Full Chisel Blog

August 1, 2010

Tallow, Lard and Bear Fat

 

Once again I am spurred to make these comments because of more silliness on a woodworking forum on the Internet.  Someone asked if anyone made their own tallow and everyone put down the simple request and went ‘modern’ even though the forum touts its archaic nature.  Instead of answering the question suggestions were made to use [laxative] mineral oil, paraffin oil (petroleum distillates), etc.

As many of you know, I am not interested in ‘modern, better, improved, new or recent’ methods, I do history and the book has already been written, we have a good idea of what was used in the nineteenth century and earlier and if we don’t then we can research the historical archives and find out.

And to the statement ‘if they would have had it, then they would have used it’, I say well they didn’t, so they couldn’t have used it, so I won’t be using it, or if I were a frog, then I would be a prince.  They seem to miss the point of traditional woodworking, using the proper tools, materials and techniques of the period in study.

Tallow is the internal fat (suet) surrounding the kidneys and intestines of sheep, goats, deer and oxen that is rendered down at a very low heat, just enough to cause the grease to melt away from the connective tissues.  While liquid it is filtered then allowed to cool when it is fit for use.

Lard is the rendered belly fat from pigs [Sus domestica] and is soluble in benzene, chloroform, ether, slightly in alcohol and insoluble in water, with a specific gravity of 0.917 at 77° (F), a dielectric constant of 2.1 at 176° (F) and melts at 97 to 107° (F).  A mixture of lard and beeswax fills the grease cup under the end of my workbench, that I use for screws and nails.

Bear fat, commonly called bear grease is the material rendered from the body fat of any species of bears [Ursus spp.], and was commonly used as a lubricant, lamp oil and to make the finest croissant, according to the French.

Tallow and bear fat have similar melting points, specific gravity, etc. to lard and work as a lubricant for metal and wood, a rust inhibitor for ferrous metals, for cooking, to protect leather, wood and other organic materials from moisture and as a lamp fuel for illumination.

I am certain many shops in the nineteenth century were illuminated with lard lamps, grease lamps and tallow candles.

Lard is readily available at any grocery store in containers ranging from one pound boxes to 5 gallon barrels and can be stored at room temperature and protected from light.  This is the material I use as it is the easiest to acquire and I am too lazy to make my own, although I have made it and tallow before and on one occasion I had the opportunity to remove the fat from a dead bear.  It was a mess, but my buckskins got a good coating of a traditional bear fat.  I can now purchase bear fat/oil from a local Native American Trading Post when it is available once a year.  Bear grease can be solid at colder temperatures or liquid when at warmer temperatures.

Many oils, fats and grease or other lipids can go rancid, which is the chemical decomposition of the material.  This caused the fats to have an undesirable odor and flavor.  Rancidity can be caused by water splitting fatty acid chains from the glycerides, by oxygen when the double bonds of an unsaturated fatty acid react chemically with oxygen and finally by the enzymes of bacteria breaking down the structure of the fats.

As heat and light causes the fat/oil/tallow to go rancid, rendering at low temperatures, storing in a cool, dry and dark environment will prolong its usable life.  But the whole rancid question really doesn’t pertain to using the stuff on wood or metal.  I don’t lick my tools that often and there is such a small amount that it is not unpleasant on the nose.  I for one happen to like the taste of rancid peanuts, any odor from my boots and shoes isn’t caused by the lard I slather on, the wooden plate I eat from regularly, while it was finished with walnut oil, its top coat is grease and I also have and use Buffalo Tallow lip balm.

Stephen

July 26, 2010

1835 New-York Book of Prices

Filed under: Hide Glue, Historical Material, Of Interest, Reviews, Techniques, The Trade, Uncategorized — Stephen Shepherd @ 3:30 pm

for Manufacturing Piano-fortes by The Society of Journeyman Piano-forte Makers is a fascinating book reprinted by the American Musical Instrument Society.  It also includes a list of New York piano, musical instrument makers, etc. plus a translated leaflet of what German Emigrants should do when traveling to America from 1833.

The information contained is fascinating in that it delineates prices for the finest details of the various steps of making a piano.  The stuff on veneering is interesting and the book gives a good idea of what it cost to get things one.  And because it is piece work for the various parts it can give insight to the time it took for various tasks and the compensation for each step.

I recommend the book to anyone interest in the minutia of the trade, and at $25.00 including postage and shipping it is well worth the money, and you know how cheap I am.  I saw a flyer hanging on a bulletin board when at the Piano Technicians Guild convention in Las Vegas at the end of June and sent them a check.  Got the book this morning and have been pursuing it with relish.

Stephen

July 13, 2010

Sea Chest

I have wanted to make one of these for some time now and at last I have an order to build one.  I may have to make two as I like the design.  The sailor’s sea chest was his seat, table, tool box, strong box, food locker and the only place on board that was uniquely his.

I will be making it from pine, dovetailed at the corners.  The top and bottom moldings will be attached with glue and nails, the hinges are simple offset strap hinges secured to the inside with rivets or clinched nails, the lock will be a double lug half mortise lock with a self escutcheon.  The box will be painted blue with Prussian blue oil based paint, not as bright as the drawing and interior decoration to be provided by the new owner(s) as will the beckets [the rope work handles].

The side handles are attached to the box with long clinch nails and the rope work ‘beckets’ will be done up through the round holes provided.  Some of these are quite simple and some are incredibly complex, occupying many hours of work during long voyages.

The chest is 31 1/2″ wide on the bottom, 28″ wide at the top; 24″ deep at the bottom, 16″ at the top and 18″ high.  These are approximate sizes, pending approval of the sailor that placed the order.  I got the design and dimensions from a photograph and it was difficult to scale, but I think I got the measurements close to the original.

Stephen

June 15, 2010

Does all Woodworking in America take place East of the Mississippi?

Filed under: Of Interest, The Trade, Uncategorized — Stephen Shepherd @ 8:51 am

Apparently all of the ‘movers and shakers’ of the modern woodworking movement are from the East.  Why is this so?  There are no Woodworking shows or events held out West!  A few woodworker and tool makers from the West are sometimes featured in those effete gatherings in the flat-lands.

I for one am tired of the West being neglected, overlooked and dismissed.  There are many great craftsmen from this side of the big muddy and it isn’t the old wild West full of hay seeds that just fell off the cabbage wagon.  I am sure many woodworkers, both hobbyists and professionals from the left coast would attend a Western gathering.

So what is up?

Stephen

May 19, 2010

They sure don’t make them like they use to.

Filed under: Historical Material, Moxon, Of Interest, The Trade, Uncategorized — Stephen Shepherd @ 9:41 am

 

After some recent discussions around the internet on various topics has prodded me to start thinking about if things really got better.  Not that I need any prodding, I think about old stuff all the time.  There is also a great discussion about the quality of steel used in edge tools, many saying that modern steels are ‘better’ than those available in the past.  With all of the modern innovations; tempering ovens, atmospheric controlled and exotic new materials, people assume that the steel will be better.  What the hell does that mean?

Their argument seems to be that with modern techniques the material is more uniform and consistent from batch to batch.  I think we under estimate the abilities of our ancestors with this bit of arrogance and hubris. I have used ‘modern’ steel tools, there is nothing like a laid steel blade for a chisel or plane blade that were common on tools prior to modern times.

Moxon talks about the different types of steel that was available in the late fifteenth early sixteenth century in England.  If he could determine and delineate different steel types then he knew or was told by those who did, the differences.  Sounds pretty consistent to me.  The annealing [or as he called it nealing] process is the same as today, heat up the metal to a blood-red-heat and allow it to cool slowly.  His process of hardening appears to be the same [although he does mention hammer hardening for saw plates, etc.], but his description of tempering [to let it down] differs from how the process is done today.  ‘The light goldifh Colour is for Files, Cold-chiffels and Punches, that Punch into iron and Steel: The dark goldifh Colour for Punches to use on Brafs, and generally for moft Edge-tools; The blew colour gives the temper to Springs in general…’

Moxon is not the be all or end all when it comes to the trade, but it was the first English language description of the topics he included in Mechanick Exercises or the Doctrine of Handy-Works.  It is the foundation on which all subsequent publications were built.  It is a great resource and should be read with its original punctuation, spelling and type face, for the best effect.  When immersed in the text, I get a bit of the feeling of what it was like 300 years ago, and I like that feeling.

We think everything new is better, synthetic sharpening stones, synthetic glues and finishes are better than the real thing.  Our ancestors were not some sort of knuckle dragging sub humans, our brains are the same size.  Nor are they stupid hayseeds that just fell off the cabbage wagon.  I would venture a guess that if educated adults today had to pass the mid school curriculum of the early nineteenth century many wouldn’t qualify.

If you look at metal turning lathes from L’Art de Tourner by Charles Plumier in 1792, the only difference between those and modern lathes are the power source.  They were sophisticated machines that could cut threads, had slide rests and in some instances have more options that are now available.  Look at the ornamental turning lathes of the nineteenth century produced by Holtzaffel are quite sophisticated.

A friend of mine called this ‘White Man Syndrome’ in that today people consider that they know more or when making reproductions they make ‘improvements’, using newer ‘better’ materials, etc.  I have heard that inane comment ‘well if they would have had it they would have used it’, to which I reply well they didn’t have it, so they didn’t use it, so stop [explicative deleted] messing with history.  You can’t improve upon the past.

Stephen

April 28, 2010

Over Grinding and Over Sharpening

Filed under: Historical Material, Of Interest, Proper Tools, Sharpening, The Trade, Uncategorized — Stephen Shepherd @ 12:18 pm

 

It is no wonder that in the 1839 The Joiner and Cabinet Maker, mentions that many some Cabinet shops in the nineteenth century England did not allow a grindstone on the premises.  And why you might ask, well the masters of the shops didn’t want their tools needlessly ground away, nor their workman wasting time at the grindstone.

I am convinced that if modern grinding and sharpening equipment and mentality had been available in the nineteenth century that we wouldn’t have any useful tools today, they would have been repeatedly and unnecessarily ground to oblivion.  Modern wood turners seem to have their grinders running right next to their lathes, this I don’t understand.

As it is many old tools are being over ground and over sharpened and probably get more of their metal ground away in just a few years than in the previous 100 years.  This is not to say that our ancestors didn’t over sharpen, I have seen more than one plane blade that was ground up to the piercing for the cap iron.  Modern woodworkers are overzealous when it comes to grinding and sharpening, trying every new ‘system’ that comes around.

Changing the angle on the chisel or plane iron to match the wood they are using at one point and altering the angle for other woods, seems to me a bit excessive.  Also in the nineteenth century when a craftsman was grinding or sharpening they were not making money and as most worked by the piece, time is money.  Banning the grindstone saves both time wasted in endless grinding and money saved by preserving the metal on the tools, this idea should be reconsidered.

If you need tools with different angles on their cutting edge, then you should have tools dedicated to that purpose and properly ground and sharpened, instead of regrinding and re-sharpening the tool with every change in activity.  Find the proper angle stick with it and save the tools.  This is of special importance if you use old tools [they aren’t making them anymore].

I do have a grindstone, 15 inch diameter, two inches wide and on a direct drive to the hand crank.  After I clean off the cobwebs and dust, I use this to initially grind the tool to the proper angle and the tool almost never sees the grindstone again.  I then use a course Washita stone to work the edge to a burr then move on to English slate for the final hone.  I then strop on leather and am ready for work.

I use my tools until I determine that they are dull and not performing well.  I then take them to the slate and touch up the edge, then strop.  I may have to go the coarser stone if necessary but never back to the grindstone.  I never spend more than a couple of minutes at this process.  I don’t use any ‘secondary’ bevel and of course the ‘back bevel’ should never be done as it is a bad and lazy practice.

Do your tools a favor and quit grinding and sharpening them to excess.  All of that work isn’t necessary and while you may enjoy the sharpening process, [use it on new tools not old ones] it takes time away from woodworking.

Most of my tools are laid steel blades [hard cast steel forge welded to soft wrought iron, which does not harden], so my sharpening is much easier.  I only have a thin veneer of hard steel to sharpen and the wrought iron abrades away quickly.  I do have a few solid steel carving tools and they take longer to sharpen.

Stephen

March 24, 2010

The Workbench

Filed under: Historical Material, Of Interest, Proper Tools, The Trade, Workbench — Stephen Shepherd @ 7:18 am

The Workbench

Much attention has been given lately about various historical iterations of the trusty workbench, that stalwart of the workshop, that one tool necessary to get any woodworking done.  There are detailed original engravings showing every type of workbench and most of them are complex with fancy joinery and a variety of ‘improvements’ included on each.

I for one was caught up in the fray and have built about 10 benches in 40 years; I only built one with the useless tool tray and have converted two benches with trays to useful benches by removing the useless tool tray abyss from the workbench top.

The last bench I built was one of the simplest designs and if I were to build another it would be even simpler.   A couple of the benches were quite nice and I was apprehensive to use it, so I sold it and built another that didn’t have that problem and I used it for several years.  I have seen benches built by folks that looked like a piece of furniture made out of fancy hardwoods with a high gloss finish and were quite very impressive.  I think the first time a sharp chisel went into the bench top the owners went apoplectic.

There are even books written about workbenches and on woodworking forums there is always a thread about the latest efforts to build the ‘perfect’ workbench.  I enjoy some of them because it is them doing the work and not me.  I don’t think there is a perfect workbench but there are several that approach perfection, sort of like the search for the ‘ideal chair’, the search continues.

When researching old probate inventories and other historical records; workbenches are mentioned and occasionally priced and much to my surprise the workbench or bench was listed for very little money.  If the list included a bench vise it was always much more expensive than the bench.  The books that mention building a bench the description is quite simple, left rough everywhere but the top.  Books also mention buying second hand benches.

And the value of these benches, were from $0.05 to 0.375, which is not much even in nineteenth century dollars, a skilled craftsman would make about $1.50 a day.  The cost of a workbench was less than a glue pot.  Of course there are some surviving workbenches that would have more value, but by and large it was just another tool and not much time or effort was wasted on making a bench when it was much more important to get to work to make things that could make money.  And that is the difference between then and now.

Today we can take inordinate amounts of time on building a workbench because most of the people doing this kind of woodworking are not making their living doing woodwork.  Not that there is anything wrong with this, I like workbenches and have my opinions as to what contributes to a good workbench, like a top made of softer wood so as not to damage the work being done on the workbench, &c. 

I think a lot of people decide to build the fanciest bench they can find and don’t really think about what they will actually be doing on that bench.  Many of them then realize when their bench is finished that they never use the tail vise and most regret the tool tray, etc.  When building a workbench consider what you need to get done and build a workbench that will accomplish those goals.

Stephen

September 12, 2009

Owyhee Mountain Fiddle Shop

 

A good friend of mine Ken Pollard has finally created a new web site for his business of making and repairing stringed instruments.  It is the Owyhee Mountain Fiddle Shop in Idaho.  I have known Ken for more years than I care to admit to, we first met because of our interest in shooting muzzle loading guns.  With Sir George Stapleford we three became a trio of history buffs and good friends that for some reason lasted.

Ken has many talents, not all known to the public* and because of his background in Physics, I asked him to write the Foreword to Hide Glue – Historical & Practical Applications, which he graciously agreed.  Hide Glue is a crucial part of musical instrument construction and repair and Ken uses Hot Hide Glue in his work.  I am still trying to get him to give liquid hide glue another chance, even liquid fish glue, perhaps some day.

* hard tack souffle, roast magpie and he wears a skirt kilt.

If you have an old violin, viola, cello, bass, &c in need of repair Mr. Pollard would be happy to put into good working order, using the finest materials and with the greatest dispatch.

Stephen

August 19, 2009

1824 Receipt Book – recipes

Here is an interesting page from the book.  Page 36 has some information about metal working.  Page 37 starts on varnishes.

Stephen

August 18, 2009

1824 Universal Receipt Book

Which is actually an 1835 edition with the addition of 22 pages of school curriculum (which by itself is worth the price) published in London.  This book contains 6000 receipts or recipes from everything from varnish, stain, paint (oil color, water color, etc.), glues, cements, metallurgy, leather, glass, ink, medicine, food, beverage (fermented, distilled, brewed, etc.),  husbandry, horticulture, Domestic Economy, &c., &c.

It is 850 pages and a small format, but the information contained is of importance to history and contain many obscure, archaic and obsolete recipes together with treasures like ‘cold tinning’ and ‘turpentine varnish’.  More of a formulary than a recipe book, there is some amazing stuff in this work.

The original had been rebound during the mid nineteenth century and the new cover was created by Kari Hultman of the Village Carpenter and based on traditional book designs influenced by the books on Joel’s blog at Tools for Working Wood in New York.  Gary Roberts at Toolemera also contributed suggestions.

I showed this book to Richard Oman at the Museum of Church History and Art and he was of the opinion that the book was probably brought out West by the Pioneers.  A friend of mine George Stapleford found the book at an antique/book store in Bountiful, Utah and paid $115.00 for it, knowing full well I would give him that value at least in trade for this cornucopia.

I will be offering this {treasure} book in paperback for sale for $40.00 plus $4.00 shipping.  That is just over a half a penny per recipe or receipt, the traditional term for recipe.  I expect to have books available in September of 2009.  Because of the interest I am making this edition available by pre-publication subscription at a special price of $40.00, shipping (in the U.S.A.) included!  Please send a check or money order for $40.00 to:

Stephen

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