JOINERY, one of the useful constructive arts which con tribute to the comfort and convenience of man. As the arts of joinery and carpentry are often followed by the same individual, it may appear that the same principles are common to both, but a close examination leads to a different conclusion. The art of carpentry is directed almost wholly to the support of load and its principles must be sought in the mechanical sciences. In a building it includes all the timber work necessary for support, division or connection, and its object is to give firmness and stability to the structure. The art of joinery has for its object the addition in a building of all the fixed woodwork necessary for comfort, convenience or ornament. The work of the joiner is in many cases of a complicated nature, and often requires to be executed in an expensive material, therefore joinery requires much skill in that part of geometrical science which treats of the pro jection and relation of lines, surfaces and solids, as well as an intimate knowledge of the structure and nature of wood. A good carpenter may not be a joiner, but a good joiner is competent, at least, to supervise all the operations required in carpentry. The heavy labour of the carpenter does not fit him to produce that accurate workmanship expected from a joiner. In carpentry, strength is mainly due to the form and position of its parts ; in joinery, strength depends to a larger extent upon the rigidity of the joints. It is important that a joiner's work shall be constructed of sound and dry materials, and on such principles as to allow of movement due to changes of temperature and humidity.
In early times, woodwork was crude, and jointing was difficult and roughly done. The first dawnings of the art of modern joinery appear in the thrones, stalls, pulpits and screens of early Gothic cathedrals and churches, but even in these the art is in debted to the carver for everything that is worthy of regard. With the revival of classic art, however, great changes took place in every kind of construction. Forms were introduced in architec ture which demanded new principles for their satisfactory execu tion, and these principles were discovered and published by craftsmen. These men had scanty geometrical knowledge and
confused notions and definitions of principles and their descrip tions were often obscure and sometimes erroneous. During this period the framed wainscot of small panels gave way to the large bolection moulded panelling; doors which were formerly heavily framed and hung on massive posts or in jambs of cut stone were now framed in light panels and hung in moulded dressings of wood. Oak timber was generally used but the scarcity of oak and the expense of working it subsequently led to the importa tion of fir timber from northern Europe, and this gradually superseded all other material save for special work. In recent years, owing to the development of more ample, quicker and less costly means of transport, a great variety of hardwoods and softwoods have been imported and are now extensively used in all types of building.
Planes: the jack plane for removing rough surfaces and re ducing material to size ; the trying plane for forming straight and true surfaces; the smoothing plane for finishing surfaces; the rebate plane for working internal angles ; the shoulder plane for truing up hardwood shoulders and similar work; the bullnose plane for working close up to stops and for similar uses ; the plough for grooving with the grain ; the side fillister and sash fillister for forming rebates; the grooving plane for grooving across the grain; the compass plane for curved surfaces; the side rebate plane for planing the sides of grooves; the chamfer plane; various mould ing planes.