Starting OutCutting a bridle joint

Using only six bridle joints, you can makea simple pedestal base for a round diningtable. The pedestal can be knockeddown for shipping by unbolting its threebridle-jointed C-shaped legs from thehexagonal central post. The top is screwedto the upper arms of the pedestalthrough slots in small strips, which allowsthe top to expand and contract withchanges in humidity.

The mortise-and-tenon is one ofthe most basic and versatilewoodworking joints. It can beas plain as the rung-to-leg

joints in any stick chair, or as complicatedas some of the three-dimensional, jigsaw-puzzle joints used in Japanese house car-pentry. A mortise-and-tenon can be usedalmost any time you need to join the endof one piece to the edge of another.They're such effective joints that it's hardto find a piece of furniture without at

least one, even if only a dowel in a hole.The bridle joint (shown above) is one

of the simplest garden-variety mortise-and-tenons. Its open-ended mortise doesn'thave the mechanical (unglued) strengthof an enclosed mortise, but modern gluesand the joint's ample gluing surface makeup the difference. And a bridle joint canbe made more quickly and easily. Bothtenon and mortise can be cut almostentirely with a saw, eliminating theexcavation that would be required to

clear out an enclosed mortise (see p. 73).When I was figuring out the base for

the round pine dining table shown here,bridle joints seemed ideal. A pedestal elim-inates obstruction under the table, and theC-shaped, bridle-jointed frames are sturdyenough to support the tabletop, Thanks-giving turkey and a dozen or so elbows.And the six bridle joints are all the joineryneeded for the entire base. (See the firstpart of this series in FWW #48, pp. 46-51, for how to join boards for a top.)

I cut the bridle joints with a bandsawand backsaw, then used a chisel and shoul-der plane to clean up and fit them together.If you don't have a bandsaw, you can doall the sawing with a backsaw and a bow-saw or handsaw (see p. 70). A shoulderplane is a handy tool, but if you're reluc-tant to dish out $40 or so for one, you cantrim the shoulders with a chisel.

When I knew roughly what sort of ta-ble I wanted, I designed it on the work-shop floor with a piece of chalk. I drew anelevation (side view) of half the top andone frame full-scale, then fiddled with theproportions until they looked good. If youstart with the drawing shown here,sketching a full-scale elevation will helpfix the project in your mind. You canchange the dimensions and shapes, but Ithink you'll find the table too shaky ifyou make the arms, legs or feet much lessthan 4 in. wide or 1 in. thick. The feetwill get in the way if they extend beyondthe top's circumference. I made the top4 ft. in diameter, but I think the tablewould look better with a 5-ft. top,

When your plans are chalked out, cutthree sets of arms, legs and feet for theC-shaped frames. Cut all the parts towidth and length, but don't shape themyet—it's a lot easier to cut joints in rectan-gular stock. Next plane the parts flat andto thickness—mine were 1 in. thick. Tryto make them all the same thickness, butdon't get bogged down if there's in. orso variance—the parts can be planed flushafter the frames are glued up. Mark theflattest face of each piece, plane the edgesstraight and square to it, then mark themost accurate edge (I use a little squiggleon the good face, joined to a V on thegood edge). The tolerances needn't be upto edge-joining standards, but the closerthe better. Don't worry about making theends exactly square; a good sawcut is fine.

Laying out—Like any mortise-and-tenon,bridle joints require accurate, organizedmarking out. To avoid errors, mark allthe joints at once, before cutting. You'll

by Roger Holmes

need to mark wherever a sawcut must bemade. As the drawings above and belowshow, I marked the shoulders with asquare and knife, and the cheeks with amortise gauge, which is just a markinggauge with two pins that scribe bothcheeks at once. When laying out eachjoint, always reference the square andmarking gauge from only the markedgood face and good edge of each part.

For the pedestal, I arranged the partsfor each frame on the bench: good-facemarks up, good-edge marks to the top ofthe arm, the bottom of the foot and theinside of the leg. Mark one end of each legfor reference, then identify both parts ofeach joint with the same number or letter.

Lay out the tenons first. To reduce er-

ror, I avoid measuring wherever possibleby scribing dimensions directly from theparts being joined. Here, all the tenons areas long as the legs are wide, so I laid onefoot across its leg in the position it wouldbe joined, and marked the shoulder posi-tion on the edge with a pencil. Using thisfoot as a guide, I marked the shoulders onthe remaining feet and arms. (If the tenons

are in. or so shorter than the leg width,clamping will be easier and the surfacescan be planed flush after assembly.)

When you've marked all the tenonlengths, scribe the shoulder lines using atry square and a sharp pocket knife orutility knife. I've devised a little ritual toensure that I'm scribing only from thegood face and edge: First I scribe acrossthe good face, holding the stock of thesquare against the good edge. Then Iscribe across each edge, holding the stockagainst the good face. Finally I scribeacross the second face, holding the stockagainst the good edge. The lines shouldconnect around the piece. If they don't,the good face is probably twisted. If theycome close, don't worry about it—you cantake care of the discrepancy when youfit the joint. If they're way off, I'd re-plane the face, or pick another boardand start over.

Lay out the ends of the mortisesnext. I made the tenons about1 in. narrower than the fullwidth of the arm andfoot—the length of themortise equals the widthof the tenon, so there'sless mortise to saw out.Pencil the mortise lengthon the good faces of thelegs, then extend the lineacross the edges with atry square and knife.

The cheeks of the ten-ons and the mortises canbe scribed with a mark-ing gauge or a mortise gauge.When the mortised and the ten-oned pieces are the same thick-ness, I make tenons aboutthree-fifths that thickness. Ifthe tenon is much thicker, thewidth of the mortise will makeits walls too thin and liable tobreak. Cutting and cleaning upthe mortises will be easier if youmake the tenon thickness matcha standard auger-bit and chiselsize—I made the tenons for theC-shaped frames in. thick.

Set the mortise gauge and

scribe around the edges and ends of thepieces, from shoulder line to shoulder line.When setting up a mortise gauge, I setthe distance between the pins, then ad-just the fence so that the mortise will becentered on the edge. An easy way to setthe fence is to gauge from both faces ofthe piece, tapping the fence until pinmarks made from each face coincide.Scribe all the tenons and morrises withthis gauge setting. (At the same time,scribe several offcuts from the framepieces to use when setting up the bandsawfor cutting the joints.) Make sure you runthe fence against the good faces so the

pieces will be aligned even if their thick-nesses vary slightly. If you scribe with aone-pin marking gauge, set up once foreach cheek and gauge only from the goodfaces. Gauging from both faces will pro-duce mortises and tenons of varyingthicknesses—a big headache.

Cutting the cheeks —Bandsawing thecheeks of the mortises and the tenons iseasy, safe, and, if you set up and saw care-fully, accurate. Pieces this large are bestcut with a -in. or -in. wide blade,though a -in. will do if you feed slowly.Whichever blade you use, make sure it'ssharp; there's no joy in burning your waythrough six inches of pine. My saw

doesn't have a rip fence, so I attach a 2-ft.long, straight piece of pine, about 1 in.by 3 in., to the table with two clamps.

Set up for the tenons first, starting withthe cheeks farthest from the fence. Mountthe fence parallel to the blade and position itso that the sawkerf falls in the waste andthe cut leaves half the scribe line on thetenon, as shown in the drawing on p. 69.(Remember to place the good face againstthe fence when setting up and Cutting).Use the scribed scrap pieces to check thesetup, then saw away on the real thing.Set up and make the second-cheek cuts inthe same way. Remember, the closer youare to splitting the gauge lines, the less

work you'll have fitting the joints later.The cheek cuts for the mortises are set

up and bandsawn the same way. Beforecutting the cheeks, I bore a hole throughthe piece at the end of the mortise so thewaste will come away cleanly at the com-pletion of the second-cheek cut. I use abrace and -in. auger bit to bore abouthalfway through from each edge. A drillpress will work, too, but doesn't deliverthe same cheap thrill I get when the holesmeet in the center.

If the cheek cuts leave half the scribeline around the mortise and the tenon, thejoint should slip together snugly withoutmuch fitting. The bandsaw isn't a preci-

Handsawn cheeksYou can cut the bridle-joint cheekswith a bowsaw (shown at right) or acrosscut handsaw. A handsawncheek requires three cuts: two diag-onal and one parallel to the shoul-der line, guided by the first two kerfs

.

It's faster to make the cuts in pairs,working both cheeks simultaneously.For the angled cuts, tilt the work-piece so you can see the scribe markson the edge and end at the sametime. Saw right to the marks, leavinghalf the scribe outlining the mortiseor the tenon. Use your thumb as afence to start the cut, then lengthenthe stroke. With practice, slight adjust-ments to keep the saw on the markswill become second nature.

sion tool, however, so I usually adjust thesecond-cheek cut according to how thescrap tenon fits the scrap mortise. Bettertoo tight than too loose; it's easier toshave the tenon down than to build it up.

When all the mortises have been sawn,square up the bored-out ends with a -in.or -in. chisel. Chop straight down or un-dercut slightly. There usually isn't muchwood to remove, so I push the chisel rath-er than bashing it with a mallet. Holdingthe chisel as shown in the box on p. 73affords good control from the bottomhand and plenty of power from the top.

What can be done by bandsaw can alsobe done by hand—not as quickly, maybe,but just as well. The cheeks of mortises andtenons on most furniture are small enoughto be cut with a backsaw, but for the ped-estal frames, you need a bowsaw or hand-

saw that can cut to a depth of 6 in. in theends of the parts. I think that a bowsawwith a 1-in. wide blade gives more controlthan a handsaw, but I knew a joiner whocut perfectly good tenons—cheeks andshoulders—with a handsaw. Suit yourself;either saw takes practice. The box on thefacing page outlines the basics.

Shoulders—I cut the tenon shoulderswith a backsaw. It's possible to set up atablesaw or radial-arm saw to make thesecuts, but if there aren't many to do, it'sjust as fast to cut them by hand.

Accurate work like this demands asharp saw. You'll also need a bench hookfor holding the arms and legs while cut-ting the shoulders. It's easy enough tomake a hook: just nail a 1x2 on each endof opposite faces of a piece of plywood or

solid wood. As shown in the drawing atthe top of the facing page, the bottomstrip catches the edge of the bench andyour own weight keeps the workpiece inplace against the top strip.

Starting the shoulder cut accurately isimportant. The points of the sawteethshould be flush to the knife line. I use mythumb as a fence to position the blade.Start the cut at the far edge, at an angle tothe face. As the cut deepens, lower thesaw gradually until the stroke extends thefull width of the piece and parallel to itsface. The knife line is very fine, so youcan't split it like a scribe line. The woodfibers, however, will break off cleanly atthe line as the cut progresses, and a closelook will tell if you're veering away fromthe line. The cut is also self-jigging: thekerf you've already cut will help guide thesaw along the uncut line. Don't hurry;make the strokes regular and smooth.With practice, you'll be able to tell by feelif the saw is perpendicular to the face ornot. At first, though, you'll just have tobend down and check the angle by eye.Save the waste from the cheeks to use forclamping pads when you glue up.

After cutting the shoulders, rip the ten-ons to width by hand or on the bandsaw(remember, tenon width equals mortiselength). I mark the width with a pencil,holding it so I can run my fingers like afence along the tenon's edge, ensuringthat the line will be parallel to the edge.

Fitting the joints—If every cut has beenright on the money, the tenons shouldslide snuggly into the mortises, the shoul-ders fit without gaps. My joints, however,always need some trimming to fit right. Ashoulder plane comes in very handy forthis work. The rectangular steel body ofthe plane, usually in. or 1 in. thick, fitscomfortably in one hand. The edges of theblade are flush with the sides of the body,which is ideal for planing right up to thecheek or shoulder of a tenon.

It's easier to fit the tenon to the mortisethan vice versa. If the tenon is too thick,pare off the excess with a shoulder planeand a bench plane. With the shoulderplane, I take a few shavings off one cheek,hard against the shoulder, then plane therest of the cheek down to that level with ajointer plane. Try inserting the tenonagain and take more off the other cheek ifnecessary. Be careful to remove an evenlayer of wood from each cheek so they willremain parallel and make full contactwith the mortise cheeks.

A loose tenon is more of a nuisance. It's

possible to glue on a piece of veneer to fillout the tenon's thickness, or you can dampthe slightly flexible walls of the mortisedown on the tenon. If the tenon is rattlingaround in the mortise, cut another one.The extra practice won't do any harm,and if you're using pine, it's cheap enoughthat you shouldn't flinch as the mistakehits the firewood pile.

Even if the tenon shoulders have beenperfectly cut, a pass with a finely setshoulder plane will smooth whateverroughness is left by the saw. Often moredoctoring is required to make both shoul-ders tight to the mortised piece. If theknifed shoulder line is visible, plane downto it, then work by trial and error, assem-bling the joint and marking the high spotswith pencil for removal. To avoid chip-ping the edge of the piece at the end ofthe cut, turn the plane around and pull ittoward you to complete the cut. I don'tusually check the shoulders for squarenessas I go along, but when the shoulders aretight, I check the assembled pieces with aframing square. If they don't form a rightangle, a couple of shavings off one end ofthe shoulders usually will fix things.

It doesn't matter how much you planeoff the shoulders when making theseC-shaped frames; no one will notice if oneleg or arm is shorter than another. But ifyou're making a four-sided frame, such asfor a door, you must make the shoulder-to-shoulder lengths of the rails equal, oth-erwise the frame won't be square.

Finishing up—Before gluing up, I ta-pered the arms and feet and cut thechamfers. The shape of the frame can bealtered as you wish. I played around withvarious curves for the inside edges beforedeciding on the simple solution shown inthe drawing on p. 68. Layout goes fasterif you make cardboard templates, particu-

larly if anything is curved. I traced aroundtapered templates for the arm and foot,bandsawed the waste and planed off thesawmarks. Leave the ends square forclamping, then trim and chamfer themafter gluing up.

The first time I made one of theseframes, I cut the arm and foot chamferswith a hand plane and the leg chamferswith a spokeshave. The job got done, butit took a long time. Prodded by a friend, Ilater tried a drawknife. Much to my sur-prise, it was not the crude implement Ihad expected, but a tool as capable offaking thin, controlled shavings as of lop-ping off great chunks of wood. The nextset of chamfers took a third as long.

If you drawknife the chamfers,spend some time practicing onscrapwood before slicinginto the real thing.

You'll get used to the tool and discoverpleasing proportions for your chamfers.The main prerequisite for successful draw-knifing is a sharp blade. I sharpen minelike a carving tool: a large bevel on oneside and a small bevel on the other. Thesmall bevel helps you control the tool,which is important because a drawknifehas no sole to govern its depth of cut. (Ihold the blade still and move the stonesover it; you may prefer the reverse. SeeFWW #48, p. 47, for more sharpeningtips.) A slicing cut increases control andproduces the cleanest surfaces. You can

chamfer freehand or to penciled guide-lines. If you're after precision, finish witha plane and a spokeshave.

Gluing up the frames is a snap. Squirtglue on the tenon and mortise cheeks andspread it around with a long, thin stick.The glue film needn't be thick; just makesure that all surfaces of the cheeks are cov-ered to ensure a good bond. (If you aren'ttoo quick with the stick or you're gluingup in hot weather, use a white glue, likeElmer's Glue-All, instead of a quick-setting yellow glue, like Titebond.)

Slide the tenons into the mortises,pushing the tenon hard up against the endof the mortise. I pull the shoulders tightwith pipe clamps, which doesn't requiremuch pressure, then take these off andclamp across the cheeks with quick-actionclamps or C-clamps, using the offcutsfrom the cheeks for clamping pads.Thicker pads will distribute the pressurebetter and produce a thinner glueline. Athick glueline might be unsightly on adoor, where the edges show, but it doesn'treally matter here.

When the glue has cured, plane thefaces of the frames flush with a jointerplane—there can be quite a bit to plane offa misaligned joint, but no one will noticeif one frame is a little thinner than an-other. Next trim and chamfer the ends ofthe arms and feet. The three frames

should all be the same size, with the out-side edges of the arms and feet square tothe outside edge of the leg. Stack theframes face to face to find the shortestone, then plane it square if necessary,checking with a framing square. Plane theother two to match, checking each againstthe first rather than checking with a tapemeasure and square. It's surprising howdiscrepancies that can hardly be seen canreadily be detected with the fingertips.

I attached each of the frames to a cen-tral hexagonal post with three bolts. If

EnclosedmortisesMany mortise-and-tenonjoints require an enclosedmortise, rather than theopen mortise of the bridlejoint. Lay out the mortiseusing the same marking-gauge setting as for thetenon. I clear the bulk ofthe waste by boring a se-ries of adjoining holes witha bit the same width as orslightly smaller than themortise width. Bore about

in. deeper than the ten-on length. Then slice downthe cheeks with a wide,sharp chisel, splitting thegauge line. The only trickypart is keeping the chiselstraight. Clean up the mor-tise bottom with a narrowchisel, so the tenon doesn'tbottom out.

you'll never need to disassemble the ped-estal, you could glue the frames to thepost. I cut the post on the tablesaw, set-ting the blade at 30° to rip the corners offa 2 -in. square. The post takes somefussing to fit. I planed three faces 1 in.wide; the others finished narrower.

Bore the bolt holes in the post, offset-ting the three holes at each location.Clamp the post to each leg in turn, mark-ing through the holes onto the leg's edge,then bore pilot holes. You could lag-boltthe legs to the post, but the bolts will stripout after too many disassemblies. I used

-in. dia. machine bolts and brass in-serts, which have wood threads on theoutside and machine threads on the in-side. You can buy the inserts from Wood-craft Supply. (See FWW #47, p. 8, for aneasy way to insert these.)

I bandsawed the top round, spoke-shaved the edge smooth (a rasp or filewould do, too) and chamfered the arriseswith a drawknife. The base is screwed tothe top through small wooden strips and awooden center plate let into the arms.Single screw holes are fine in the centerplate, but slotting the holes in the stripswill help allow the top to move withchanges in humidity.

I don't like the look of varnished pine,so I just paste-waxed the table. This doesn'tprovide a great deal of protection, so wescrub it down regularly with a potato brushand hot, soapy water. I wouldn't say the ta-ble has patina, but it wears its scars well andI don't worry when a guest spills wine orthe baby bashes it with his spoon.

Roger Holmes is an associate editor atFWW. This is the second in a series ofarticles for beginning woodworkers.