Rustic Carpentry

RUSTIC CARPENTRY

WITH NUMEROUS ENGRAVINGS AND DIAGRAMS

EDITED BY

PAUL N. HASLUCK

EDITOR OF "WORK" AND "BUILDING WORLD"
AUTHOR OF "HANDYBOOKS FOR HANDICRAFTS," ETC. ETC.

CASSELL AND COMPANY, Limited

LONDON, PARIS, NEW YORK & MELBOURNE. MCMVII

ALL RIGHTS RESERVED

[PREFACE.]

This Handbook contains, in a form convenient for everyday use, a number of articles on Rustic Carpentry contributed by various authors to Work—one of the journals it is my fortune to edit.

Readers who may desire additional information respecting special details of the matters dealt with in this Handbook, or instructions on kindred subjects, should address a question to the Editor of Work, La Belle Sauvage, London, EC., so that it may be answered in the columns of that journal.

P. N. HASLUCK.

La Belle Sauvage, London.
April, 1907.

[CONTENTS.]

[LIST OF ILLUSTRATIONS.]

[RUSTIC CARPENTRY.]

[CHAPTER I.]

LIGHT RUSTIC WORK.

Rustic carpentry does not demand great skill in woodworking, but it does require a large amount of artistic perception. The tools needed are but few, and the materials employed are comparatively cheap, although in many districts they are becoming dearer every year.

It may be said that any articles made from the now popular bamboo may be made quite as effectively in light rustic work.

For light rustic work, sticks of hazel, cherry, yew, blackthorn, birch, larch, fir, and the prunings of many varieties of shrubs may be used; but it is necessary that the material should be cut at the proper season, and thoroughly dried before being worked up. The sticks should be cut in mid-winter, as at that time the sap is at rest; if cut in the summer time the bark will peel off. If peeled sticks are required, they should be cut in the spring, when the sap is rising, as at that time the rind will come off easily. In some districts the copses are cleared of undergrowth periodically, and the sticks (generally hazel) sold to hurdle and spar makers. A selection of these sticks would be very suitable for the purpose here described.

The sticks should be stacked in an open shed in an upright position if possible, and in such a manner that the air can freely circulate around them. When they are required for fishing rods or walking sticks they are hung up to season—this keeps them straighter; but the hanging of them up is not necessary for the work about to be dealt with. When the sticks have been put away for from six to twelve months, according to size, they will be ready for use, after being rubbed with a cloth or brushed to clean off the dust and bring up the colour of the bark. Fir cones may often be worked into a design, and bits of rough bark and the warts and burrs found on old elm trees may be collected by the rustic worker and put by for future use.

Fig. 1.—Photograph Frame and Wall Bracket Combined.

One method of treatment for designs in light rustic work is to split the sticks and use them to overlay the work with a Swiss pattern, as shown by [Fig. 1]; another method is to work the sticks up after the manner that canes are used in bamboo furniture (see [Figs. 3] and [Fig. 42], pp. 12 and 36).

Fig. 2.—Section of Bracket, showing Fixing of Glass.

[Fig. 1] represents a wall bracket with a photograph or mirror in the frame. To make this, the piece forming the back is first cut out of ³/8-in. deal. The shelf, of ¾-in. deal, is then nailed to the bottom edge. Some straight hazel, fir, or other sticks are next selected and split; these are nailed round the edges of the back, and round the opening at the centre. The pieces round the opening overlap the edges about ¼ in., to form a rebate for the glass. The bare spaces at the sides and top may be covered in the following manner: Take a piece of brown elm bark and run a saw into it. Catch the sawdust, and, after warming the wood, cover it with thin glue.

Fig. 3.—Small Easel in Rustic Work.

Sprinkle the brown sawdust on the glued surface, and sufficient will adhere to cover the deal and give the frame a rustic appearance. Cork-dust or filings may be used instead of sawdust. Bunches of fir or larch cones are nailed to the corners, as illustrated; these should be pared at the back with knife or chisel to a flat surface. The outer edge of the shelf is finished with an edging of short lengths of split stick nailed on. The general construction of the bracket, and the method of fixing the glass, will be clear from [Fig. 2], which is a section through the centre.

A small easel for photographs, or, if constructed larger, for a fire-screen, is shown by [Fig. 3]. It is made entirely of round sticks. [Fig. 4] illustrates the method of attaching the back support—namely, by means of a couple of staples, which may be made out of a hairpin. In jointing round sticks together, the joints may be mitred by notching a V-shaped piece out of one stick and cutting the other to fit ([Fig. 5]); or a mortise and tenon, as represented by [Fig. 6], may be used.

In making the easel ([Fig. 3]), the top and bottom bars are mitred to the sides, and the central upright to the top and bottom bars. The joints are secured by either brads or panel pins. Care must be taken to bore for the nails with a bradawl, as nothing looks worse than splits in the work. The upright piece in the centre of the top bar may be secured by driving a long panel pin into the lower upright through the top bar, filing the head to a point to form a dowel, and driving the top piece on with a hammer.

Fig. 6.—Mortise and Tenon Joint.

Fig. 7.—Rustic Flower Holder for Table Decoration.

Where a small stick is joined to a larger one, as in the case of the filling-in pieces, a flat may be made with a knife or chisel on the larger stick, and the smaller one cut to fit and nailed on. In making a small easel, only a single stick attached to the centre upright will be required to form a back support, but for a larger one it will be preferable to frame it as shown by [Fig. 3].

Fig. 8.—Rustic Flower Holder Complete, with Cocoanut Vase in Position.

The finished articles may be either stained and varnished or left plain. Cherry sticks look well if the bark is left the natural colour, and the ends, where exposed, cleaned off and varnished without being stained. Some sticks improve in colour if rubbed over with a rag moistened with linseed oil.

If a stain is required, one that is sold in bottles would be suitable, but a little vandyke brown, ground in water, and applied with a sponge, answers the purpose. Sometimes, as in the case of the table top (see [Fig. 42], p. 36), it is a good plan to stain the wood before nailing on the pattern work, or there will be danger, if the sticks are dark in colour, of the lighter wood showing through.

If the rustic work is intended to be placed out of doors, it should be given two or three coats of hard outside varnish.

The rustic flower-holder for table decoration, shown by [Fig. 7], consists simply of a gipsy tripod formed with six rustic sticks, put together in the form shown, and tied with a length of bass. There is no attempt made at finish, but the sticks must be firmly tied together at the joints, and the ends of the bass can be left, either hanging loose or tied in a bow. The holder for the flowers is a cocoanut shell, which has been sawn in two, so as to leave one part a sort of cup or egg shape; three holes are bored with a bradawl at equal distances round the edge, and it is suspended from the tripod with three more pieces of the bass, which completes the arrangement. Of course, any small receptacle can be used in place of the cocoanut shell, but that, perhaps, carries out the rustic appearance the best, and is very easily obtained. [Fig. 8] is an attempt to show the tripod when decorated.

The rustic hall-stand shown by Figs. 9 to 11 was made actually from branches and twigs of an old apple tree. The uprights and principal cross-pieces are ⁷/8 in. thick, and the criss-cross pieces are ½ in. thick. The bottom is made of four pieces 1½ in. thick. The longer ones measure 1 ft. 8 in., and the shorter ones 1 ft. 2 in.; they are nailed together in such a manner that the ends at the two front corners each cross and project 2½ in. The front uprights are 2 ft. high, the back ones 2 ft. 2 in.; the longer cross-pieces are 1 ft. 8 in., the shorter 11 in. The ends intersect and project 3 in. at each of the front corners; only the longest piece projects 3 in. at the back corners, the shorter pieces being cut off flush with the frame to allow of the stand fitting close to a wall.

These cross-pieces are nailed to the uprights to allow the top ends of the latter to project 2 in. above them, this bringing the measurement of the oblong inner framework to 1 ft. 10 in. by 1 ft. 2 in. The thin pieces are nailed on as shown in [Fig. 9], being interlaced as much as possible. The back of the stand is treated in a similar manner. The whole of the wood is used as rough as possible, the bark being retained, with the knots, etc.; the ends are, however, pared off smooth with a chisel. Two coats of varnish finish the stand, save for the addition of a receptacle to catch the drainings from umbrellas, and for this the stand illustrated has a painted baking-tin A ([Fig. 11]).

Fig. 12.

Fig. 13.
Figs. 12 and 13.—Elevation and Plan of Plant Stool.

The rustic stool ([Figs. 12] and [13]) is intended to be made in pairs, and placed one on each side of the umbrella-stand above described, each supporting a plant, such as a fern or palm. The top of each stool is cut from 9 in. square 1-in. wood (wood from an old box answers well), and is sawn into an octagonal shape. A double row of pieces of apple, maple, or some other wood with good bark, is nailed around the edges, thicker pieces being used at the bottom than at the top to give a graduated appearance. The entire top is then covered with straight pieces of stick, selected for the beauty of their bark. All pieces are nailed on with cut brads. The four legs are formed of 1-in. apple-wood 9 in. long. They are bevelled at the top to fit a square block of wood, 2 in. thick and 3 in. long, which is firmly secured to the top by two screws. This piece of wood should be fastened to the top before the rustic rods are placed in position. Two 2½-in. wire nails through each of the legs hold them quite securely to the central block. Portions of rustic wood, from ¼ in. to ³/8 in. in diameter, are then nailed across the legs, as shown in [Fig. 12], the ends being allowed to cross each other and project about 1 in. all ways. The whole stool, when finished, stands 10½ in. high, and is so strong that it will support a heavy man with safety. The block of wood to which the legs are attached should be stained to match the rustic wood; permanganate of potash solution will effect this. Finally, two coats of clear varnish give a good finish to the work.

Fig. 14.—Window Box.

Window boxes are illustrated by [Figs. 14] to [16]. That shown by [Fig. 14] is made from a raisin box obtained from a grocer. Such boxes are not costly, and to buy and knock these up for rough uses is often more economical than buying new material.

Take care that the boards are stout enough to hold the brads firmly. The box measures about 21 in. by 7 in. by 7 in., and is wholly covered with mosaic of dark and light strips in panels. Strips are also nailed on the upper edges.

The more elaborate window box ([Figs. 15] and [16]) can be made of a size to fit the window for which it is intended. A few holes should be bored in the bottom for drainage, and the front board is cut to the shape shown and the rustic ornament is nailed to the box and forms no part of the construction. In [Fig. 16] wedge pieces are shown fitted to the stone sill to bring the box level; it is kept in position by two metal angle-pieces screwed both to the wood sill and to the back of the box.

[CHAPTER II.]

FLOWER STANDS, VASES, ETC.

The rustic-work flower stand ([Fig. 17]) may be 3 ft. high by 3 ft. 6 in. long by 9 in. wide. For the legs, select four curved saplings 3 ft. 3 in. long by 2½ in. in diameter; and as some difficulty may be experienced in obtaining them with the natural curves sufficiently alike, artificial methods of bending must be resorted to. Therefore get the saplings from 2 ft. to 3 ft. longer than the finished length, and bend them to shape by means of the Spanish windlass as shown in [Fig. 18]. Flexible six-strand fixing wire or stout hemp cord can be used; or a straining screw and link, as employed for tightening fencing wire, will answer equally well; keep the tension on till the wood is curved permanently, the time varying with the nature and condition of the wood, and the strain being applied gradually at intervals. The rails are tenoned to fit mortises in the legs, and battens are nailed to the lower long rails, to support the flower pots (see [Fig. 19]). The rustic work is then fixed diagonally to the rails. The ends that abut against the legs and centre-piece are pared away so as to make a neat joint, and angle boards are fitted to the under side of the lower rails to support the rustic work where it curves downwards.

Fig. 17.—Flower-pot Stand.

The vase shown by [Fig. 20] is hexagonal in shape, with vandyked sides fixed to a base supported upon tripod legs, and stands about 3 ft. 3 in. high. Elm boards are suitable for the sides and bottom; they are 1 ft. 3 in. high by 9 in. wide at the top end, and 6½ in. wide at the bottom by 1 in. thick. Shoot the edges of the boards to a bevel of 60°, and fix them with nails driven as shown at [Fig. 21]. When the six sides are completed, prepare the hexagon baseboard to suit. Bore holes in it for drainage, and also bore three equidistant holes, 1¼ in. in diameter, at an angle of about 60°, for the tenons of the legs to enter (see [Fig. 22]). Next screw the base to the sides, and fix on the barked rustic work. The twigs for this should be seasoned at least one year before using. They are sawn in halves, straight twigs being selected for the purpose. If necessary, shoot the edges slightly, so as to obtain a closer fit when fixing them in parallel. Begin by attaching the lower border to the hexagonal base, then the upright pieces over the angles, hollowed as shown at [Fig. 23]; next fix the top sloping pieces, and finally the horizontal twigs. The legs are nailed at the base of the vase (see [Fig. 22]); and at the centre, where they cross, they are further secured with twigs, which do the duty of rungs, as shown in [Fig. 20].

Fig. 18.—Method of Bending Saplings.

Fig. 19.—Fixing Rails, etc., to Posts.

Fig. 28.—Fixing Centre Shelves of Flower-pot Stand.

The flower stand shown in front and end view by [Figs. 24] and [25] has accommodation for sixteen pots. The two uprights are 2 ft. 8 in. high by about 2½ in. in diameter. The three rails are 2 ft. 9 in. long, and are tenoned to the posts as shown by [Fig. 26]; the posts are also tenoned and nailed to the sills (bottom rails), and strutted, as shown in [Fig. 25]. The method of fixing the shelves A and B ([Fig. 24]) is shown in [Fig. 27], which is an under-side view; struts are also fitted, as shown in [Fig. 25]. The method of fixing the centre shelves is indicated at [Fig. 28]. The shelf, and also the struts C, D, E, and E¹ ([Figs. 24] and [25]), are fixed to the centre rail; then the top diagonal braces are nailed to both the shelf and the top rail, thus keeping the whole secure. The remainder of the work calls for no special instructions. Split twigs are used for the fencing around the shelves.

Fig. 29.—Large Square Vase.

Fig. 30.—Large Hexagonal Vase.

[Fig. 29] shows a square vase constructed from elm boards 1¼ in. thick. A fair size for the sides will be 1 ft. 8 in. at the top and 1 ft. 5 in. at the base by 2 ft. high, including the 2½-in. plinth. The split twigs forming the decoration are 1½ in. wide, and spaced about 2 in. apart edge to edge.

Fig. 31.—Large Plant Vase with Claw Foot.

The vase shown by [Fig. 30] is hexagonal in shape, the sides being 1 ft. 8 in. high by 1 ft. 2 in. wide at the top edge, and 1 ft. 0-½ in. at the base. The sides and bottom of both vases are connected as in [Figs. 21] and [22]. Five 1-in. holes are bored for drainage. The short feet having been secured with screws driven from the inside, the split rustic work is bradded on in the same order as that described for [Fig. 20].

The stands and vases should be given two coats of oil varnish, allowing the first coat to dry before applying the second.

Fig. 32.—Foot of Rustic Table.

A big plant vase made from half a paraffin cask is illustrated by [Fig. 31]. An ordinary 40-gal. cask stands, roughly, some 3 ft. high, has a diameter of some 2 ft., and is made of good stout oak. Sawn through the middle, the paraffin barrel makes two admirable tubs. One such half is shown in [Fig. 31]. This it is proposed to render suitable for some large bushy plant, so it will have to be mounted on legs. The legs shown are simply so many pieces cut from rough branches. From a heap of stuff one can generally choose pieces sufficiently adapted to the purpose, though their exact contours will, of course, vary. Oak branches, technically known as "bangles," from which the bark has been taken to make tan, will do well; or if the bark is liked, apple-tree or elm boughs will be suitable. That these sticks should be rough and gnarled and knotted adds to their effect. As the tub will be only partly covered with rustic mosaic work, it will be well before nailing anything upon it to paint it. A good dark brown or chocolate will go well with the natural bark. The rustic pieces will have to be cut through with the saw, the lengths being too great to be safely split with the hatchet—that is, with the exception of those round the lip, which are of thicker rod than the zig-zags; say, 1½ in. as compared with 1 in. In the zig-zags the light central strip is supposed to be of peeled withy, the darker ones on each side having the bark on, and being probably of hazel. Generally speaking, wrought brads are to be recommended for fixing rustic mosaic, but where, as in the present case, the strips have to be bent over a curved surface, small wire nails will be found more secure. Groups of fir cones, as shown, will prettily ornament the triangular spaces.

A style of foot suitable for a one-leg flower stand or table is illustrated in plan and part section by [Fig. 32].

Fig. 33.—Garden Plant Tub.

[Fig. 33] shows the other half of the cask arranged for, say, a dwarf shrub, an orange-tree, or the like. In small town or suburban premises, such tubs are specially useful where there is a back court into which anything green cannot otherwise be introduced. In this, it will be seen that by way of variety the tops of the staves have been sawn to a zig-zag line, which is followed a little below by a moulding of split rods. Alternative styles of moulding are shown by [Figs. 34] and [35]. Half-way between this and the bottom a band of mosaic is arranged in light and dark strips of withy and hazel. The bits filling the diamond-shaped centres of this pattern are cut from thicker stuff than the rest, so that they may project as bosses beyond the general level. Over the unavoidable iron hoop at bottom, from which place short strips would, if nailed, be often detached, a rough "dry-cask" wooden hoop has been fixed. At the sides two pieces of rough branch stuff have been placed to serve as handles, and to resist strain these should be secured from within by strong screws.

The vase shown by [Fig. 36] is intended for a somewhat low-growing flowering plant—say, a large bushy geranium. In its original character it is an American lard pail. As in the last tub, the staves have been sawn to a more ornamental outline, and they have also been perforated. The ornamental strips of split rod have been arranged in straight vertical lines, to avoid the difficulty of bending and keeping them in place if bent round so small a vessel. The bottom of the pail is screwed down to an octagonal slab of wood, to the under side of which four short bits of rough bough are nailed as feet. As neither this nor the last tub is wholly covered with mosaic, they should, of course, first be painted. The slab at bottom will look very well rough, as shown, but if painted it will be improved by strips of split rod nailed round its edges.

Fig. 37.—Rectangular Garden Plant Stand.

A garden plant stand, made from a soap box and mounted on legs is shown by [Fig. 37]. The easiest way to fix one of these legs on is to saw the piece of stuff in half to a distance from the top equal to the depth of the box, and then to cross-cut and remove one half. The corner of the box will be brought to the middle of the cross-cut, and the leg nailed on to the side of the box. The piece which has been sawn off will then be cut through (quartered), and the proper quarter replaced and nailed to the end of the box. Frets, such as those shown in these two examples, are patterns of a kind well adapted to be worked out in rustic mosaic.

A pedestal for a sundial or flower vase is shown by [Figs. 38] to [40]. It is a box of 1-in. elm boards, the top being a 2-in. thick slab. Suitable dimensions are 3 ft. 6 in. high, and 1 ft. square, the top being 16 in. square.

Fig. 41.—Rustic Flower-pot Stand in Imitation of Bamboo.

A design for a rustic flower-pot stand in imitation of bamboo is represented by [Fig. 41]. The height should be about 2 ft. 6 in. to the top, and the length from 3 ft. to 3 ft. 6 in. The box at the top may be about 9 in. wide and 8 in. deep. Care must be taken when putting the work together to get the frames true and square. Slovenliness in construction will completely spoil the appearance of the finished article. The box at the top is made to fit inside, and should be lined with a zinc tray. The outside may be covered with glue and brown sawdust.

[CHAPTER III.]

TABLES.

Fig. 42.—Square Table.

A small rustic table which may, if desired, be used as a flower-pot stand, is illustrated by [Fig. 42]. The top may be made of ¾-in. stuff, and should have two ledges nailed underneath to prevent twisting. The table may be 1 ft. 10 in. high, with the top 15 in. square, or, if a larger size is required, 2 ft. 1 in. high, with the top 18 in. square. The design is not suitable for tables of a larger size.

Fig. 43.—Hexagonal Table.

The legs may be secured to the top by boring holes in the ledges and driving them in. The cross bars must be firmly secured to the legs, and, for the joints, the mortise and tenon shown at [Fig. 6] (see p. 14) would be suitable. If the sticks used to form the legs are rather small, it will be better if the cross bars are kept a little higher on two of the sides, so that the mortises do not meet each other.

The top is covered with a Swiss overlay pattern, made of split sticks. The design may be set out by drawing lines from corner to corner on the top, and across the top in the centre of each side. A smaller square is then drawn in the centre of the top, with diagonals at right angles to the sides of the top. Lines drawn from the corners of the small square to the corners of the top will form a four-pointed star. The pattern should be clearly outlined with a pencil. In nailing on the sticks, those round the outer edge of the top should be put on first and mitred at the corners. Next the outside sticks of the small square should be nailed on, then the eight pieces from the corners of the small square to the corners of the top.

Fig. 44.—Part Vertical Section of Top of Hexagonal Table.

In working up patterns of the above description, always nail on the sticks that follow the outline of the design first. The filling-in pieces may be put on afterwards. Variety may be given to the patterns by using sticks of different colours; for instance, the design may be outlined in hazel or blackthorn, and filled in with hawthorn or peeled willow. The edges of the table top are concealed by nailing on an edging of short sticks or cones.

Fig. 45.—Half Plans of Top of Hexagonal Table.

[Fig. 43] shows a small hexagon-top table for use in a summer-house or on the lawn. The following dimensions are suitable: Height 2 ft. 6 in., and diameter of circle for the hexagon top 2 ft. 9 in. The top is made from two or three ⁷/8-in. boards cramped together to the required width and fixed underneath with two battens 3½ in. wide by 1 in. thick. The four legs are dowelled and nailed to these battens and further stiffened by the rungs and the diagonal braces which are nailed to the legs. A corona is fixed around the edges of the table top, and the method of securing the board is shown in [Fig. 44]. In [Fig. 45] the half plans show two ways of ornamenting the top. The twigs should be sawn so that in section they are less than a semicircle, and it will be an advantage to shoot their edges slightly, as then they will fit closer and cover the rough boards that form the table top.

[CHAPTER IV.]

CHAIRS AND SEATS.

Fig. 46.—Armchair.

For the armchair ([Fig. 46]) select four slightly curved legs about 3 in. in diameter; the front pair are 2 ft. high and the back pair are 2 ft. 9 in. high. The front seat rail is 1 ft. 2 in. long by 2½ in. in diameter, the back rail is 1 ft. long, and the side rails are 1 ft. 3 in. long, their ends being trimmed to fit the legs, and fixed with inserted ash or elm dowels ⁷/8 in. in diameter; see [Fig. 47]. The height from the ground line to the seat top is 1 ft. 4½ in. The battens forming the seat rest on the side rails, and cleats are fixed to the inner sides of the four legs (see [Fig. 48]) to support the extreme back and front battens. The arms and back are made in three parts, the scarfed joints coming immediately over the back legs. The trellis work is then added, and finally the struts and dentils are fixed around the seat. The chair can be made from unbarked wood without any dressing, or the bark may be removed and the wood, when dry, can be finished in stain and outside varnish.

The garden-seats about to be described will look very effective if made of oak that has had the bark removed and the small twigs trimmed off clean; they should be finished in stain and varnish. In construction they are fairly simple.

Fig. 49.—General View of Garden Seat.

For making the seat shown by [Fig. 49], first select the three back posts, with their natural curves as much alike as possible. In diameter they should be from 2½ in. to 3 in. Select also two arm-posts and one centre leg for the front. Next cut two seat rails for the back and one rail for the front, 5 ft. or 6 ft. long as desired, and cut two side rails (see [Fig. 50]) and one centre rail, each 1 ft. 7 in. long. Work the ends of the rails to the shape of the posts as shown by [Figs. 51] and [52], so that they make a fairly good joint, and bore the posts and rails with a ⁷/8-in. bit 1¼ in. deep, to receive dowels made of ash or elm. These are preferable to tenons formed on the rails themselves. Now try the whole together temporarily, and make good any defects.

Fig. 50.—End Elevation of Garden Seat.

Fig. 51.—Joints of Rails and Posts for Garden Seat

Then take the pieces apart, and coat the joints with a thick priming consisting of two parts of white-lead (ground in oil) and one part of red-lead thinned with boiled linseed oil. Drive the joints home and fix them with nails or screws and wipe off the surplus paint.

The top back rail and the arm-rest can next be fitted. The ends of the back rail are worked bird's mouth, to fit the posts. The arm-rests are treated in the same way at the back; they fit in vees cut in the front posts, and are fixed with nails.

Measure off and mark equal spaces for the struts, the ends of which are trimmed to fit the rails and posts. Secure them with two nails at each end. The seat ([Fig. 53]) is made up of split saplings laid as shown, with the ends pared to fit the rails and bradded on. Finally, fit the struts between the seat rails and the lower part of the posts.

The framework for the chair shown by [Figs. 54] and [55] is on the same principle as that already described. The segmental battens forming the seat run longitudinally, and their ends are shaped to fit the outer rails. The battens rest on a flat worked on the centre cross rail (see [Figs. 55], [Fig. 56], and [Fig. 57]). [Fig. 56] also gives a part cross section near the centre leg, and shows the front rail placed out of centre and the cross rail resting on the leg, to which it is firmly nailed. When the seat is more than 5 ft. in length the battens require intermediate supports, which can be cut from split saplings. The panelling on the back is fixed to the top and bottom rails and supported in the centre by a wide longitudinal rail and two vertical rails at the mitres of the diamond centres. These are fitted in and secured, and then the vertical split twigs are fixed partly on them and also on the rails. Finally, struts are fixed to the seat rails and legs and covered with short twigs, with their lower ends running in a regular curve.

Fig. 57.—Part Plan of Seat.

A rustic garden seat with canopy is illustrated by [Fig. 58]. Where shade is required, the back and canopy offer facilities for securing it, as they can be covered with climbers. [Fig. 58] is not drawn to scale, but the explanatory diagrams ([Figs. 59] to [Fig. 64]) are ¾ in. to the foot.

Fig. 58.—Garden Seat with Canopy.

The upright posts and all the more important pieces will best be formed of somewhat small larch stuff; the smaller straight sticks may be hazel, birch, or withy. The last named, stripped of its bark, and used in some parts only, will form a pretty contrast with the darker rods. In filling spaces in back and canopy, a few pieces of crooked stuff are used; these will probably be of apple-tree.

Fig. 59.—Front Elevation of Garden Seat.

Fig. 60.—End Elevation of Garden Seat.

Fig. 61.—Plan of Canopy for Garden Seat.

Fig. 64.—Plan of Seat.

The two posts A, on which almost the entire weight is sustained, should be let into the ground not less than 2 ft. They rise 5 ft. above the ground-line. They are set at a distance, measuring from centre to centre, of 4 ft. apart. The smaller posts (marked B), which support the seat, stand 17 in. in advance of those last named, and should be let into the earth 1 ft. The broad seat thus given is essential to comfort when the back of the chair is upright, as it must be in this instance.

Two principal cross-pieces are nailed against the main posts. The lower one, of halved stuff, is 15 in. from the ground, and carries the back of the seat. The other is close to the top of the posts, and carries the back of the canopy. The canopy is chiefly supported on the three wall-plates, C ([Fig. 59]), which rest at one end on the heads of the posts, and towards the other on the struts, D ([Fig. 60]). Fig. 61 shows in plan the arrangement of the principal pieces forming the canopy: E E are the rafters of the gables, the lower ends of which rest on the wall-plates, and the upper against the pinnacle, F ([Fig. 61]). The back rafters are marked G G, and these rest their lower ends on the cross-piece and their upper against the pinnacle. [Fig. 62] shows the filling-in of the two back panels of canopy; Fig. [Fig. 63] that of the four side panels.

The filling-in of the back of the seat is clearly shown in [Fig. 59].

In [Fig. 64] the seat proper appears in plan. Its front and ends are of halved stuff, nailed to the posts. The spars forming the seat are placed with spaces between them, that they may not hold moisture; for the same reason, it is advised that they should be of peeled withy.

[CHAPTER V.]

GATES AND FENCES.

Fig. 65.

Fig. 66.
Figs. 65 and 66.—Front View and Plan of Solid Garden Gate.

In many gardens there is a space devoted to the tool-house, potting shed, refuse head, etc. Shrubberies of course hide the unsightly appearance of this particular spot to a certain extent, but it may be found desirable to close the entrance to this part of the garden from the remainder, and the gate illustrated in front elevation by [Fig. 65] is, from its semi-rustic nature, particularly suitable. [Fig. 66] shows a plan and [Fig. 67] is a part back view. The gate is quite simple in construction, and should be of sufficient height to obstruct the view from each side.

Fig. 67.—Part Back View of Frame for Solid Garden Gate.

Local circumstances will of course determine the width of the gate, but the one illustrated by [Fig. 65] is constructed on a framework 6 ft. square, the total height being 8 ft. The timber for the frame need not be planed.

Cut the closing and hingeing stiles 6 ft. long out of stuff 6 in. wide by 2½ in. thick. The three rails are of the same dimensions, and can be halved and dovetailed to the stiles or, better, mortised, tenoned, and wedged and braced, as shown in [Figs. 68], [69], and [70]. Separate pieces of stuff are fixed up the centre to form a muntin for supporting the rustic work; the necessity is obvious from [Fig. 66], where it will be noticed the twigs are outlined on the frame. Each twig has a bearing on the frame, and can thus be nailed individually.

Two stout gate hinges and hooks are required, and they can be bolted on with 7/16-in. Whitworth bolts and nuts, or secured from the back with square-headed coach screws. Now commence fixing on the unbarked twigs; they should be as straight as possible and used in their natural shape, without being split in halves.

The terminations of the joints for circular stuff are slightly different from the ends of the half-round stuff; see [Figs. 71] and [72]. Start by fixing the outside square, then the two inner squares, and finally the diagonal filling.

The posts are 9 in. or 10 in. in diameter by 9 ft. long, 3 ft. being underground. Cut three mortises in the posts to receive the rails for the side fencing. These rails are nailed flush to the secondary posts, nails also being driven through each mortise in the gate posts. Next dig the holes for the posts, these being kept at correct distances apart by nailing battens to the top and at the ground line while ramming in the posts. Two parts of old brickwork and one part of Portland cement will make a good concrete for the posts.

A week or more should elapse before the gate is hung to the posts. This may then be propped up fair between the two posts, and the positions should be marked for the staple of the latch, and hooks for the hinges. A rebate is formed for the gate on the posts by nailing on split sapling; see [Figs. 67] and [73]. Finally, a short post can be driven in the ground and fitted with a hook for retaining the gate when open wide.

Suitable designs for small rustic gates are given by [Figs. 74] to [77]. The wood for making gates to the two designs ([Figs. 76] and [77]) should have the bark removed. The chief rails and posts are about 2 in. thick, filled in with 1½-in. or 1-in. pieces, halved and nailed together where they cross. The joints may be hidden by bosses of planed wood (see [Fig. 77]). If the gate is to be removable, fix a hook on the hanging stile to engage with a staple in the joint, and a pin in the bottom to turn round in a socket. The gate is then easily taken out of its hangings. Varnish the wood on completion.

Fig 78.

Fig 79.
Figs. 78 and 79.—Designs for Fences.

Rustic fences can be constructed as shown in [Figs. 78] to [80].

The garden trellis illustrated at [Fig. 81] will form an attractive addition to the grounds of a suburban or country villa residence. In the case of new houses, the existence of such a trellis, with creepers ready planted, will often prove a deciding factor in effecting a quick sale or letting. The structure extends to a length of about 20 ft., but the dimensions may readily be altered to suit requirements. The material may be fir or other straight unbarked saplings and twigs. The posts are 12 ft. long; the four for the arch being 4 in. in diameter, and the others 3 in. or 3½ in. The rails are 2½ in. in diameter, and the twigs for the trellis, etc., 1¾ in. or 2 in. The bay seat with canopy is 6 ft. long by 1 ft. 4 in. wide.

Fig. 80.—Design for Fence.

The position of the seats and posts and of the shores A, B, and C is clearly shown in the plan ( [Fig. 82]). The arrangement of the double posts adds materially to the stiffness of the framework, making long shores unnecessary. The shores are placed 3 ft. 6 in. above the ground line, and are inclined at an angle of 50°. The posts are sunk into the ground a distance of 3 ft., and well rammed in; rubble stones being mixed with the earth, as shown in the vertical section ([Fig. 83]).

Fig. 81.

Fig. 82.
Figs. 81 and 82.—General View and Ground Plan of Rustic Trellis with Seats and Gate.

Fig. 86.—Alternative Design for Gate.

The arch may with advantage be entirely fitted together before being put in position, as a better job can thus be made of the joints of the short rails and struts. The joints in the remainder of the work, with the exception of the gate, are of the simplest description. The rail ends are bevelled and notched to the posts, and secured with nails as shown in the sectional view of the trellis at [Fig. 84].

Having erected the framework in position, next sink and well ram the shores deep into the ground, and splay and nail the top ends to the uprights. Also fix the shorter posts for the seats, letting them into the ground about 1 ft. 6 in. The end seat bearers are fixed to the end posts, and the centre bearers to the front and back central posts. The seat battens are saplings split in two, the flat portion being laid downwards and nailed to the bearers (see [Fig. 83]). [Fig. 85] is an enlarged section through the seat back, showing the method of securing the smaller twigs to the rails. The fixing of the vertical pieces in the lower part, and the inclined lengths above, will complete this portion of the screen.

The gate, shown enlarged at [Fig. 86], which gives an alternative design, is 3 ft. 9 in. wide by 4 ft. 6 in. high. The stiles are 4 ft. 9 in. long and about 2½ in. in diameter, and should be as straight as possible, with the twigs neatly trimmed on; the rails should be at least 2¼ in. in diameter, trimmed to fit the stiles, and secured with inserted hardwood dowels 1 in. in diameter, as shown at [Fig. 26], p. 27.

The diagonal struts in the top panel should be fitted and in place before the rails and stiles are finally secured; the vertical twigs in the lower panel should be similarly fitted and nailed before the rails are secured to the stiles. Ordinary forged hooks and eyes are used for hanging the gate; these are secured to the stile and post with nuts and washers, as shown in the enlarged horizontal section ([Fig. 87]).

Fig. 87.—Method of Hanging and Latching Gate.

A mortice is cut in the closing stile to receive the latch, the catch for the latter being a simple forging (see [Fig. 88]) with a pointed tang for driving into the post.

A rustic carriage entrance is shown by [Fig. 89]. The intention is, of course, that the rustic archway above the gates shall be more or less clothed with climbing plants. It is for roses that the structure will be best adapted, though clematis or honeysuckle will look well upon it. Ivy would look too heavy, and, if neglected, might even prove too heavy in other respects. Light as the arch may appear, the four posts grouped to form the turret on either side are so tied and braced together as to be, to all intents and purposes, a solid pillar, 30 in. square, and fully equal to resisting any outward thrust of the rafters. In the elevation ([Fig. 89]), to avoid confusion, no indication is given of the work forming the farther side of the arch, though something of it would necessarily be seen from the front; the two sides will be alike. [Figs. 89] and [90] are drawn to a scale of ½ in. to the foot.