Bob,  Just a bit west of you is David Freeman at www.timelessinstruments.com. ; David is a builder/teacher and would be glad to help with plans, and he sells high quality parts/kits, and is a frequent demonstrator at the Guild of American Luthiers, and a nice guy.  He is in Tagaske SK.
Jack

I just finished a prototype for a tenor guitar.  I made a tailpiece similar to what I saw on a Batson.  I say similar because I'm on my third tail piece.  The first two failed.  The joint came apart when the strings were tuned to pitch.  I handcut two dovetails into the joint this time so if the joint fails hopefully it will be because the wood breaks rather than the joint failing. 
The tenor is braced ala a Baritone Kasha drawing from Mike Chock. I made it bigger and added some bracing on the sides that I saw ono a guitar forum.  Thought I'd give it a try and see what happens. 
It is oh so fun to experiment.
Personally, I think the tenor guitar is a little odd looking especially when there is no soundhole on the soundboard, rather in the side.  The bridge seems too high and the neck too long and skinny.  I guess that is because I am used to seeing the "perfectly" proportioned ukes with their bridge in the fat part of the lower bout.

Bob,
A parlor guitar is a generic term for a small bodied guitar. The idea used to be (late 19th , early 20th centruy) applied to smaller guitars that were marketed primarily for women to play in their parlor but the terms meaning changed over time.  

When CF Martin started building guitars, they were all  pretty small. As time passed and as the benefits of his "X" brace design were realized, it became clear that larger bodied guitars produced more volume. 100 years ago the largest Martin in production was not much bigger than most of the smaller ones built today.  As guitars started to be used in bands, there was a increasing need for louder guitars and size was the fix.  

(As an aside, I understand that the tenor guitar was originally developed for tenor and plectrum banjo players that were looking for an easy switch when banjos fell out of favor. To that end, tenor and plectrum guitars were developed, some were fitted with necks that were pretty much straight off of the companies banjo line.  )

There were a lot of small cheap guitars produced that were labeled "parlor" guitars but these don't really do justice to either the old parlor guitars or the new higher end parlors.  A LOT of fingerstyle players like smaller "parlor" guitars and a lot of slack key blues has been produced on these sizes of guitars, some of them fairly cheaply made.

They usually are not as bass heavy as larger bodied instruments, tending to be brighter in the mids and trebles. With better designs and amplification, volume isn't much of an issue today and many people find the smaller sizes just easier to hold and play.

Some people refer to classical guitars as "parlor" and some people figure that anything that isn't "jumbo" or "dreadnought" is a "parlor". I think the definition is swinging back to a specific style of guitar usually considered a "fingerstyle" guitar but , for now, the term "parlor" is still fairly generic for a small guitar, whatever the quality or style.  

ZZ

I saw the through tenons also but found that very difficult to do with a 1/4 inch to 5/8 thick piece of wood.  There is not much wood behind the tenon  even though it runs against the grain.
The dovetails have been holding now for 2 days with strings tuned to pitch.  I think I have a winner.
I did not cantilever the finger board.  I understand the concept of having nothing touch the soundboard.  However, having built using a spanish heel, the heel block touches the soundboard right where the finger board does.  So nothing is really gained by "floating" the fingerboard.  I have a 14th fret connection and only about 1 1/2 more inches of finger board.  Bill, only wanted 14 frets.
The break angle of the strings at the bridge is very slight.  i haven't measured it but i'd say less than 15 degrees.  I did float the tailpiece that is why I did not pin the tailpiece to the tail block.
The break angle at the nut is 17 degrees.
When I first set up the guitar the action was very high.  I made the bridge overtall so I had to slim down the bridge.  I set the action at a little less than 5/32 at the 12th fret.  The intonation is spot on.
I'm anxiously awaiting the time to crate her up and send her off to Bill to get some feedback:  if it is a go or back to the drawing board.
I'll photograph her and post a pic as soon as I get over this naggin case of laryngitis.  It's very difficult to be a PE teacher and not be able to use my voice.

Here's a photo of my tenor guitar prototype.

i could only post one photo on the last post so here is the last one.

Sorry Bob,
I just realized that I hijacked your thread with my questions to Obmissy.  I don't know if an Admin or Mod can move my stuff to another thread of not. If they can I hope they will do so.

Sorry,

ZZ