“Helped by the increasing use of machinery, which made short work of complicated curves and serpentines, (Edward Barnsley’s) work became the last word in cabinetmaking skills, surpassing that of any previous century, and it found a ready appreciation amongst a growing clientele and an interested public.
“Only time will tell if this switch in emphasis in mid-stream was a step forwards or backwards.”
— Alan Peters, “Cabinetmaking: The Professional Approach, 2nd Edition” (Linden, 2009)
Imagine it is late spring in 1898 and you are a 29-year-old Moravian-born priest traveling with a tribe of bedouins to a desolate spot to look at some wall paintings in an abandoned building. You walk in and see colorful frescoes covering the walls and ceilings. In astonishment you see a whirl of dancing girls, hunting scenes, musicians and more. After 40 minutes you have to rush out and dash off because an enemy tribe is approaching. When you return to Vienna to present your findings no one believes you. The few photos you took are lost. The painted scenes you saw don’t fit with their timelines or their ideas, you have no proof, you must be a liar.
The traveler was Alois Musil, known as Musa Rweili to his bedouin friends. He returned the following year and several years after that to document the bath house, the sole remaining structure of the desert citadel known as Qusayr’Amra. Built in 723-743 and located in present-day Jordan, Qusayr’Amra was one of 18 desert citadels built during the Umayyad period. The bath house is built in the Roman style (this region was previously in the Roman Empire) with a hydraulic water supply, a triple-vaulted caldarium and unique floor-to-ceiling frescoes.
And what frescoes! To put it mildly there are girls, girls and partially clothed girls. And in between there are hunting scenes, flora, cavorting fauna and on one vaulted ceiling 32 panels of carpenters, masons and blacksmiths.
Other surviving citadels had hunting scenes, but no girls, and certainly no display of working craftsmen. But if you think about it, why not? While your guests soak in the warm waters of the caldarium surrounded by these fantastic paintings you are impressing them with your power and wealth. Including the panels of craftsmen may seem an anomaly but is another indication of material wealth and resources. The citadel and bath works were built and decorated with the skills of a small army of carpenters, masons, blacksmiths and artists. Thanks to this 8th-century showmanship, and the persistence of Alois Musil, we have more pieces to add to the woodworking record.
The panels with the sawyers and the worker on the bench are the only woodworking panels still intact enough to discern details (likely due to their locations away from water leaks). Both panels have had some restoration work. The Roman workbench detail from Pompeii (dated about 660 years earlier) is included for comparison. The craftsmen panels don’t show any innovations in tools or techniques, rather a continuation of Roman-era traditions.
The frescoes have sustained damage from almost 1,300 years of exposure to weather, water leaks, camp fires, vandalism and unfortunate efforts at conservation. Musil, accompanied by artist Alphons Leopold Mielich, attempted to treat some the wall frescoes with chemicals causing pigments to fragment and fall off. While attempting to remove sections for transport to Vienna, other portions of frescoes were destroyed. The few sections that did make it to Europe are in museums in Vienna and Berlin. Qusayr’Amra was designated a UNESCO site in 1985 and current conservation efforts are under the direction of the World Monuments Fund.
In 1909 drawings made by Mielich were published in a two-volume folio and included reconstructions of the larger frescoes. The New York Public Library has one volume of the folio and a digital copy is available on line under the title Kusejr’Amra. I was able to match a few of the 1909-era drawings with more recent photographs.
— Suzanne Ellison
The Woodworkers Institute has just published a short and sweet review of “Campaign Furniture.” You can read the full review here. We’re now shipping the second printing of this book, which has a few corrections here and there.
I really would love to write a follow-up book; my research into the style didn’t stop when the book came out in winter 2014. First I have to finish my current book project (the end is in sight) and edit about six books from other authors before I can even consider hitting the campaign trail again.
— Christopher Schwarz
You can now place your order for our DVD documentary on the H.O. Studley tool cabinet and workbench, which is entitled “Virtuoso.”
The DVD will ship in late September. Domestic customers who order before Sept. 25, 2015, will receive free shipping on the DVD, which is $20. Visit our store here for details.
When the DVD begins shipping, we then will offer the documentary as a streaming video for $18 that you will be able to watch from any computer or mobile device. Because of a contractual obligation, we cannot sell the streaming video until the DVD is released.
Also, we will not be bundling the DVD, streaming video or book into any bundles with discounts. The price you see now is price everything will still be in a month or year. We do this for two reasons: So that we don’t punish loyal customers who buy books and DVDs as soon as they are released. And so we treat everyone the same, one of our guiding ethics.
The footage for the DVD was shot during the four-year study of Studley’s iconic tool cabinet for the book ‘Virtuoso: The Tool Cabinet & Workbench of H.O. Studley,’ and interviewed the book’s author and photographer. Here is a short trailer.
The result is a 1 hour 13 minute documentary on the cabinet, the man who built it and the intense four-year journey to document the cabinet, its contents and the recently discovered workbench.
In addition to interviews, the DVD includes footage of author Don Williams unloading every tool from the cabinet, which is set to an original musical score so you can experience how every tool fits into the hinged panels of this mahogany and ebony masterpiece.
You can read more on the making of this DVD in this blog entry from its editor, Ben Strano.
— Christopher Schwarz
Your innate intelligence, your achievements in the corporate world and the number of degrees you have earned at university won’t help you much at the bench when you start woodworking.
To be sure, some people have some natural dexterity (I didn’t) that helps them take the first steps in the craft. But after teaching a lot of beginners during the last 10 years, I have found there is only one way to get good at woodworking: Do a lot of woodworking.
As David Savage says: “You need to build a shed-load of furniture.”
This simple fact is sometimes hard to accept for people who are used to being a star pupil or an outstanding employee. I’ve had CEOs, attorneys, surgeons, PhDs and one high-ranking politician get quite frustrated when they cut dovetails and their results look no better (or even worse) than the elevator repairman at the bench next to theirs.
When anyone (regardless of their position in society) gets frustrated because they have failed in a class, I try to trace their steps to disaster. Did you do this? This? How about this?
Many of them lie, but their work tells the truth. Their chisel was dull and too wide. They didn’t mark the waste. They used a coping saw to remove the half pin. They used their own cockamamie marking system instead of the traditional “marriage mark” that I begged them to use.
How they respond to this failure determines if they will learn anything or not. You cannot buy a tool to get you out of these weeds. You cannot simply say, “But I’m a doctor,” and have the door opened for you. You have to admit: I stink, and I need to know the steps to become good.
Those steps aren’t usually found in books, I’m afraid. A book can tell you how to saw, but those instructions are meaningless until you are sawing. With some people I had to literally take them by the hands and guide their strokes so they could feel it. That’s humiliating for some, I know. But you cannot download this. It is uploaded through your fingers.
The way forward is, I’m afraid, to destroy your sense of self. Become a small child on the first day of school and do what exactly what you are told. Gradually, you will match the letters to sounds, the vibrations to results, the patterns into words and the wood into furniture.
— Christopher Schwarz