The set-up for chopping the dovetails for a large walnut chest, which will be incorporated into a bed I am building.
Here a joined walnut board is clamped upright in the vice and to the stretchers for sawing the dovetails.
Finally, in the act of chopping.
In order to cut the flutes in the columns on my puppet stage, I made up what I recently learned is called a “Scratch Stock” (see Peter Follansbee’s blog ) from some maple and a piece of an old saw blade, in the form of a marking guage- with an adjustable fence. On a side note, Peter Follansbee’s blog is quite interesting and unique- captivating even- for people who appreciate those who are exceedingly well aquianted with the specific history and dedicated to the authentic quality of their work. One can also visit his website to see some of his extraordinary work in 17th century joined furniture.
You can see the saw teeth on the top and the cutters I cut on the bottom.
Shaping the cutters with a saw tooth file.
Scratching the flutes into the black walnut held in a little jig made with a couple of nails in one board and another to one side to act as a fence. It takes many slow passes across the hard walnut, and the ends are cleaned up with a small gouge.
Another view before the jig. I have a lot to learn but I am getting there.
Above are the front and back view of the alder wood console which after the final assembly. Below are some detail shots of the carved elements. There are some minor details to complete, such as to turned globes for the tops of the back posts, hardware, and finishing. The construction is mortise and tenon, frame and panel and a few dovetails at the top of the carcass. I use a combination of traditional work methods using hand tools and traditional-leaning work using power tools.
Details of the rosettes and fans (or sunburst).
The School of the Transfer of Energy 
