(To see larger images, simply “click” on the image.)

Both the railing and firetools are hand forged, with a couple minor exceptions.

All the balusters were installed using tenons, and the intermediate rail, as well as the rosettes, were applied with rivets. Each square hole in the railing’s rosettes were punched in while hot, using a fly-press. The fly-press was also utilized in making the 3/4″ square impressions in the firetool rack. The handles for the firetools, as well as the poker tip, were forge welded to a 1/2″ square bar, which was then reduced to 7/16″ square the entire length of the firetool shafts.

The home is undergoing a major facelift, i.e. new fireplace, flooring, wall covering, carpet, etc., and the client, husband and wife, are handling these improvements themselves, with some help from tradesmen.

The finish on both the railing and firetools is straight bee’s wax. The firetool set was lightly sanded before waxing to bring out silvery highlights.

This project was pretty straight forward, both in design as well as process, using basic forging techniques. It was refreshing to get back to a job that was almost entirely hot-work, as the last project was a combination of forging and fabrication.

…Dan Nauman

“To love what you do and feel that it matters-how could anything be more fun?”
…Katherine Graham

Drills and Drilling

For drilling holes, grind drill points flatter and relieve heel behind cutting edge. Also grind chisel point relief to start cut on a center punch mark. Do this on (the) corner of (a) grindstone that has a good square corner.

To drill a hole slightly oversized, grind the point of drill (bit) off center, and drill a small pilot hole for it to follow, which is the size of (the) chisel point of (the) drill (bit).

Ball drill (bit) points are ground to a ball shaped template; also grind a chisel point on (the) tip and be sure (the) heels are ground back enough to clear (the) metal so heels of drill (bit) point don’t drag.

To drill a true size hole, grind the outer corner of drill (bit) lip off (the) back, about 3/32″. Drill a pilot hole, then (use) a number or alphabet smaller drill (bit) than (the) hole (diameter) wanted. Then use prepared drill (bit) and feed drill slowly using cutting oil.

To drill (through) thin sheet-metal and plastic sheet, use a spur or “brad point” ground drill (bit). Nowadays, these “brad points” are used mostly for wood work; however, they are available in “High Speed Steel” for drilling metal (see supplier.)

After drilling a hole, cut (the) bottom burr off with a drill bit mounted in a wood file handle. Grind (the) point like (an) ordinary drill bit. Use spur drill (bits) when drilling clear plastic sheet (will not break out plastic as does regular point as it goes through sheet) as spur drill (bits) cut outer edge through sheet, (and) do not catch on (the) bottom of (the) hole.

To drill holes in paper, rubber, leather, etc., a hollow bit called a “rubber drill” is used which has 1/4 of (the) tube end removed-leadingedge sharpened as well as bottom- sharpened on (the) inside. This produces a clean hole. These are made on a metal lathe-hole drilled in the same end of round H.S. steel or drill rod to (the) depth needed. The resultant wall left is only about .015 thick-filed to shape and heat treated (tempered -D.N.) to blue color.

Water will help lubricate drilling holes in rubber, especially deep holes.

To drill flat bottom holes, square off drill to a straight edge, relieve heels for clearance by a few degrees- drill hole with regular drill bit to approximate depth needed- then use (the) flat end drill (bit) to square bottom.
(End of this installment)
I will continue to publish Nahum Hersom’s writings as time allows.

…Dan Nauman

“It is very strange that the years teach us patience-that the shorter our time, the greater our capacity for waiting.”…Elizabeth Taylor.

My friend Tom Latane’ of Pepin, WI, recently completed the above Norse style axe. Tom and his wife, Catherine (Kitty), visited Norway last year. While there, Tom inspected some locally made axes, and used the axes pictured below as models for his axe.

Axes from Maihaugen Museum Collection, Lillihammer, Norway. Images copyrighted by Tom Latane’

Havard Bergland was the host of the Latane’s, and taught Tom edge tool forging. He also taught Kitty the wood, silver, and leatherwork involved in finishing knives. Havard gave Tom an axe pattern that had been in his family for generations. According to Havard, all farmers were required to own such an axe to arm themselves if they were called upon by their king to defend the country. (Note: These pieces are from the Maihaugen Museum collection in Lillihammer, Norway, and image copyrights were given to Tom Latane’.)

Tom’s axe required 16 hours to complete. The socket was formed by wrapping the pre-formed eye walls around a mandrel and then welding the bottom together. The scarves on the top half (separated from the bottom half), were left protruding, to weld to the blade material, after the tool steel bit had been welded at the far edge. The blade was spread and trimmed after the welding was completed.

Tom will be teaching the forging of this type of axe at “North House Folk School” November 1st -3rd, 2011, and at Tunnel Mill in the spring of 2012. Both classes will be three day classes, so students should expect to work hard to complete the forging , then they will apply the decoration at their homes.

For more info about classes, contact Tom at (715) 442-2419.

If you wish to see more axes of this nature, visit “Leigh Yawkey Woodson Art Museum” in Wausau, WI, as they have a current exhibition entitled “Axe Lore”. See the blogroll at right for a link to their web-site.

….Dan Nauman

(All images taken by Richard Wunsch.)

Last week, I served as “artist in residence” at the “Leigh Yawkey Woodson Art Museum” (LYWAM) in Wausau, WI. I was demonstrating there for five days, and also taught 30 people basic forging on three evenings.

LYWAM is a must to visit, with a gorgeous sculpture garden featuring bronze wildlife scupltures, a private garden, and more. Inside this vintage brick timber-framed building, there are several galleries of wildlife art from artists from around the globe, plus two galleries of traveling or special exhibitions.

Currently, there are two exhibits featuring ironwork of differing styles: “Iron 2010″ is an exhibition of 21st century metalworks,an exhibit that began in Memphis, TN, at the “National Ornamental Metals Museum” during the “Artist Blacksmith Association of North America” (ABANA) conference. “Axe Lore” features period axes, of American and European origin, along with other period tools. (See the “Blogroll” at right for links to the web-sites of these organizations.)

I made several pieces while there, some in forged iron, some in French Repousse’. The above images show a vase that I made during the last three days there. The image below shows the audience involvement.

The image above shows folks inspecting the sample repousse’ pieces that I had made and displayed.

Below are images of various parts of the vase in progress.

The above image shows the beginning of one half of the vase, made of 1/8″ mild steel plate.

The image above shows one half of the vase in the vise prior to trimming the edges to their final shape.

The image below shows filing both halves of the vase to shape.

Next, I forged the stem, made from 1/2″ round mild steel, as seen below.

Below is an image showing the final shaping of the base, made of two pieces of 1/8″ mild steel plate, and then riveted together.

Below is the finished vase. The yolk was made of 3/16″ x 1″, which was split, and then a tang was made to wrap around a boss on the stem.

As I said earlier, I instructed 30 folks in basic forging. These students made “S” hooks and “J” hooks, in 20 minute sessions, two persons per session. Below are some of those students having fun forging.

Thanks to all of the staff at LYWAM for making my stay comfortable. Wausau is a wonderful city, rich in history, providing culture to the northwoods.

Note: All images taken by Richard Wunsch.

…Dan Nauman

“I am the Way, the Truth, and the Light.”…Jesus the Christ.

The process of Repousse’ in itself is not practised by many folks these days, so we must all make an effort to document the knowledge of the men and women that had these skills, in an effort to preserve, learn, and finally teach what they knew, otherwise these processes may die and be lost altogether. Nahum Hersom not only had a depth of knowledge in repousse’ process, but had a keen sense of understanding in other processes that complimented and fortified repousse’. Making the myriad tools and dies is part of that process, and the information that he has written expands on making these tools and dies. We might lean towards what Nahum already knew, but there are those minor, and sometimes major details that can make or break the process. So, sharing these writings is not just for you or for me…it is for the ages.

Note: Where there are parenthesis, I have either added or rephrased words for better understanding.

Plus…This text contains instructions regarding the use of toxic materials. Please refer to MSDS information when using these materials, i.e. lead, and zinc, etc. I am printing these instructions as Nahum wrote them. I am not responsible for the misuse of these materials, which can result in illness or death if improperly used.

Chisels

All chisels for sheet metal (are) approximately 4-1/2″ to 5-1/2″ long. Forge (the chisels) square with well-rounded corners and barrel, or (forge to a) tapered design: top end smaller to control (the) energy from (the) hammer, so it goes through (the) center of (the) chisel.

Cutting edges for straight chisels are slightly rounded so corners are relieved to prevent corner breakage (on the chisel.) The width of (the) curved chisel edges will correspond to the radius being cut.

This prevents steps as one gets with a straight edge chisel, (and) saves a lot of filing. Curved chisels have beveled edges inside or outside to correspond to the design, as Gothic designs where edges of cut-out work are tapered.

“Walking” chisels for cutting sheet have one corner of (the) cutting edge curved up, and a slight angle, (as the) chisel in held at an angle. When struck (this shape) will help move (the) chisel forward, so the chisel does not have to be lifted for each blow.

Walking chisels are used to cut out designs in lamps, letters for painting logos, door locks, etc.

Chisels take a lot of abuse, so use a good grade of tool steel, and temper (them) carefully. Sharpen (the) chisel edge…one side only…to to get bevel edges for door and knocker plates. These are cut on a soft iron plate, or (other) cutting plate.

Lead Blocks

Lead, (can be) melted and poured into shapes (for) bench blocks, (and) other repousse’ or punch plates. Lead bench blocks are mounted on (the) rear of (a bench or machinist’s) vise. Pour lead into forms approx. 3′ x 3″ x 2″ thick, or slightly larger, and 4″ x 4″ x 2-1/2″ thick. (Nahum) has a square pan made of 1/8″ plate 1/2″ larger than (the) square of (the) lead block, with 3/4″ sides to keep lead in place. Put a piece of heavy truck inner-tube in (the) bottom for (a) cushion. This pan has two ears welded to (the) bottom side. Drill (a) hole through (the) ears, through the back end of (the) square vise bar, so this unit is connected to (the) vise bar, to stay in place. Be sure to taper both sides of (the) lead casting block pan enough, so (the)lead can be (easily) removed.

After (the) lead is removed from (the) forms, put (the lead) in (an) oven at about 300 degrees to anneal, especially if (the) lead comes from auto wheel weights.

Pure lead can be bought from Non Ferrous Metal companies. They have many alloys of various hardnesses. Plumber’s lead is soft. Pure zinc can be used to make a forming die to press soft metals into (it), as per rubber press. Zinc or kirksite is quite hard and can be repaired with (the) torch and pot metal rod, or (you can also) make filler rods of zinc scrap.

By pouring lead into other forms and sizes as needed, (i.e.) cylinders, mushroom heads, squares, etc., that (can be) held in vise jaws, one can form smaller areas not easily done on (the) large block on (the) back of (the) vise. Also, pouring lead in back of forms that you are working on as a back up material, will facilitate working on difficult areas, using various hand-held tools, (i.e.) punches, veiners, etc. Often, especially in reproductions, when small castings are necessary, carbon blocks or dental plaster can be used to make a form that can be filled with lead or zinc.

Stampwork

Use lead blocks to size as needed. (Nahum) uses (a) 6″ x 6″ x 3/4″ block. Use on a solid surface, such as a hardwood stump. Make a frame of iron to hold (the) sheet metal firm (onto the) lead block around (the) edges. With this process, one can make stamped jewelry, medallions, etc. On some work, one can chisel-cut out backgrounds which leaves (a) raised design. These can be riveted to another plate as per locks, etc., to have several depths showing.

For Larger Work, As for Medallion and Plaques:

To Form

Sheet copper on top of lead sheet:
Use 1.2″ steel plate on (the) bottom. Put 1/8″ leather on (the) plate. Then place 1/8″ lead plate on (the) leather, and clamp down (the) frame to hold (the) copper/lead/leather, to steel plate.

To reproduce objects as drawer pulls or other parts with designs pressed into them, i.e. jewelry, first make a clay copy (male); use silicone rubber mold substance to cover (the) clay (to) get a female pattern. Use plaster of Paris to stiffen the outside of the rubber mold, and remove the male mold from the clay.

Fill (the) rubber mold with dental plaster, and get a male copy in plaster using molding and art foundry molten metal techniques. One can get a female mold pattern in metal. This then can be used to impress (with a) rubber press, a thin sheet of soft metal into (the) die recesses until the design is perfect.

(Nahum has) used cerobond or cero matrix to make the female die. It melts at a low temperature and is easily repaired with tin solder, and a solder iron. If (the) design details get damaged, use engraving chisels to rework (the) design. Also, some work can be done on plasticene, as a back-up material in lieu of pitch. Also, cerobond metal will make a die for repeat work, but is softer than zinc.

(End of installment.)

….Dan Nauman

Note: Words in parenthesis are added, or rephrased for better understanding.

Sheet Metal Punches for Holes

Holes can be punched through sheet metal with a shaped punch over a hardwood block, preferably (wood) with close grain. Use end grain for punching. Blocks can be fabricated of 1″ x 6″ pieces of hardwood glued together. Bandsaw surfaces (so they are) flat. Grind ends of punches (so that they are) oversized, as holes deform. When hammered flat, (the) hole size decreases.

(Note: To save on wood blocks, when the surface of a wood block fills up with sheet metal slugs from punching, cut a layer of the wood off, and now you have a new surface for punching.)

Holes can be square, round, triangle, diamond-slots, star, scalloped, round, or any combination of shapes, but cutting edges must be in the fishtail shape so as to have two edges to start shearing action. These do not have to be more than 1/16″ deep for most lighter sheet metal work. For heavier metals, the fishtail shape should be as deep as the metal is thick.

Any shape punch can be made, but the cutting edge must be ground to a “fish-tail” shape to facilitate shearing action as the punch goes through the metal. (See image below.)

(To better convey the fishtail shape, I have grossly enlarged the shape above. It need only be 1/16″ deep for most thinner metals, i.e. 22, 20, and 18 gauge.)

Use (a) flat faced hammer head (to strike the punch.) Use high carbon steel or steel alloys (to make punches.) Nahum prefers water quenching (high carbon steel.) (When tempering,) draw cutting edge to light brown.

To punch 3/4″ slots through heavy sheets of 1/8″ and (thicker,) drill a slot sized hole at the end of each end of the slot area (into the sheet.) Put a piece of iron the width od the slot into the bottom-side of the vise jaws to hold the jaws in position. (Then) put a slot sized fishtail punch in the two holes. Strike with a heavy, flat-faced hammer and punch out the slug. The edges of the vise jaws (act) as a bottom die. Grind off punch burrs and file hole to (the) finished size.

Most (of Nahum’s) punches are approximately 4-1/2″ long with tapered tops (striking surface.) (This) length is about right for (a) good grip and punch control. (Nahum likes to forge his punches square when he needs rotary control, with a good radius on corners.) Round punches can be made from round stock.

(I have inserted a pattern here to show you an application for using a fishtail punch. The yellow shaded areas should be punched out before cutting the pattern. Doing so will prevent “X” or “Y” cuts in the “gores” from the shears or the band-saw. Punching also produces a nice radius in the gores, which are tough to cut with shears, band-saws, etc.)

Arabs and Hindus use asphaltum under brass for support when punching lamp parts. Asphaltum has filler to stiffen as needed. Punch holes with lead block under (the) sheet metal if needed. Re-melt lead, remove the punch slugs, and re-pour to block shape.

Punches-Non Shearing

Tool cutters are chisel shapes of various widths and shapes used for making design lines in metal, but the edges are rounded. The width of the rounded edge determines the width of the line. Much forge work uses these style punches for design and definition.

In repousse’, this style punch is used many times with a lead block to enhance or make corrections in designs.

Ball punches: (These are) used with (a) lead block to raise designs as per Mexican tin work lamp embellishment (and) sconces. Use (them) with dopping block (a block with a hemisphere depression) to make (a) half hemisphere.

Hand veiners are like tool cutters, but have wider edges and widths to shape or reshape veins, using a lead block underneath.

Punches for special work generally have edges rounded and polished to fit whatever shape is needed to get into corners, contours, etc. Sharp corners cut thin sheet metal and can spoil a job, (by)leaving sharp cutting shape corners where a nice round or contoured shape is needed.

Mexican Tin Work

-Rubber blanket under tin.
-90 lb. roofing or lead sheet, or end grain of wood: pine or soft maple.
-Floral design, lamp shades, etc.
-Retablas, chisel cut flowers.
-Colored lacquer for color.

Transfer Punches

(Nahum) uses these to get rounded corners, (or to) drill holes where (he) needs clearances, etc.

(End of this installment.)

….Dan Nauman

I just wanted to show you folks how the patina on a bronze railing is coming along. I installed this last year at “Lynden Sculpture Garden” in Milwaukee, WI. Above is how it looks today, below is the way it looked after installing the last panel in August of 2010.

Here are some other before and current views…then (below)

And now…

The patina is transforming into a nice verdigris, and I hope it continues into an even stronger shade.

Love it.

….Dan Nauman

“To do injustice is more disgraceful than to suffer it.”…Plato

Aislinn Lewis, from Virginia, and a student at the “American College of the Building Arts” (ACBA) in Charleston, SC, recently completed six weeks of training here at Bighorn Forge.

In 2009, Bighorn Forge began accepting student-interns from the ACBA to learn more about forging, as well as the business of forging. The students live and work with me and my wife Toni at our home and shop in rural Kewaskum, WI. The first student-intern here was Jimmy Breazeal of Charleston, SC. Jimmy spent 10 weeks with us in 2009. In 2010, Colon Crader, also from South Carolina, was with us for six weeks. This year, we welcomed Aislinn.

Along with occasionally helping me with my current project for “Lynden Sculpture Garden” , a driveway gate, Aislinn made five basic sets of repousse’ tools for me, as I will need them for a class in French Repousse’ I am teaching in late August at the “New England School of Metalwork” in Aubern, Maine. (See link to this school at the upper right of this page.)

Above are tools Aislinn made for herself: (from left) A double ball stake, a planishing hammer with round/square faces, a large ball stake, a ball hammer with full ball/half ball faces, a double ended raising stake, and a raising hammer with standard/fine faces. She became proficient at making these because, as I stated above, she made an additional five sets of these same tools.

Aislinn was also learning…from scratch mind you…the process of repousse’ from me. She has a keen eye, and it was soon obvious to me that she would excel rapidly at this aspect of metalwork. Below are pieces she worked on while here.

The bottom most piece are her first attempts at repousse’, forming a half vein, full vein, tapered vein, and two curved veins in the same arc, (as they were opposing shoulders.)

Counterclockwise from the top left: An anticlastic water leaf, a water leaf, an acanthus leaf, a grape leaf, a rosette with center ball-husk, a copper husk sitting upon a copper bobeche’, and an unfinished copper husk.

Among other activities while here, we took Aislinn to Milwaukee to “Villa Terrace Decorative Arts Museum”, the “Captain Frederick Pabst Mansion”, as well as several other places to see the work of famed master blacksmith Cyril Colnik (1871-1958).

But Aislinn’s journey doesn’t stop here…as she continues this year’s internship by going to study for two weeks with my friend and fellow smith, Tom Latane’ and his wife Kitty in Pepin, WI.

I look forward to seeing what the future brings to this bright and ambitious student of the craft and trade. We were blessed to have had Aislinn here, and will miss her dearly.

….Dan Nauman

“Endure the betrayal of false friends…fulfill the dreams of children.”…Author unknown.

Milwaukee, WI I am pleased to announce that finally, a book on famed master blacksmith, Cyril Colnik (1871-1958) has been published, and is available for purchase.

Alan J. Strekow, of Hales Corners, WI, has compiled a plethora of fine images of Colnik’s works, drawings, sketches and blueprints, along with commentary for a truly fine 200 page hardcover book.

Strekow, a graphic designer, has been associated with “Villa Terrace Decorative Arts Museum” (VTDAM) for decades, and is a co-founder of the “Friends of Villa Terrace.” VTDAM is home to two galleries of Colnik’s works, including his famous “Masterpiece” (below.)

The “Forward” to the book was written by John C. Eastberg, Director of Building Development and Senior Pabst Historian at the “Captain Frederick Pabst Mansion” in Milwaukee. This Flemish Renaissance style mansion was home to brewmaster Captain Frederick Pabst, of Pabst brewing fame, and is also home to several works by Cyril Colnik. (The mansion is open to the general public. See the links at the right side of this post for their web-site.)

Another section was written by blacksmith Dan Nauman, owner of Bighorn Forge, Inc. Nauman writes about Colnik through the eyes of a 20th century blacksmith. Nauman has also contributed numerous professionally shot images of Colnik’s works, obtained through a grant from the “Francis Whitaker Blacksmith’s Educational Foundation” in 1993. He has also reproduced and restored numerous works by Cyril Colnik over the years.

In 1996, Nauman enlisted the help of Strekow, along with several others, to produce a video on Colnik entitled “Forged Elegance/ The Lifework of Master Blacksmith Cyril Colnik”, which aired on Wisconsin and Milwaukee Public Television in 1998. (Available for purchase through VTDAM.)

To obtain a copy of this fine book, ($45.00 plus tax, shipping, and handling) contact Allen Strekow by e-mail at strekow@strekow.com, or contact VTDAM (see link for their web-site at the upper right of this post.)

….Dan Nauman

“Words are plentiful, but deeds are precious”….Lech Walesa

(Note: I am copying Nahum’s words verbatim. Some references he makes apply to other of his writings. My additions are in double parenthesis.)

Leaf Processes

1.) Design and lay-out leaf, using ((Artsist Blacksmith Association of North America’s 10th Anniversary edition of the Anvil’s Ring)) ABANA and ((Max)) Metzger’s books as guides. Use Hersom’s layout “T” tool to help design leaf patterns.

2.) Use copy machine to enlarge or shrink size of leaf (pattern) if not correct.

3.) make and cut out paper pattern. I glue copy machine paper patterns to manilla file folder card and cut out. Punch corners of leaf pattern before cutting out to have good round corners.

4.) Double check segments of leaf to see if they will clear or overlap when leaf is bent to fit scroll or work. Make corrections to open or closed leaf segments to fit design. You can use cut-and-tape “quickly” methods of revamping leaf segments or patterns.

5.) If the pattern is correct, determine method to cut-out leaf: shear, band saw, chisel cut, plasma arc or laser cut. Shop bench shear work is OK for a few leaves but if hundreds are to be cut, check laser or plasma arc, depending on the outline of leaf. Laser cuts very clean and sharp points. Plasma makes 1/8″ cut so is more crude, and needs extra grinding out of edges (with 1/8″ grinding wheel or sanding belts. 2″ belts do fine.) Laser or plasma cut leaves–anneal edges before hammering. Cold rolled leaves have to be annealed–see welding heat treating notes for recommended process.

6.) To shear leaves if more than one or two, cut tin pattern, as edges of paper patterns tend to shred away. Use cheap flat black paint on surface to see scribed line.

7.) To band saw, make multiple copies on copy machine and glue to metal with rubber cement (stationary store) (see band saw blade in supplies.) Set saw blades and speed for cutting metal. Use a 1″ high pedistal when cutting out leaves. See drawing information in workbook.

8.) Before cutting leaf, the inner corners must either be punched out or a hole drilled through leaf to protect corner from splitting when hammering, called “xyz” marks.

9.) A jig saw with fine blades or air craft snips do well on some metals of various thicknesses (see supply sheet for tool catalogue.)

10.) Use a red ((or black)) Sharpie ((TM)) pen for marking leaf work. For some work I make tin segment patterns so I can duplicate lines on work from leaf to leaf.

11.) Tools used to form a leaf are separated from other tools and put in cans near vise. Also, i sometimes mark tools 1,2,3, with felt pen in order of sequence in use. Tools laid on bench tend to pile up and seem to get lost.

12.) Before hammering, file edges of leaves and corners to remove all burrs, as these will start splits and may ruin leaves.

13.) Also by filing edges of leaves, one cleans up contours on segments to make both sides of leaf semetrical and even. To be able to file al segmants and recesses on leaves, you bend segments of leaf out af the way, (you can file corners better if you grind gripper tteth off a pair of simple pliers and round jaw parts.) grind smooth. This prevents scratch marks on leaves–especially on no-ferrous metals. After filing edges, wire brush as it makes a smooth velvet-like finish. In fact, I wire brush as I hammer lines into leaaves so I can better see edges and contours. (Wire brush removes some hammer marks and layout pencil lines and smudges.)

14.) Punch paper on tin patterns with small rectangle slots that will follow lines and configurattions, that will later be hammered into shapes and designs. Place pattern on leaf, after it has been filed and wire brushed to remove sharp burrs. Scribe mark all slots through pattern, remove pattern and connect spots with scribe or red ((black)) Sharpie ((TM)) pen.

((End of this section.))

…..Dan Nauman

“Gold is for the Mistress,
Silver for the Maid,
Copper for the Craftsman,
Cunning in his trade.
“Hark” said the Baron,
Sitting in his hall,
“Iron, cold iron,
Will be Master of them all.”
….From Nahum Hersom’s Collection of Poems.