For a group problem, nothing works out so well and has more real educational value than the croquet set. Plate XXXVI and Fig. 56.

Fig. 56. The Croquet Set.

Plate XXXVI.

The Mallet

As with other problems worked in school, the price of material governs the kind to be used. For this reason hard maple will be chosen, altho boxwood, lignum vitae and rosewood are better for the head. Ash or hickory is satisfactory for the handle.

The principles involved in turning a croquet mallet are almost identical with those of a manual training mallet, Plate VIII, the only difference being found in turning so long a handle. Fig. 57 illustrates a back rest in use. To work this out successfully, first rough off in the center enough wood so that the support of the back rest can be brought in close contact with the handle. The diameter at this place should be as large as possible and the support can either be a semi-circle to correspond in diameter, or a block with a cut of 900, the sides in the latter case acting as tangents to the cylinder. Now fasten all adjustments on the back rest firmly and grease the handle at the point of contact with a little tallow. Turn on both sides of this rest, starting at the headstock and working to the dead center. After doing this, remove the back rest and clean up the remaining wood. All such turning must be done at slow speed. Fig. 58 shows a method of supporting the work with one hand while turning with the other.

Fig. 58. Turning with One Hand and Supporting the Work with the Other.

Fig. 59. The Sand Wheel Used to True Up the End of a Mallet Head.

Fig. 27 illustrates a quick and safe method for sandpapering long and weak spindle work. With sandpaper on each block, it is possible to work with great pressure, one hand supporting the strain on the other. The blocks should be of sufficient length to joint the wood, working all small hollows and irregularities out of the cylinder. Fig. 59 shows how a sand wheel may be used to advantage in truing up the ends of a mallet head.

Fig. 60.

The Ball

It will be noticed in Fig. 60 that we first turn a cylinder of 3 1/2" in diameter; then locate the center, and measure 1 3/4 on each side of this line (a cross section thru the axis forms a perfect square; we intend, as it were, to inscribe an imaginary circle in this square). Our next step will be to cut so as to make the square section octagonal. Having reached this point we now cut so as to make the section a 16-sided figure; and so on until we attain 64 sides, when we have almost a round surface. Trim off the corners and sandpaper thoroly. It will be observed that we do not cut the waste wood at either end below 3/8", leaving the final cutting to be done with a knife and cleaned up with a file and sandpaper. If properly finished by hand no rechucking will be necessary. On account of wood shrinking in one direction only, it will be advisable to cut the end grain of the ball about 1/32" less in diameter than the width; when the wood has dried out thoroly, the ball will be as round as it is possible to turn one.

Fig. 61. Illustrating Correlation in Advanced Work. - Note the Turned Legs on the Martha Washington Sewing Cabinet and Drawer Knobs and Bed Problem.

It will, therefore, be seen that we turn a ball by increasing the number of sides of a polyhedron. By diminishing each side in size, we approach a sphere for a limit. To succeed in getting a good round ball, it must therefore be remembered that the greatest care be taken to mark off the work accurately, and cut to the line. Each flat surface cut is a tangent to the imaginary sphere.

Before cleaning off the center line, cut a line 3/8" on each side of it with the toe of the skew. This band is made for a guide in painting the color on the ball.

The Stake

No instructions need be given on this part of the problem as it is simple spindle work. The lines are cut, as with the ball, to locate the bands of colors.

When all turning is completed, and the mallet glued together, cover all parts thoroly with linseed oil. Allow one day for drying, and give it two coats of white shellac. Lightly sandpaper each coat, and finish with two coats of spar varnish.