[Illustration:

    The
    Steeple-Jack’s
    Instructor

    The S. J. Lee Publishing Co.
    Chicago, U. S. A.]




                                   THE
                              STEEPLE-JACK’S
                                INSTRUCTOR

                              [Illustration]

                     Showing the Modern Methods Used
                       by Successful Steeple-Jacks

                               Price $2.00

                         By CLARENCE JAMES MURRAY

                               Published by
                       THE S. J. LEE PUBLISHING CO.
                          160 NORTH WELLS STREET
                            CHICAGO, U. S. A.

                             Copyrighted 1921
                                    by
                       The S. J. Lee Publishing Co.
                            Chicago, U. S. A.




CONTENTS


                                                   Page

    Introduction                                      9

    How to Become a Steeple-Jack                      9

    The Smokestack                                   16

    To Rig a Stack Without a Gimblet Wire            31

    How to Change the Riggings                       39

    Steel Stacks with Brick Lining                   40

    Smokestacks with Ladders                         42

    Steel Stacks Decay at Band                       43

    Reguying                                         44

    Tripping the Riggings                            50

    Self-supporters                                  55

    Knots                                            58

    Square Knot                                      60

    Bow-line Knot                                    62

    Half-hitches                                     64

    The Black Wall                                   66

    Tanks, Towers and Standpipes                     67

    Standpipes                                       69

    Water Towers                                     71

    Church Spires                                    74

    The Flagstaff                                    78

    Tops of Poles                                    85

    Names of Knots, Bends, Bights and Hitches        93




How to Become a Steeple-Jack


In this book I am placing before you the secrets of a trade I have
followed for fourteen years. I have made as high as $170 a day. It is a
poor Steeple-Jack who cannot make at least $25 a day. If you have the
ability, the appearance, and can approach a business man, you need not
worry about getting his work.

He is aware of the chances you are taking. He has work that must be done,
and has an admiration for the man with nerve enough to accomplish what he
would not undertake himself.

Steeple-Jacks are always in demand. When I speak of Steeple-Jacks, I
refer to men who comprehend that a certain thing up in the air needs
attention, whether it is the reaving of halyards on a flagpole, the
adjustment of a cross on a steeple, the replacing of a guy wire on a
stack, the repairing of the hands of a clock on a tower, or the mere
painting of any of these lofty objects which ordinary workmen are not
courageous enough to attempt.

I know a great deal of this fascinating game, but I do not want to convey
to you the thought that I know it ALL, for that is not the truth. Bear in
mind the old adage: “We are never too old to learn.”

I call this work a game, because it appeals to me as a great game,
although it is difficult work. People will gather in crowds on the street
to watch a Steeple-Jack at his perilous duty. I use the word “perilous”
because that is what it would look like to the man on the sidewalk, but
to one in the air it is just a trick to the trade, and he would not
exchange places with the man who is so eagerly watching every move he
makes for fear that he may make a wrong move.

While he is thus busily engaged watching you, the following questions run
thru his mind: “How in the world did he ever get up there?” “How can he
stay up there so long?” His thoughts finally run something like this:
“My, but he certainly is brave.”

From my experience with Steeple-Jacks I am convinced that they never like
to be called “brave,” because stunts that are pulled are all in the game,
and it is no more dangerous for a Steeple-Jack to climb to the top of a
flagpole or smokestack than for the individual to ride in an elevator,
a motor car or train, for when we consider the number of people who
are trusting to the safety of the above mentioned conveyances, and the
proportion of accidents in comparison to the number of Steeple-Jacks and
the accidents in connection with this trade, the Steeple-Jacks are not at
a disadvantage in respect to casualties.

It is to the credit of the Steeple-Jack, however, that he is less
careless regarding the dangers of his profession than the thoughtless
traveling public.

The Steeple-Jack considers it no more irksome to go out on a job than the
book-keeper to go to his desk or a bank teller to enter his cage. The
only difference between the Steeple-Jack and the book-keeper or bank
teller is in regard to working hours. The Steeple-Jack’s hours range from
two to four a day, while those of the tradesman are from six to ten hours
a day. The Steeple-Jack, whose day comprises about four hours (often less
and seldom more) makes =more= money in his =day= than the average man
makes in a =week=.

As before stated, I have had considerable experience in the line about
which I write, and I therefore feel safe in saying that no man is worthy
of the title of Steeple-Jack unless he can make at least $20 a day in
days when he chooses to work less than the customary two to four hours.

From my past experiences I have come to the conclusion that “time is
money,” and therefore my advice to any man who entertains the idea of
going into the great game of a Steeple-Jack is to always bear that slogan
in mind and never perform for the audience which you will undoubtedly
have watching you from the street. Remember it is =your= time that is
being taken up by the performance of whatever daring stunts you may be
able to “show off,” and no matter how large an audience you may have,
there are no benefits derived therefrom.

The work of a Steeple-Jack has a great many assets besides that of
being able to earn a great amount of money. With the exception of the
money question, here are two that will appeal to every man: First, it
is healthful work, because you are always in the open air. Second, you
have no boss. You are your own boss and may come and go when you please.
However, I would not advise any man who is following this work to assume
too great an air of independence. We all concede that it helps to be a
=little= independent at times, but always bear in mind that it is the
privilege of the “other fellow” to assume an air of independence also,
and, after all, YOU are dependent upon his work. By that I do not mean
just one individual, but I am taking your trade as a whole. In business
we must give and take. Remember that.

The Steeple-Jack’s work is ordinarily performed on smokestacks, flagpoles
and church spires. You will agree with me that there are very few who
follow this line of work. Just to prove this to you, allow me to ask you
a question: “How many Steeple-Jacks do you know?” Perhaps the answer will
be “One,” “Two,” or “Three,” and, again, it may be “Not any.” I have
worked in this business in every large city in the United States and I
can candidly say that I have had very little competition and, in a great
many cities, not any.

Another important factor of this work is always to endeavor to please the
man whose work you are doing and never to do cheap or skimpy work, for I
have been convinced that cheap and skimpy workmanship gains nothing for
you. However, on the other hand, if you put forth your best and succeed
in pleasing the man who is to be considered, you can always count on a
renewed order the following year. REMEMBER: Satisfy the other fellow
first and you cannot help but satisfy yourself.




THE SMOKESTACK


To a Steeple-Jack any stack, regardless of whether it is composed of
brick, steel or concrete, is a smokestack. Undoubtedly you have heard
these stacks referred to as chimneys; nevertheless, from now on we will
call them smokestacks.

Steel smokestacks are supported by guy wires. As a general rule two sets
of guy wires support a steel stack, but I have often found a smokestack
supported by three sets of guy wires. These guy wires consist of four
wires to a set.

There is supposed to be a wire which runs through a sheave from the top
of the stock to enable the stack man to rig up. This wire is flexible
and is called a gimblet wire. Above all things, do not use this gimblet
wire for ascending purposes; by that I mean in such a manner as to cause
the weight of your body to rest upon this wire, as there is often great
danger in an act of this kind.

Read carefully the following few lines and you will be convinced of the
risk you are taking by endeavoring to ascend on the gimblet wire.

If the gimblet wire in question has been in that position for a year, in
all probability it is rotten at the point where it runs through the hook
at the top of the stack, and it would not take much weight to loosen it.
So bear in mind, no matter how light or heavy in weight you may be, do
not climb up on the gimblet wire.

The following is a more simple and far more safe way of getting to the
top:

First of all, get a board from six to nine feet in length and two to
three inches in depth. Take one end of the gimblet wire and tie it to
the end of your board, and fasten the other end of the wire to the board
about three feet from the end. Take your stack hook—a hook of good ⅝-inch
steel. This hook should be about fourteen inches long, the hook being six
inches long; a five-inch opening with an eye opening of about two inches,
so that you can hook your block and tackle to it. Attach your stack hook
to the board on the side opposite to where your gimblet wire is fastened.
Be sure the hook is turned towards the stack.

[Illustration: Ready to Pull the Rigging Up]

[Illustration: The Boatswain Chair]

When this is done, pull on the wire; that will draw up your riggings,
reaving your block and falls out to the size of the stack, so as to
enable you to keep them from twisting with the gimblet wire. Now, then,
should this board be weak and break while you have your riggings near
the top, to prevent them from falling down and one end of the gimblet
wire from running to the top, tie a heavy piece of cord to the end of the
gimblet wire, running it to the other end of the wire, then fasten to
your blocks.

This will prevent a hard day’s work untangling your riggings from the guy
wires, should the board break.

[Illustration: Tripping Riggings on Top of Stack]

After drawing your rigging to the top, the board drawn tight up to the
block on top of the stack, pull on the gimblet wire that is attached
to the end of the board. This motion brings the end of your board
bearing the hook and rigging up. In some cases, the stack being small in
diameter and the board being too long, the hook will stick far out from
the stack, and with all hard efforts will not lodge it over the top. When
you have this proposition to contend with, leave the stack about three or
four inches on the gimblet wire that holds the board tight to the block
on the stack. In some cases you have to drop the board as far as from two
to three feet below the block, in order to get your hook in a position
where it will settle over the top of the stack with the hooked part
inside of the stack.

This is very important. Be sure that the hook is not only setting on
top. This can be determined by twisting all four lines, making them one
bundle; then by giving the lines a few switchings back and forth in all
directions. When this is done and you have fully convinced yourself that
the hook is properly over the top, then your next move is to start for
the top.

If it is your first time in a boatswain chair, I would suggest that you
sound yourself first as to dizziness. This can very easily be done by
the following method:

Stand along the side of the stack, throwing your head to one side and
looking up, allowing your eyes to follow the stack and the clouds,
shaking the head at different times. This brings on dizziness. Then stand
erect, so as to clear your head. After getting into the boatswain chair,
you place the fall line of your riggings—that is, the line with which you
draw yourself up—between your legs. This enables you and your helper to
pull more steadily together, and you get to the top much quicker.

I have noticed that the majority of stack men regard this as the most
difficult part of the job—drawing to the top. Once up, the job is half
done.

After you reach the top of the stack, the first thing to be done is to
cut away the string that holds the stack hook to the board. You then
lower the board to the ground. Still tied by the wire to the board
for further use in case you want to trip off with it when the job is
finished.

There is still an easier way, which I will explain later. Now we will say
the work you are to do is paint. For your information I will say that oil
paint is preferred by Steeple-Jacks for several reasons, some of which
are: It is easy to apply in all kinds of weather; you are bound to get
plenty of it in the face, and it is easier to wash off than tar. From my
personal experience I have found that graphite and oil preserve a steel
smokestack better than any other. You will come in contact with people
who will differ with you as to this point; however, when you meet with
a difficulty of this nature, give the man what he asks for. If he wants
water, give him water; if he desires to have tar, give it to him, but if
he wants something good, then suggest an oil paint. Graphite and oil—the
preservable.

A great number of men with whom you deal will say: “I want tar on my
stack.” I have learned from my own personal experience that the answer
which will in nine cases out of ten take with the man with whom you are
dealing is something on this order: “If you want tar, all right, but
it will cost you =more= money.” He will immediately confront you with
a question similar to this: “Why is that?” Your reply should be: “If I
put tar on your smokestack and come back next year for your work, you
will refuse me, because tar blisters in places and rust forms under the
blisters, which prevent the rust from being seen, and in a few years
there are holes in the stack, whereas an oil paint wears off, showing the
rust spots.”

[Illustration: Changing Positions on Top of Stack]

However, I am running away from my story. We will go back to the top
of the stack. You look down, getting straight above a guy wire, reach
over as far as you can and paint, leaving the space directly in front
clear; drop down about ten feet, painting as you go; draw up to the top
again, switching the stack hook over and directly above the next nearest
guy wire. In order to accomplish this, take an extra hook similar to
your stack hook and about seven feet of ½-inch line. Place the extra
hook over the top; tie the other end of the sling to the rope of your
boatswain chair, making it good and secure. Then lower your weight from
your rigging until it rests on the extra hook and sling. You then draw
your regular stack hook up to the extra hook. When this is done you
pull your weight again to your riggings and push the extra hook around.
Do this until you get to the position you want, just above the next
nearest guy wire, repeating the same as you did above the other guy wire,
painting about ten feet down. When this is done, draw back to the top,
using the same method to get over to the middle of the two spaces you
have painted.

Then start to paint between the two spaces already completed. By so doing
you are able to make a larger sweep on your way down. In order to make
time on a stack it pays to have a helper on the ground, so as to take the
end of the fall line or handy line and pull you around and by doing this
also help to keep you in to the stack, which enables one to work to a
better advantage and much quicker. Remember, “Time is money,” and there
is lots of it to be made.

The opportunity is there. Tradesmen of all walks of life say: “Gee,
business is dull in my trade. If I only had the opportunity that some
people have.” A Steeple-Jack should never say that, because there is
always work to be done on a smokestack the year ’round. Don’t be afraid
to ask for it, and also a price. Yours is not a common trade. It takes
brains, brawn and nerve, so don’t permit your nerve to fail you when you
are asking a price.

Another thing to be careful of is not to allow your rope to get caught
and tangled in the end of a guy wire attached to the stack at the band.
Should this happen, it may put you in a very hazardous position. Give
this a glance now and then and, should such a thing happen, do not get
excited and start tugging. The more you tug, the tighter it gets. Have
someone to switch it out from the ground. It is possible to do this from
the air.

[Illustration: Showing Falls Caught in Guy Wire]

High wind is the Steeple-Jack’s greatest enemy. It is only a fool who
would attempt to rig a smokestack when the wind is blowing a gale; in
fact, it is almost impossible to work in a high wind. More work can be
accomplished in one-fifth of the time on a calm day. “Time is money,”
but always take time when your life is at stake. Always keep in mind the
motto: “Safety First.”

When tying up your riggings for the night, and it might be calm at the
close of the day. Weather changes in a very few minutes at times. To
safeguard against the rope from wearing against the stack and guy wires,
walk out about fifteen feet from the stack, taking a piece of extra
sling. Tie the sling to some object that is solid, throw two half-hitches
with your fall line around the riggings just above the single block. When
this is done, pass the sling which you have tied to some object through
the hook of the block, making it fastened to the block. Then pull the
slack out of your riggings with the fall line, at the same time keeping
the two half-hitches just above the block. Do not take up all the slack;
leave some play in your lines, using your own judgment as to whether the
lines will come in contact with the guy wires. The weather will shrink
the line more or less.




TO RIG A STACK WITHOUT A GIMBLET WIRE


When this proposition confronts you it may look to you like a job not
worth fooling with. It can be done and, on some stacks, almost as quickly
as with a gimblet wire.

There are a number of ways to rig without the aid of a gimblet, of which
I will show you two of the quickest and most simple.

Look over your guy wires and pick out the most solid of the lot running
to the top band. Make sure of its anchorage. There are supposed to be two
clips at each end of a guy wire where it is connected to the turn-buckle,
and at the band place the double block without the stack hook on the guy
wire.

Tie a long and heavy line to the block. Take this line, passing it around
all the guy wires with the exception of the one the block and falls are
attached to. Then reave out your line to what you would figure the length
of the stack to be. You then take hold of the line that is around the
guys, pulling on it and at the same time switching on your rigging.
Unless the guy wire is slanting at about 45 degrees down, your rigging
will slide up very easily.

With this system it is possible to get your rigging to within a very few
feet of the top band, then tie off your tug line, be sure to some object
that is good and solid. Remember your weight will be on that, and also
your life.

SAFETY FIRST always. You only fall once. Use every safety device
available. Remember this book only tells you how to rig, but it takes
common sense while following these methods, and that is, take no chances
where you =think= a thing will hold. Be =sure= it holds.

The first thing to do when getting into the boatswain chair is to see
that your lines are not twisted. Have your helper walk out some fifteen
or twenty feet from the stack. Take the fall line with you on your way
up. The stack hook, extra hook, sling string, small stick, hang line,
and you are ready.

Quite a load going up! After placing the line between your legs and
your helper stands away out, this helps to avoid the twisting of your
line. While going up remember this: A very steady pull, the two pulling
together. Long grabs and jerks are liable to prove disastrous, as it may
cause the line to snap. Half-inch line has tremendous straining power;
nevertheless, there are flaws in rope and rope also rots.

My first experience on a stack I remember I wanted to buy 1½-inch line.
Now wouldn’t I have had a wonderful time trying to get that ton of rope
to the top of a smokestack! Since then I have used ¼-inch rope, but that
is too small. At any rate I had the correct idea of “Safety First” at
the beginning. However, ½-inch is the proper size for a job not over two
hundred (200) feet high.

Now, when nearing the top guy wire, have your helper slack up, allowing
you to continue the pull alone. When the two blocks are together tie a
safety line to the wire. Tie the extra hook to the stick and the end of
the sling to your chair, then in the hook, passing the hook over and in
the eye of the band. Pull the stick away from the hook. You then tie the
stick to the block attached to the guy wire. After this is done, lower
yourself until your weight rests on the line hooked in at the band.

Make sure when lifting the riggings away from the wire that they don’t
fall, leaving you up there in a great predicament. If this should happen,
you will agree with me on that point.

Experience is a great teacher. I have had this experience: On lifting
the block away from the wire, place it in the eye of the band; also draw
yourself up close to the band. Untie the sling, tying it closer to the
hook, then draw up a long pole—the size you figure you will need to reach
the top with. Tie the stack hook to the pole; put the block and falls in
the hook; push it to the top.

[Illustration: Poling to the Top of a Smokestack]

Now, not in all cases is this as easy to do as to say. If the top is only
fifteen or twenty feet from the band, it can be done without much effort,
but should it be a reach of thirty or thirty-five feet, I would suggest
the following method:

Tie a hook to the pole just so it will stay on. A light hook is required
for this. Place your handy line through the eye of the hook. Tie the
handy line end down about eight feet from the top of the pole, then lash
yourself to the band, pull yourself up and stand in the chair, throwing
one leg over the guy wire. Make yourself good and solid, spread your feet
out in the chair. Do not have them together. This sometimes prevents the
chair from sliding to one side. Above all remember never to let your
riggings get away from you. You are in a mighty tiresome position. Always
be sure to have a handy line with you in making a reach of thirty or
thirty-five feet. Figure your pole, which is only two by two or so, is
easily broken in a little wind. I have had poles break eight or ten times
before reaching the top of a stack.

Now, in pushing the pole up with a handy line, always wait until the wind
ceases for a second, then up with it. This has to be done quickly. With
the pole leaning against the stack once over the top, pull the pole away
from the light hook, lower the pole until the top end is at the band.
Tie on the hook and block, then, with the handy line now over the top,
pull on it and at the same time push on the pole with a steady push and
pull. The rest is very simple. After this is accomplished, undo yourself
from the band, lowering yourself into the boatswain chair. Hook up the
riggings to the chair, start for the top, cut away the pole, lower it
down and start your work.

[Illustration: Climbing Guy Wire with Slings and Chair]




HOW TO CHANGE THE RIGGINGS


When completing one side of a stack and in order to get the tackle to
another position on the stack, twist the rope, making it all in one; then
leave a little slack to make a snake whip movement towards the top, and
you will have the satisfaction of seeing your rigging move around on the
top. If the wind is blowing hard, perhaps you will have to do several of
the switching movements before getting the hook to start to move. Then
take the line around the guy wire and you are ready for the next set.




STEEL STACKS WITH BRICK LINING


You will encounter a little difficulty in the shifting of your riggings
from the ground when you are working on steel stacks with brick linings.
In fact, you will save time by not trying to shift from the ground. If
the brick extends all the way to the top, you will have to have a hook
large enough to spread over the steel and brick.

It is wise to go to the top, whether you have to tow it over fresh paint
or not. In doing this you have your helper walk out some fifteen or
twenty feet. You then place your legs around the fall line; after this is
done both you and your helper pull together.

In this movement you are going up backwards with your back towards the
stack, until about half way up; then turn with your face towards the
stack. Daub the tips of your shoes with paint; this helps to cover up
the prints of your shoes on the fresh paint. If you do not comply with
this rule, the print of your shoes on the fresh paint will look from the
ground as if those spots had never been painted, and would tend to leave
a bad impression as to your workmanship with the man for whom you are
doing this work. Neat and impressive work draws more returns. On reaching
the top an equal size hook is required, as aforesaid, with the sling,
afterward having your helper take the fall line over the guy wires and
you are ready to do another set.




SMOKESTACKS WITH LADDERS


There is no use of going into detail about rigging a stack that has a
ladder on it. This can be answered in a very few words: Walk up the
ladder and hook the rigging over the top. But there is this much about
it—Watch your step! These ladders after a few years become very rusty and
the bolts where connected from the inside are sometimes eaten away by
the gas from the coal, and just a little weight on them might cause the
handles to give way. So always remember to be very careful when climbing
a smokestack that has a ladder connected to it.




STEEL STACKS DECAY AT BAND


You will notice that as a general rule steel stacks commence to weaken at
the first half-dozen sections from the top downward, or at the band. The
rain hitting the in- and outside from the top, and lying around the band,
is causing the rust to form more quickly than on any other part of the
stack. This accounts for the aforesaid parts weakening the quickest.

It is always wise to sound a stack at the top and band so as to determine
whether it will stand much tugging or bouncing upon. If it looks weak and
you make up your mind that you will go through with what you are doing,
I would suggest that you do all the pulling and take just what tools you
can possibly get along with.




REGUYING


To reguy a smokestack it is necessary to have these parts before the job
is really called complete: Turn-buckles for the bottom ends of the guys
and clips for both ends. Although you can guy a smokestack without these
articles, it is best to have them. Without the aid of the turn-buckle to
draw the slack out of the guy wires, a device like this can be used: Lash
the guy wire with a sling, using two half-hitches so as to grip the wire.
Tie a bow-line knot at the opposite end so as to enable you to attach the
block and fall, placing the opposite block in the eye of the guy wire
anchor, then by pulling on the fall line, this takes the slack from the
wire, even with the turn-buckles. Sometime you will have to resort to
this method in order to take up the loose slack.

[Illustration: Drawing Guy Wire Tight with Block and Falls]

When guying a stack the first thing to do is to place the spool that
holds the wire between two boxes of equal size. Take your handy line and
a small single block when going up to attach the guys; hook this single
block to the eye of the band at the position where you are to work; have
your helper tie the handy line about three feet down from the end of the
guy wire, and then bend the wire double. You then have your helper do
the pulling up of the guy wire. Should you do the pulling while sitting
in the chair, you would soon notice the strain from it in the stomach.
As you have nothing under the feet to press the strain there, it really
falls to the stomach to receive all the hard work. Always leave some
slack to the guy wire.

A stack must vibrate to a certain extent, therefore if the guy wires are
drawn as tight as they possibly can be, the chances are the result would
be a broken wire or an anchor giving way.

[Illustration: Helper Pulling Guy Wire Up to Stack Band]

In using clips to fasten the wire at both ends, they should be a size
larger than the guy wire, and when clips are not available, allow about
two feet over. After passing guy wires through the eye of the band or the
eye of the anchor, take a piece of gas pipe of a size that will slip
down over the guy wire some foot or a foot and a half, then twist the
end of the guy wire with the gas pipe around the other part of wire that
extends down. This is a wonderful way to fasten the wire to the stack,
and will last as long as the stack will.

[Illustration: Turning Guy Wire with Steel Pipe]




TRIPPING THE RIGGINGS


Tripping the riggings off the stack after the job is completed takes
only the work of a few minutes. See to it before making the last trip
up that you have that necessary appliance with which to save you a few
unnecessary trips up and down.

Take a small steel bar about ¼-inch in size and bend it into the shape of
the letter S. Judge the diameter of the band on top of the stack; make
the hook so it will fit snugly on top. This hook should not be over five
inches long. After placing the trip hook on the stack, take your handy
line, lay it on the hook, tie the end of your line in the eye of your
stack hook, then tie up about two inches above the eye in several places.
The last two tie-offs will prevent the stack hook from falling to one
side.

[Illustration: Handy Line Attached from S Hook to Stack Hook]

[Illustration: Results of Turning Hook in Wrong Direction]

[Illustration: Hook Turned in Proper Direction for Tripping]

After leaving the stack, have your helper tie the handy line away from
the stack. This flopping back and forth will annoy you while at work.
After you have finished and are ready to trip, twist the rigging until
it is twisted all the way to the top. In doing this twist the rope so
that the stack hook will turn out and away from the trip hook. This is
important. Leave slack on the riggings at the same time. Do not let it
untwist. Then take the trip line, pull steady on it, until you see the
stack hook raise up and over the stack. Then lower on the trip line until
you see the stack hook is off and below the top of the stack. Then let go
of the riggings so they will untwist; lower away; untie the handy line
from the block hook; then pull one end of the handy line to the top. It
will go through the small S up there and fall to the ground, leaving the
small S hook on top of the stack.




SELF-SUPPORTERS


Steel smokestacks are generally supported by guy wires, although there
are some steel stacks without guy wires, which are called self-supporters.

Self-supporters taper at the base and have an extra heavy foundation and
a ladder to enable you to climb to the top, although in my travels I
have come in contact with one self-supporter that had neither ladder nor
gimblet wire. Fortunately this self-supporter was very small in diameter.

In order to make the top of this particular stack I had to rely on an
extension ladder, working my way up by degrees; first lashing the ladder
to the stack, extending it as far as safety would permit, then lashing
the stack again with an extra large sling about ¾-inch, making a bow-line
knot and with a sling to both sides of the ladder I used the block and
fall, pulling the bottom part of the ladder up as far as possible,
lashing off again, then pushing the top part up.

[Illustration: Ladder Lashed to Self-Supporting Stack]

After making the lower half of the extension ladder solid at the top and
bottom so as not to permit it to sway to either side, climb the top half
of the ladder, lashing the stack again, and repeat as before. Guy wires
have to be replaced from time to time, as these wires rust and fall down,
leaving the stack to the mercy of the winds, if not attended to before
they become so badly decayed.

As stated before, stacks that are supported by guy wires have from one to
three sets, and generally four wires to a set. A ½-inch galvanized wire
is sufficient for any stack, although some people prefer a larger size
wire for double safety.




KNOTS


Knots are a very important factor in the Steeple-Jack’s life. Only knots
that have been properly tested should be used. Many a terrible disaster
has been caused by the use of a knot which was quickly invented by a man
and never tested. Avoid such accidents by learning to tie knots in the
proper fashion.

Slip knots are bothersome as well as dangerous to both the person
working in the air and the people walking underneath. There are very few
knots that are useful to the Steeple-Jack, and it is well for every man
following this trade to learn to make these few knots well and thereby
avoid delay when in need.

For instance, if you were on the top of a stack and saw a part of your
rigging that did not look any too safe, or you were near a band and
saw your hook was only sitting on top of the stack and not inside, as
it should be. A sling and the knowledge of tying knots properly is
required. Practice until you are thoroughly familiar with this important
part of your trade.




SQUARE KNOT


As I said before, slippery knots are bothersome in many cases. When you
use the slip knot the only way to get it out is to cut the line; then you
are disfiguring the line or shortening it.

The square knot and the bow-line knot are the ones most commonly used.

In tying a square knot take the ends of the rope, passing the left end
over and under the right, and then take the right end and pass it over
and under the left.

In trying to make the square knot there often forms what is known to line
men as “the granny,” which is useless for any hazardous purpose. Follow
the instructions of right over and left over and you can’t go wrong in
making the best-liked knot of all—the SQUARE KNOT.

In using the square knot while working in the chair, make two half
hitches in each end of the line. This is used to insure double safety.

When using the square knot for the purpose of adding more line to the
riggings, tie both ends of the lines (as illustrated on page 61).

[Illustration: Square Knot]

[Illustration: Granny Knot]

[Illustration: Square Knot Sized at Both Ends]




BOW-LINE


A more efficient knot than the bow-line knot was never known. This knot
is used more than any five knots put together in the Steeple Jack’s work.

The bow-line knot is mostly favored in climbing a flagstaff, when making
the stirrup to climb, and in many ways for the smokestack.

In making the bow-line knot follow the illustrations according to
numbers. In No. 1 the rope is formed in a bight; pass No. 1 through the
bight under then over and then under, as illustrated in No. 2; then over
and down through the bight as illustrated in Nos. 3 and 4. Draw tight as
illustrated on page 63.

As I said before, the bow-line knot is a very useful knot on the
flagpole. By placing the sling around the pole, passing the end through
the eye, then make your bow-line knot, leaving the loop for the size of
your foot so as to slip your foot in.

[Illustration: How to Tie the Bow-line Knot]




HALF HITCHES


The half hitch is used very frequently by the Steeple Jack, especially in
tying off the riggings for the night or pulling up a pole or paint. In
making the half hitches, pass the end around the object you are tying,
then over and around, standing part between the object and itself; then
under and around the standing parts and between own loop and the one
first formed. It is no more difficult and takes no longer to make this
knot than it does for you to count three. Illustrations on page 65.

[Illustration: Half Hitch]




THE BLACK WALL


The Black Wall, known by many as the chair hitch, is used by the Steeple
Jack while working in the chair up or down; stopping to rest or work,
reach through the rope of your chair, grab the fall line by the right
hand, pulling it through between yourself and the rope of your chair. At
the same movement turning the rope from left to right making a loop in
this movement, reach up and set it on the hook of the block at the chair;
while doing this reach with the left hand and hold your four lines tight
together. This prevents you from going down while making the Black Wall
or chair hitch, as it is commonly known.

[Illustration: Black Wall Knot]




TANKS, TOWERS AND STANDPIPES


Water tanks, water towers or water standpipes are an easy matter to work
on as far as the rigging is concerned, but not as much money is to be
made as on smokestacks, church steeples and flagpoles. Nevertheless, they
are worth soliciting.

Take, for instance, a water tank. A water tank consists of only the tank
itself sitting on a flat roof or ground. Water tanks vary in size.

We will say a tank twelve (12) feet in diameter, fifteen (15) feet in
height, with very little rust scales. This tank can be painted in about
three hours and requires no more than three and one-half gallons of oil
paint. I have received as high as Sixty ($60.00) Dollars for a few hours’
work on tanks of this kind.

[Illustration: Painting Water Tank]

Standpipes are more on the order of smokestacks. Some have brick
foundations running up a third of the way and again others have brick
half of the way up and the other half steel, while you find some that are
all steel from the bottom to the top.

All standpipes have ladders going to the top, therefore it is an easy
matter to rig such standpipes with a set of falls and work in a boatswain
chair.

For an example we will take a standpipe that is made of steel and that
is one hundred and twenty-five (125) feet in height, twelve (12) feet
in diameter. A standpipe of this kind would require about eighteen (18)
gallons of oil paint. It would take one man working in a boatswain chair
about three and one-half (3½) days. It is always safe to ask about
$250.00 for a job of this nature.

[Illustration: Painting Standpipe]




WATER TOWERS


A chair man considers a water tower more difficult to work on than the
two mentioned previously.

The majority of water towers are supported by four stiff legs. Some have
more and very few less. You will find very few water towers that stand
less than one hundred and fifty (150) feet high.

To paint a water tower it is best to start on the tank proper, tying
a rope over the ball or pole that extends from the top of the tank,
allowing enough rope so that it will extend to the edge of the roof of
the tank, then attach the block and falls to same. Take the other end of
the rope, which is attached to the top of the tank, running it down on
the opposite side from where you are going to work, and there fasten it
securely to the beam under the platform to the other side.

[Illustration: WATER TOWER]

Attach the riggings at the top of each stiff leg to the platform while
working down the leg supports.

It takes considerable time and plenty of patience when working on a water
tower.

A water tower one hundred and fifty (150) feet high with four stiff legs
and the tank proper about twelve (12) feet in diameter by twenty (20)
feet in height will require in the neighborhood of twenty-five (25)
gallons of oil paint. It will take one man approximately four days and
a half (4½). It should not be difficult for you to secure about Three
Hundred and Fifty ($350.00) Dollars for a job of this kind.




CHURCH SPIRES


A tapering construction and not a hard job to rig after once tried. If
you are capable of rigging a church spire, then it is an easy matter for
you to rig a church dome or any other structure of that nature.

For the majority of church jobs an extension ladder is the handiest
article. After drawing the extension ladder up to what is known to the
Jack as the pigeon hole window in the church spire, build your platform
from the window with 3×4 lumber, extending it out some six feet; lower
a line down on both sides of the window, having your helper tie the two
ends together around the lower section of the spire. Then by drawing it
to the window you will have your first loop around the steeple. Place
the extension ladder on the platform; nail two boards to the inside of
the window, then attach other ends of boards to the ladder. Use all the
safety devices available when going out on the ladder. Lash the ladder
wherever it is possible and also yourself by placing a line under the
arms and tying the line that you have around the spire, working it up as
far as you can go, then lash this to the ladder so as to keep the ladder
from swaying to the left or right.

[Illustration: Showing Ladder Position from Pigeon-hole on Spire]

An extension ladder will bring you within a distance from which you can
easily lasso the spire. Then by using the system already mentioned in
the self-supporting stacks without ladders you will be in a position to
accomplish any work you are on the spire for.

[Illustration: Showing Where Riggings Should Be Lashed at Top of Spire]




THE FLAGSTAFF


Although the flagstaff is the most simple part of the Steeple Jack’s
work, at the same time it is the most dangerous. Before climbing a wooden
pole look all around it first to see if any cracks are visible. In all
probability there are, as most wooden poles are cracked. If the crack
runs up and down then the pole is safe, unless it is dry rot, but if the
crack runs crosswise on the pole watch your step. Chances are it will
hold, but again it might not. Watch your step, because no one will watch
it for you. Remember, a man can only fall once.

[Illustration]




THE STAFF


The flagpole is composed of the following parts: The pole ball, spindle,
truck, sheave, cleat, brace and halyard.

The halyard is the rope with which the flag is drawn up to the top, and
it is never used for climbing purposes. The art of climbing a flagpole
with ease and performing that which is to be done upon the pole will be
explained in detail later on.

The ball on the top of the staff plays no important part. It is used more
for ornamental purposes than anything else.

The spindle is the rod that runs from the ball through the truck into the
pole.

The truck holds the sheave.

The sheave holds the halyard.

The cleat is for the purpose of tying the halyard to a few feet from the
base of the pole. The majority of poles have iron braces for support
connected about six (6) feet up from the base of the pole.

From experience I find the steel pole the most dangerous. In my opinion
it is more dangerous than the wooden pole for the reason that rust forms
inside of the steel pole and around the bands where it is connected, and
in the winter time it is easily broken by the cold weather if any weight
is put on it, whereas the wooden pole can be tested by sounding it as to
its condition.

If the wooden pole has the dead sound it is in all probability dry rot,
and with a pole of this kind I would advise you to be extremely careful.
Never sway such a pole any more than you absolutely must, and take plenty
of time in climbing it. A pole in this condition gives no warning before
it breaks, but a pole with plenty of sap gives a cracking sound before it
gives way, which gives the man working on it a chance to slide to a more
secure position.

[Illustration: Climbing Flagstaff With Slings]

A boatswain chair and two slings are the only tools necessary to work
on a flagpole. Take two slings made of at least ½-inch line, splice an
eye in the end of each sling—the eye being about two inches in diameter;
place the sling around the pole, drawing the end opposite from the eye
through the eye; do likewise with the other sling; tie the boatswain
chair to the top sling, allowing five inches from the rope of the
boatswain chair to the eye of the sling; tie a loop in the end of the
lower sling—tying a bow-line knot. This is called a stirrup. Leave the
same distance from eye to knot as from the chair to the knot. Get into
the boatswain chair.

The first thing to do is to see that the loop around the pole is as tight
as it will go. Then place your foot in the stirrup, take hold of the pole
to steady yourself, raise up in the stirrup, and with the right hand push
the sling holding the chair up, again making the sling tight to the pole.
Sit down in the chair, reach down and pull the stirrup sling up until you
can get your foot in. Repeat these movements and you will see how simple
it is to climb without exerting yourself.

At every movement going up and coming down make sure that the sling that
holds the chair is secure and thereby prevent it from slipping down.
Should it be loose and slip down and your foot in the stirrup, the result
would undoubtedly be that you would be dangling in the air head down.
Avoid all of this by taking every precaution.




TOP OF POLES


At any time you are working on a flagpole and the work consists of
replacing a truck, ball or spindle, the only thing to do is to make sure
of the pole being solid enough for a little swaying. If so, take a sling,
lash yourself to the pole under the arms as a back brace, then reach up
and pull yourself up and stand in the chair. Avoid shaking the pole as
much as you possibly can. Then draw up the saw.

Saw off about one foot of the top, take a brace and bit, drill the holes,
chip off around the edges and set your new truck on. The spindle should
be set about from 8 to 10 inches down in the pole, then wedge in with
small sticks to make it solid.

In painting a flagpole use the halyard to hold your paint. Twist the rope
several times to keep it at the same distance as yourself. In painting a
pole work down as you work up.

[Illustration: Working the Top of a Flagstaff]

[Illustration: S Hook Used for Tripping Purpose]

[Illustration: Swivel Snap]

[Illustration: Cleat]

[Illustration: Top of Flagstaff]

[Illustration: Five-inch Brush Is Mostly Used by Steeple-Jacks]

[Illustration: Come-along Used for Tightening Guy Wire]

[Illustration: Double Steel Ball-bearing Block Is Preferred by the Stack
Man]

[Illustration: Single Steel Block]

[Illustration: Clip]

[Illustration: Guy Wire with Clips]

[Illustration: Turn-buckle]

[Illustration: Gimblet Block]

[Illustration: Extension Ladder]




PRICES TO CHARGE FOR WORK


Prices vary in the different parts of the country, so it is really
difficult for me to give you exact pointers on that, but we will take for
an example a smokestack one hundred and fifty feet (150) feet high, six
(6) feet in diameter, in six sections of the United States. These prices
are figured on the basis as follows (the firm or individual for whom you
are doing the job is to furnish the paint under these prices):

    New York, N. Y.             $130.00
    Chicago, Ill.                170.00
    Denver, Colo.                170.00
    San Antonio, Tex.            140.00
    New Orleans, La.             135.00
    San Francisco, Cal.          130.00

The following prices are used as to flagstaffs sixty (60) feet high:

    New York, N. Y.              $35.00
    Chicago, Ill.                 40.00
    Denver, Colo.                 40.00
    San Antonio, Tex.             35.00
    New Orleans, La.              35.00
    San Francisco, Cal.           35.00

With reference to forty (40) foot staffs, use the following schedule:

    New York, N. Y.              $25.00
    Chicago, Ill.                 30.00
    Denver, Colo.                 30.00
    San Antonio, Tex.             25.00
    New Orleans, La.              25.00
    San Francisco, Cal.           25.00

As above stated, these are not standard prices, but it is safe for you to
quote your prices along these lines.




NAMES OF KNOTS, BENDS, BIGHTS AND HITCHES


    Black Wall Hitch
    Bow Knots
    Bow-line
    Bow-line on bight
    Bow shortening
    Builders’ hitch
    Builders’ knot
    Butchers’ knots
    Catspaws
    Chain hitch
    Chain knots
    Clinches
    Close band
    Clove hitch
    Crown knots
    Cuckolds’ necks
    Deadeyes
    Dogshanks
    Double chain
    Double crown
    Double figure-eight
    Double knots
    Double wall
    Double wall and crown
    Eye splice
    Figure-eight knot
    Fisherman’s hitch
    Fisherman’s knot
    Fivefold knot
    Flemish eye
    Fourfold knot
    French shroud knot
    Gaff-topsail halyard bend
    Garrick bend
    Gordian knot
    Granny knot
    Gunner’s knot
    Half-hitch
    Half-hitch and seizing
    Half-hitch
    Hawser hitch
    Hawsers
    Hitches
    Larks’ heads
    Magnus hitch
    Manrope knot
    Matthew Walker knot
    Midshipmen’s hitch
    Mooring knots
    Open-hand knot
    Ordinary knot
    Overhand knot
    Pier bend
    Reef knot
    Reefing knots
    Roband hitch
    Rolling hitch
    Running bow-line
    Running knot
    Sailors’ knots
    Sheepshanks
    Short splice
    Shroud knots
    Simple hitch
    Simple knots
    Sixfold knot
    Slip knots
    Slippery hitch
    Square knots
    Stopper knot
    Threefold knot
    Throat seizing
    Timber hitch
    Tomfool knot
    Treble knot
    Turks’ caps
    Turks’ heads
    Twist knot
    Wall knots
    Waterman’s knot
    Weavers’ knot
    Wedding knot
    Whipping
    Wind knots


THE END