Anarchist Quotes The Individualist-Anarchist has been generally philosophical, practical, yet slightly removed from reality by virtue of his philosophical tendency, and at the same time highly self- conscious.... His philosophy stresses the isolation of the individual – his right to his own tools, his mind, his body, and to the products of his labor. To the artist who embraces this philosophy it is "aesthetic" anarchism, to the reformer, ethical anarchism, to the independent mechanic, economic anarchism. The former is concerned with philosophy, the latter with practical demonstration. — Eunice Minette Schuster, "Native American Anarchism," page 10 We shall find, therefore, that it is not in the realization of these ends, but in the struggle to attain them, that anarchism is of service to society. — Eunice Minette Schuster, "Native American Anarchism," page 11 chapter 14 intro "One thing I strongly object to -- this is the use of inlaying and such extravagances on tool chests; they should be made well, strong, and convenient, so as to last a lifetime, being for use, not for show." -- A Practical Joiner, "The Woodworker" magazine, February 1902 “It can be hard to tell a crank from an unfamiliar gear.” – Leigh Van Valen (1935-2010), evolutionary biologist The Rhythm of Work And yet the opportunity is there for every man who knows how to handle a tool. Knowledge alone is not enough, skill alone is not enough, for the perfect use of them depends on what a man can give of himself. For when all is said and done he is not a precision tool, or a robot, or a machine, nor even -- by nature -- a machine minder. Something he is of all these things, but he has also that gift which is so utterly his own, his restless, eternal, questing spirit, which keeps him ever searching for beauty and everlastingly trying to create it. This is the power behind his technical capacity if he learns to harness it, the power by which he can attain to the sense of balance and good judgment which are among the first requisites of beauty. The rest will vary with the man himself. This is the great glory of our personality, that each individual touch is different, so that throughout the great ages of craftsmanship the work of each worker stood out from its fellows even if it was never stamped with his name. — The Woodworker, 1947 Straws in the Wind In heaven's name, let us be men with real interests, real ability to use our powers of hand and brain, men of character who can make a mark at least on our own circle. We can do it by constant personal effort. And if our daily work leaves us no outlet we must find our own. The woodworker can make himself a first-rate craftsman, he can persevere in spite of present difficulties, learning all the time, and enjoy a sense of personal achievement in surmounting them. Because personal achievement is the only answer to the cipher business and the one which a man owes his soul. With it he will have truly lived, whatever part outside events have played in his life. Without it, he will pass like a straw in the wind. — The Woodworker, February 1947 Hopeful Living Intro to Chapter 1 But now, perhaps just because peace is not going according to plan, certainly not in the way that we, the ordinary citizens, had imagined it, there are opportunities which will give us the thrill of vital living if we care to sieze them, the difference being that these opportunities do not come unsought. We have to find them. — The Woodworker, December 1947 Memories of Fifty Years Ago in the Building Trades intro to chapter 15 In those days a journeyman's full tool chest was quite a costly investment, and many a man found it an expensive undertaking to supply himself with all the tools he needed. Besides his ordinary bench and everyday working tools, he was obliged to carry a lot of odd tools that are not much thought of these days. Sash planes, match planes, moulding planes, beading planes, coves, rabbits (sic), side filisters, try and other squaers, mortise gage, and three or four other squares, bevels, miters, and a half a dozen or more saws of various kinds, including a dove- tailing saw – a saw which is now almost extinct – plumb-bob, and two or three dozen chisels, gouges, and many other things the modern carpenter never wants of thinks of. The moving of tool chests was quite a big job, and the chest itself was a fearful and wonderful combination of usefulness, clumsiness and adaptability. I keep mine as a "mechanical relic," now over 60 years old. — A Retired Carpenter, The National Builder, January 1914 Spons on Tool Chests Tool-chest.-The most common way of arranging a tool-chest is in the form of a box, i. e. with the cover opening at top. This has one great disadvantage as compared with what may be called the cupboard arrangement, in that some of the tools must necessarily be below the others and in the dark, giving double trouble to get them out or replace them, and tending not a little to their injury. The chest or cupboard shown in Fig. 565 is based on one described in Amateur Work by the designer. It measures 4 ft. high, 3 ft. wide, and 11 in. deep from back to front, the shell being made of ........ Tools.-These are mainly the same as employed in Carpentry, but some special forms are added. These will be described here, including chest and bench. Tool-chest. A convenient chest for holding cabinet-making tools is shown in Fig. 682, as described by Cabe in Design and Work. It is 3 ft. 1 in., by 1ft. 8 in., by 1ft. 8 in. inside measurement, with a till the full length of the inside, 9 in. broad and 10-1/2 in. deep. The body of the chest is made of 7/8 in. best yellow pine, with a skirting of oak round the lid. The till and the inside of the lid are veneered with rosewood and walnut. The 2 sides are squared up 3 ft. 3 in. long and 1ft. 8 in. broad, and the 2 ends 1 ft. 10 in. long and 1 ft. 8 in. broad, They are previously slipped on the upper edge – that is, a thin slip of plain walnut, say 3/8 in. thick, is glued on what is to be the upper edge of each piece. These 4 pieces are dovetailed together, the dovetails 1-1/2 in. apart and all going quite through the thickness of the wood. Before glueing the pieces together, 2 fillets aof mahogany, 1 in. broad and 5/8 in. thick, with a groove in the centre, are glued and screwed to the inside of the ends at a distance of 10-3/4 in. from the upper edge; these are to receive a sliding board 11 in. broad, which slides underneath the till, which, when pushed back, covers the planes and tools in the space b, and, when pulled forward, covers the tools in the space c. This board may well be left out. A partition board d between band c comes nearly up to the sliding board, and is grooved into the 2 ends. A second partition e in the middle of the space b is 4 in. broad, and is also let into the ends. These 2 partitions are made of 1/2 in. wood, and these grooves must be made in the ends to receive them before the body is knocked together. A stain of Venetian red and ochre, with a little glue size, is made somewhat thin, and applied hot to the wood with a piece of cotton rag; then, after standing for a few minutes, as much as will come off is rubbed with another piece of rag, stroking always with the grain. In a short time this stain will dry, when it is sandpapered, using the finest. The body is next put together with thin glue, using a small brush for the dovetails, and taking care that no glue gets on to the inner surface, as taking it off afterwards leaves an unsightly mark. It must be borne in mind that in dovetailing a box such as this, the "pins" are always on the end pieces; consequently they are cut first. In "rapping" the body together, a somewhat heavy hammer is used, and always with a piece of wood to protect the work from injury. The 4 corners are glued and rapped up close. The box has to be "squared." A rod of wood, made like a wedge at one end, and applied from corner to corner diagonally inside, is the readiest method of squaring, a pencil mark being made on the side of the rod just where the side and end meet; then the rod being placed diagonally from the other 2 corners, the pencil mark will show at once whether the box is squared or not; and, if not, the long corner must be pressed or pushed to bring it to the square. A bottom f is nailed on of 5/8-in. wood, with the grain running across-i. e. from back to front. Then a band g of wood, 2-1/2 in. broad and 1 in. thick, is nailed over the bottom, and flush with the outside of the box all round. The 2 long pieces are nailed on first, and the end ones are fitted between them. To secure these bars or bands properly, a few 1-1/4-in. screws should be passed through the bottom from the inside into them. The box is then planed truly on the outside all round, finishing with a handplane and sandpaper. A band h is made to go round the sides at the bottom, and another i at the top or upper edge; that at the bottom is 3-1/2 in. broad and 5/8 in. thick, and that at the top 2-1/2 in. broad and 5/8 in. thick. It makes the best job to dovetail these bands at the corners, making them of a size to slip exactly on to the body of the chest. The upper edge of the bottom band, and the lower edge of the upper, are moulded either with an "ogee" or "quarter round." When the bottom band is in a position for nailing, it covers the bottom bars and the edge of the bottom, coming up the sides of the box about 2 in. The upper band is fixed -3/8 in. below the edge of the body; this forms a check for the lid, the bottling for the lid being made to check down on this band. The lid is made of pine, 7/8 in. or 1 in. thick; it has cross ends, 2-1/2 in. broad, mortised on. These prevent the lid splitting or warping. After they are glued and cramped on, the lid is evenly planed and squared to the proper size, which is 1/16 in. larger than the body of the box on front and ends, and 1/4 in. over the back. The lid is fitted with 3 brass butt hinges 3 in. long. The lid, being temporarily fitted, is taken off, and a skirting put round it – that is, on front and ends. This skirting is 1-1/4 in. broad, and 7/8 in. thick, of hard wood-oak or black birch. To make a first-rate job of this skirting it should be grooved, as also the chest-lid and slip feathers inserted. It should also be nailed with fine wrought brads. After it is firmly fixed and dry, it is rounded on the outer edge. The extent of the rounding is found by shutting down the lid and drawing all round at the edge of the band, over which the skirting projects about 5/16 in. The inside of the lid may be panelled. This panelling is simply a flat veneered surface, the 2 panels being root walnut, and the borders rosewood; the veneering must be done before the skirting is put on. The 2 panels are laid first; when dry, the cutting gauge is set to 2-1/4 in., and cuts away the over veneer all round, which, of course, gives a border of 2-1/2 in. to be veneered with the rosewood; 2-1/4 in. also divides the 2 panels in the centre, and the 8 corners are marked off with compasses set to 1-1/2 in., and cut clean out with a gouge. All the edges are planed with the iron plane, and the rosewood border is planed and jutted all round in the form of "banding" – that is, with the grain running across and not the length way of the borders. The round corners are fitted in in 2 pieces mitred in the centre. A till has now to be made. The body or carcase of this is entirely of 1/2-in. wood. It has 2 drawers in the length at the bottom, 3 in. deep on the face; 3 in the centre in the length, 2-1/2 in. deep on the face; and over these is a tray, covered by a lid. The face of this tray is in the form of 4 drawers, which are shams. The drawers are 9 in. broad from front to back, and run on shelves 1/2 in. thick, with divisions between of the same thickness. The shelves and divisions, as also the edge of the lifting lid, are slipped with rosewood on the fore edges, and the drawers being veneered with root walnut, the whole has a good effect. The lifting lid is panelled with veneer, similar to the lid of the chest, the rosewood border being 1-1/2 in. broad. It is hinged with 3 brass butts, 1-1/2 in. long, to the back of the till, which projects upwards the thickness of the lid, and is veneered also with rosewood. This lid may be made of bay mahogany or good pine; and if of the latter, it must be veneered on the under side with plain walnut or mahogany, to counteract that on the top and prevent warping. The carcase (case) of this till is constructed as follows :– The 2 ends are cross- headed on the upper edge; these are 1-1/4 in. broad, and may be put on with the ploughs. Then the bottom and 2 shelves are squared up to the length of inside of the chest, having been previously slipped on the fore edges with rosewood 1/8 in. thick. The bottom is dovetailed into the 2 ends, while the 2 shelves are mortised or let into the ends with square tenons, which pass quite through, and are wedged. The divisions between the drawers are let through, and wedged in the same manner. The front of the tray, which has the appearance of 4 drawers, is of 1/2-in. mahogany, veneered with root walnut, like the drawer fronts, and an imitation of the fore edges made on it by glueing slips of rosewood, 1/2 in. broad, to represent the fore edges. The walnut front must, of course, be sandpapered before these are put on. The 5 drawers k, are made entirely of straight, plain, bay mahogany, 1/40 in. thick, excepting the fronts, which are 1/2 in. The knobs l are of rosewood, 3/4 in. diameter. The tray, covered by the hinged lid, is so deep as to hold the brace or tools of the like bulk. The left end may be occupied with 3 shallow trays, one over the other, for holding the several bits belonging to the brace, and are very handy, as the bits can be arranged in order, and the trays may be lifted out to the bench, when a number of the bits is wanted. The remainder of the tray is lined with green frieze, and holds the brace, spirit-level, gauges, squares, and other of the finer tools. The 2 long drawers at the bottom are used for chisels, gouges, spoke-shaves, mitre- squares, &c., while the 3 upper ones are for gimlets, bradawls, compasses, pliers, and sundry small tools. In the space b, in the body of the chest and under the till, the planes are arranged as shown. In front of them is a space 4 in. broad and the full length of the chest. In it long tools, such as the trammels, are kept, and any planes that the back space will not admit, such as raglets or grooving planes, which have 2 wedges. It is also useful for holding drawings of large dimensions, rolled up, where they are safe from damage, and in cases of removal it is the receptacle for the hand-saws and other tools which usually hang upon the wall. "'Leave me to my repose,' is the motto of the sleeping and the dead." — William Hazlitt, literary critic (1778-1830) The Test of Time New values have come in, new prospects of easy money are for ever enticing young men still further away, but it is doubtful they are happier for all that, for one can have easy money and an empty life, which is a poor substitute for creation. The wise ones will provide for it in their leisure and wood seems the natural medium for most of us. It is kind stuff to handle, it is creative work which keeps us close to first essentials by helping to provide necessities for the home, and it gives scope for every bit of skill and judgment we can develop, with always the promise of beauty in the end. — The Woodworker, March 1951 Renewal No wonder we feel so much at home with wood as a material, at once our most faithful servant and best friend. But the men who are keeping alive the tradition of fine furniture are the little men, scattered over the country who still in their workshops give the lie to the cynical modern view that in these days people will only work for money and that the satisfaction of the work counts for nothing. Just as there are the men who do woodwork in their spare time, finding in it the kind of pleasure and satisfaction which their own daily work too often denies them. — The Woodworker, April 1951 On Being Rich intro to chapter 2 Now and again in our topsy turvey world we get glimpses which show us with sudden clarity what an odd scale of values men are building up for themselves to-day. And that, in spite of the general scramble for money, the true riches for all of us lie in our tools and our skill. These, in the dawn of the world were a man's first, best friends. They remain his best friends still in a world grown old and infinitely complex. By means of them he can unlock the doors to a life of creative activity that is full of interest. Without them he is mere shadow of the man he might be. — The Woodworker, May 1954 Hints to Furniture Collectors intro to chapter 4 A dog kennel carved and inlaid may be rare but it is not valuable, and the man who carved and inlaid it was not a genius but a lunatic. — Herbert Cescinsky, 1924, antique furniture expert A Two-footed Business So many men to-day, doing work that is far removed from the making of things, the many professional workers, office workers, salesmen, factory workers – whose work may seem to be making but whose sole contribution is constant repetitive action in one infinitesimal part – lack contact with that real world in which a man can exercise his creative gifts. They barely realise that such a world exists. Theirs is the world of hard bargaining, of nimble wits or the routine job, which leave a great part of their natural human instincts unsatisfied, even though in all probability they do not know the reason for their perennial feelings of dissatisfaction and frustration. — The Woodworker, January 1954 The Flowering chapter 11 intro We must respect the growing things that give us pleasure if we are to learn to handle them properly, to prune in the right place, foster in the right place, train in the right place. The craftsman knows this. He knows that ignorance and impatience spell destruction, that in handling the living wood he needs to know its qualities and how to turn them to the best account, how to use his tools skillfully so that shapeliness will follow, and that an outburst of impatience will only land him into difficulties and possibly ruin the job. It is a grand school of self-restraint. — The Woodworker, June 1947 The Years Ahead We can improve our own taste and judgment by studying good work wherever we find it, in shop windows, exhibitions, museums, or illustrated in the pages of books, just as we can improve our own skill by thoughtful, intelligent practice and in taking instruction in whatever direction we may need it. For there is so much to be done, there are going to be so many busy years ahead for all of us, that the man who is ready to plan and work now to achieve later the thing he longs for, whether it is a small business or a beautifully equipped home of his own, is the man who will be equal to the hour when it comes. — The Woodworker, January 1947 Ah, snug lie those that slumber