Fig. 66. Beaded Spindle.

After roughing this piece, locate and turn the central bead, as shown in Fig. 67. Do not make

Fig. 75. Marking Spaces.

ends, it should be held as shown in Fig. 75. Never lay it on top of the rest, except after the piece has been smoothed to a cylinder its entire length, as in Figs. 19 and 31, as it is dangerous to do so.

Fig. 76. Cutting in for Square End.

Another way to determine the point for cutting in at the ends is to draw a pencil line across one side of the piece before starting the lathe, or before the piece has been placed in the lathe. First mark the distances from each end, and then with a try-square or with the rule, used as a straight edge, draw a heavy line entirely across the piece. This line will be visible while the lathe is in motion.

The skew chisel is used to cut the curve at the square part. The first operation is to cut a deep groove, as shown in Fig. 76, with the point of the chisel. To make this V-shaped groove the point of the skew chisel must not be pressed hard against

Fig. 77. Rounding Corners.

the piece, but cut lightly from the two edges of the V until the space is formed.

After the groove has been made, the chisel is reversed, and the corner rounded with the obtuse angle, as in finishing a large bead (Fig. 77). See also Figs. 23, 27, 29, and 33.

Care must be taken in cutting such a place, that nearly all the work shall be done by that part of the edge near the obtuse corner of the chisel. If rubbing will not be steady or hard enough, but there is danger of rubbing too hard. Only by experience can the amount of pressure be determined. Ridges may be removed sometimes by an increase of pressure, and sometimes the pressure is made so great that the finish is removed or turned black.

Watch the surface very carefully and keep in mind that if too much finish is applied, or if it is not properly rubbed in, it may all be removed by the use of pumice stone and oil, except such places as have been burned. Moistening the cloth with alcohol will sometimes help to remove the ridges.

As soon as the cloth begins to stick or pull, a very little oil must be applied to the face of the cloth to keep it from

Fig. 70. Placing Shellac on Cloth

Fig. 71. Polishing with Cloth.

roughing the finish. The oil does the finish no good. In fact, the more oil the poorer the finish, but oil must be used to keep the cloth from sticking.

Some people use the ordinary lubricating oil from the can used about the lathe, but raw linseed oil is used where much polishing is done. For the finest grade of work, rub a little raw linseed oil on the surface before applying the shellac and use more oil during the rubbing if needed. After the polish has been rubbed to a smooth, even gloss, rub with olive oil and then with a clean cloth or the hand, barely moistened with alcohol.

A pad composed of cotton batting or a piece of polishing felt used under the cloth, as shown in Fig. 72, is sometimes of great advantage, but for the present work it is not essential.

If the grain of the wood is very open, it is necessary to fill the grain by using a filler, similar to hand finishing of open grained woods. By applying the raw linseed oil before the final sandpapering, the dust from the wood will be moistened and rubbed into the open pores, often making a good filler.

Fig. 72. Polishing with Pad.

Sometimes all that is required is to coat the piece with shellac, being careful to brush as much as possible into the grain, allowing it to dry thoroughly; after which it should be ground down with pumice stone and finished by rubbing with a cloth, coated with a very little shellac. Do not be satisfied until the finish is even and bright, and the grain is entirely filled.

There are many methods of doing polishing in the lathe, and finishers differ very much in regard to

Fig. 73. Polishing Outfit.

the material to be used, and the method of applying it. It is probably not best to attempt any but the most simple methods, with the simplest of materials at this time.

One item of great importance is to keep the pad or cloth moist. To do this, keep it in a tightly closed dish. A fruit jar or tin can having an airtight cover will be sufficient.

The outfit, shown in Fig. 73, is a very good one. The can is for keeping the cloths and pads which have been filled with shellac. The large bottle is for raw linseed oil. The smaller bottles are for alcohol and olive oil. The square bottle is for rottenstone or pumice stone, and it has a perforated cover. The shellac is taken from the same dish used in joinery.

If the pad or cloth is opened and freshly filled with shellac before it is put away in the can, the shellac will be more evenly distributed when wanted. If a small amount of oil is dropped on to the pad with the shellac, it will generally work better than when applied to the surface. Some finishers mix various gums, also the linseed oil, with the shellac for polishing and for similar work.