The Pirate Map used by the Visitor (before aging with tea, water, dirt, crumpling and folding). The Tropics of Newport are to the east; flying pigs, muddy banks and Larry the Ferryman are on the north bank. The swine whales live near the โOโs on the river. The visitorโs skiff has passed the Licking River and is between the โRโ and โIโ.
My internet service was out for a while and I wasnโt able to respond to the comments to Chrisโ reading of โA Visitor Comes to Covingtonโ or to the backstory of the book. Thank you for the many very kind comments.ย
I wasnโt sure how the book would be received. In the letter sent with the book my suggestion was to put it on a high shelf in the library, push it well to the back and put something heavy on it. Alternatively, it could be buried in the basement. Fortunately, the Stick Chair Badge Approval & Distribution Committee (Chris and Megan) liked the book and I heard there was a bit of teary-eyedness when each had read the book. I didnโt intend to make anyone cry but have to confess I got a bit of moisture around my eyes when Chris read the book.
Below is a photo of my last cat, Bunky Beanie Bronzini. He was a big and solid 15-pounder capable of herding me towards the kitchen when he thought I might be headed in the wrong direction. If he had lived another few years he would gained another name or two.ย This was his โNo, absolutely not,โ expression.
Editor’s note: Here’s the backstory for “A Visitor Comes to Covington: A Fairy Tale,” a delightful handmade book that Suzanne sent me in March. I have made a video reading of the book you can watch here. Enough of my yakking. Here’s Suzanne:
Back in January, I sent a New Yearโs card to Chris and Megan. In return, I received a handwritten thank you card and three stick chair badges. According to the Stick Chair Laws I was required to make a stick chair. Not being a woodworker, only a user of wood-based products, this presented a problem.
My first thought was to make a collage featuring a stick chair and I played around with that idea with digital renderings.
This example was sent to Chris as a joke. Stick chair art on the wall, including a wedding photo, wallpaper and a John Brown chair.
Eventually, I went with the idea of a small book centered on a quote by my favorite 16th-century essayist, Michel de Montaigne, โJe veux que la mort me trouve plantant choux, mais nonchalent dโelle, et encore plus mon jardin imparfait.โ In the story, a fairy tale, a Grim Reaper, arrives to escort a chairmaker to the great beyond. Having been given three stick chair badges the story would have a series of threes. I also wanted the book to be interactive with instructions to open, untie and unfold different items. I mined the Lost Art Press blog, Rouboโs โThe Book of Platesโ and other sources for the illustrations.
The prologue about the start of the visitorโs journey opens by lifting the planing stop from Meganโs workbench. The underside of the stop is lined with part of Randle Holmeโs 17th-century tool kit. Somewhere in the chart is a stick chair badge.
All journeys begin with a map, and pirate maps are the best and most useful for constructing an alternate history of Covington and surrounding areas. The street map is from 1877, the decorative frame and the visitors skiff are from an Australian map.
The map was aged with the usual things: tea, water, dirt, curling, crumpling and folding. The manicules on the map point out where the story starts and will end.
The visitorโs arrival in Covington opens the main part of the story and and it is fairly clear he is a rather stylish Grim Reaper (I felt no need to depict him as a skeleton wearing a hooded robe). After hearing โWerewolves of Londonโon the car radio I added the line, โUnder his hat his hair was perfect.โ
The visitor has arrived well before the appointed time with the chairmaker and spends the first part of his trip visiting three old friends: a turtle, a cat and a queen bee. The idea for the animals as the visitorโs friends began with an old street name. On the 1877 map Covington still had a Bremen Street (now known as Pershing Street, probably renamed during World War I). A cat was one of the four musicians from the Brothers Grimm tale, โTown Musicians of Bremen.โ The cat was a night singer (or yowler) and in one version of the story was named Burlฯn. The image used is a sculpture by Gerhard Marcks, who also sculpted a statue of the four musicians that stands in the city of Bremen.
The three friends are representative of life cycles. Old Turtle will live for over a century; Burlฯn, the cat, will live for less than a quarter century; Honey Tart, the queen bee, will live for a year or two and her worker bees only a number of days. They are also symbols of human characteristics: wisdom, independence and curiosity, and the industrious worker.
After imbibing a very nice Bordeaux and elderberry cordial the visitor mistakenly summons a third manicule that takes the reader to the middle of the story. Was the rogue manicule really a mistake or did it have another purpose? In the prologue it states the visitor has an obligation and here is part of that obligation, to delay his arrival to allow the chairmaker to finish his last chair. This is a mark of the visitorโs admiration and respect for the chairmaker.
The double doors into which the visitor vanishes happen to be from Paris and the curious reader can open them. Inside there is a stern-faced cat blocking the view of a vortex. So, nothing to see here folks, move along. While the reader advances to the wonderful workshop on Willard, the visitor deals with some of the behind-the-scenes bureaucracy of manicules.
Figuring out how to illustrate the workshop took a few days of thinking. The inspiration came from a menko, a square origami packet. The menko opens outward like a flower, and in the middle is a square. The four views of the shop were taken from a video Chris made a few years ago. The middle, or floor, was blank until it became the space for woodworking classes (with students who have broken the laws of time and space to be there). The door to the workshop is a photo of the outside of the building facing Willard Street and is opened by lifting the Catbus. Bean, of course, is in the driverโs seat. The underside of the door reveals the first part of the workshop. The outsides of the remaining three flaps are covered by a marquetry pattern drawn by Roubo. If the opened workshop is held in the right light it is possible to see a few sparkles of purple glitter because it is impossible to totally eradicate that stuff. Somewhere in the woodworking class is the second stick chair badge.
The hinges on the workshop flaps, as well as the hinges on all the doors are a double thickness of heavy drawing paper. Eight sheets of the sketchbook were glued together to support the heft of the workshop, which sits in a recess that is about four sheets deep. I miscalculated the length of the Catbus and ended up trimming back most of the front bumper.
The workshop foldout was not suitable to display the wall of hand tools, or paries manus instrumenta, and deserved its own section. It is a simple four-part foldout. The wooden door is from Tรผrkiye and has wonderful carvings on the central panels. A cat helps keep the door closed, contrary to the usual behavior of opening all doors. The third stick chair badge is in the wall foldout.
The door from Tรผrkiye. I was sorry to cut off some of the lower end to make it fit in the book.
When the visitor returns he resumes his journey to Willard Street. To emphasize the gravity of the task before him and how much it weighs on him the word panels are now grey and become darker as he nears the workshop. As he stands before the building that is both a home and workplace he looks up at the iron cat on the roof and he is saddened. At this point he is the only one that fully understands the meaning of the iron cat.
The story shifts to the chairmaker in the workshop and this shift is emphasized by the color of the word panels and a change in typeface. The word panels are again blue, but a darker shade because we are nearing the end. The photograph of one of Chrisโ chairs was turned upside down and put on a black background to bring forward the detail, to see it from the chairmakerโs perspective and to see the โsmile.โ
When the visitor and chairmaker leave the shop the last chair seems to glow in the darkness. The accompanying multi-layer image started with a black and white photo of the workshop and a overlay of opaque black that left bare outlines of the interior. The darkened frame of creepy vines (stolen from the designs for the Stick Chair Journal) was the last layer before adding the chair. The trail of stars curving up and away from the chair represent ad astra, to the stars.
When the chairmaker leaves with the visitor two cats free themselves from the iron cat, descend to the street and walk through the fog to catch up with the chairmaker. The chairmaker was unaware they had been waiting for him and is overcome when the three are reunited (not to mention the cats can talk). I wrote a backstory that bridges the visitorโs sadness from when he sees the iron cat, to the point in the epilogue when the cats reunite with the chairmaker.
The Backstory of the Iron Cat
The two cats and the chairmaker were constant companions in the shop. In his grief after the second cat died, the chairmaker mounted the iron sculpture at the peak of the roof. He had no knowledge of the catsโ agreement with the visitor. When the first cat died he refused to leave and eventually convinced the visitor to let him stay until it was the chairmakerโs time to leave. The cat agreed to stay hidden, no hijinks, no haunting. The same agreement was made when the second cat died. When the iron cat was put on the roof the two cats decided to enter it and stay until they could reunite with their chairmaker. When the visitor looks up at the iron cat he sees the sadness and grief experienced by all three.The second part of the visitorโs obligation was to free the cats when he came to escort the chairmaker. The red string in the epilogue represents the unbroken connection between the cats and the chairmaker.
The Endpapers & a Few Other Things
The endpaper inside the front cover is a collage of illustrations from various woodworking books in the public domain. I made it a few years ago and may use it in a future blog post. The facing endpaper is Monsieur Rouboโs opinion of stick chairs. At the back of the book the endpaper is a scene of several creatures, unknowingly being followed by a shark, all of which were made from Rouboโs bench square. The waves are from Rouboโs waving machine. The bench square was also used to make the little horses that were used on a couple pages. The cat on the roof was originally going to be a weather vane, however the iron cat was a better fit. The iron cat was taken from the Black Cat of Riga and you can read about it on the Atlas Obscura site.
Color changes to the word panels were used to express a change in mood or circumstance. Once again, a song heard on the car radio found its way into the story. The visitorโs โthe gathering gloomโ and the idea of colors fading to grey and white as he looks at the house are drawn from The Moody Blues song, โNights in White Satin.โ The visitorโs panels changed from light blue to grays; the chairmakerโs from medium to darker blues. When the cats and chairmaker are reunited the word panel is a pale yellow for light and joy. Adding layers to certain features of an image provided dimension to otherwise flat paper. Architectural elements on the outside of the workshop and the whole house have three layers on columns, roof ridges and some decorative features. The house also has spacers to lift it from the page. Carved panels on the door to the wall of hand tools were also layered.
The Missing Last Page or The Epilogue -Part 2
I originally had a second page planned for the epilogue, but I cut it, preferring to leave the reader with the chairmaker literally bowled over to learn his cats can talk.
Here is the deleted second page:
Once they had boarded the visitorโs skiff the chairmaker and the cats settled themselves in the stern. On inquiring where they were headed the answer was, โWest.โ After a while, the visitor joined his passengers at the stern. The cats, snuggled on either side of the chairmaker, were sound asleep. Wally was sleeping belly up, while Bean rested his head on the chairmakerโs knee. Gesturing towards the cats the visitor said, โIn all my centuries those two were the most insistent, bull-headed and toughest negotiators about refusing to leave.โ The chairmaker chuckled, โCats always get what they want.โ โOh no,โ replied the visitor, โit wasnโt so much about what they wanted, they insisted it was what you needed.”
If you hear the chorus from a Rolling Stones song you arenโt mistaken.
Although there will only ever be one copy of the book, I thought it was important to affirm the originality of the story. On the wild chance it happened to sometimes maybe seem similar to certain people and cats, of course, it must be a coincidence. I used a portion of the painting, โLa Bocca della Veritร โ (The Mouth of Truth, circa 1530) by Lucas Cranach to illustrate my affirmation.
After almost five weeks of writing, making illustrations, waiting for glue to dry and so on, it was time to send the book to the Stick Chair Badge Approval & Distribution Committee at Lost Art Press. I was reluctant and a bit teary-eyed to let it go and thought a proper farewell was in order. Shakespeareโs Sonnet 87 fit the bill:
Fairwell! thou art too dear for my possessing, And like enough thou knowest thy estimate. The Charter of thy worth gives thee releasing; My bonds in thee are all determinate.
An interior spread from “A Visitor Comes to Covington.”
Late last month, a package arrived from our researcher, Suzanne โSaucy Indexerโ Ellison. I opened the package, saw it was a handmade book, and immediately set it aside. I was in the middle of teaching a chair class, plus my oldest daughter was about to arrive from Pittsburgh for her birthday.
After all the visitors โ students, Maddy and her fiance โ had left, I sat down with the book so I could give it my full attention. It is, of course, a fantastic document and a good story. It has everything: drinking, cats, a turtle and a mysterious visitor.
Suzanne kindly agreed to allow me to share the book with you via a video reading.ย If the video doesn’t appear in your mail reader, click this link to watch it.
I hope this story brightens your Sunday. Tomorrow, weโll post Suzanneโs story about how she made the book, which is just as interesting as the book itself.
The following articles on lapped and double-lapped dovetails (aka “half-blind” and “blind” dovetails) are excerpted from Volume 3 of “The Woodworker: The Charles H. Hayward Years.”
The third book in our “The Woodworker: The Charles H. Hayward Years” series covers all types of woodwork joints, including how to design them, cut them and fix them when things go awry.
Itโs difficult to overstate the importance of the book โWoodwork Jointsโ by Charles H. Hayward (1898-1998), which was first published in 1950 then reprinted many times and in several different editions of varying quality.
The compact 168-page book is beautifully illustrated by Hayward and contains the kind of spare prose that made him the best woodworking author of the 20th century. Like a good woodworking joint, Haywardโs text contains nothing superfluous and lacks nothing important to the task at hand.
In addition to Haywardโs take on joinery, this volume also contains the perspective of other British writers of the day that Hayward published in The Woodworker, including J. Maynard, Robert Wearing, K.J.S. Walker and C.A. Hewett.
A WOODWORKER SUPPLEMENT โ LAPPED DOVETAIL JOINT
This joint is used chiefly for carcase construction and has the advantage of being entirely concealed at one side. To enable the joint to be started easily the inner corners of the tails can be chiselled off. The ports should not be joined together too often before gluing as this tends to loosen the joint.
Square the ends, and with a cutting-gauge, gauge dovetails and pins. The lap should be between one quarter and one third thickness of wood. For the pins set gauge to work from inside face. Mark both pieces. Re-set to thickness of tails and mark depth of pins.
Mark out dovetail with template or sliding bevel.
Using a fine saw cut dovetails. Do not let saw run past gauge line. Some find it easier to fix wood so that cut is vertical.
Clamp work to bench and make a sloping cut at gauge line. Chop down 1/16 in. from line, and remove chips by chopping in from the end. When about half way pare down to gauge line Reverse wood and repeat process.
To mark pins fix wood in vice and, with dovetails in correct position, scribe round as shown.
When sawing the pins hold saw to the waste side of marks. Inset shows part of waste cut away with saw.
With chisel slightly in front of gauge line chop down, and remove waste by chopping with the grain from the end. A 1/8 in. paring chisel is used for the corners and a bevel edge chisel for final paring.
Editor’s note: The image at the top of this blog post corresponds with the numbers above.
HOW TO CUT THE LAPPED DOVETAIL
The great advantage of this joint is that it is entirely concealed on one surface and at the same time is extremely strong. This gives it a special value for carcase work since the joint does not show at the sides. The top and bottom surfaces where the dovetails are exposed are out of sight Drawer fronts are also lap-dovetailed (though the spacing is rather different), and here there is the added advantage that the wedge formation of the joint resists the pull which is the chief strain the drawer has to withstand.
It makes no difference whether the dovetails or the pins are cut first; it is mostly a matter of personal preference, though choice may be determined by other considerations. For instance, the top and bottom may have to be glued up to make the width, and it would then likely be convenient to cut the pins in the ends whilst the joints are setting.
Marking out. Trimming the wood to size is the first procedure. The ends in which the pins are cut are obvious; they are the finished size of the carcase as shown in Fig. 1. It is clear that the top and bottom must be short of the over-all width by the combined thickness of the two laps in the ends. This lap size has therefore to be decided straightway. In Fig. 1 the required over-all width is 18 ins. Assuming that the lap is to be 1/8 in. it is clear that the top and bottom will have to finish 17-3/4 ins. long.
Use the cutting gauge to mark the extent of the joint as shown in Fig. 2. Set the gauge to work from the inside of the ends, the required lap projecting beyond, and mark both sides of top and bottom as well as the edges of the ends (see A). In this way the pins are bound to be the same size as the dovetails. Since the top and bottom sink their full thickness into the ends, the gauge is now re-set the thickness of these and the inner surface of the ends marked as at B, Fig. 2.
FIG. 1. HOW LENGTH OF TOP AND BOTTOM IS CALCULATED. Size of lap has to be fixed first as shown here. FIG. 2. MARKING OUT WITH THE CUTTING GAUGE. This works across grain without scratching. FIG. 3. MARKING DOVETAILS WITH SPECIAL MARKER. The marker is a simple home-made appliance. FIG. 4. SAWING OUT DOVETAILS IN PAIRS. Be careful to keep the edges flush.
Dovetail positions. The tradesman usually roughly pencils in the dovetail positions and then saws straightway. Practice enables him to cut the true slope without exact marking out. The inexperienced man should either make the simple marker given in Fig. 3, or set an adjustable bevel to the slope (5/8 in. in 3 ins.). The spacing for normal small work is given at A; B is suitable for a wide carcase in which the small end dovetails resist any tendency for the ends to twist away at the corners. Drawer front dovetails are given at C.
Sawing the joints. Fig. 4 shows the dovetails being sawn. If the wood is 3/4 in. or more thick it is advisable to cut each joint individually, but in thinner wood two or more pieces can be fixed together in the vice and sawn together as shown. Most men saw straight across dead square and it is necessary to mark out first with the trysquare. Some prefer to make a slight taper fit and then the saw is taken at a very slight angle as at Aโnot more than the thickness of the pencil line. If this is done it is obviously important that all face or outer sides are to the front. Otherwise, instead of showing a close joint there will be a gap. A, Fig. 4, is given in exaggeration for clearness.
Marking the pins. Before the waste is chopped away the pins are marked out. Fix the end in the vice, and place the top upon it in the relative position it is to occupy. The inner end can be supported upon a block of wood of suitable thickness. Hold the top firmly down with the left hand, and, placing the saw in each kerf in turn, draw it backwards as in Fig. 5, so leaving a mark which corresponds exactly with the dovetail.
FIG. 5. MARKING PINS FROM DOVETAILS. Saw is drawn through each kerf. FIG. 6. SAWING PINS. Part of waste can be sawn as shown here. FIG. 7. BORING THE WASTE. Use the Forstner bit. FIG. 8. CHOPPING SOCKETS OF PINS. Fix wood down with cramp. FIG. 9. MARKING THE DOVETAILS. The awl is used.
Sawing. When sawing the pins be careful to place the saw on the waste side of the mark as at A, Fig. 5. Donโt overdo it, but just leave in the marks. This will ensure tight joints without forcing. Judgment on this point is probably the most important point in the whole procedure, and it is something which comes with experience. The thickness of the saw has to be taken into account, far less allowance being necessary for a fine saw than a coarse one. Beginners are strongly advised to cut an experimental joint using the same saw that will eventually be used for the actual joint, and try it together. They will learn more in this way than reading a dozen articles.
Of course, the saw can only be taken down diagonally as shown in Fig. 6, and here again the inexperienced man should mark down with the trysquare first. Part of the waste can be sawn away as also shown in Fig. 6. It all helps to lessen the chopping-out with the chisel.
Another way of reducing the waste is to bore it partly away as in Fig. 7. Except for the thickest wood it is seldom practicable to use the centre or twist bit because the centre point is liable to emerge through the lap, but the Forstner bit is ideal as shown in Fig. 7. It has scarcely any centre point.
Chopping. The procedure is given in Fig. 8. Clamp down the work on a flat, spare piece of wood to avoid bruising, placing it over a solid part of the bench such as a leg. At each socket make a small sloping groove against the gauge line, and then chop downwards about 1/16 in. short of the line. Ease away the waste at the end with the grain, and repeat the process. Finally put the chisel right on the gauge line and cut down.
For clearing out the corners a bevelled-edge chisel will prove invaluable because it will work close in. Many men keep an old stubby bevelled edge chisel specially for the purpose. A, in Fig. 8, shows how the waste is gradually removed. Note that if the chisel were placed on the gauge line at the outset it would be forced in beyond the latter because of its wedge formation.
The dovetails are chopped in the same way, but of course, the chisel is used from both sides. The waste at the corners can be sawn away. When the pins are cut first the marking of the dovetails is done with an awl as shown in Fig. 9. Once again the saw must be used on the waste side.
To enable the joint to be started easily the inner eDges of the dovetails can be pared off. This will permit the joint to be partly put together to see that it fits. It should not be driven right home until it is glued as this is liable to loosen it. Place a piece of waste wood over the joint when knocking it home and strike this. Otherwise the wood may split owing to the local pressure, and in any case it may be bruised.
THE DOUBLE-LAP DOVETAIL
FIG. 1. THE JOINT MOST GENERALLY USED. Here the projecting lap is on the piece with the dovetails. It is immaterial whether the dovetails or pins are cut first
FIG. 2. ALTERNATIVE SOMETIMES USEFUL. Here the projecting lap is on the piece with the pins. In this case the pins should be cut first
THIS IS SLIGHTLY more complicated than the single-lap joint, but is simpler than the mitre dovetail in that there is no mitre to bother about. In fact, the experienced man can glue up the two parts straightway without first assembling them dry. This is risky in the case of the mitre dovetail because almost inevitably a certain amount of trimming at the mitre is unavoidable.
The joint can be in either of the forms given in Figs. 1 and 2, and to an extent it depends upon the stresses to which the joint is most liable to be exposed, because the dovetail shape resists the The joint can be in either of the forms given in Figs. 1 and 2, and to an extent it depends upon the stresses to which the joint is most liable to be exposed, because the dovetail shape resists the pull more in one direction than the other. The more usual joint is that in Fig. 1, in which form it is often used for cabinet carcases. At the top the joint is entirely hidden, and at the side shows only as a thin line of end grain.
Preparation It is immaterial whether the dovetails or pins are cut first in the joint in Fig. 1, but in Fig. 2 the pins should be cut first as otherwise it is difficult to mark the one piece from the other. Whichever method is followed, the first essential is to square up the wood to the finished size, remembering to allow for the lap when calculating the length of the parts. This scarcely arises when just an isolated joint is cut, but in the case of, say, a carcase the sizes are obviously important. The rule to remember is that the piece with the projecting lap is always trimmed to the finished size, whereas that with the flush lap is less in length by the thickness of the lap on the other piece.
Marking out Assume that the joint in Fig. 1 is to be cut. The first stage in marking out is that of gauging as shown in Fig. 3, because until the thickness of the projecting lap is decided it is impossible to trim the wood to the finished length. Set the cutting gauge to the dovetail thickness (Z), which is the thickness of the wood less the thickness of the lap. Mark the end of the piece with the dovetail, the gauge fence working against the inner surface of the wood, and also the inner surface of that with the pins. Decide on the thickness of the flush lap (it is usually the same as the other), and mark the inner face of the dovetailed piece, and the end of that with the pins (see Y). Lastly set the gauge to the thickness of the wood with the pins, and mark the inner face of the dovetailed piece (X).
FIG. 3. HOW PARTS ARE GAUGED FIG. 4. THE PROJECTING LAP CUT ON THE PIECE TO BE DOVETAILED FIG. 5. SAWING THE DOVETAILS FIG. 6. STAGES IN CHOPPING DOVETAILS FIG. 7. MARKING PINS FROM DOVETAILS FIG. 8. CORNERS OF DOVETAILS CHISELLED AWAY AFTER MARKING PINS FIG. 9. STAGES IN CUTTING PINS
Cutting the dovetails The outer mark on the inner face and the end mark give the extent of the rebate to be worked on the dovetailed piece. Saw down across the grain and remove the waste by chopping with the chisel at the end. It may be necessary to trim the rebate afterwards with the shoulder plane. Note the sloping channel chiselled on the waste side of the line as shown inset in Fig. 4, to provide a convenient path for the saw. Mark out the dovetails and saw down as far as it is practicable to cut as in Fig. 5, taking care not to let the saw touch the projecting lap as any such marking would show badly later.
The rest of the work must be done by chopping with the chisel as in Fig. 6, and for this a bevelled-edge chisel is desirable to enable it to reach into the corners. Follow the usual practice of chopping down first short of the gauge line (see top arrow), and do not bring the chisel right on to the line until the majority of the waste has been removed. The latter is done by chopping in from the end (lower arrow). Since the saw cannot reach right into the corners owing to the projecting lap, it is necessary to cut down on the line of the dovetail, but only light taps with the mallet should be given as otherwise the wood may split. Clean out the corners and make sure that the bottom is level.
Marking the pins Transferring the marks to the pins is the next job. The one piece is held in the vice and the other placed upon it as in Fig. 7. A block of wood to the rear will make sure that the wood is level and is steady. Press firmly down to make sure that there is no movement, and pass a marking awl along each side of every dovetail.
The process of cutting the pins is given in Fig. 9. The saw is held immediately to the waste side of the mark, and is taken down as far as the diagonal. Part of the waste can be sawn as at (2), but finally it is chopped away as described last month. The stages are shown in Fig. 9, but it will be realised that each socket is not completed individually before the next is sawn. Rather, all sawing is done, then all chopping.
Finally the inner corners of the dovetail are lightly chiselled away to ease the assembling of the joint as in Fig. 8. Be sure to do this after the marks have been transferred. If the parts are lightly started together it will be obvious whether they fit or not. It is better to avoid knocking completely together dry before gluing.
