Hidden Treasures: What Museums Can't or Won't Show You by Harriet Baskas

By Harriet Baskas

Whereas there are greater than 15,000 museums in our kingdom, viewers get to work out basically approximately 5 percentage of any institution's collections. so much museums easily don't have room to reveal every little thing they've obtained. in spite of the fact that, there are a wide selection of unusual and exciting explanation why, for instance, the Smithsonian establishment doesn't demonstrate its selection of condoms; why the sphere Museum locks up its shrunken heads; and why the bones of a former slave named Fortune have been hidden away for years within the basement of Connecticut's Mattatuck Museum. every one merchandise or assortment incorporated during this quantity is be defined and positioned in context with tales and interviews that discover the historic, social, cultural, political, environmental or different situations that resulted in that item being saved from view—the final museum buff's voyeuristic adventure.

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Extra resources for Hidden Treasures: What Museums Can't or Won't Show You

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For the initial attempt, I would advise working rather large, as it will be much easier and the percentage of broken pieces will therefore be lessened. I will assume that you have prepared a round ball of wood and are ready to begin. This ball should be not less than an inch and one half in diameter, of smooth, even grain, and fairly tough in texture. You should experiment in the harder woods occasionally; such as ash, oak, maple, etc. I do not advise the use of walnut for any work that is going to be fine, such as chains or the ball and cage, as it splits too easily for small work.

Next, make cuts numbered b and c. There is no difference which of these two is made first. They are also to be made with the little tool in the manner shown at Figures 6 and 7. Insert the tool through the wood at the points shown in the diagram and cut toward either end, as the case may be. Directions are shown by the small arrows. The cuts d and e come next in importance. A diagram of this cut is shown in Figure 8. Shown in Figures 9 and 10 are the cuts f and g, and you must be very careful with these.

This applies whether you are using hard or soft woods but, as the harder wood takes a great deal longer to finish, one is apt to rush the job along. Be content with small shavings. Never pry out chips by resting the knife-blade against some other part of the carving unless you are positive that the pressure will not be sufficient to split the material. But a good rule is, don’t do it! To return to the ball you have prepared. I have shown one in Figure 1, Plate 8, with a simple design drawn upon it.

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