Lest you think that the Indian square dug up by Suzanne Ellison this week (see it here) is an anomaly, check out this excellent illustration dug up by Jeff Burks. Yes, we now have dueling researchers (cue the harpsichord rendition of the soundtrack to “Deliverance”).
This gorgeous image is from the British Library and circa 1825. In addition to the square, which appears to be a hybrid form of a miter square and a Melencholia-type square, we also have a curious image of his saw.
The saw looks much like an Egyptian saw that is on its way to Japan to become a backless Kataba. Or perhaps it is Dutch-ish? If you zoom in you can see clearly that the saw is designed to cut on the pull stroke, like an Egyptian saw.
After growing up in the Presbyterian church, I became fascinated in college by the Gnostic Gospels – a collection of writings from the 2nd to 4th centuries about aspects of Jesus’ life that aren’t included in Bible we used in Sunday school.
So I was particularly intrigued when Jeff Burks passed me this passage from The Infancy Gospel of Thomas. (Read the full text here.) It was one I hadn’t read in college. This one was translated by M.R. James and appears in the popular “The Apocryphal New Testament” (Clarendon Press, 1924).
It is, quite frankly, the earliest account we have of the mythical board stretcher. Here’s the text:
XIII. 1 Now his father was a carpenter and made at that time ploughs and yokes. And there was required of him a bed by a certain rich man, that he should make it for him. And whereas one beam, that which is called the shifting one was too short and Joseph knew not what to do, the young child Jesus said to his father Joseph: Lay down the two pieces of wood and make them even at the end next unto thee (MSS. at the middle part). And Joseph did as the young child said unto him. And Jesus stood at the other end and took hold upon the shorter beam and stretched it and made it equal with the other. And his father Joseph saw it and marvelled: and he embraced the young child and kissed him, saying: Happy am I for that God hath given me this young child.
Norman Reid of Wood News Online just reviewed “Campaign Furniture” for the latest issue. Here is a short excerpt of the review:
“…(W)hile I was tempted to pass up this book, I’m very glad I didn’t. I came to like it a lot. It is, as we’ve come to expect from Schwarz, informative, clear and entertainingly written. The book is well-illustrated throughout with photos that convey the essence of critical construction steps. It is hard bound and printed on high quality paper, something that’s usual for books from Lost Art Press, which makes this one a definite keeper.”
You can read the full review here. The entire issue of Wood News Online can be read here.
Several readers have reported difficulty laying out the leather seat for the folding stool in the book “Campaign Furniture.” My method for laying it out is unsophisticated. The recipe includes:
1. My butt
2. A stick
3. A nail
4. A can of mushroom soup.
One of the earliest images of a try square that I know of is a carpenter from the tomb of Rekhmire in Egypt, a New Kingdom official from the 18th dynasty (1543-1292 BC). The image shows a carpenter in a traditional (plaid flannel) loincloth using a straightedge on a piece of work. On the floor is a miter square, a form that remained unchanged until the 18th century.
And on the wall is a try square that looks darn modern. It looks nothing like a Melencolia I square.
Many of the hand tools we use today are descended in some way from Egyptian tools that later made their way to Asia and Europe – via Greece and Italy. But as far as I can tell, the Melencolia square emerged sometime after the Egyptians and then disappeared. We woodworkers reverted back to the Egyptian-style try square for some reason.
After making at least a dozen of these Melencolia-style squares, I can assure you that I’ll be keeping the form alive – at least in Kentucky. They are simple, compact and easy to use.
Today I made a pair of squares that are the last in this series. I must get on with building furniture that puts food on the table. These last two squares are the improved “Romanian” form of the Melencolia I square. The improvement is that the blade is a bit wider than the stock, making them easier to true up.
Both of the squares I made today were slightly out of true, and it was indeed much easier to bring them into line because the blade was wider. If you make one of these squares, I recommend this modification.
As a final note, thanks to Jeff Burks for his research and for pointing out these squares to me in the first place. Without his keen eye, I’d have never noticed them.
This gorgeous image is from the British Library and circa 1825. In addition to the square, which appears to be a hybrid form of a miter square and a Melencholia-type square, we also have a curious image of his saw.
