Surrounding the workshop of Wyatt Childs Inc., the acreage is stacked with antique stonework, ironwork and enormous millstones and grindstones. It’s literally a garden of earthly delights, and I spent as much time as I could wandering in the yard during the French Oak Roubo Project.
But I missed something, and it took Will Myers to set me straight. After we cut off work on Tuesday night, our clothes shot through with French oak, Will guided me to a huge chunk of rock I’d missed before.
It was the stone architectural ornament shown above. In the center is a skep that is flanked by scales (not sure what is on the scales; they don’t look like coins). Below is written: Industry Labor & Wait.
Bo Childs said the ornament came from an English bank building where it was above the door. The “& Wait” part is what deposit holders are supposed to do when they save their money. I was a bit confused by the American spelling of “labor” on an English bank building, but it’s a big world with a lot of odd spellings.
Will turned to me and said: “You have to have it.”
The piece is massive – it weighs 2,600 pounds. My head spun when thinking about how to move that into the storefront’s biergarten 500 miles away. Apparently I was so dizzy that I asked Bo how much he wanted for his pretty rock.
Bo said: “You have to have it.” And he quoted me a price that I couldn’t say no to.
Getting the rock to my door in Covington is easy via LTL and a liftgate. But the last 20 feet are going to be a creative and careful endeavor. I don’t want my obituary to say I was crushed by a symbol of capitalism.
What follows is a broad overview of historic styles, by Henry R. Birks, who was an instructor in cabinet work t Regent Street Polytechnic in London. He earned City and Guilds first-class honors in cabinet work. This article is from Vol. IV (which covers Furniture and the Workshop) of our compilation of “The Woodworker: The Charles H. Hayward Years.” It was first printed in The Woodworker in 1938.
Modern furniture fashions and current production methods have obscured from the young cabinet-maker much, if not all, of the wide traditional background of his craft.
At various periods during the history of this country, circumstances, and the skill of the craftsman, have combined to produce furniture and interior woodwork of distinctive styles, surviving examples of which are to be seen in museums and elsewhere. The artistic merit of much of this old work appeals to the taste of many people, who appreciate the use of its features in furniture and interiors, even in these days of novel design and ample choice.
Reference to the City and Guilds syllabus for cabinet-making shows that the student is required to have a good knowledge of these period styles and their characteristics, as well as an acquaintance with the related influential French designs.
It should be remembered that the City and Guilds examination questions are variously framed. For example, the characteristics of a period may be outlined and the sudent asked to supply the approximate dates thereof—or perhaps the name of the reigning monarch. Another type of question requires a description of the style or styles in vogue at a given date. The subject should, therefore, be studied from all possible angles, particular attention being given to the following:
Period dates: Period Characteristics.
Timbers and materials used: Reigning Monarchs.
Prominent personalities (Architects, Craftsmen, and Designers): Related French Styles.
The following list gives the approximate dates of the various periods. By memorising these the student will have at his disposal a convenient and logical framework for his enquiries.
ENGLISH PERIODS 1500-1603 Tudor. 1603-1649 Jacobean. 1649-1660 Cromwellian. 1702-1714 Queen Anne. 1714-1727 Early Georgian. 1660-1685 Charles II. 1689-1702 William and Mary 1745-1780 Chippendale. 1760-1792 Adam. 1760-1790 Hepplewhite. 1790-1810 Sheraton.
FRENCH STYLES 1589-1610 Henry IV. 1610-1643 Louis XIII. 1643-1715 Louis XIV. 1715-1774 Louis XV. 1774-1793 Louis XVI. 1799-1814 Empire.
It should perhaps be explained that the importance of the French styles lies in their influence upon the English craftsmen and designers, many of whom were obviously thus inspired.
GOTHIC Prior to the fifteenth century furniture, such as there was, seems to have been very primitive. It had little of independent style, but borrowed its characteristics from the ecclesiastical architecture of the time. Surviving examples are recognisable by these Gothic features.
It is in the work that was produced at the end of that century that evidences of changing style are noticeable: nevertheless, it is difficult to differentiate decisively between furniture of the later Gothic, and the work of early Tudor dates. English oak provided the timber for this early woodwork.
TUDOR The Tudor period was largely an expression of the Renaissance spirit. Beginning in Italy this “new birth” of the Arts spread across the European continent and finally became an inspiration for our own craftsmen. With the reign of Henry VIII partly advanced there was a noticeable development of style. Gothic characteristics persisted, but were enlivened with what was essentially Tudor treatment. Oak was still the exclusive material and embellishment took the form of freely used chip carving, and a limited use of rather primitive inlay.
The furniture itself consisted mainly of chests, coffers, stools, trestle tables, etc., all of which, in the early stages of the period, were simply and rudely made. With the advance of the times there was improved craftsmanship and elaboration of design. The carpenter was now able to produce such articles as the court cupboard and draw-leaf table—both of which were in evidence during the Elizabethan age. Heavy turned legs—of bulbous shape—with strongly carved designs, are a feature of this later period, and it was at this time that the huge four-poster bed became a prominent item of furniture in the wealthier houses. Haddon Hall and Hampton Court may be instanced as providing examples of Tudor craftsmanship.
JACOBEAN Jacobean furniture—product of the years which were spanned by the reigns of James I, Charles I, and the Cromwellian Commonwealth—is differentiated from the Tudor by its minor details rather than by any fundamental changes. In fact, individual pieces are very similar to those of Elizabethan design. Oak continued to be the wood from which the bulk of the work of this period was fashioned. Ornament, in addition to already familiar curved forms, consisted of split turnings, diamond shaped tablets, and simple frets. Mouldings were applied to outline geometric shapes on panels and elsewhere. This feature was commonly used in the embellishment of drawer fronts—drawers having now become a recognised addition to furniture construction. Thus the simple chest of earlier times became a chest of drawers. Turnings for legs, balusters and similar purposes were used liberally, but were of slighter design and more varied in detail than Tudor turnings.
RESTORATION The influence of Jacobean and Cromwellian design persisted through the reign of Charles II, as did also the use of oak. There were, however, certain changes. One of these was the appearance of the gate-leg table; a lighter alternative to the heavy tables of Tudor inspiration. Chairs became less severe in form, and often were carved and pierced. They had taller backs than the chairs of earlier date, to which caning was sometimes applied.
Another feature of the period was a free use of spiral or twist turnings. They were used for chair legs.
It was during the Restoration times that the use of walnut, as an alternative to the hitherto exclusively used oak, took place; and its employment became so general in the William and Mary era that this period is known as the “Age of Walnut.”
WILLIAM AND MARY Furniture styles now underwent considerable change. Dutch influence is a marked feature of the period. Such items of design as the smooth surfaced cabriole leg, carved cabriole knee, club foot, ball and claw foot, etc., characterise the period. Twisted legs and scrolled Flemish legs were used, and marquetery was introduced and applied to the decoration of table tops, doors and drawer fronts. Dutch inspiration was apparent in the Dutch chair; while the typical chair of the age was high backed and elaborately carved, or in some cases inlaid with designs of vases of flowers and birds, etc.
It was during this period that the renovation and alteration of Hampton Court Palace was undertaken. Sir Christopher Wren and Grinling Gibbons were intimately associated with this work, the latter being responsible for some of the fine carving which survives.
QUEEN ANNE The William and Mary tradition was carried forward into the reign of Queen Anne. Walnut displaced oak more or less completely. Marquetry at this period was freely and effectively used. Cabriole legs became a general feature and found a place in the designs of all kinds of furniture—the shell pattern carved upon the knee is typical, but later work displays more elaborate treatment. Chairs gained considerably in shapeliness and comfort, the latter being due to the development of upholstery as an established furniture craft.
Easy chairs, sofas, stools, and the Windsor chair are to be found among examples of the period.
EARLY GEORGIAN The early Georgian period is notable to the student of furniture first because it was the beginning of the mahogany tradition (about 1730), and secondly because of the fine carving, with which the craftsmen of the time richly embellished both furniture and interior woodwork. The new wood was used not only for furniture but for the various interior needs also.
CHIPPENDALE Carved treatments of furniture and the use of mahogany continued with Chippendale, who, besides being a master of the carver’s art was also a skilful designer and draughtsman. The furniture which he produced was intended to have a wide appeal; it varied from pieces of comparative simplicity to the elaborately carved designs which are most often regarded as being representative of his style. His ideas were freely copied and adapted by his contemporaries in the furniture trade, and, no doubt, his book The Director was to some extent intended to serve this end.
Among Chippendale features were the ribbon designs for chair backs; the cabriole, ball and claw foot, the use of frets and fretted overlays and various carved mouldings. Chinese Chippendale furniture is of distinctive design and readily recognised. In much of the more elaborate work French influence is apparent.
ADAM Robert Adam, creator of the interior and furniture style that bears his name, was an architect who, through the medium of travel, had acquired a rich classical background for the inspiration of his work. A strong leaning towards unity in design and treatment caused him to undertake the planning of interiors and furniture for his buildings, thus the Adam style demonstrates a pronounced departure from Georgian tradition. An innovation which is attributed to Adam is the use of composition ornament, applied as a substitute for carving in the solid wood. He also designed furniture and interiors in which a painted finish and decoration was used. Among his artistic collaborators were Angelica Kauffman, Pergolisi, and Antonio Zucchi.
Typical ornamental details of the Adam style were festoons, swags, vases, drapery, and rams’ heads, etc., all of which were used with distinctive delicacy of treatment. Other features were cupids, caryatides, wreaths, and honeysuckle designs. Marquetry also was used.
HEPPLEWHITE Furniture of the Hepplewhite style is notable for its restrained ornamentation. By comparison with the typical Chippendale product Hepplewhite designs are inclined to severity, but lightness and elegance were obviously intended and ornament was subordinated to this end. Chair work of the period displays considerable merit, the clever use of novel designs in the backs—including the shield shape and the oval shape—being found in association with unusually satisfying lines in the individual chair as a whole. Practically every type of furniture was made in this style. Various bandings were inlaid into the Mahogany. Carving was used sparingly.
There were numerous small pieces intended for the use of the ladies of the day in parlour and boudoir. French influence is apparent, and is attributable to designs of Louis XV and XVI origin.
SHERATON Last of the eighteenth century designers — a contemporary of Hepplewhite — was Sheraton. There is much of similarity between the work of these two men. It is in chair work that Sheraton is perhaps most distinctive, his designs being characterised by a lowering of the height of the backs and a novelty of detail. The bulk of Sheraton style furniture was made of mahogany and inlays of satinwood, amboyna, box, and stained woods were used for decoration.
For this latter, such designs as festoons, fans, scrolls, and flowers were used, but such was the variety of this embellishment that it is difficult to particularise. Typical pieces are to be found in such categories as bureau bookcases, writing tables, sideboards, and china and other cabinets.
Both Sheraton and Hepplewhite, as well as Robert Adam, abandoned the use of the cabriole leg in favour of various tapered, turned, square, and shaped legs, usually of light design.
For the fashioning of raw timbers, we understand the manner of splitting [hewing or sawing] and squaring them, which is done in different ways, according to the nature, the quality and the thickness of the wood. They are sawn by the mills, or even by hand, by workers called long sawyers or simply sawyers. I will not speak here of the harvesting of the woods in the forests. I will be content to say only that they are sawn and cut in sizes and lengths relative to our different needs, and that wood thus prepared is called wood samples.
They are found abundantly in all types and all qualities possible in the inventories of the wood Merchants, which they ordinarily cut for themselves and for their clients, and are transported to their storage lots or shops in Paris. [Suppose you go to a lumberyard and in the lumber section you will find 2×4, 2×8, 2×6 etc. This is what is called bois díechantillons. In this case it is oak, pine, walnut etc. of various types but standard dimensions.]
Cut or squared-up woods take different names according to their sizes, and according to the place which they occupy in the body of the tree: We call them dosses [slabs], countre dosses, swinging doors, framework, chevrons and finally planks and battens. Slabs are the first cuts removed from a log in order to square it up, after having removed the bark, like those on sides g–g, Fig. 5 and 6.
When the diameter of the tree is considerable, and you fear that the first cut slab will become too thick, you make a double-cut, which is called a contre-dosse; that is to say, that it is between the first cut dosse [slab] and cut line and the heartwood [wood between the pith and the sapwood] like those on sides h–h, Fig. 6. When the wood is beautiful, the contre-dosse are very soft, being very close to the edges of the tree [closer to the sapwood layer]. They do not have any sapwood except at their extremities, instead of the first cuts, dosse, that have sapwood all over their convex areas. The thickness of the contre-dosse is not precise. It varies from 2 to 4 thumbs. After a log is thus squared, you saw it into thin panels or lumber planks, according to its hardness or softness. You can then judge whether it is appropriate for one or the other. [That is,] [u]nless one cuts planks from the entire width of the tree, especially with soft wood, which I will speak of later.
The double doors of main entrances are ordinarily 12, 15 or even 18 feet long, by 1 foot or 15 thumbs wide, for the longest, and by 4–5 thumbs thick. They are almost always of a hard-quality wood. They should have neither knots nor splits. This may be found in the woods of Vosge, but they are very expensive and very rare.
Lumber for framing is of a length from 6, 9, 12 and 15 feet. They are 6 thumbs wide by 3 thumbs thick. Rafters have the same length as framing, and sometimes more, by 3 to 4 thumbs squared, that is to say, they have as much thickness as their width.
Planks have 6, 9, 12, 15 and even 18 feet of length, by 1 thumb 15 lines, 1–thumb-and-a-half, one thumb-9 lines, and 2 thumbs thickness.
There are also planks of 7 feet length, but they are rarer than the others, and are difficult to find in all thicknesses. With regards to the width of planks of French wood, they vary from 9 thumbs up to 1 foot. However, those of 1–and-one-half thumbs to 2 thumbs are ordinarily a foot wide, and those below this thickness from 9 up to 10 or 11 thumbs at the most.
There is still another type of thin French oak wood, named Entrevoux, which only has but 9–10 lines of thickness, by 6, 7 or 9 feet in length, which is appropriate for making panels, provided that it is soft and beautiful.
For the wood from Vosge, there are all kinds of lengths and thickness of which I spoke above, except that there are none of 6–7 feet, or even less. There are also those of 3 thumbs thickness by 12 feet in length. With regards to its width, that is not fixed, because in all the different lengths and thicknesses of this wood, there are from 6–7 thumbs of width up to 18, 20 and even 26 to 30 thumbs [width]. That is why Merchants do not sell this wood by measurement [of the individual boards], as with the others, but by each row of the lumber stack, which is 4 feet in width.
To facilitate the understanding of widths and thickness of woods for joinery relative to their different lengths, I have attached a table [on the next page] where all the wood types are distinguished according to their length, width and thicknesses.
The wood from Holland is not included in the number of those I have mentioned here because it is only a thin wood, which is sold by the handful or even by the cord. These lengths are of 6, 7, 9 or 12 feet by a thickness of 6 or 9 lines.
The thickest of these woods is called three quarters, because it should have 9 lines thickness, although often it only has 7 or 8 at the most. (The thinner ones are called feuillet [leaf] and are only 4 to 5 lines thick, while it should be 6 lines thick.)
It is to be noted that French wood is always thicker than the wood from Vosge with each sample; that is to say, that the first always has 2–3 lines more than its thickness, such that the wood of 1 thumb sometimes has 14–15 lines [thickness]. On the contrary, the latter [wood] always has 1 line less than it should have, which is a shortcoming. Also it has the advantage of being straighter than the other, and has less waste.
For the battens made of oak, wood Merchants sell them only rarely. Joiners use wood from Holland for thin panels, and they even saw [resaw] them at their shops while on edge, to the thickness and of the quality that they judge to be appropriate.
Pine is not subject to the rules of thickness of which I just spoke, at least that type used in the woodworking of buildings.
That from Auvergne ordinarily is 12 feet in length by 14–15 lines in thickness. Its width varies from 10 to 14–15 thumbs.
That from Lorraine has only 11 feet in length at the most. Its thickness is the same as that from Auvergne, but the most ordinary thickness is from 10–12 lines. Its width varies thus, from that of the latter.
There are also the little leaves of pine from Lorraine, of the same length as the planks, which have from 6 up to 8 lines thickness.
Walnut and elm are not found cut into planks like the other woods. Whenever Joiners have enough money, they buy whole logs which they cut themselves, namely the elm, into slabs of 5 thumbs’ thickness, and the walnut into slabs of 3 thumbs [thickness]. They still saw black walnut to make the panels for tables of 4 lines thickness, which have a width of the whole log, which is sometimes 2–2.5 feet in width.
Beech is found cut into planks of 15–18 lines, and even 2 thumbs thickness by 7, 9 and 12 feet in length. They also sell slabs of this wood for making woodworking benches, tables for the kitchen, and butcher tables, tables that have a length from 7–12, and even 15 feet, by 18–30 thumbs in width, and 5–6 thumbs’ thickness.
Although the wood which one chooses has by itself all the required qualities, it is still necessary to watch out for its preservation. Because wood for joinery should not be used except very dry, it is of the final consequence to Joiners to always be well provisioned with wood of all types, which they keep and dry in their yard before using them.
They should also take care that their yard not be placed too low, nor planted with grass, because the falling and gathering of leaves will prevent the run off of water, which could ruin the wood pile coverings and also the base of a woodpile.
The terrain occupied by the woodpiles should be higher than the rest of the yard, so that water does not collect there. It must be well set up and leveled, after which you put on top some pieces of wood side A, which we call chantier [beam/timber spacers] which has a length the same as the width of the pile – ordinarily 4 feet, although sometimes they make them wider. You make them the greatest thickness possible, so that they make the pile taller with the most possible space between the boards.
You put the spacers distant from each other about 3 feet. Their topsides should be squared and straight, after which you pile the wood on top, after having taken the precaution of putting the worst planks on the lowest level to save the better woods from ground moisture. You make the piles in two ways, according to whether the wood is being dried or is already dry. In the first case, you pile them up to see through, which is done in the following two ways:
The first is to place the planks side by side with a space [between them] about equal to two-thirds of their width, and to separate each row of planks by laths [stickers] f–f, which separates them, prevents them from touching and maintains them in a solid position on top of each other, such that one can stack up the piles up to 20–25 feet in height. (Fig. 1).
The second way to make see-through piles is to make them squarely; that is to say, to give them as much width as the planks are long. You first put a row of planks spaced equally, as in the first way, always such that the width of the row of planks and the additional space between them is equal to their length.
After this, you put on top some planks in another row, in the same order and at a right angle, which means that you have no need for stickers/spacers, and that the planks have more air between them. However, you should not leave them thus piled for a long time, for fear that the wood will rot where the pieces sit on top of each other. (Fig. 2.)
Rafters of 6–9 feet are piled in this fashion, without however being see-through.
The way to pile seasoned wood does not differ from the first of these two ways, except that the planks touch each other side by side, instead of being see-through. You separate each row with some spacers which you put at an equal distance to that of the chantiers which are three feet apart, so that the planks are always straight and do not warp. However, this last term signifies more of a hollowed-out plank along its width [cupping] than a warping [bowing].
The top of the pile is covered with planks positioned to overlap one on top of the other; one of the ends of which is positioned on another plank (side a, Fig. 4) which is called l’egout de la couverture [not quite like a gutter but more like a rain diverter] and which lies flat upon the pile. One should note, however, that it overhangs the front of the pile by 3 or 4 thumbs, and that it slopes a bit to the outside, in order to facilitate the runoff of any water. You raise it up a bit at the back to create this effect. The other end of the planks of the cover hold a piece of wood b, which is named chevet [or riser], which is positioned on edge on two pieces of wood c, in which a notch is placed, and which is stopped with wedges d, in order that it not turn. The chevet should be a foot and a half tall at least, so that the water accumulates less on the piles.
The middle of the covering should be supported by a piece of wood e, which is placed above the pile, and the two planks along the sides rs, rs should be wider by 3 or 4 thumbs than the two sides of the pile, so that the water does not fall back along its length.
When you wish to make the piles more than 4 feet thickness, you should take care to put the spacers in concert (that is, you place them such that the total length of two spacers is more than 4 feet, which is the length of the laths), overlapping such that it maintains the solidity of the pile. You will need to take care to keep everything straight and vertical in all directions, so as to avoid accidents that its fall might cause.
For thin wood, like the wood from Holland, the battens of oak and of pine, the custom is not to pile them in the open air in the middle of the yard, but to pile them under sheds and above the shop where the workers work, the reason being, they say, that they are preserved better. I believe, in spite of this practice, that they would be better in the yard, where they will receive the air from all sides, and where they will not be exposed to insects [powder-post beetles etc.].
As to their preservation, I believe they run no danger being out in the air. The piles of wood from Holland, which reside for a long time in the wood lots of the Port of Hopital and of Rapee without any damage, are surely guarantees of the truth of what I advance here.
What I am saying here is only general. I know perfectly well that all woodworkers cannot have
great wood yards nor large provisions of wood. But still, for reasons of economy, they should always do their best to be well prepared with samples, and to watch over their preservation as best as they can, so as not to be obliged to have to buy some from the Merchants. The wood that they sell is almost never dry, and the woodworker will pay dearly for what the wood Merchants have.
The more wood is hard, the more time it takes to dry. That is why one should not reasonably use wood that has not been cut at least 8 years in order to be able to do good work. It is not necessary, however, that it be too dry, especially for pieces of joinery, where the wood has no more sap and where the humidity is totally expunged: this cannot be appropriate. [Once the sap no longer is flowing from the lumber and the moisture has departed there is no need to season the lumber any further.]
As a general classification some six general types of doors have been evolved over the years, though the variations on each are almost unlimited. Only a few can be illustrated here, but the reader should find the range useful when he comes to design or make up a piece of furniture.
The purpose of a door is clear and obvious enough, yet the variety of ways in which it has been made over the years is amazing. Consider, for instance, how far removed the delicate-traceried door in Fig. 2 is from the single slab oak door in Fig. 1, virile and spirited though the latter is. Of course, the two belong not only to different ages, but also to different techniques of construction. Obviously, too, the usage the two would have to face would be entirely different, the Gothic specimen standing up to everyday use, whereas the eighteenth-century door belongs to a cabinet intended for a drawing room, used only by genteel people.
At the outset it is interesting to consider the reasons for changes in construction, apart from the variations in form largely dictated by fashion. A single slab of wood is the simplest form but carries with it certain disadvantages, perhaps the chief of which is its liability to shrink. It might also cast, though both of these potential faults would be minimised by the use of quarter-cut timber. Possibly a more serious drawback is the limitation imposed by the widths in which timber is available. A wide door would have necessitated jointing and possibly using cross-battens at the back. A last undesirable feature is the single grain direction. Oak is a tough wood, but it does cleave easily, and such a door could easily break.
It was no doubt a combination of these drawbacks that brought about the framed system of construction. The frame itself provided strength across width as well as height, the panel being more or less a filling. Being free to move in its grooves, there was no liability to split in the event of shrinkage, and the over-all width of the door could be increased—in fact it only needed centre muntins for the width to be increased ad lib.
The introduction of veneering made it desirable to have flush surfaces, and so the clamped and flush panelled door was used, not always with success owing to its liability to split due to resistance to shrinkage. Finally today we have veneered flush doors of multi-ply, lamin-board, or chipboard, in which many faults have been eliminated (though even here there are certain snags).
Perhaps the most important books we’ll make at Lost Art Press are children’s books.
If I had to point to a moment in my young life when I decided to make things, it’s when I became obsessed with the books of David Macaulay, especially “Cathedral.” I checked that book out from the Fort Smith Public Library at least a dozen times.
With that in mind, we have decided to invest significant time and resources into children’s books. And our first book* from this initiative is “Cadi & the Cursed Oak” by Kara Gebhart Uhl and illustrated by Elin Manon.
And I’m pleased to announce that we are now selling and shipping this book. It is $19 and features all the core principles of other Lost Art Press books: a beautiful book, printed on outstanding paper and clothbound with a sewn binding.
“Cadi” is the first of many new children’s books in the works here at Lost Art Press. This effort is being headed up by Kara, an expert in the field of children’s literature. So it seemed appropriate to have one of her books kick this off.
“Cadi & the Cursed Oak” is the tale of a girl who finds a wooden cup that was made from the wood of the famous and haunted Nannau Oak in Wales. Objects made from the oak are said to be cursed (the story of the oak is true).
When Cadi drinks from the cup, she begins to see strange things. And with the help of her grandmother, Cadi learns how the cursed cup is tied forever to a skeleton stashed in the old Nannau oak. But how will she stop the terrifying visions?
And, because this is a Lost Art Press book, you know there will be woodworking parts. Cadi’s father is a Welsh chairmaker, and some of the scenes happen while the two are hunting for arm bows in the forest.
The illustrations by Welsh artist Elin Manon completely suit the story, with every page richly drawn with delightful and spooky details.
We hope you’ll consider purchasing a copy for the children or grandchildren in your life. You never know what acorns you might be planting with the gift of a book.
— Christopher Schwarz
* “Grandpa’s Workshop,” now out of print, was a translated title from a French publisher. “Cadi” is our first “from scratch” children’s book.