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Power tools, compressors & woodworking machinery, Hand tools, power tools, machinery and spares. American hand tools in 1876 did not achieve the popular acclaim accorded the Corliss engine, yet few products shown by American exhibitors were more highly praised by foreign experts. Finally patentees throughout the 19th century, faced with an increasing proliferation of tool types, frequently sought to perfect multipurpose implements of a type best represented later by the ubiquitous Stanley plane. The solid wood-block plane, varying from country to country only in the structure of its handles and body decoration, had preserved its integrity of design since the Middle Ages. Other mass-produced edge tools—axes, adzes, braces and bits, augers, saws, and chisels—illustrated in the trade literature of the toolmakers became, as had the iron-bodied bench plane, standard forms.
An excellent indication of the persistence of the Centennial influence, and of the tool catalogue as source material, is seen in Chandler and Farquhar’s illustrated pamphlet of 1900.

The aesthetics of industrial art, whether propounded by Moxon or by an official at the Philadelphia Centennial, proved the standard measure by which quality could be judged.
Persons neither skilled in the use of tools nor interested in technical history will find that there is another response to the common auger, as there was to the upholsterer’s hammer, the 18th-century brace, or the saw with the custom-fitted grip. The fresh 2011 Lumber whizz tetrad Laser Line is woodworking tooling the latest version of Wizard Industries’ flagship woodworking metal detector. From this date until its general disuse in the early 20th century, the conformation of the tool remained unchanged, although the quality of steel and the precision of the twist steadily improved. Thomas Worrall of Lowell was issued patent 17,657 for a plane based on the same general principle (fig.
The evolution of the all-purpose idea, which is incidentally not peculiar to hand tools alone, can be seen from random statements selected from U.S. By the use of my improvement surfaces that are convex, concave, or straight may be easily worked, the face of the tool being readily changed from one form to another to suit the surface to which it is to be applied. In the last quarter of the 19th century the tool catalogue replaced Moxon, Duhamel, Diderot, and the builders’ manuals as the primary source for the study and identification of hand tools. The Head has a bearing of steel balls, running on hard steel plates, so no wear can take place, as the friction is reduced to the minimum. Although wood-bodied planes continued to be used, they were outdated and in fact anachronistic by the close of the 19th century. It is not without interest that as the tools of the wood craftsman became crisply efficient, his work declined correspondingly in individuality and character. It is also an explanation for the appearance and shape of craftmen’s tools, either hand forged or mass produced. Today these values are particularly valid when applied to a class of artifacts that changed slowly and have as their prime characteristics anonymity of maker and date. In the two earlier periods, the woodworking tool and the products it finished had a natural affinity owing largely to the harmony of line that both the tool and finished product shared. Knowles patented an iron-bodied bench plane that portended a change in form that would witness a substitution of steel for wood in all critical areas of the tool’s construction, and easy adjustment of the cutting edge by a setscrew, and an increased flexibility that allowed one plane to be used for several purposes.
Hazard Knowles of Colchester, Connecticut, in 1827, patented a plane stock of cast iron which in many respects was a prototype of later Centennial models (fig.
Whitker patented a combination saw and rabbet plane little different from one illustrated by Andre-Jacob Roubo in his L’Art du menuisier in 1769.
The Centennial had called attention to the superiority of certain American tools and toolmakers.
This new shape rapidly became the standard form of the tool with later variations chiefly related to the adjustability of the plane-iron and sole.

66), a tool much admired by the Centennial judges, amply illustrates the evolution of design of a basic implement present in American society since the first years of settlement.
The brace and the plane, as followed from Moxon through the trade literature of the late 19th century, achieved perfection in form and operation at a time when their basic functions had been usurped by machines.
It is the same reaction that prompted artists to use tools as vehicles to help convey lessons in perspective, a frequent practice in 19th-century art manuals. 58).[17] It is evident, even in its earliest manifestation, that the quest for improvement of the bench plane did not alter its sound design. The Barber brace represents the ultimate sophistication of a tool, achieved through an expanded industrial technology rather than by an extended or newly found use for the device itself. The harmony of related parts—the balance of shaft and handle or the geometry of the twist—makes the auger a decorative object. Hand-tool design, with few exceptions, continued vigorous and functional amidst the confusion of an eclectic architecture, a flurry of rival styles, the horrors of the jigsaw, and the excesses of Victorian taste. In conclusion, it would seem that whether seeking some continuous thread in the evolution of a national style, or whether appraising American contributions to technology, such a search must rest, at least in part, upon the character and quality of the hand tools the society has made and used, because they offer a continuity largely unknown to other classes of material survivals.
In each instance the tool was improved—a double spiral facilitated the discharge of shavings, a gimlet point allowed the direct insertion of the auger, and machine precision brought mathematical accuracy to the degree of twist. It was produced commercially and was well advertised, as seen in the circular reproduced in figure 62. At the Centennial, Moxon would have recognized an auger, and, further, his lecture on its uses would have been singularly current. The Mills brace, together with other award-winning tools of the company—drawknives, screwdrivers, and spokeshaves—is preserved in the collections of the Smithsonian Institution (accession 319326). The auger in its perfected form—fine steel, perfectly machined, and highly finished—contrasted with an auger of earlier vintage will clearly show the advance from forge to factory, but will indicate little new in its method of use or its intended purpose.
It should be pointed out that the patentees mentioned above represent only a few of the great number that tried to improve the plane. Only the trend of change is suggested by the descriptions and illustrations presented here. The cumulative effect awaited a showcase, and the planemakers found it at the Centennial Exhibition of 1876 held in Philadelphia.

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