The Crucible Cross-Peen Hammer is in production, and the first tools will go up for sale in a week or two. This has been a year-long project that required a lot of programming, plus finding a new handle supplier. The result? Craig Jackson, our machinist at Machine Time, said about the finished hammer “I’m happy for once!”
Here are the details on the hammer, which has the in-house nickname “Peeny Weeny.”
The hammer head is milled from a solid block of hardened steel. Weighing 4.5 ounces, the head is 4” long overall with a 5/8”-diameter striking face. The cross peen at the opposite end has a striking surface measuring 1/8” x 1/2”.
Hickory can vary a lot in color.
The handle, made for us by Hoffman Blacksmithing, is hickory and is 11” long overall. The neck of the handle is a scant 3/8” x 1/2”, which was a challenge to cut without chattering. The handles are all sanded and hand-finished with oil. The wedges are walnut.
Overall, the hammer weighs 5 ounces, and is an ideal weight and size for small workshop tasks. In addition to sinking small brads and pins, the cross peen is ideal for starting headless nails without mashing your fingers.
The head and the peen are also ideal for adjusting handplanes. For my entire career, I have used one of these hammers to tap my irons laterally to get the iron centered in the plane’s mouth. I also use the cross peen with side-escapement planes, knocking the iron in place against the blind side of the plane’s escapement.
Adjusting the lateral location of a block plane blade.
Starting a headless brad with the cross peen.
Antique versions of this tool can be hard to find in the United States, especially with a decent handle. Modern imported versions are – sorry to say – not a pleasure to use.
We don’t have a retail price yet. It likely will be about the same price as our standard lump hammer. Though there is a lot less steel, the machine time for this head is considerable. The handle is custom-made and is about three times the cost of the lump hammer handle.
As always, we will first fulfill all domestic orders for the hammer before we can offer it to our other retailers.
A quick note: Katherine has just posted about 32 jars of Soft Wax 2.0 in her store. You can read all about it in her etsy store.
Also, we have now boxed up all the special Anthe Lump Hammers, and we found we had a few extra to sell. You can visit our store here to read about them and consider purchasing one, which helps fund the restoration of our new building.
As the Industrial Revolution mechanized the jobs of the joiner – building doors and windows by hand – one anonymous joiner watched the traditional skills disappear and decided to do something about it.
That joiner wrote two short illustrated booklets that explained how to build doors and windows by hand. And what was most unusual about the booklets is that they focused on the basics of construction, from layout to joinery to construction – for both doors and windows.
Plenty of books exist on building windows and doors, but most of them assume you have had a seven-year apprenticeship and don’t need to know the basic skills of the house joiner. Or the doors and windows these books describe are impossibly complex or ornamental.
“Doormaking and Window-Making” starts you off at the beginning, with simple tools and simple assemblies; then it moves you step-by-step into the more complex doors and windows.
Every step in the layout and construction process is shown with handmade line drawings and clear text. The booklets are written from a voice of authority – someone who has clearly done this for a long time.
During the last 100 years, most of these booklets disappeared. Booklets don’t survive as well as books. And so we were thrilled when we were approached by joiner Richard Arnold in England, who presented us with a copy of each booklet to scan and reproduce for a book.
We have scanned both booklets, cleaned up the illustrations and have combined them into a 176-page book titled “Doormaking and Window-Making.” In addition to the complete text and illustrations from these booklets, we have also included an essay from Arnold on how these rare bits of workshop history came into his hands.
VENETIAN, or, as they are sometimes called, marginal light, windows are very fashionable at the present time, having in a great measure replaced the bay window, although the same style is sometimes adapted to the bay, instead of the usual upai1d-down sliding sashes. These windows are, as may be gathered from the drawings, of the casement variety, and the sashes should be made to open outwards if possible, this being the better way to keep out the wet.
In Fig. 108 we show one of these windows fitted with four lights or casements, the two outside ones being hinged to the jambs, and the two middle ones, which fold together, being hinged in like manner to the mullions. The casements in this frame run from sill to head, the upper part being divided into small squares as shown, which is the simplest way of forming an artistic window.
Another method of filling in these window frames is shown in Fig. 110, which shows the filling between the mullions. Here the casements are in two heights, the bottom pair being hinged in the ordinary way to the mullions ; the other, which is wide enough to fill the whole space, is hinged at the top, and opens outwards, the bottom rail of this fitting to the others either as section, Figs. 111 or 112. The former is the simplest way and least liable to get out of order, but the latter is best as regards the stopping out of wind and water; but when the window has been repainted a few times it is apt to work badly.
Windows made in this way are very convenient, as it is possible to have the top only open, or the whole, as required. The folding casements in either style of window come together with a rebated joint, as Fig. 113.
Suitable sections for head and sill for these frames are shown in Fig. 114, the grooves in the latter being to form a cement key under, and to take the window board. It will also be noticed that the bevel of the sill finishes with a hollow, forming an undercut rebate ; this should not be omitted, owing to its use as a water trap. The same also applies to the groove in the bottom rail of the casement, which tends to the same purpose. In these windows the jambs are the same in section as the head, and the mullions the same, but worked both sides ; thus there is no need to· give sectional illustrations of these.
Fig. 115 shows a window of a more ambitious kind, and which is not strictly Venetian, though often called so. In addition to the mullions, as in the former example, the present window is divided in height by the insertion of a transome. A half-sectional plan of this window is given in Fig. 116 (this will also serve the same purpose for Fig. 108, both being alike in this respect), and a vertical section in Fig. 117. In these sections the whole of the framing is flush at both sides, the sashes being kept back from the face sufficiently far to allow of a somewhat heavy chamfer being run round, as shown in Fig. 118, but the frame is improved if the transome and sill is made to project as in the section (Fig. 119). This is also an additional safeguard against the wet, the projections allowing of a water groove being made underneath, as shown.
Fig. 119 also shows an alternative moulding on the inside of the frame, in place of the chamfer shown in Fig. 114, and in many cases the transome is made use of to introduce more or less elaborate mouldings. These, however, make no difference as regards method of making, though it may do in the setting out, which must in every case be dealt with according to requirements.
In Fig. 120 we show the rod for setting out the frame of the window shown in Fig. 115, which, for the sake of illustration, is 8 ft. wide by 6 ft. high outside, the framing throughout being 4-1/2 ins. wide by 3 ins. thick. The width of the frame is on the side of the rod marked A, the marks B show the full width of frame, outside. From B to C, inwards, should be the thickness of the framing after it is planed up, which will probably be 1/8 in. under the 3 ins., and from C to D, outwards, is the depth of the rebate. From C at each end set off the width of the side lights, or, rather, the distance from jamb to mullion, and the thickness of the framing again, which gives us E and F, and from these mark off the depth of the rebates again, thus getting G.
In setting out the stuff from the rod, the marks D and G will be for the mortises, those coming in the rebates, as shown by dotted lines in Fig. 119, and if the sashes have to come flush with the framing outside the same marks will be the shoulder lines for the transome on the outside edge. The dotted lines on the rod will be the shoulder lines for the inside of the transome, and also for the outside, if the framing is allowed to project, and is chamfered as in Fig. 118.
The height rod is set out on the side marked H, the lines I showing the full height, 6 ft. K is the thickness of the sill (which we should have said is 4 ins. instead of 3 ins.), then L and M for the depth of rebate and the bevel respectively, the latter being made to correspond with the inside chamfer.
From I at the top set off the thickness of the framing and back the depth of the rebate, thus getting N and O respectively. Now measure up the height of the bottom casements from K, set off the thickness of the framing above this, and back from each, 1/2 in. for depth of rebate, and again from the top one of these for the bevel on transome. This gives us the marks P, R, and S, respectively.
In setting out this from rod, the marks M and 0 are the shoulder lines at sill and head on the outside, L giving the angle in the former, while S will be the shoulder lines for the mullion under the transome. T is the same above the transome, and the line between R and T gives the angle.
The shoulder lines on the inside are the same as M and T at the sill and upper side of transome, and as dotted lines under the latter, and at the head.
The rod for setting out of the sashes of Fig. 118 is given in Fig. 121, and as this is simply the same as what is met with in ordinary windows, no detailed description is necessary, the sizes marked on being sufficient.
The future storefront at the Anthe building. There is a long way to go before it will be operational.
Our customer service lines are buzzing with customers asking what will happen to the 837 Willard St. storefront when the Anthe building comes on line. Will people still be able to visit the Willard Street shop? Where will the books, tools and apparel be sold? What about the woodworking classes?
Here’s the plan as of now.
Nothing will change at Willard Street for at least two years. The first phase of construction at the Anthe building is to build and perfect our fulfillment center. That requires money and work and cleaning and infrastructure. This phase is the most important to us. It will allow flexibility and a more personal touch when filling orders. And it will save us a load of money.
The second phase is to get the storefront up and running at the Anthe building, which is at 407 Madison Ave. (a short walk from Willard Street that I make every day). People want to visit and buy our stuff in person, and a dedicated storefront allows this.
The third phase is to build new editorial offices, photography studios and workshop spaces on the second floor. It’s important to me that all of us work together. Help each other. Try to make the company better and the Anthe building a better place to work. Megan and I will help fill boxes with orders at peak times. At slow times, the fulfillment people will help us in the workshops and creating content.
I do not like hierarchy.
The Willard Street storefront isn’t going anywhere.
Through all this, the Willard Street storefront will carry on as a classroom and storefront for Lost Art Press and Crucible. People can visit both places if they want – though there’s no guarantee who will be at Willard Street at any particular time.
We don’t have any plans beyond what I’ve written above. So any questions beyond this post have this answer: We don’t know.
So if you are planning on visiting our Willard Street storefront this summer, please do. We are there typically from 10 a.m. to 4 p.m. on Monday through Saturday (we are closed on Sunday). As always, knock on the front door, and we will be happy to let you in and give you a tour.
“If only there had been some simple guidebook to sharpening 30 years ago, I might have saved a whole lot of trouble and money,” wrote Stockinger.
“Sharpen This, by Christopher Schwarz (Lost Art Press), is exactly that: a guidebook to the confusing world of sharpening hand tools. In 114 informative pages, Sharpen This briskly manages to do what some books four times as long have not: explain in simple terms what a sharp edge is, and how to go about creating one.”
You can read Stockinger’s “Sharpen This” review in its entirety in Issue 292, available now at the WoodenBoat Store.
