It is easy to labor so long as we are encouraged by cheers and waving of hats, but to toil on and on, with only the silent approval of one’s own heart, requires a noble fortitude which the hero alone possesses.
George Houghton
The Hub – November 1, 1875
Photo: Carpenters’ Union Float for 1948 Armistice Day Parade – Porterville, CA.
Now I have the glue on these boards and am ready to drive some brads in and can’t find my hammer. “John, have you got my hammer? I do wish you would try and get some tools of your own; I don’t mind lending mine, but it is such a nuisance and inconvenience to me and takes up a lot of my time.”
“You first started by asking my permission to take them, now you say nothing but come and help yourself; you take them and never think of returning them unless I ask for them, and when I do get them they are in bad order: You borrow my planes, wood bits, chisels, oilstone, and even my pencil. Can’t you scrape up a pencil some place? What are you doing with my inch chisel? You have one of your own; why don’t you use that?”
“I tried to use it, Mr. Martin, but it is too dull and I knew yours would be sharp.”
“John, if you want to learn the trade you must learn to keep your tools in order. You can’t do work without tools, and you can’t do it with dull tools. If you are going to learn this trade you’d better start in at once and buy some. Get a few at a time, what you need most, and be sure and get nothing but the best.”
“Didn’t you tell me you took a piece of calico to a hop last Saturday night and it cost you three bucks? If you had put those three dollars in tools, don’t you think they would do more good and leave you something to show for it? Some fine morning you will wake up and find you are obliged to look for work in another shop; then you will wish you had given more of your attention to your trade and tools, and not so much of your time to calico and money for hops.”
“Journeymen are not obliged to, and do not care to, lend tools to any person, and less so to apprentices because they do not understand how to take proper care of them. When I was an apprentice, I took great pleasure in new tools when I knew they were my own, and they gave me a kind of ambition to care and work with them.”
“Try and keep yourself and your bench tidy. You have had that old, dirty, torn apron on until it can stand up alone. A clean apron don’t cost much, and your bench looks like a pawnshop window. When you lay anything on it you have to get a search warrant to find it; learn to be neat. Don’t forget what I said about saving your money and getting a few tools.”
My actual experience at the bench as an embryo cabinetmaker began when I was fourteen years of age. I had been at school all the winter and spring, but was with my father in the shop a great deal before and after school hours. At this time my father was working on piece work in the town of C, and in every odd moment I helped him all I could. He made a great many extension tables at so much a foot. They were 8, to and 12-foot tables, some were of black walnut but most were ash.
There was only one thing I could help him about on these tables and that was, after he had planed and scraped the tops I would sandpaper them. He had a cork block around which he folded the sandpaper, and after admonishing me to sandpaper only with the grain I would go at it. I took kindly to the work and he let me tinker a good deal for myself, and I became greatly interested in making a toy bureau. I made the frame, glued it together and get out the drawers, fitting them as well as I could. The first bureau was rather crude but I was proud of it.
I was given some practical lessons in shoving a plane. Like all beginners, I was awkward. Though I had seen my father use a plane from earliest recollection, when I attempted to use one in planing a hardwood board level, or to make a “rub” glue joint, what looked so easy as my father did it was a hard enough job when I tried it myself. (more…)
In Kew Gardens is a seldom-visited collection of all the kinds of wood which we have ever heard of, accompanied by specimens of various articles customarily made of those woods in the countries of their growth. Tools, implements, small articles of furniture, musical instruments, sabots and wooden shoes, boot-trees and shoe-lasts, bows and arrows, planes, saw-handles—all are here, and thousands of other things which it would take a very long summer day indeed even to glance at.
The fine display of colonial woods, which were built up into fanciful trophies at the International Exhibition of eighteen hundred and sixty-two, has been transferred to one of these museums; and a noble collection it makes.
We know comparatively little in England of the minor uses of wood. We use wood enough in building houses and railway structures; our carriage-builders and wheelwrights cut up and fashion a great deal more; and our cabinet-makers know how to stock our rooms with furniture, from three-legged stools up to costly cabinets; but implements and minor articles are less extensively made of wood in England than in foreign countries —partly because our forests are becoming thinned, and partly because iron and iron-work are so abundant and cheap. (more…)
If you’ve read “Calvin Cobb: Radio Woodworker!” by Roy Underhill perhaps you’ve noticed the numbered “chapter spots” – the little images at the beginning of each chapter.
(If you haven’t yet read it, well, you should! It’s variously funny, poignant, thought-provoking and, of course, quintessentially Underhill-ian.)
Here’s the back story on those chapter spots: Christopher Schwarz and I were in Pittsboro, N.C., at The Woodwright’s School when Roy started hunting down vintage things with numbers on them, camera in hand. I tried to keep up with him, jotting down everything at which he pointed the lens. But who can keep up with Roy?! Not me.
Saturday, though, I got a list from Roy of all the items – so we thought we’d have a fun little contest with them.
In the comments, in order from 1-38, post your best guesses as to what each item is in the chapter spots (pictured in order below). The contest runs through 11:59 p.m., March 28 (this Saturday). That way, I have the weekend to go through them.
Whomever gets the most correct (or is the first to get them all correct) wins an autographed copy of “Calvin Cobb: Radio Woodworker!”, a Lost Art Press T-shirt (your choice of available offerings and sizes) and an autographed Roubo bookstand from Roy.
The person with the second most correct wins an autographed copy of “Calvin Cobb: Radio Woodworker!” and a Lost Art Press T-shirt.
Third prize is your choice of an autographed book or a Lost Art Press T-shirt.
And if there’s a tie for win, place or show, I can probably shake another set of applicable prizes out of the powers that be.