaser's
Chaser's,
how
to use
Brass
Choosing
Flattening
...
Polishing
Boiled
.
.
.
B.
Ball-headed screw, the
90
10
32
33
35
10,32
33
.
.
1
14
15
14
68
42
23
Block, lead
.
.
PAGE
24
31
76
24
41
89
72
13
3
Sheet
Transferring design to
Brasswork, mounted
Benares
Brazing metal
Britannia metal
Bronzing
Becipe for
Brooch made from half-crown
.
.
35
86
72
10
11
70
70
80
.
.
INDEX.
106
Buff
Board
,
Leather
Fletcher's
Burners,
PAGE
68
19
20
17
C.
44
47
Cement, recipes for
Chasing
tools
holding
of
1
the
when
Feathers
51
Finger-plate, pierced
65
80
67
Rings
Finishing
Brass, an excellent plan
47
22
28
91
46
78
10
89
Tools
Tools,
94
patent
solid flame
Manner
PAGE
84
93
Ebonising, recipe for
English designs
Enlarging designs ...
making
Choice of design
Cleaning the work
Coffee-pot stand
Copper
Covers, portfolio
Cup or ring tools
24
40
13
Curves
Cushion
Freezing tool
73
87
33
61
62
74
87
88
23
Furniture, ornamenting, with
brass work
87
for
Fire-screens
Flattening brass
The plate
Flutes, how to form
Forming
Frames, plush
Framing looking glasses
D.
G.
Design, choice of
Transferring
91
..
93
100
.
Designing
and
Elliptical
circular
100
patterns
Necessary instruments for 100
101
Scrolls
Works on
... 101, 102
92
Designs, American..
93
English
94
93
94
Enlarging
Japanese
Reducing
Suitable
for
Repousse
work
Transferring, to brass
Unsuitable
Dipping
Aquafortis
.
.
92
35
90
69
69
E.
Easel, tracing..,
99
10
73
88
Gilding metal
Parcel
Glasses, looking
8
Gold
And
abundance
of,
in ancient times
Curious peculiarity of
...
silver,
Different qualities of
Relative values of
2
9
9
9
"
Grammar of Ornament,"
102
Owen Jones'
73
Grease, how to free work from
51
Grotesque head
H.
Hammer, chaser's
Working with the
Hatchet stake
Hollow work
" Suggestions
Hulme's
Floral Design"
21
74
76
61
in
102
:
:
.
.
INDEX.
107
PAGE
I.
Metal-working, antiquity of
Instruments necessary for de100
11
signing-
Iron
Working
Working
Italy
Working
Working
Working
93
Japanese designs
Jones',
Owen, " Grammar
Ornament"
of
102
4
Working, the Bible and
1
.
.
.
.
.
Metal-work, the original home
of
...
2
..
bras s work
86
84
Mounting
102
18
16
Kaleidoscope, the
Kettle, frame for
Pitch
3
3
3
2
in India
in Spain
in the East
Working, revival of the
art of, in England
Mount e d
K.
1
at Damascus
in Greece and
O.
Outline, the
Oval tools
39
24
Pan, pitch
Parcel gilding
Patterns suitable for working
15
73
L.
Lacquer, how to make
Lacquering
72
70
11
Lead
Pencils,
how
to sharpen.
.
Working on
in Repousse Work,
where given
Liming
W.
102
42
on wood
Lessons
Lime, silver polisher's
Looking glasses
Glasses, framing
7
68
68
88
88
40
Pear, the
Pencils, lead,
57
how
to sharpen 102
Pentagraph
How to make a
How to use the
Pewter
Pick
Pierced finger-plate
M.
Work
Making screws
90
26
Mallet
Matting
...
Tools
Tools,
how
Metals
Brass
Britannia
Copper
Gold
Iron
Lead
Pewter
Silver
to
make
...
Piercing saw
Pitch pan, manipulation of
51
Warming
23
Pitch, working on
Cement for
Chaser's bowl,
31
10
11
10
8
11
11
11
10
how
...
to use
Chasing
Cleaning
Pitch pan, manipulation
97
97
99
11
23
65
62
62
46
45
44
46
47
43
of
Plate, fixing
45
Matting
51
6
Plant, small, required
Plate, fixing
44
44
:
.
INDEX.
108
PAGE
61
89
87
66
35
QQ
66
89
32
52
Plate, flattening the
Plates for bellows
.
.
Plush frames
Polishing
Brass
Head
Head, American
Portfolio covers
Preparing the work
Punches, figured ...
Side stake
Silver
•
75
10
And
gold, abundance of,
...
in ancient times
How to make, of a white
colour
2
72
Standard
68
10
Snarling iron
Snips
61
27
Polisher's lime
Kensington Museum,
4, 11,
metal-work at
Spatula
Spinning
Square
South
E.
Raised work
Reducing designs
54
94
Re-lacquering
Repousse, definition
72
of
the
term
4
24
54
Tools
Work
Work an
elegant occupa
tion
Work, disposal of
Work, to whom suitable
Rings, finger
Rolls, tinmen's
Rose, the conventional
...
5
5
Staining
Best woods for
walnut
Stakes
Fixing
Stamped goods
Stove
Stand for
" Suggestions in Floral De102
sign," Hulme's ...
Stain,
4
80
34
49
Tempering
...
blacksmith's
old
The
S.
recipe for
Tinmen's
Sanding
Saw, piercing
Sconce, old-fashioned form of
Sconces
Scratch brush
Brush, how to make
Brushing
Screens,
fire
Screws, ball-headed
How
to
make
Scriber
Scrolls
Designing
Setting
Shading
Shears, hand
Sheffield lime
93
28
74
28
84
85
85
75
77
74
16
17
67
62
81
81
73
72
72
87
90
90
28
60
101
41
50
27
68
rolls
Tool-holders
Marks
Tools
Ball
Beaters
Border
Chasing
Cup
or ring
Difficulty of procuring
Freezing
Hammer
Inexactness of
Making chasing
Mallet
Matting
Oval
Pick
29
30
34
25
60
24
24
23
22
24
6
23
21
52
28
26
23
24
23
:
.
.
:
.
INDEX.
Tools
Piercing saw
Proper manner to hold
Repousse
Scratch brush
.
.
Scriber
...
Snips, or hand shears
Spatula
Square
.
.
Tracers, curved
Tracers, straight
Where to purchase
Tracers, curved
Curved, how to
How to make
.
make
.
Straight
Tracing easel
Transferring design
Trays
With
fluted edges
PAGE
62
47
24
72
28
27
28
28
22
22
7
22
30
29
22
99
93
78
79
109
W.
Walnut
Watch
stain
cocks
Water
Wood, working on
Beating down
Borders
Outline
Patterns
Setting
Woods, best, for staining
Work, hollow
How to free, from grease
Pierced
Preparing the
Raised
Working on lead
-»-JaS»-0 os^
=
On pitch
On wood
»—--
85
65
50
41
42
39
40
41
85
61
73
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54
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SHORTHAND SYSTEMS: Which
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WINTER HAVENS
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VAo /A«\---|
°
J
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A
V^v
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0-Z~ f *—r
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TO PLACES.
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THE UPPER THAMES.
mond
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__^_
:-
:;
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From Rich-
Guide for Boating
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Men,
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^gjjp
i§|<
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Picnic
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;
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The volume, as a
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A copy ought to
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'
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PRACTI CAL
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name and address
sizes, and either with or without
of the user printed at the foot of each
PARCEL POST LABELS.
We manufacture
these in various Mateand Sizes. In all, the words " Parcel
Post" appear at the top, then space for
Name, Address, and Stamps, and then
Name and Address of Sender, nicely
rials
Printed.
ADHESIVE.
Per
lahel.
s.
There are three labels on a page, having ample space for
name and address of addresse and sender, and are READY
GUMMED
FOR USE. They have counterfoils like bank cheques
for retaining a record of all parcels dispatched, and the addition
of Certificates of Posting.
Certificates of Posting are essential to enable anyone to
a claim on the Post Office for loss or damage to
Parcel in transit.
make
Plan of Book.
A
has been posted
Tinted
or
4
gummed,
ditto
readyfor use
5
(These can be had either with or without the
Scale of Postal Charges printed under
''Parcel Post.")
ATTACHING.
PARCEL POST.
here this day:
From
From—
123,
A. B. SMITH,
Nosuch-street, Liverpool,
PARCEL POST.
A Parcel addressed as
under has been posted
here this day:
Per
A
6
8
6
9
has been posted
:
Vote
second
ditto
size
8
Larger quantities at a reduction per 1000.
Special sizes and styles, or on fancy papers,
at equally low prices.
PARCEL POST.
Parcel addressed as
d.
10
strength.)
Ditto
here this day
1000
s.
Strong Linen, with Eyelet Hole
Ditto
ditto
second size
Manilla Parchment, with Eyelet
Bole.
(Recommended for its
under
1000.
d.
Paper, un-
gummed
Ditto
PARCEL POST,
Parcel addressed as
under
White
I
A ddbrcm
PARCEL POST TAPES.
From
Price
In books, as above, with blank space for sender's name
and address
Ditto
Ditto
Ditto, but
ditto
ditto
with sender's
PRINTED
Note. —As these
100 labels
250 „
500 „
ditto
ditto
name and
1/0
2/0
3,6
address
1000
„
9/0
last have to be specially printed, the
cost of a smaller number would be very little less
only, in fact, the value of the paper saved.
Every advertiser of goods which can be sent by Parcel Post
should use the above, as it not only affords ready proof of the
despatch of goods, but gives at the same time the necessary
address labels. Samples post free.
Office: 170, Strand,
These are very useful to all who have
the despatch of parcels through the Post,
and we, therefore, for the convenience of
Sellers and Exchangers through our paper, offer the undermentioned. They are
strong, neat and thoroughly serviceable,
and are equally suited to the private desk
and the place of business.
Flat
Tapes,
iin.
broad,
marked
inches on one side,
and on the other the
Postal Charges, and
Limits as to Size,
with metal ends
,
1
I
3d.
Postage
London, W.C.
1
ROWLANDS' MACASSAR
Known
OIL,
more than 80 years as the best and safest preserver of the
contains no Lead, Mineral, Poisonous, or Spirituous ingredients,
and is especially adapted for the hair of children. It can now also be
had in a golden colour, which is specially suited for fair and goldenhaired persons and children.
hair
;
for
it
Sizes, 3s. 6d., 7s., 10s. 6d.,
and
21s.
ROWLANDS' KALYDOR
Beautifies the complexion and removes all cutaneous defects; it
most cooling wash for the face and hands during hot weather,
eradicates all Freckles, Tan, Sunburn, Stings of Insects, &c.
The
bottle has on
it
a
and
is
a 6d. Government Stamp.
ROWLANDS' 0D0NT0
Is the purest and most fragrant dentifrice ever made all dentists will
allow that neither washes nor pastes can possibly be as efficacious for
polishing the teeth and keeping them sound and white as a pure and
non-gritty tooth powder.
Such Eowlands' Odonto has always proved
;
itself to be.
The box has on
it
a 3d. Government Stamp.
ROWLANDS' EUKONIA
Is a beautifully pure, delicate, and fragrant Toilet Powder, and has
lately been much improved.
Each box has inside the lid a certificate of
purity from Dr. Eedwood, Ph.D., F.C.S., &c.
Sold in three tints, white,
rose, and cream, 2s. 6d. per box ; double that size, with puff, 4s.
Ash any Chemist or Hairdresser for Rowlands' Articles, of 20, Hatton
Garden, and avoid spurious worthless imitations under the same or
similar names.
Any of these can be sent by post on receipt of 3d. above these prices.
Why many
Persons Permanently Submit
to the
Tor every
1
defect of
Nature
Art
a remedy,*
GREY HAIR
Ttatlier th.an
—Because the old
offers
attempt to Restore
it.
fashioned and objectionable Hair Dyes dry up and spoil the Hair.
2nd. Because the majority of " Hair Restorers" bring the users into ridicule by producing only a sickly yellow tint or dirty greenish stain, instead of a proper colour.
1st.
—
The
following Testimonials (of
many hundreds received)
declare the value of
LATREILLE'S HYPERION HAIR RESTORER
As positively restoring grey or white hair to the REALLY NATURAL
and beauty of youth it so perfectly accomplishes its work and fulfils
;
colour, gloss, softness, luxuriance,
its promise, that in brilliant sun-
under glaring gaslight, the user can alike defy detection in ever having been grey, or used a
remedy, while as a nourisher and strengthener of weak hair it has no equal.
Price 3s. 6d., sent in return for Postal Order or Stamps, by the Proprietors,
& CO., Walworth, London, or may be had of Chemists;
But it is strongly advised that anything else, offered from interested motives, be resolutely refused, as
All Chemists can readily procure through wholesale
Latreille's Hyperion NEVER DISAPPOINTS.
houses, if they have it not themselves in stock.
shine, or
LATRBILLE
SPECIMEN TESTIMONIALS.
Royal George-street, Stockport,
February 26, 1880.
Dear Sir,— My hair went white through trouble
and sickness, but one bottle of your Hyperion
Hair Restorer brought it back to a splendid brown,
as nice as it was in my young days. I am now forty
years old, and all my friends wonder to see me
restored from white to brown. You can make
Yours truly,
what use you like of this.
High-street, Corsham, Wilts,
20,
(Mrs.)
Maria Worthington.
December
2,
1874.
Dear Sir,— I enclose stamps for another bottle
of your Hyperion Hair Restorer ; its clean qualities
are sufficient to recommend it anywhere.
Yours respectfully, E. Maynard.
St. Heliers, Jersey,
August 1, 1878.
Sir,— Please send me another bottle of your Hyperion Hair Restorer I bear willing testimony to its
being very pleasant to use, both as to cleanliness
and absence of disagreeable smell.
Yours truly, F. de Lusignan.
:
132,
High-street, Stourbridge,
May
16, 1878.
Sir,— I find your Hyperion Hair Restorer is a
first-class and really genuine article, and is well
worth the money. After using it thrice, my hair
began to turn the natural colour whereas before it
was quite grey it also keeps the hair from falling
off, and I shall always recommend it to every ons I
know. You are at liberty to publish this if you
Yours truly, (Mrs.) M. Davis.
choose.
2,
Fir-street,
Sydenham,
July
;
Thirsk, Yorks, January 26, 1876.
use your Hyperion Hair Restorer,
everything which has been said in its
I am, dear Sir, yours truly, T. Coates.
Dear Sir,— I
and
find
favour.
15, 1873.
Dear Sir,— I am most happy to tell you that I
have reason to commend your excellent Hyperion
Hair Restorer, as it has already turned the grey
hair of a person fifty-seven years old to its natural
colour.
Yours respectfully,
T. Whatmore.
it
83,
Dewsbury-road, Leeds,
May 23,
Porchester, near Fareham, Hants, Oct.16, 1875.
Sir, Please send me another bottle of your
Hyperion Hair Restorer it is better than any other
Yours faithfully,
restorer I have tried.
(Mrs.) C. Christie.
—
:
1873.
Dear Sir,— I want half-a-dozen more bottles of
your Hyperion Hair Restorer, some for friends and
the remainder for myself it is the best restorer of
;
grey hair to
its
natural colour.
Yours
truly,
James Dawson.
%* Be careful to ask for Latreille's Hyperion Hair Restorer, as the manufacturer is also proprietor of Latreille's Excelsior Lotion, which is a separate
preparation, of universal repute for 25 years past, as a Producer of Hair.
NOTHING EVER INTRODUCED HAS BEEN FOUND TO EQUAL
Latreille's Excelsior Lotion
Celebrated
among
all classes of
Society all over the
World as the only Real Producer
of
WHISKERS AND MOUSTACHIOS,
Remedy
for Baldness,
Weak and
Falling Hair,
3?rice 2s. 6d.
4c, and Curer
of Scurf or Dandriff.
per Bottle.
Can be had of any Chemist, through Barclay, Sanger, Newbery, Edwards,
Sutton, Thompson, Hovenden, Maw & Co., or any other Wholesale Chemist, or
direct from the Proprietors,
LATREILLE &
On
CAUTION. — Be
else
Walworth, London,
S.E.,
careful to ash for Latreille's "Excelsior Lotion,' and refuse anything
as the enormous success, extending over twenty years, has led to
The title " EXCELSIOR
useless imitations, which can only disappoint.
is a registered Trade Marie, to copy which will incur criminal prosecution.
that
many
CO.,
remitting Postal Order or Stamps.
may
LOTION"
fee
offered,
The
SATURDAY REVIEW
says:
SUBSCRIBERS to this periodical, besides the opportunity
of buying and
selling
every possible
and
impossible
thing,
enjoy the advantage of knowing what are the best novels and the best
It would be a gross act of
articles in the magazines and reviews.
piracy
to transfer this
information
to
our columns.
Correspondents
may
obtain answers to questions almost as various as the articles offered for
Mr. Trollope has
sale, or the tastes of the ladies who deal in them.
spoken lately of the greatness of a writer in a review who is known by a
But what is this to the
privileged society to have "smashed a book."
of the correspondent of a country newspaper, who knows
everything that happens, and a good deal that does not, in the political
greatness
ivorld of
of
England and Europe
the editor
of one of
those
or the still more stupendous grandeur
;
papers which know everything about art,
EXCHANGE & MART.
QUICK,
and gardening ? To say that this
editor is up to everything, from pitch and toss to manslaughter, would
convey a feeble and wholly inadequate notion of his talents and accomplishments.
But more wonderful even than his knowledge is the extent
science, literature, law, dog-doctoring,
of
his transactions.
When
strangers are dealing together, the purchase
may
office, and he charges
But persons who advertise frequently, find it convenient to give references as to position and character,
and thus to avoid the necessity of deposit. The references must be "first
class " in London, and in the country they must be lawyers, clergymen,
or doctors.
He decides all disputes between buyers and sellers, on
inspection of the article, and perusal of the correspondence respecting it.
money for
the articles sold
a moderate fee for
OFFICE:
the
be deposited at his
accommodation.
170,
STRAND, LONDON, W.C.
:
_ )eally practical Articles on all sorts of
If subjects, and such as are of service
If? to Amateurs, form the staple of the
f
Literary portion
^
Exchange
&
Bicycles of the Year.
for,
now
appearing, or
are the fo
illustrated.
Bazaar,
Amongst the
Mart"
Serial Articles
arranged
of "The
owing
Artistic Bird Stuffing
and Mounting.
Illustrated,
Collecting Engravings.
Lathe Making for Amateurs.
Clothing
in
Crochet and Knitting.
Illustrated.
Illustrated.
Houses Plans, Bills of Quantities,
and Cost of Building, illustrated.
Elocution for Amateurs.
:
Letters on Bee-keeping.
Etching for Amateurs.
Fancy Pheasants.
illustrated.
Fan Painting.
illustrated.
Profitable
Working
illustrated.
Twenty-four Studies for the
illustrated.
Window
British
in
Hair.
Cage Birds.
Memory
Aids.
Employment
Rose Growing.
Great
for Future Effect.
Illustrated.
Violin.
Gardening.
Domestic Inventions.
Garden Work
for Ladies.
Violin
illustrated.
Masters
and
Their
Music.
Scene Painting.
illustrated.
House Decoration.
Tricycles of the Year.
illustrated.
Diseases of Cage Birds.
Newest Fashions.
illustrated.
The Stage
Repousse' Work.
Illustrated.
Aspirant.
&c., &c.
Besides these serial papers, there are Articles
on current Music, Literature, Art, Dress, Gar-
dening, and other matters of interest; and Notes,
Correspondence, and Meplies on a vast variety of
subjects,
BUY A COPY AND SEE.
Price
2d.
At any Newsagent's or Railway Bookstall,
Office
:
170,
STTHAJXTD, XiORttDORT, "W.O.
Purveyors by Special Warrants to
H.M. THE QUEEN
and
H.R.H.
by special
APPOINTMENT.
THE PRINCE OF WALES.
APPO.NTMENT.
SPRATTS PATENT
Meat "Fibrine" Vegetable
DOG CAKES
(WITH BEETROOT).
BEWARE OF WORTHLESS IMITATIONS!
SEE EACH CAKE
IS
STAMPED
SPRATTS PATENT and
ID
a "X."
COD LIYER OIL
O
CAKES.
Gh
Tor Puppies after Distemper, and
for.
Dainty Feeders and
Sick or Pet Dogs.
DISTEMPER POWDERS, WORM POWDERS, MANGE, ECZEMA,
and EAR CANKER LOTIONS, TONIC CONDITION PILLS, &c.
PAMPHLET ON CANINE DISEASES,
And
full List of
Medicines, Post Free.
Game Houses Appliances.
POULTRY RESAR.ERS.
Dog, Poultry,
TO
SPRATTS PATENT
POULTRY MEAL.
The Most Nutritious and
Digestible
Food
thoroughly cooked).
New
Edition of "
THE COMMON SENSE
for Chicks and Laying Hens (being
Samples Post Free.
of
POULTRY KEEPING," 3d., Post Free.
GRANULATED PRAIRIE MEAT, " CRISSEL."
Takes
" CARDIAC :" A TONIC FOR POULTRY,
Price 25s. per cwt.
the Place of Insect Life.
A IMI IE MEAL.
Price Is. per Packet, or 3s. per 71b. Bag.
G-
SAMPLE AND FULL PARTICULARS POST FREE.
"THE
FIELD ":—" Thanks to Spratts Pheasant Meal and Crissel, I
have reduced the cost a great deal, and reared a considerably greater average. With Spratts
Food they require no custards, ants' eggs, or, in fact, anything from hatching till they are
turned in coverts and eat corn."— Careful Sportsman.
Extract from
"The Common Sense
of Pheasant Rearing," 3d., Post
Free.
Spratts Patent, Limited, Loudon, S.E.
7
Boston Public Library
Central Library* Copley Square
Division of
Reference and Research Services
Science and Technology
Department
The Date Due Card
in the pocket indi-
on or before which this
book should be returned to the Library.
cates the date
i
Please do not remove cards from this
pocket.
iy
BOSTON PUBLIC LIBRARY
3 9999 06920 491 3
1904

Repoussé work for amateurs : being the art of

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