While researching “Ingenious Mechanicks” Chris Schwarz and I found many workbenches with face vises and some of them actually had vise nuts.
In the montage above there are selections from paintings from Spain, Italy and what is now present-day Ecuador. As you can see, they range from the basic steering wheel to the curvy hurricane. The nut on the lower left is the shape Chris chose for his Holy Roman/Löffelholz workbench (and he provides the pattern in the book).
My particular favorite is a form that may have originated in Spain and made its way to Spain’s New World colonies: the double-bunny ear. The double-bunny ear provides an easy grip for tighting or loosening the vise.
The top right image is from a 17th-century Spainish painting. The next two vice nuts on the right are late 19th-to-early 20th century from Guatemala and Mexico. The vise nut on the left is of a similar date and also from Mexico.
“Ingenious Mechanicks” explores a multitude of workholding methods early woodworkers devised to enable them to work more easily and efficiently. The book offers the modern woodworker options, including what form or shape you chose for vise nuts.
The book is $39, which includes free domestic shipping and the instant pdf download. After Thursday, the pdf will cost $19.50 extra if ordered with the printed book.
The No. 1 question about this book has been: What the heck is it about? Basically, I took my short book on Roman workbenches that we published last year and expanded it greatly with lots of new research done on the ground in Italy and Germany.
And, in the process of expanding it, the book became more about the ingenious early workholding that Suzanne Ellison and I dug up than the benches themselves.
If you’d like to read a free preview of the book, check out this entry.
Soon we’ll have a complete list of our retailers that will carry the book.
Top: House of the Vettii, Pompeii, March 2017. Bottom: Saalburg, Germany, June 2017.
This time last year Chris Schwarz and Narayan Nayar were in Naples, Italy. In between consuming vast quantities of pizza they made a visit to Pompeii to study and photograph a fresco depicting a Roman workbench (Daedalus and Queen Pasiphae are also in the picture). Not long after Chris returned from Italy his limited edition letterpress book, “Roman Workbenches” went to press. And in June, Chris and his friends Görge Jonuschat and Bengt Nilsson traveled to the Roman fort at Saalburg to meet with archaeologist Rüdiger Schwarz to study and photograph two extant Roman workbenches.
The transformation of the planned expanded version of “Roman Workbenches” into “Ingenious Mechanicks” started in mid-July. Things, lots of things, started turning up in our research. While putting together a couple blog posts on Latin American workbenches during the Colonial era, this 18th-century workbench from Colombia turned up.
San Jose carpentero, artist unknown, Museo de Arte Religioso, Duitama, Boyaca, Colombia.
One of the mysteries of the Saalburg workbench is the two dovetail-shaped notches found on the long side of the bench. Half a world away, the Colombia bench had a similar notch and was equally perplexing. Was it for riving, securing a piece for tenoning, a place for a jig or other device? A few days later a different notch showed up, this time from Italy.
San Giuseppe nella Botega di Falegname, 1640-1692, Francisco Refini. Fondazione Zeri Photo Archive, Bologna.
A notch on the end of the bench was not so unusual and was normally used for riving or tenoning. This image went into an ‘X-file’ until we had other images or information to help decipher the possible uses of the notch.
Mid-July was blazing hot and humid and as I ran workbench searches (in air-conditioned comfort) a flurry of images were turning up. Anything without a date, artist, title or location went into a ‘Find It’ file. I sent Chris pdfs of benches from Italy, Spain, Germany and other European countries. While trying to verify if one particular painting was Italian or Spanish and its physical location, I just stopped to take a good look at the detail. I was drawn to the toolbox to left of Saint Joseph.
The Dream of Saint Joseph, ca. 1700, Luca Giordano (Neopolitan), completed in Madrid. Indianapolis Museum of Art. Photo by Christopher Schwarz.
Next, because Chris and I have discussed baskets for tools, I took a look at the tool basket…and there it was. Holy Cow! At the end of the bench a wedge was in a notch. I sent this off the Chris. He had it one of the pdfs I sent but now I was sure he had not yet seen this detail.
Was this a wedge in a dovetail- shaped notch? Could it be used as a planing stop? Could the wedge be taken out and the notch used for tenoning or something else?
Chris was on his way out of town but quickly replied. He was stunned. Very soon after he returned from his trip he drove the two hours to Indianapolis to see the painting for himself. In the blog post he wrote about it he said he almost wet his pants. Huh. I am pretty sure, although he was over 500 miles from me, I heard him shriek like a little girl, a 6 foot-3 inch-ish little girl.
One detail, well to one side of a painting, opened the door to further workbench explorations and discoveries.
On the end: notch, wedge in notch.
One of the paintings in my ‘Find It’ file was found on a Spanish site. It turned out to be German, part of a ten-panel work by 16th-century artist Bernhard Strigel of Memmingen and in the collection of the German National Museum in Nürnberg. It has a squared notch on the long side of the bench the painting is dated in the same year as the Löffelholz Codex.
Top: Löffelholz Codex, 1505, Nürnberg. Bottom: Hans Kipferle guild table, 1561, Bolzano. Right: Holy Family, 1505-1506, Bernhard Strigel, Memmingen.
Two other images of workbenches with the straight-side and square notch have long been known to woodworkers: the Löffelholz Codex from Nürnberg and the guild table from Bolzano/Bozen.
Strigel’s painting helps to confirm the presence of the notch on workbenches, at least in this southwestern part of Germany and/or Löffelholz wasn‘t crazy. Additionally, the Hans Kipferle table tells us that a half-century later the side notch was still in use.
Map by Brendan Gaffney.
If we step back to the time of the Roman Limes Germanicus and the Roman road network you can see another dimension to the European workbenches with side notches: where the workbenches are located.
So what happened next? Chris went to the shop to try out the theory of the ‘notches and wedges’ on the Saalburg and Holy Roman (Löffelholz) workbenches.
Saalburg workbench. Dovetail-shaped notch ready to cut.
The side notches with the wedge in place serve as side stops for traverse planing.
Wedges in side notches and Roman iron planning stop in place.
On the Holy Roman workbench notches were cut on the end and one on the side.
The notch cuts in progress and the finished bench.
Several weeks before he finished “Ingenious Mechanicks” Chris invited some woodworker friends to a Benchfest. He challenged them to use and critique the three workbenches, French belly and shaving horse attachment that he built for the book. He took notes and Narayan Nayar took photos. The notches with wedges and the notch as vise (with a small wedge) worked beautifully. It was another example of a seemingly simple workbench feature having multiple uses in the shop.
Since the publication of “Roman Workbenches” and the Saalburg visit a cornucopia of workbench and workholding ideas have surfaced and are packed into the forthcoming “Ingenious Mechanicks.”
If you are still on the fence, undecided or torn about adding “Ingenious Mechanicks” to your library Chris will post a short video later in the week to illustrate some of the features of the workbenches.
Although Saint Joseph was a carpenter it can be a challenge to find him working as such in many paintings of the Holy Family. Prior to his rejuvenation during the Counter-Reformation he was often an ancillary figure, off to the side, as Jesus and Mary were venerated. In paintings of the Nativity is wasn’t uncommon to see Saint Joseph mingling with the livestock or peering over a wattle wall at the newborn Jesus. Sometimes Joseph was making soup.
Finding good workworking scenes was a matter of studying the details of the many paintings and manuscripts that were vetted for inclusion in “Ingenious Mechanicks.” First, I had to find Saint Joseph, then figure out what he was doing.
The painting above is a good example of how it can be difficult to find Saint Joseph. Take away the many decorative elements and look only at the painting. Two of the three Magi are in the foreground and in the center middle ground the third has just dismounted his horse. Where is Joseph?
Adoration of the Kings, 1515, by Barthel Bartholomaeus Bruyn.
Oh, there he is, sqeezed off to the right side, holding a plane while standing at his bench. Without the bench and plane (and no halo) we wouldn’t know it was Saint Joseph.
The next three paintings were put into a timeline that I used to write my chapter (that would be Chapter 4). The time line was used to determine possible patterns of when and where low workbenches were found.
The Merode Altarpiece, 1427-1432, workshop of Robert Campin. Metropolitan Museum of Art.
The Merode Altarpiece is legend among woodworkers. And it is fortunate that the three panels are still together for the viewer to see the entire story. The center panel depicting the Annunciation is the main event, however, Saint Joseph is not usually seen when the angel appears to Mary. Which makes me think if the panel with Saint Joseph was separated from the triptych would we know it was Saint Joseph? Anyway, I’m assuming Joseph lives in a different part of the house and has squeezed into his own mini-workshop. With incredible detail we can see his bench, tools, the two mousetraps already made and a work in progress.
Adoration of the Magi, ca. 1480 by the Master of the Legend of Saint Barbara (active in Brussels 1470-1500). Collection of the Palazzo Colonna, Rome.
This is a good example of how I might first encounter a painting online: someone took a photo of the painting hanging on a museum wall. It turns out this is a center panel of a triptych that has apparently been separated. After lightening this a bit the darkness to the left reveals Saint Joseph.
Detail from an article by Anne L. Williams in The Journal of Historians of Netherlandish Art, Vol. 10.1.
There he is. Not too far from the livestock, sitting on his staked bench, a finished mousetrap on his workbench as he starts work on another project.
Saint Luc Peignant la Vierge, est.1465-1493, by Colijin de Coter. Eglise Notre-Dame, Vieure, France.
Saint Luke is the patron saint of artists and is usually depicted writing portions of the Bible or painting a portrait of Mary and the Baby Jesus. This is a painting I put aside to study later for my own amusement, not expecting to find Saint Joseph. When I did take a closer look at the background it seemed there was a possible Saint Joseph, but the resolution was too low to make out the details. I went to the RKD database and found a photo of the painting.
Saint Joseph looking none too happy has been relegated to the garden while Mary sits for her portrait. A few tools on the ground, a plane and chisel on the workbench and he is working on ghe same project as the other two Josephs (or the same Joseph, but at different times?).
To satisfy my curiosity I had to find out what the three Josephs were making. I found the answer on a French woodworking forum: a chaufferette. If it was cold weather and you didn’t have a sixteen-pound heater cat to curl itself around your feet you needed a chaufferette, otherwise known as a foot warmer.
Chaufferettes: Right: detail from The Milkmaid by Vermeer. Left: detail from Joost Cornelis Droochsloot’s self-portrait.
A wooden chaufferette was a ventilated box lined with metal into which hot coals were put. It might have a hinged top or open side. Chaufferettes could also be made of other materials.
After Saint Joseph’s make over in the Counter-Reformation he became a more important, and often central figure, in paintings. Although he might not be engaged in woodworking in every painting he is always easy to find.
Next time I’ll tell you about two ‘Ah-ha!’ moments that we had during research for “Ingenious Mechanicks.” I believe one instance caused Christopher Schwarz to wet his pants.
Book of Hours, MS M.739 fol. 10r, Germany, possibly Bamberg. 1204-1219. Morgan Library & Museum, New York
While sifting through bushels of old images for the research for “Ingenious Mechanicks,” Chris and I would often come across some odd something or other that made us scratch our heads. To give you a look behind the scenes, I’ll show you examples of how we verified a workholding device was real and not a figment of the artist’s imagination. The first two examples are not in the book and are some investigations I did on the side.
Grasping Limbs In the image above Noah is directing the building of the Ark. A board is held on two stands. I termed them “grasping limbs,” and Chris said it was a weird way to depict sawbenches. Plenty of images from the same time period showed four-legged sawbenches. Was this an anomaly? Could I find more images like this and, more importantly, find a description or photograph with the “limbs” in use?
Bronze bas-relief panel, 12th century, Basilica of San Zeno, Verona, Italy.
In fair Verona an even earlier example of the “grasping limbs” showed up in another scene of Noah’s Ark. But, more proof was needed.
Copyright Guédelon. Photo by F. Folcher.
In northern Burgundy the building of a 13th-century castle using traditional methods is underway. Here we see an actual example of the “grasping limbs.” They do exist.
Metallkrampe “Die Hausbücher der Nürnberger Zwölfbrüderstiftungen” are a rich source for learning about the work of 15th and 16th-century craftspeople. In several paintings there are carpenters using various means to secure wood to sawbenches or other supports.
Hans Mathes, 1500-1585, “Die Hausbücher der Nürnberger” Amb.317b.2º folio 45v (Mendel II). German National Museum.
Brüder Hans prefers to use staked sawbenches for his work and is using sturdy metal kramps, or clamps for workholding. This makes sense for heavy work at a construction site. Were metal clamps such as this still in use several hundred years later and were they used by different crafts? Let’s go to Slovakia.
Trencianske Muzeum v Trencine, Slovakia. Photo by J. Hanusin.
Here we have a spoon carver drilling holes in the bowl of a very large spoon. He is using metal clamps to hold the spoon in place. The photo is dated 1954. With a little more research I’m sure many more examples can be found.
The Way of the Peg Using a combination of early 20th-century photographs, some help from the “Die Hausbücher der Nürnberger” and the Old Testament (plus try-outs in Chris’ workshop), the power of the peg as a workholding devise was revealed. Pegs are covered at length in the book, below is a small portion of the discussion.
“Woodworking in Estonia” provides valuable information on how carpenters worked on the low Roman-style workbench. Pegs at the end of the bench were a common method to use as a planing stop.
Karl Schreyner, 1425, “Die Hausbücher der Nürnberger” Amb.317.2º fol 21r (Mendel I). German National Museum.
The “Schreyner pegs” were a key to using pegs as end and side stops on the workbench.
Bible Historiale, MS M394 fol 57r, Paris, France, ca. 1415. Morgan Library and Museum.
Moses guiding carpenters in the construction of an altar. The carpenter traverses a board with the pegs on two sawbenches serving as side stops. Using your sawbenches as auxiliary work surfaces to your low workbench is also featured in “Ingenious Mechanicks.”
A shot from Chris’ shop with end and side pegs securing a board on the low workbench.
A return trips to Estonia for edge-jointing a board. Adjust the height of the pegs to better hold the board. A peg at the end and pegs on either side hold the board in place.
Historie Biblie Figurate, Manuscripts of the Library of Raphael de Marcatellis, Sint Baafskathedraal, Gent, Belgium.
And we are back to Noah. If there is a gap between the board and the side pegs, a wedge will take care of the problem.
When Chris was looking for the right space to create his workshop he mentioned one of his goals was to have a woodworking laboratory. He wanted a place to exchange and explore ideas on work methods and design. “Ingenious Mechanicks” is one product of that goal. It is also an invitation to other woodworkers to join the conversation.
In the next behind the scenes look I go looking for Saint Joseph; he isn’t always easy to find.
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