We supply a metal wedge with every Crucible Lump Hammer in case the head ever comes loose because of heavy use or extremely dry conditions.
I’ve rewedged dozens of hammers, sledges and axes since my days on our Arkansas farm. But some of our customers have some trepidation about the process. This morning I noticed the head of my personal hammer was loose after four years of use. So I asked Megan to record the process.
Clamp the handle in handscrews and place the hammer over a leg of your workbench. Position the wedge perpendicular to the hammer’s existing wooden wedge. Drive the metal wedge in with a sledge or heavy hammer. It will take heavy blows. The hickory might crack a bit. That’s OK.
Sink the wedge as much as you can. If you want to preserve the patina of your hammer, stop here. If you want to tidy things up, file the wedge flush to the wood. To get the surface finish back to the same sheen as the factory, sand the head with #220-grit paper. Then finish the head with a grey 3M woven pad and some wax.
After you see how easy it is, you’ll want to wedge all your other tools. And the neighborhood bully.
— Christopher Schwarz
P.S. If you need steel wedges, go to any half-decent family hardware store. Wedges usually cost 30 cents.
At least once a month someone asks about lid stays for the Anarchist’s tool chest; now I’ll be able to refer them to this post.
Both Christopher Schwarz and I (now) use chains to hold out chests open, but they attach differently. Both methods work. As will multiple other methods, but these are ours.
But let’s back up two ticks. In “The Anarchist’s Tool Chest,” Chris directs readers to leave the back corners of the dust seal a little overlong and cut an angle on them. That will work if you’re gentle with your chest, and don’t use it all the time. If you are not gentle, and do use it all the time, that corner will start to break off – then you’ll need to come up with another method of holding your chest open.
The back corner of the original lid stay (after years of use), as shown in the book.
After the back corner of his dust seal started to show its years, Chris added a rigid aluminum lid stay, held in place by knurled knobs. The problem – if you can call it a problem – is that to use it, you had to unscrew the knob, put the stay in place, then screw the knob back in. And reverse that to close the lid at the end of the day.
Chris’ aluminum lid stay.
When I built the ATC I use at the Lost Art Press shop, I decided to add a nickel-plated chain to the outside, because I like shiny silvery things. So I bought a length of chain from McMaster-Carr along with some 3/8″ threaded rod, and found female-threaded finials on a lamp-repair-supply website. I cut two pieces of threaded rod to length, then epoxied them in place in the side of the dust seal and upper skirt. The chain fits over the rod; the finials screw onto the rod. (I’ve used this same approach on a couple of chests built on commission…but I added a threaded insert into the side of the lid and top skirt for extra insurance. Overkill, but I’d rather err on the side of solid when I’m sending out my work.)
It doesn’t look pretty when the finial is off – but it works.
That’s better!
Chris used a different approach, in part, I think, because he already had threaded inserts and knurled knobs from the aluminum lid stay.
A knurled knob and its insert.
He simply screwed both knobs in tight, then bought a dog collar.
The advantage here is that the chain can be removed in a jiffy when Fido needs to go for a walk.
In truth, though, both of us store our chests against a wall – so more often than not, it’s a wall, not a chain, that holds our chests open.
I wrote a little bit about this new book in December, but it deserves a lot more ink as it has been a near-constant companion since I received it.
“Irish Country Furniture and Furnishings 1700-2000” (Cork University Press) by Claudia Kinmonth is a complete update to her 1993 book with a similar title. That 1993 book became difficult to find at a sensible price, and so this new version is most welcome.
If you have any interest in traditional crafts, furniture or utensils, you will love this book. It is filled with hundreds of full-color photos of beds, spoons, stools, chairs, settles and dressers. But it is not merely a picture book. Kinmonth’s sharp text puts the pieces in context using historical records, poems, historical illustrations, paintings and vintage photos of Irish interiors.
So much of this wonderful historical stuff has disappeared in Ireland. Old pieces were discarded for modern steel and linoleum. Many of the traditional cottages have disappeared. And the people who made them left Ireland in waves (many of them settling here in the United States). This Irish history is an important part of America’s history, as so many of us have Irish blood.
Last year, Lucy and I toured Ireland for a week and spent most of our time exploring museums and places that specialized in the decorative arts. So there are some familiar pieces in this book. But Kinmonth has uncovered many new finds. Things you’ll never see on the Internet.
That trip filled my sketchbook with drawings of vernacular pieces, everything from settles that convert to a bed to Sugan chairs to mealbins. This book supplied even more gorgeous examples for inspiration.
Highly recommended.
Also important to note: as a physical object the book is nice. The interior is printed on a quality, bright, coated paper. The signatures are sewn for durability. And the cloth-covered boards are wrapped with a dust jacket. It is absolutely worth the retail price.
Centre hinges are generally used to hang heavy doors and in positions where ordinary butts would be impracticable. In some cases they have the advantage of being entirely invisible. There are, however, one or two complications in their use with which the inexperienced reader should make himself familiar, otherwise the results may be surprising.
DIFFERING from ordinary butts, these hinges are fixed at top and bottom of the door as in Fig. 1. There are two main kinds, the straight pattern (A), and the cranked type (B). In both the top plate is free to be lifted from the bottom one.
A washer is fitted between them to prevent them from scraping. A third kind (C) is used only rarely for antique work. The two parts are not free to be separated.
Fig. 2. door between ends. Note how end is hollowed out to accommodate door. Fig. 3. method of setting out. Fig. 4. stages in fitting the hinge plate.
It should be realised at the outset that as a general rule centre hinges can be used only when there is a loose cornice, otherwise it would be impossible to fit the door into the carcase.
There are exceptions as will be seen later, but the reader is advised to draw a section of the door in full size, plot out the hinge centre, and try the effect of pivoting by tracing the door, sticking a pin through the centre, and seeing that it works.
Door Between Ends (Fig. 2) shows the best method of hingeing when the door is between the ends. The hinges are invisible and the edge is dust-proof. The cornice (or plinth) must be loose, however. Fig. 3 shows the setting out. Draw in the door and end, and mark a line at 45 degrees from the corner. Put in another line parallel with the door a third of its thickness in from the front. The centre is slightly in from the intersection, this to allow a clearance when the door is opened. Mark the curve by putting the point on the centre and using a radius equal to the distance from the centre to the back of the door. The practical method of fitting is given in Fig. 4. Before the edge of the door is rounded
gauge in the centre (A) and bore a hole the diameter of which equals that of the hinge pin. Drop in the hinge upside down, and mark round. The exact slope of the plate does not matter; it is only the centre which counts. Chop out the recess and screw in the hinge (C). A similar method is followed on the carcase. Another plan is to make a template of the hinge plate in tin plate, making a small hole at the centre of the pin, and using this to mark out. The hollow in the end is partly ploughed out and finished off with the scratch tool.
Fig. 5. Cranked hinge. Fig. 6. Projecting pilaster. Fig. 7. Door in front of end. Fig. 8. Simple way of fitting. Fig. 9. Queen Anne Hinge.
Cranked Hinges. In Fig. 5 the cranked hinge is used. Its advantage is that there is no need to hollow out the ends because the pin is immediately in line with the corner. On the other hand the hinges are partly visible. The application of the same hinge is given in Fig. 6 in which there is a projecting pilaster or moulding. The centre is in line with the front edge of the door and is a trifle farther in than the corner of the pilaster. A loose cornice is needed in both these cases.
The door is in front of the ends in Fig. 7, and as centred no hollowing-out is necessary in the carcase end. It is not essential that cornice is loose. The fittings are cut in and the parts screwed in before the door is in position. The plate at the top of the door is next unscrewed and its pin put in its hole in the plate fixed to the carcase. Then, by dropping the bottom pin into its hole, it is possible to slide in the top of the door so that the hinge plate goes into its slot. The screw holes are naturally revealed when the door is open, enabling the screws to be put in.
Simple Method. Fig. 8 shows how the hinges can be invisible when the carcase end is not hollowed out (the door is between the ends). It means that the door must be slightly rounded, and the appearance is naturally not so good as that in Fig. 2. It is, however, simple. If the cornice and plinth are fixed the recess for the plate at the top must be continued through to the end as shown by the dotted lines. This enables the door to be passed into position in the way described for Fig. 7.
The special hinge in which the parts cannot be separated (C, Fig. 1) is shown in Fig. 9. Queen Anne furniture usually had centre hinges of this kind. The centre stands clear of the door. A loose cornice is not necessary because the hinge can be slid in afterwards. It is always as well to obtain the hinges before setting out the opening of the door. It saves mistakes.
“The Woodworker’s Pocket Book” was supposed to leave the printer’s dock today. But because of the snow and ice that paralyzed much of the middle of the United States, the book has been delayed.
Our Tennessee printing plant was shut down for three days and is still trying to get back on its feet. As a result, plant officials estimate the book will ship to our warehouse next Monday. (Barring, of course, a meteor or a space squid invasion.)
We apologize for the delay and will let you know when the book will ship as soon as it arrives at our warehouse.
