John is working on completing the Trestle Table

I used my tax stimulus money to buy a flat screen TV.  The problem is that I have to walk past the TV to get to the shop.  So I was enjoying TV in all it flatness when I saw the end of the table sticking out of the shop.  It seemed to beckon me as it lay there cupped and in need of work.  But, I am a man, so I grabbed the remote and ignored it.  Now I am back at it and dealing with the cup across the width of the table.

The trestle table top (say that three times fast!)  is made from two book matched cherry boards.  They finished out at 103 inches long and 13 inches wide.  I added a middle board to the two book matched pieces to get a final width of 31 inches.  This was going to be a kitchen table but with the length, it goes into the living room.  I could have cut the top?only kidding, I would never cut boards like that.  Would you? 

The thickness of the top is just under ¾ inch so it flattens when forced without that nasty cracking noise that indicates you just learned another lesson.  The cup, which you can see in the picture, is a ¼ inch.  For the picture I clamped on side of the table flat so you can see the total cup that I needed to flatten. 

Now the bread board ends create a cross grain situation and wood movement becomes an issue.  I like wood movement! There I said it.  I like feeling the non flush edges that arrive with the seasons.  My friend has a table from the great Christian Becksvoort and he insisted on bread board ends.  He can feel with his fingers that the top has moved.  I like these oddities and have added divots and ridges under the arms of chairs for a person to finger when sitting.  These subtle aspects humanize a piece. 

First thing to do was to determine the size and layout of the tennons.  Since we have a cross grain situation I am only going to glue the middle tennon,.  I decided on three tennons because it gives me a middle.  I think five tennons would work if the width would accommodate it.  I also used a stub tennon on the entire width of the top.  This stub is 3/8 inch in length.  The thickness of all tennons is a ¼ inch.  A rule of thumb in deciding the widths of the tennons is the have all of them equal ½ the total width of the table.  For me, I made them 5 inches for a total tennon width of 15 inches.  It is also important to have enough wood at the ends of the bread boards so I started the tennons ¾ inch in from the edge.  I marked the mortis locations from the tennons.  I increased the mortis for the end tennons by 1/8 inch on each side to allow for movement.

Well, it seems my brother had been keeping great great granddad's old spinning wheel - I had forgotten the box that it was in when I left the homestead, and he had been storing it for me. After reading the last piece I did on spinning wheels, he must have read it and remembered he had it -and got it out in the mail to me - because it arrived a week or so afterwards:

It's missing some pieces, but there's a good majority of it still there. The legs and pedal are gone, and it's missing the two pieces that hold the bobbin/axle.

It's an interesting piece to me on several counts... First, it was made by great great grandad... Second, it's a study in wooden machinery - everything has a purpose and yet it's still elegantly constructed. Third, it's an example of true frontier craftsmanship. I'm not sure of the exact date, my best guess would have been somewhere near the 1870 to 1890 range, in the Dakotas. This would have been made with the most meager set of tools, and quite far out in the country... I think I remember reading the nearest flour mill at the time was a full day away.

It's made from at least three, but more likely four distinctively different woods, from what I can see - and I think you can tell somewhat in the top photo. I'm not positive of the exact species, but from my experience with wood and my knowledge of the trees native to the area in which it was made, my best guesses would be birch or elm, maple, and basswood or poplar. I will get into where each was used as I deconstruct the thing.

Metal pieces would have been difficult to fabricate and expensive to purchase, so their use was kept to an absolute minumum. Could he have bought the metal pieces, or had a machinist make them for him? It's a possiblity. The pieces could have been ordered via mail order and shipped to the closest dry-goods store... yet they do all show at least some amount of fabrication. That eveidence could just be the technology of the time showing through, however - I'm just not qualified enough to say.

The only metal pieces are the axle/treadle drive on the fly wheel, the metal hooks on the spinner/flyer, and the axle for the flyer/flyer whorl assembly. The metal reinforcement on the flyer (the U-shaped piece in the photo below) shows signs of hammering to shape, and is riveted in place with metal pins and is surely of his own making.

The part that would have probably been the most difficult to make would have been the axle for the bobbin/flyer assembly... It appears it was made from something else, and made to work. I'm not exactly sure what it would have originally been had he fabricated it - it might even be two pieces, I can't really tell. The center was drilled out from the end and from the side to create the orifice that allows the fiber to be fed through it.... Both holes are off center, and show some evidence of being drilled and filed by hand.

You can see the orifice on the axle of the flyer on the right in the above photo, where the fiber is fed into the wheel. The far end of the axle in the photo above has a small taper to it - and is also threaded to hold the bobbin and flyer whorl on. It looks to me like the tapering was done by mounting the bolt in a wood lathe and tapering it using a file while turning. Fine metal work would have been difficult on the prairie in those days... and this is one of the things that lead me to believe this piece was at least partially fabricated by old great great granddad.

The bobbin (on the left in the above photo), the flyer, and the flyer whorl are all made from a very dense, close-grained wood - my guess is maple, though it could be just about anything of a similar nature. It needed to be, as the walls of the pulleys on them as well as the U-shape of the flyer makes using a strong wood imperative. The bobbinis made from a single piece... You can see by the breaks that it was made from a straight piece of about 3" round wood. The hole the axle slides through goes all the way through the bobbin, obviously - my best guess as to how this was made would be to first drill the hole through the rough blank - then mount the blank in the lathe and turn the bobbin to its final dimension. This would assure the axle hole would be centered on the bobbin. The far end of the bobbin is actually the first pulley you would use as part of the flyer whorl assembly - you see it in the next photo and the one two down that shows the whorl in it's place.

Here you can see the far end of the bobbin and the leather "bearing" that the axle is pushed into (the flyer whorl is not in this photo - it would take up the space between the bobbin and the adjuster piece the leather bearing is pressed into):

Both ends of the axle were mounted in leather bearings... but unfortunately the maiden that holds the closer end was missing on the original. Using another wheel made by granddad's brother, he fashioned the maiden with a leather bearing similarly to how that wheel was constructed:

You can see that it was simply a thick chunk of leather, glued into the maiden. This allows for the bobbin assembly to be easily removed from the wheel, simply by turning the maiden. There's not a lot of pressure on these bearings so they function quite well (as evidenced by dad's copy), and the leather would simply have been replaced as it wore out. Lubrication, if any, would have been tallow or beeswax.

The flyer whorl is made with two different sized pulleys so you can adjust the speed of the flyer - faster for more twists per inch in your yarn, and slower for fewer. More twists made for a stronger thread - but took more raw fiber. Fewer produced more "fluffy" yarns, good for sweaters and the like.... at least that's what I think - I have no experience spinning my own yarn. I still have the flyer whorl for the original, though unfortunately only half of it - but it does show how it is constructed pretty well:

You can see the differing diameters of the pulley to allow the flyer to spin at different speeds depending on where you placed the drive bands. The bobbin spins freely on the axle so is independent of the flyer whorl.  It is driven by its own pulley on the end next to the whorl that is a slightly different diameter - this is so the bobbin would spin at a different speed than the flyer.  Otherwise the yarn would only spin in place - with the different speed it slowly spools onto the bobbin as you feed more fiber into the orifice.

This is known as a "Scotch Brake"...  it basically means the yarn spools quite slowly onto the bobbin, while being twisted (for strength) many, many times for each single time it spools on the bobbin - which is the major function of the wheel.  It is this twisting that gives the yarn it's strength - without it, it would simply pull apart.

A good spinner feeds fiber into the orifice at a steady rate, thusly avoiding thinned out or lumpy yarn that is strong enough to knit.  More twists per inch results in a thinner, stronger thread - fewer provide fluffier, more insulating yarn.

The drive bands would have been simple twine or leather strips, or possibly even yarn - it didn't need a great deal of force to twist the fiber, so grip wasn't terribly crucial - speed was.

You can also see the tensioner knob assembly in the photo above at the top of the aptly named "Mother of All". It's broken as well, but it shows how it was made... A threadbox would have been pretty standard fair in most shops of the time, so that's not too surprising to find. It still works quite well, even after being exposed to the elements for many years.... The Mother of All is broken here as you can see in the photo above and below, but again at least we can see what it looks like:

The Mother of All is so aptly named as it is the main structural element of the wheel - everything pretty much hangs off of it. It, along with the maidens and most of the spindle work (with the exception of the spokes in the wheel) are made from a hardwood I would say is either elm or birch - it's hard to tell exactly as the wood is aged so. But those were common woods used in local furniture of the time - especially turned furniture. Oak was available and used extensively for standard casework, but wasn't preferred for turning because of it's open grain and it's tendency to tear out. I would imagine the elm or birch was riven and turned green, much in the fashion of windsor style chairs, and wedges were used to fasten the tenons to the half-moon shaped base (which I think was made of either poplar - but could be basswood)... There would not have been any kilns in the area, any dried lumber would have been air-dried.

Which brings me to the fly wheel, the most prominent piece of the spinning wheel, has some interesting construction methods. The outer wheel was constructed from four separate pieces. The wheel is made what I think is basswood, though it could be poplar, I suppose... both are plentiful in the area. There are a couple ofreasons that basswood would appropriate here. First, a lighter weight wheel would be easier to spin. Women using these wheels would often spin for many hours on end, for many days in a row... ease of use was paramount in their design. Second, basswood is a very easy wood to work... Mounting a wheel this size and turning it in a treadle lathe would have been quite a task... the easier one could make the task, the better. Third - since these wheels didn't carry a load, like say maybe a wagon wheel would, there would be little or no structural stresses on them, so basswood met the bill.

The pieces for the outer rim were first assembled before they were turned using splines and wooden pegs to hold them in place. You can see here where one of the pegs was placed too far out and was turned into:

The outer wheel itself was not constructed in the same manner as a wagon wheel - where the spokes have tenons that mount into the outer wheel - for the reasons mentioned above. It was first assembled and then turned without the spokes - they were added afterwards. Here you can see one I've pulled out:

After the main hub was turned, the spokes were made to fit inside the outer rim, then holes were drilled through the rim into the spokes - and a wooden dowel was driven in to hold the spokes in place. There just one problem with that - how do you make sure the hub is centered in the outer rim? Well - my best guess is that the hub and spokes were made first. The hub first, then the spokes, which could then be glued into the hub. The hub could then be mounted on a temporary axle and turned, allowing you to mark the end of the spokes in the same location as you turned the hub. The outer rim could then be turned to match this dimension... It's just an educated guess, mind you - but the best I can come up with given the circumstances.

As for the hub, it's one piece, with an axle that mounts into the adjacent spindles thusly:

The far side of the axle has an offset that attaches to the footman, which then is attached to the treadle. And yes - at the lower left of the hub in the photo above, that is a knot... As a matter of fact, it continues through to the other side:

Why would he have used a piece with a knot like that in it, you might ask? I would put forth that it was a matter of convenience... As I mentioned above, a lot of the wood used for the contruction of this wheel would probably have been worked green. The wheel would have had to be dried wood though. Most likely that meant that it was was harvested from already dead wood - possibly even seasoned firewood. There wasn't storage space available for storing wood while it dried... The house they lived in would probably have been the size of your living room and housed 5-7 people... The barn would have been similarly small was soley for livestock. The shed that served as a shop would have been more like a lean-to, perhaps with a pot-belly stove if the owner was well-off. So dried wood was a luxury most couldn't afford, but for the wheel it would have been necessary as green wood would have shrunk and rendered the wheel useless. So it's my guess it came from whatever was available - and since it didn't need to be all that strong, it wasn't a problem structurally. Also, I should mention that the knot would not have been this pronounced when it was made - this particular wheel was exposed to the elements for many years, so has weathered quite a lot. Originally, it would have been a very tight knot.

About all that's left is the base, legs, footman, and treadle - and all I have of those is the base... The base is made of poplar, it appears. I remember hearing the half-moon shape was a sort of trademark of his, but I'm not sure of this... compared to the other his brother did later, its a unique feature and was supposedly preferred by the people who used them as they were stronger. I do recall hearing that this makers' work was highly prized by those who received it, at least within the area he lived.

I may restore this old wheel someday - no, it will never be in working order again, but I may try to get it just so it is all in one piece and has all of the parts, just for display. I doubt it's worth much to anyone but me - but it sure is fun to have around to look at and to study, to give one appreciation for the original maker and the methods and material he used in creating it.

The maker, my great-great granddad, was a very adept turner, furniture maker, and woodoworker. He used green wood quite a bit, as I think can be seen in another of his works which I will show just for reference - a crib made of elm:

It appears he also used steam to bend wood, as you can see - obviously a very industrious fellow for someone truly out in the sticks... This crib was used all the way into the 1960's as I recall... It's been retired for obvious reasons since then, but still remains in the family, well over a century after it was made.

Kudus is a city in the Central Java, Indonesia, located among Jepara, Demak, Pati, and Purwodadi districts and in the route of Semarang the capital city of Central Java to Surabaya (please see location map). Based on story, Kudus name was from Al-Quds, which mean holy.

The history of Kudus cannot be separate from the name of Sunan Kudus as the founder and one of the Wali sanga (nine Wali) spreader of Islam in Java at that moment. As his inheritance, Kudus has a famous artefact called Menara of Kudus which form like a temple, placed in one complex with mosque of Menara Kudus that build by Sunan Kudus around 1685 M.

Gedongan is a main room in the inside room (jogan lebet) of the traditional house of Kudus that its major function is as a main bedroom and a place to keep heirloom and wealth of the owner.

Interested user of the gedongan recently use it as :

* Room decoration

* Partition between pools with the house terrace

* Partition between living room and the other rooms

* Background of the room

Gebyok Center has specializing in the reproduction of the traditional house of Kudus with its part, but not shut the possibility to provide furniture and other antique decoration that match with the design interior of the traditional house of Kudus or for other purpose that suit with the buyer needs.

The providing of the other products are include antique furniture like table and chairs for living room, bed, divan as relaxing place, wooden carved box as a deposit box, etc. All is part of the commitment of Gebyok Center to dedicate the best product results of the finest wooden carved art of Kudus for the customers.

About 11 days ago I told of my adventure removing a splinter by myself while Gail was off visiting her sister in San Francisco.

Well, today tragedy struck again. I got another splinter but this one came from doing something we’ve all done at one time or another. I refer to the painful “reaching into the briefcase� splinter.

I happened to look in my briefcase today, and I saw that the center compartment is still filled with Euro coins from where I was in Ireland 2 months ago. So I decided to clean them out. I reached down in there and began scooping them out when I felt the most intense pain of my life.

Having never passed a kidney stone, here is the previous personal pain record holder: I was carrying the ball and had enough steam built up that when the defensive guy hit me he sort or bounced off, and as I kept running his attempt to grasp me caused him to slide down my body. With my left foot planted on the ground this guy’s knee came down right on top of my left foot, breaking 3 of my Metatarsals. (Shout out….Dr. Steve Ahlfeld…thanks again for fixing my foot. All these years later I have NO issues, even when the weather changes. It’s perfect.)

Anyway, broken metatarsals are nothing like the pain I felt prior to pulling my hand out of my briefcase and seeing a huge splinter jammed up under the fingernail of the middle finger on my right hand. Yes, just like some kind of sadistic POW torture, I had put the equivalent of a toothpick under my fingernail and broken it off.

It doesn’t help that I have a problem with biting my fingernails…

Strangely, the splinter only hurt on the way in. Having found its equilibrium, it was not causing any pain as it just sat there. Still, I couldn’t leave it there.

Gail won’t be home until Tuesday. (I know…she has been in San Francisco LONGER than we were in Ireland….) I don’t think it would be good for this splinter to wait that long. What if the nail grows over it, trapping it in there? Also, I don’t know what species it is. It could be Cherry, but it might be Padauk…and I just don’t like the thought of African wood living under my fingernail. What if it leads to Ebola? Laugh all you want, people, but none of us actually knows for sure….

So I had no option but to cruise over to PrimeCare (it’s cheaper and faster than the Emergency Room). However, when I got there I found there must be influenza sweeping through the blueberry farms of West Michigan because it seems every migrant farm worker in the area was there with a sniffling horde of kids. I asked, and a nurse confirmed they had a full crowd in front of me. So l left and went to lunch.

I drove 25 miles away to my favorite place to eat (BW3s) and used their free WiFi to email my tale of woe to my wife who was 3 hours behind me on the west coast. I ate my food while asking all of my favorite waitresses if they would like to earn some extra cash going after the splinter…no one needed the money that badly.

So I used the internet to find the closest medical facility. When I arrived at Spectrum Hospital’s Urgent Care facility, I found no migrant farm workers…only trained medical professionals looking to help.

The Physician’s Assistant asked if I wanted to try to tough it out or if I wanted to take the sure fire painless route. He misinterpreted my answer and the next thing you know I am “toughing it out.� Basically he just jammed some tweezers under my nail and yanked that bad boy out.

I have posed it with a dime (and a 10 cent Euro coin) for size comparison.

Is there a lesson to be learned here? Perhaps I should not be left home alone in the future???

What does it say about my woodworking toughness when I get doctor-worthy splinters just reaching into my briefcase?

It’s probably a good thing that I am more into hotels than tents. It’s really best than I don’t like to go camping. To quote the Lemonheads….Honey, "I lied about being the outdoor type.�

Hmmm... I have a few boards of purpleheart, some "hobby wood" curly maple boards from Lowes, some scraps of poplar, a bunch of redwood... I got nuttin'.

• NOTE: When using a stop block with a crosscut sled, you MUST hold down the piece between the block and the saw blade. Kickbacks are fierce when a piece gets wedged in there. Ask me how I know...

My wife and I subject each other to a lot of second hand noise.

As Gail sits in the living room knitting, she deals with the background noise drifting up from my basement woodshop. She also has to deal with my scream of testosterone-induced rage as I don one of my Old Man sweaters, stand at the front door shaking me fist, and yell at the neighborhood kids to “STAY OFF MY YARD!!!� Probably once or twice a year she has to tolerate the sickening sound of the bitchslaps I put on the migratory mime troupe that comes through on their way up to Mackinac Island. (I call this event Silent Scream.)

The second hand noise I tolerate isn’t quite as offensive. Let’s face it…Gail’s knitting isn’t very loud. However, each morning as I sit with my laptop in the dining room desperately trying to feed all of my Webkinz before I start my day, I am forced to listen to the cable news show Gail religiously watches. It’s not just the perky talking heads that I have to hear…it’s the commercials from hell, too.

I first heard this commercial yesterday, and my brain semi-consciously registered a What the $@#%????? However, this morning the replaying of this commercial solidly lodged in the conscious part of my brain and chiseled out a ledge where it has painted a sign that calls it out as one of the nuttiest things I have ever heard seriously marketed.

(Pleases note the “…� in the title below creates a pregnant pause of almost a second and a half from the voiceover actor as he narrates the television commercial).

The Most Relaxing Classical Album in the World...Ever!

Honestly, it’s a real title. You can get it here.

Wow, there are a lot of unsubstantiated statements in that title. Well, it’s my belief they are unsubstantiated. Perhaps there are competitions among albums to see which is most relaxing.

They get really bubbly waitress types, pump them full of ephedrine and caffeine, then strap them into La-Z-Boy’s and force them to listen to music through headphones. Whichever album creates the largest total reduction in heart rate, respiration, and certain non-essential brain waves is considered to be the Most Relaxing Album. Obviously, competition among Classical albums is more intense than in the EuroTechno or ThrashMetal categories. In fact, the Classical competition is the main event; those ringside seats command Super Bowl ticket prices from scalpers.

I still have questions. Does one competition really determine the winner for the ENTIRE world as indicated by this album’s title? What if there is an unheralded classical album making the rounds in a village outside New Delhi that is putting people to sleep left and right?

Finally, I am skeptical of the use of the word “Ever.� Does the word “ever� in this title mean “from the beginning of man up to this point in time� or does it imply all future time as well? Even if it is possible to gather all of the music that has come before and rank it for relaxation value, it is not possible to know something won’t come along next Thursday that will make narcoleptics of all of us.

You know what…I just realized I am probably not the right guy to be complaining about sweeping generalizations like ones used in the title of this album. After all, am I not the guy that Chris Schwarz links to with the subtitle, “Is Jeff Skiver the funniest woodworker ever? Yes. Yes, he is.�

I suppose I should just be happy Chris chose to accentuate my sense of humor as opposed to my ability to put the smack down on non-verbal artists.