Lost Art Press

Category: Historical Images

The Preparation and Use of Glue

Posted on by fitz

preparation_and_use_of_glue
It is surprising how little is known about glue, even among artisans who are constantly using it in their work, especially when we consider that the strength and durability of glued work, and, ultimately, the reputation of the artisan, depend largely upon the quality and proper use of it.

It is an indisputable fact that poor glue, or the improper use of good glue, has caused the wreck of many an otherwise good piece of work.

In order to select or handle glue intelligently, it is necessary to understand something about its manufacture. Glue is an impure gelatine, and is made from the refuse of tanneries, such as parings and waste pieces of the hides, ears, and tails of cattle. Some light-colored glues of poor quality are made from sheep skins, pig skins, and bones. Bone glue is prepared by boiling bones, to remove the fatty matter they contain, and then treating them with hydrochloric acid. This renders them soft and translucent. They are then washed in an alkaline bath, to neutralize the acid. The subsequent treatment is much the same as that followed in the other process. Glue made from bones has a milky hue, owing to the presence of phosphate of lime.
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A 17th-century Shavehorse?

Posted on by Lost Art Press

Habit de Tonnellier

While up in the Boston area last week, Peter Follansbee, the joiner at Plimoth Plantation, commented on the lack of images of shavehorses from the 17th century.

That kind of question mark interests me.

Earlier I had stumbled on some engravings of people whose body parts were the tools and materials they worked with. The print, Habit de Menuisier Ebeniste, showed a cabinetmaker made from his tools.

Jeff Burks (naturally) turned up the plate shown above and several more that were similar. This one shows a cooper with a shavehorse at his feet. Here’s what Burks says about the artist and what is known about the plate:

These were by Nicolas de Larmessin II (printmaker; French; c.1645 – 1725). Engraver; brother of Nicolas de Larmessin I. Father of Nicolas III. Worked most of his career for his elder brother, and later his widow. Seems to have published little himself.

The dates attributed to these engravings vary from 1690-1700 and beyond. I don’t think anybody really has a concrete date for them. It also appears that they also don’t agree about how many were in the original set. Some say 77, some say 97, and there were copycat artists who came after, plus reprints of the originals, sometimes hand-colored.

The image is from Gallica. And we will keep looking.

— Christopher Schwarz

Too Many Irons in the Fire

Posted on by fitz

atelier_du_menuisier

This saying was evidently born in a blacksmith’s shop. It has done service in every kind of shop, and has passed into one of those proverbs which are as often false as true. Indeed, this is the character of the greatest number of proverbs. True in a limited and special range, they are used as of universal application. Now, though a man may have “too many irons in the fire,” it is just as true that he may have not enough irons in the fire. It is foolish to take on more work than one can do well. It is wicked to work so excessively as to exhaust the strength, weaken digestion, impair sleep, and shatter the nervous system. When these results are produced by an inordinate use of the passions, they are called dissipations. But they are none the less dissipations when they spring from an inordinate addiction to business.

But it is not in this direction that men are said to have too many irons in the fire. When a man is carrying on so many separate enterprises that he must neglect some of them wholly, and can attend to none of them thoroughly, he is properly said to have too many irons in the fire. But the same phrase is applied to a man who turns his hands to many different kinds of trade. It is the serious belief of many that a man can not be a good workman in more than one art; that, if a workman means to be skillful, he must devote his life to a single trade, and in confirmation of such notions proverbs fly thick—”Jack of all trades and good at none,” being a specimen!
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Use and Abuse of Files

Posted on by fitz

Nicholson File
It is a wonder that the file, rather than the hammer, has not been recognized as the sign of the manufacturing industry. Its range, powers, and usefulness are far beyond those of the hammer, and it can assume the functions and perform the work of a number of auxiliary tools to which the hammer holds no analogy.

Whatever cannot be done by the set and power-driven machines in the shops where the metals are worked is sent to the file. The file reduces protuberances, smooths roughnesses, changes inclinations of surfaces, cuts scores, forms levels between parallel drill holes, prepares surfaces for the scraper, evens the roughness and inequalities of lathe work, cleans out the suggestion of the rib-like projections of the planer, shapes the tool where the most delicate grinding apparatus fails, makes a better finish to the eye than any scraping or stoning, is a saw at times, may be used as a chisel, takes the place of a plane, smooths the roughnesses of castings and forgings, reduces their proportions to size, and finishes them to fit. Except for drilling holes through solid metal the file can take the place of any tool used for any other purpose on the metals.

In England, Scotland, and Wales the filer is a man by himself; he has little to do with the lathe man or the floor man. He is the prince among machinists. Here we think all the work of the machinist may be done by one man, and the lathe man, planer man, floor man, and vise man may be compromised in one. But this general ensemble is getting out of date here.
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Sharpening a Plane

Posted on by fitz

Sharpening a Plane

A GREAT MANY men who use as common a tool as a plane cannot do a good job in keeping the tool in order. It is quite a knack to sharpen a plane in good shape, especially to set an edge on the plane iron with an oil stone. Figs. 1 and 2 show how to do it, and how not to do it. Supposing the plane iron has just been ground: it is placed upon the oil stone in the position shown in Fig. 1. The bevel of the tool is brought to bear flat upon top of the stone, then the back of the bevel is slightly raised, perhaps two or three one-hundredths of an inch, and while in that position the plane iron is carefully moved along the stone from end to end. The required pressure is applied by the finger, care being taken not to give the plane iron too rocking a motion.

Some mechanics fall into the habit of moving the tool as shown in Fig. 3. This motion is fatal to good work, and makes the bevel of the tool as shown in Fig. 4. The bevel is supposed to commence at a and should run nearly flat to b. Instead of this it is rounded, and as a good mechanic would term it, “is as crooked as a dog’s hind leg.” Fig. 5 shows a tool that has been whetted many times upon an oil stone and is ready for grinding. The bevel proper extends from a to c. The effect of the oil stone is shown from b to c, where the secondary bevel has been formed. This is the correct way to whet a plane iron. It should not be done as shown in Fig. 6, which represents the type of plane iron known too commonly among careless workmen.
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