,,french ,,polishing ,,and ,,enamelling ,a ,practical ,work of ,instruction ,,including ,,numerous ,,recipes ,,for ,,making ,,polishes1 ,,varnishes1 ,,glaze-,,lacquers1 ,,revivers1 ,,etc4 ,,by ,,richard ,,bitmead ,,author ,,of ,,the ,,cabinet-,,maker',s ,,guide1 ,,the ,,upholsterer',s ,,guide1 ,,etc4 ,fourth ,edition ,illustration3 ,capio ,lumen ,,london ,,crosby ,,lockwood ,,and ,,son #g1 ,,stationers' ,,hall ,,court1 ,,ludgate ,,hill #aiaj ,all rights reserved ,,printed ,,by ,,william ,,clowes ,,and ,,sons1 ,,limited1 ,,london ,,and ,,beccles4 ,,author',s ,,preface4 ,early in the present century the method generally adopted for polishing furniture was by rubbing with beeswax and turpentine or with linseed-oil4 ,that process1 however1 was never considered to be very satisfactory1 which fact probably led to experiments being made for the discovery of an improvement4 ,the first intimation of success in this direction appeared in the ,mechanic's ,magazine of ,november #bb1 #ahbc1 and ran as follows3 ,the ,parisians have now introduced an entirely new mode of polishing1 which is called plaque1 and is to wood precisely what plating is to metal4 ,the wood by some process is made to resemble marble1 and has all the beauty of that article with much of its solidity4 ,it is even asserted by persons who have made trial of the new mode that water may be spilled upon it without staining it4 ,such was the announcement of an invention which was destined ultimately to become a new industry4 ,the following pages commence with a description of the art of ,french ,polishing in its earliest infancy1 care having been taken by the ,author1 to the best of his ability1 to note all the new processes and manipulations1 as well as to concisely and perspicuously arrange and describe the various materials employed1 not only for ,french polishing but for the improving and preparation of furniture woods1 a matter of great importance to the polisher4 ,the arts of ,staining and ,imitating1 whereby inferior woods are made to resemble the most costly1 are also fully treated1 as well as the processes of ,enamelling1 both in oil-varnishes and ,french polish1 together with the method of decorating the same4 ,the condition of the art of polishing in ,america is dwelt upon1 and various interesting articles written by practical polishers in the ,states1 which appeared in their trade journal1 ,the ,cabinet-maker1 have been revised and printed in this work4 ,a number of valuable recipes1 and other instructive matter1 useful alike to the amateur and to the practical workman1 are also given4 ,,contents4 ,,chapter ,i4 ,,the ,,improving ,,and ,,preparation ,,of ,,furniture ,,woods4 ,,page ,improving #b ,matching #c ,painting #e ,dyed ,polishes #f ,,chapter ,,ii4 ,,stains ,,and ,,imitations4 ,imitation ,mahogany #h ,imitation ,rosewood #h ,imitation ,walnut #i ,imitation ,ebony #aj ,imitation ,oak #aa ,imitation ,satin-wood #ab ,a ,blue ,stain #ac ,a ,green ,stain #ac ,a ,purple ,stain #ac ,a ,red ,stain #ad ,imitation ,purple-wood ,stain #ad ,chemicals used in ,staining #ae ,process of ,staining #af ,ready-made ,wood ,stains #ag ,,chapter ,,iii4 ,,french ,,polishing4 ,the ,polish ,used #ah ,rubbers #bb ,position #bd ,filling-in #be ,applying the ,polish #bf ,spiriting-off #cj ,prepared ,spirits #cb ,antique ,style #cb ,dull or ,egg-shell ,polish #cc ,polishing in the ,lathe #cd ,,chapter ,,iv4 ,,cheap ,,work4 ,glazing #cg ,stencilling #ci ,charcoal ,polishing #dj ,,chapter ,v4 ,,re-,,polishing ,,old ,,work #db ,,chapter ,,vi4 ,,spirit ,,varnishing4 ,varnishes #df ,brushes and ,pencils #dg ,mode of ,operation #dg ,east ,indian ,varnishes #dh ,,chapter ,,vii4 ,,general ,,instructions4 ,remarks on ,polishing #ea ,the ,polishing ,shop #eb ,,chapter ,,viii4 ,,enamelling4 ,materials #eg ,tools #eh ,mode of ,operation #eh ,polishing #fj ,another ,process #fa ,decorations #fc ,,chapter ,,ix4 ,,american ,,polishing ,,processes4 ,use of ,fillers #fe ,making ,fillers #gj ,japan of the ,best ,quality #gj ,fillings for ,light ,woods #gj ,another for ,light ,woods #gj ,for ,mahogany or ,cherry ,wood #ga ,for ,oak ,wood #ga ,for ,rosewood #ga ,for ,black ,walnut 7#a7 #ga 7#b7 #ga ,an ,oil ,colour for ,black ,walnut 7#c7 #gb ,finishing #gc ,black ,walnut ,finishing #ge ,finishing ,veneered ,panels1 etc4 #gh ,light ,woods 7,dead ,finish7 #gi ,mahogany or ,cherry ,wood #gi ,oak #gi ,rosewood1 ,coromandel1 or ,kingwood 7a ,bright ,finish7 #gi ,walnut #hj ,finishing ,cheap ,work #ha ,with ,one ,coat of ,varnish #ha ,wax ,finishing #hb ,a ,varnish ,polish #hb ,with ,copal or ,zanzibar ,varnish #hc ,polishing ,varnish #he ,an ,american ,polish ,reviver #hf ,,chapter ,x4 ,,miscellaneous ,,recipes4 ,oil ,polish #hg ,wax ,polish #hg ,waterproof ,french ,polish #hh ,varnish for ,musical ,instruments #hh ,french ,varnish for ,cabinet-work #hi ,mastic ,varnish #hi ,cabinet-maker's ,varnish #ij ,amber ,varnish #ij ,colourless ,varnish with ,copal #ij ,seedlac ,varnish #ia ,patent ,varnish for ,wood or ,canvas #ia ,copal ,varnish #ia ,carriage ,varnish #ib ,transparent ,varnish #ib ,crystal ,varnish for ,maps1 etc4 #ib ,black ,varnish #ib ,black ,polish #ic ,varnish for ,iron #ic ,varnish for ,tools #ic ,to ,make ,labels ,adhere to a ,polished ,surface #id ,to ,remove ,french ,polish or ,varnish from ,old ,work #id ,colouring for ,carcase ,work #id ,cheap but ,valuable ,stain for the ,sap of ,black ,walnut #ie ,polish 7,american7 for ,removing ,stains1 etc41 from ,furniture #if ,walnut ,stain to be used on ,pine and ,white-wood #if ,rosewood ,stain #ig ,rosewood ,stain for ,cane ,work1 etc4 #ig ,french ,polish ,reviver #ih ,morocco ,leather ,reviver #ih ,hair-cloth ,reviver #ii ,to ,remove ,grease ,stains from ,silks1 ,damasks1 ,cloth1 etc4 #ii ,to ,remove ,ink ,stains from ,white ,marble #ii ,,chapter ,,xi4 ,,materials ,,used4 ,alkanet-root #ajj ,madder-root #ajj ,red-sanders #aja ,logwood #aja ,fustic #ajb ,turmeric #ajb ,indigo #ajc ,persian ,berries #ajc ,nut-galls #ajc ,catechu #ajc ,thus #ajd ,sandarach #ajd ,mastic #ajd ,benzoin #ajd ,copal #aje ,dragon's ,blood #ajf ,shellac #ajf ,amber #ajg ,pumice-stone #ajg ,linseed-oil #ajh ,venice ,turpentine #aaj ,oil of ,turpentine #aaj ,methylated ,spirits #aaj ,,french ,,polishing ,,and ,,enamelling4 ,,chapter ,i4 ,,the ,,improving ,,and ,,preparation ,,of ,,furniture ,,woods4 ,for a ,french polisher to be considered a good workman he should1 in addition to his ordinary ability to lay on a good polish1 possess considerable knowledge of the various kinds of wood used for furniture1 as well as the most approved method of bringing out to the fullest extent their natural tones or tints2 he should also be able to improve the inferior kinds of wood1 and to stain1 bleach1 or match any of the fancy materials to which his art is applied1 in a manner that will produce the greatest perfection4 ,the following information is given to facilitate a thorough knowledge of the above processes4 ,improving4--,iron filings added to a decoction of gall-nuts and vinegar will give to ebony which has been discoloured an intense black1 after brushing over once or twice4 ,walnut or poor-coloured rosewood can be improved by boiling half an ounce of walnut-shell extract and the same quantity of catechu in a quart of soft-water1 and applying with a sponge4 ,half a pound of walnut husks and a like quantity of oak bark boiled in half a gallon of water will produce much the same result4 ,common mahogany can be improved by rubbing it with powdered red-chalk 7ruddle7 and a woollen rag1 or by first wiping the surface with liquid ammonia1 and red-oiling afterwards4 ,for a rich mild red colour1 rectified spirits of naphtha1 dyed with camwood dust1 or an oily decoction of alkanet-root4 ,methylated spirits and a small quantity of dragon's blood will also produce a mild red4 ,any yellow wood can be improved by an alcoholic solution of ,persian berries1 fustic1 turmeric1 or gamboge4 ,an aqueous decoction of barberry-root will serve the same purpose4 ,birch when preferred a warm tint may be sponged with oil1 very slightly tinted with rose-madder or ,venetian red2 the greatest care should be used1 or it will be rendered unnatural in appearance by becoming too red4 ,maple which is of a dirty-brown colour1 or of a cold grey tint1 and mahogany1 ash1 oak1 or any of the light-coloured woods1 can be whitened by the bleaching fluid 7see ,,matching74 ,numerous materials may be improved by the aid of raw linseed-oil mixed with a little spirits of turpentine4 ,artificial graining may be given to various woods by means of a camel-hair pencil and raw oil2 two or three coats should be given1 and after standing for some time the ground should have one coat of oil much diluted with spirits of turpentine1 and then rubbed off4 ,matching4--,old mahogany furniture which has been repaired may be easily matched by wiping over the new portions with water in which a nodule of lime has been dissolved1 or by common soda and water4 ,the darkeners for general use are dyed oils1 logwood1 aquafortis1 sulphate of iron1 and nitrate of silver1 with exposure to the sun's rays4 ,for new furniture in oak1 ash1 maple1 etc41 the process of matching requires care and skill4 ,when it is desirable to render all the parts in a piece of furniture of one uniform tone or tint1 bleach the dark parts with a solution of oxalic acid dissolved in hot water 7about two-pennyworth of acid to half a pint of water is a powerful solution72 when dry1 if this should not be sufficient1 apply the white stain 7see pp4 #aa1 #ab7 delicately toned down1 or the light parts may be oiled4 ,for preserving the intermediate tones1 coat them with white polish by means of a camel-hair pencil4 ,on numerous woods1 carbonate of soda and bichromate of potash are very effective as darkeners1 as are also other preparations of an acid or alkaline nature1 but the two given above are the best4 ,a good way of preparing these darkeners1 says the ,french ,polisher's ,manual1 an excellent little work published in ,perth some years since1 is to procure twopennyworth of carbonate of soda in powder1 and dissolve it in half a pint of boiling water2 then have ready three bottles1 and label them one1 two1 three4 ,into one put half the solution1 and into the other two half a gill each2 to number two add an additional gill of water1 and to number three two gills4 ,then get the same quantity of bichromate of potash1 and prepare it in a like manner2 you will then have six staining fluids for procuring a series of brown and dark tints suitable for nearly all classes of wood4 ,the bichromate of potash is useful to darken oak1 walnut1 beech1 or mahogany1 but if applied to ash it renders it of a greenish cast4 ,if a sappy piece of walnut should be used either in the solid or veneer1 darken it to match the ground colour1 and then fill in the dark markings with a feather and the black stain 7see pp4 #aj1 #aa74 ,the carbonate solutions are generally used for dark surfaces1 such as rosewood represents1 and a still darker shade can be given to any one by oiling over after the stain is dry4 ,the better way of using these chemical stains is to pour out into a saucer as much as will serve the purpose1 and to apply it quickly with a sponge rubbed rapidly and evenly over the surface1 and rubbed off dry immediately with old rags4 ,dark and light portions1 between which the contrast is slight1 may be made to match by varnishing the former and darkening the latter with oil1 which should remain on it sufficiently long2 by this means the different portions may frequently be made to match without having recourse to bleaching or staining4 ,painting4--,the next process is painting4 ,it frequently happens in cabinet work that a faulty place is not discovered until after the work is cleaned off2 the skill of the polisher is then required to paint it to match the other4 ,a box containing the following colours in powder will be found of great utility1 and when required for use they should be mixed with ,french polish and applied with a brush4 ,the pigments most suitable are3 drop black1 raw sienna1 raw and burnt umber1 ,vandyke brown1 ,french ,naples yellow 7bear in mind that this is a very opaque pigment71 cadmium yellow1 madder carmine 7these are expensive71 flake white1 and light or ,venetian red2 before mixing1 the colours should be finely pounded4 ,the above method of painting1 however1 has this objection for the best class of furniture1 that the effects of time will darken the body of the piece of furniture1 whilst the painted portion will remain very nearly its original colour4 ,in first-class work1 therefore1 stained polishes or varnishes should be applied instead of these pigments4 ,dyed ,polishes4--,the methods of dyeing polish or varnish are as follows3 for a red1 put a little alkanet-root or camwood dust into a bottle containing polish or varnish2 for a bright yellow1 a small piece of aloes2 for a yellow1 ground turmeric or gamboge2 for a brown1 carbonate of soda and a very small quantity of dragon's blood2 and for a black1 a few logwood chips1 gall-nuts1 and copperas1 or by the addition of gas-black4 ,the aniline dyes 7black excepted7 are very valuable for dyeing polishes1 the most useful being ,turkey-red1 sultan red1 purple1 and brown4 ,a small portion is put into the polish1 which soon dissolves it1 and no straining is required4 ,the cheapest way to purchase these dyes is by the ounce or half-ounce4 ,the penny packets sold by chemists are too expensive1 although a little goes a long way4 ,,chapter ,,ii4 ,,stains ,,and ,,imitations4 ,in consequence of the high price demanded for furniture made of the costly woods1 the art of the chemist has been called into requisition to produce upon the inferior woods an analogous effect at a trifling expense4 ,the materials employed in the artificial colouring of wood are both mineral and vegetable2 the mineral is the most permanent1 and when caused by chemical decomposition within the pores it acts as a preservative agent in a greater or less degree4 ,the vegetable colouring matters do not penetrate so easily1 probably on account of the affinity of the woody fibre for the colouring matter1 whereby the whole of the latter is taken up by the parts of the wood with which it first comes into contact4 ,different intermediate shades1 in great variety1 may be obtained by combinations of colouring matters1 according to the tint desired1 and the ideas of the stainer4 ,the processes technically known as grounding and ingraining are partly chemical and partly mechanical1 and are designed to teach the various modes of operation whereby the above effects can be produced4 ,we will commence with ,imitation ,mahogany4--,half a pound of madder-root1 and two ounces of logwood chips boiled in a gallon of water4 ,brush over while hot2 when dry1 go over it with a solution of pearlash1 a drachm to a pint4 ,beech or birch1 brushed with aquafortis in sweeping regular strokes1 and immediately dried in front of a good fire1 form very good imitations of old wood4 ,venetian red mixed with raw linseed-oil also forms a good stain4 ,the following is a method in common use by ,french cabinet-makers4 ,the white wood is first brushed over with a diluted solution of nitrous acid2 next1 with a solution made of methylated spirits one gill1 carbonate of soda three-quarters of an ounce1 and dragon's blood a quarter of an ounce2 and a little red tint is added to the varnish or polish used afterwards4 ,black ,american walnut can be made to imitate mahogany by brushing it over with a weak solution of nitric acid4 ,imitation ,rosewood4--,boil half a pound of logwood chips in three pints of water until the decoction is a very dark red2 then add an ounce of salt of tartar4 ,give the work three coats boiling hot2 then with a graining tool or a feather fill in the dark markings with the black stain4 ,a stain of a very bright shade can be made with methylated spirits half a gallon1 camwood three-quarters of a pound1 red-sanders a quarter of a pound1 extract of logwood half a pound1 aquafortis one ounce4 ,when dissolved1 it is ready for use4 ,this makes a very bright ground4 ,it should be applied in three coats over the whole surface1 and when dry it is glass-papered down with fine paper to a smooth surface1 and is then ready for graining4 ,the fibril veins are produced by passing a graining tool with a slight vibratory motion1 so as to effect the natural-looking streaks1 using the black stain4 ,a coat of the bichromate of potash solution referred to on page #d will make wildly-figured mahogany have the appearance of rosewood4 ,imitation ,walnut4--,a mixture of two parts of brown umber and one part of sulphuric acid1 with spirits of wine or methylated spirits added until it is sufficiently fluid1 will serve for white wood4 ,showy elm-wood1 after being delicately darkened with the bichromate solution ,no4 #a1 page #d1 will pass for walnut2 it is usually applied on the cheap loo-table pillars1 which are made of elm-wood4 ,equal portions of the bichromate and carbonate solutions 7see page #d71 used upon ,american pine1 will have a very good effect4 ,another method for imitating walnut is as follows3 ,one part 7by weight7 of walnut-shell extract is dissolved in six parts of soft-water1 and slowly heated to boiling until the solution is complete4 ,the surface to be stained is cleaned and dried1 and the solution applied once or twice2 when half-dry1 the whole is gone over again with one part of chromate of potash boiled in five parts of water4 ,it is then dried1 rubbed down1 and polished in the ordinary way4 ,the extract of walnut-shells and chromate of potash are procurable at any large druggist's establishment4 ,a dark-brown is the result of the action of copper salts on the yellow prussiate of potash2 the sulphate of copper in soft woods gives a pretty reddish-brown colour1 in streaks and shades1 and becomes very rich after polishing or varnishing4 ,different solutions penetrate with different degrees of facility4 ,in applying1 for instance1 acetate of copper and prussiate of potash to larch1 the sap-wood is coloured most when the acetate is introduced first2 but when the prussiate is first introduced1 the heart-wood is the most deeply coloured4 ,pyrolignite of iron causes a dark-grey colour in beech1 from the action and tannin in the wood on the oxide of iron2 while in larch it merely darkens the natural colour4 ,most of the tints1 especially those caused by the prussiates of iron and copper1 are improved by the exposure to light1 and the richest colours are produced when the process is carried out rapidly4 ,imitation ,ebony4--,take half a gallon of strong vinegar1 one pound of extract of logwood1 a quarter of a pound of copperas1 two ounces of ,china blue1 and one ounce of nut-gall4 ,put these into an iron pot1 and boil them over a slow fire till they are well dissolved4 ,when cool1 the mixture is ready for use4 ,add a gill of iron filings steeped in vinegar4 ,the above makes a perfect jet black1 equal to the best black ebony4 ,a very good black is obtained by a solution of sulphate of copper and nitric acid2 when dry1 the work should have a coat of strong logwood stain4 ,imitation ,oak4--,to imitate old oak1 the process known as fumigating is the best4 ,this is produced by two ounces of ,american potash and two ounces of pearlash mixed together in a vessel containing one quart of hot water4 ,another method is by dissolving a lump of bichromate of potash in warm water2 the tint can be varied by adding more water4 ,this is best done out of doors in a good light4 ,very often in sending for bichromate of potash a mistake is made1 and chromate of potash is procured instead2 this is of a yellow colour1 and will not answer the purpose4 ,the bichromate of potash is the most powerful1 and is of a red colour4 ,a solution of asphaltum in spirits of turpentine is frequently used to darken new oak which is intended for painter's varnish1 or a coating of boiled oil4 ,another method of imitating new oak upon any of the inferior light-coloured woods is to give the surface a coat of ,stephens's satin-wood stain1 and to draw a soft graining-comb gently over it1 and when the streaky appearance is thus produced a camel-hair pencil should be taken and the veins formed with white stain4 ,this is made by digesting three-quarters of an ounce of flake white 7subnitrate of bismuth71 and about an ounce of isinglass in two gills of boiling water2 it can be made thinner by adding more water1 or can be slightly tinted if desired4 ,proficients in staining and imitating can make ,american ash so like oak that experienced judges are frequently deceived1 the vein and shade of the spurious wood looking nearly as natural as the genuine4 ,after the veining is done1 it should be coated with white hard varnish1 made rather thin by adding more spirits1 after which the ground can be delicately darkened if required4 ,imitation ,satin-wood4--,take methylated spirits one quart1 ground turmeric three ounces1 powdered gamboge one and a-half ounces4 ,this mixture should be steeped to its full strength1 and then strained through fine muslin1 when it will be ready for use4 ,apply with a sponge1 and give two coats2 when dry1 glass-paper down with fine old paper4 ,this makes a good imitation for inside work4 ,by the addition of a little dragon's blood an orange tint can be produced4 ,a yellow colour can also be given to wood by boiling hot solutions of turmeric1 ,persian berries1 fustic1 etc4 but the colour is very fugitive4 ,a more permanent colour results from nitric acid1 and last of all by the successive introduction of acetate of lead and chromate of potash4 ,sulphate of iron also stains wood of a yellowish colour when used as a preservative agent1 so much so1 that the use of corrosive sublimate is recommended for this purpose when it is desirable to preserve the light colour4 ,a ,blue ,stain4--,this dye can be obtained by dissolving ,east ,indian indigo in arsenious acid1 which will give a dark blue4 ,a lighter blue can be obtained by hot solutions of indigo1 of sulphate of copper1 and by the successive introduction of pyrolignite of iron and prussiate of potash4 ,a ,green ,stain4--,dissolve one ounce of ,roman vitriol in a quart of boiling water1 to which is added one ounce of pearlash2 the mixture should then be forcibly agitated1 and a small quantity of pulverised yellow arsenic stirred in4 ,a green is also the result of successive formations in the pores of the wood of a blue and a yellow as above indicated1 and by a hot solution of acetate of copper in water4 ,a yellowish green may be obtained by the action of copper salts on the red prussiate of potash4 ,a ,purple ,stain4--,boil one pound of logwood chips in three quarts of water1 until the full strength is obtained2 then add four ounces of pearlash and two ounces of powdered indigo4 ,when these ingredients are thoroughly dissolved1 it is ready for use1 either hot or cold4 ,a purple is also obtained by a boiling hot solution of logwood and ,brazil-wood1 one pound of the former and one quarter of a pound of the latter to a gallon of water4 ,a ,red ,stain4--,methylated spirits one quart1 ,brazil-wood three ounces1 dragon's blood half an ounce1 cochineal half an ounce1 saffron one ounce4 ,steep the whole to its full strength1 and strain4 ,a red can also be produced by macerating red-sanders in rectified spirits of naphtha4 ,an orange-red colour may be obtained by the successive action of bichloride of mercury and iodide of potash1 madder1 and ammoniacal solutions of carmine4 ,imitation ,purple-wood ,stain4--,grind a piece of green copperas on coarse glass-paper1 and mix with polish coloured with red-sanders4 ,this makes a capital purple stain1 and is used by ,french cabinet-makers4 ,these dyestuffs may be much improved by the addition of a mordant applied after they are dry2 this will greatly assist in modifying and fixing the tints and shades which the dyes impart4 ,the best thing for the purpose1 in the writer's opinion1 is clear ox-gall1 which1 besides being useful as a mordant1 will destroy all unctuous matter4 ,chemicals used in ,staining4--,it may perhaps be useful here to give the common or popular names of the chemicals employed in the operations of staining and imitating1 as few polishers know them by the scientific names used by chemists3-- ,nitric acid is but another phrase for aquafortis4 ,sulphuric acid1 for oil of vitriol4 ,ammonia1 for spirits of hartshorn4 ,sulphate of magnesia1 for ,epsom salts4 ,nitrate of potass1 for sal prunelle4 ,chlorine1 for aqua regia4 ,sulphate of copper1 for blue vitriol4 ,subborate of soda1 for borax4 ,superoxalate of potass1 for salts of sorrel4 ,hydrochlorate of ammonia1 for sal ammoniac4 ,subnitrate of bismuth1 for flake white4 ,acetic acid1 for vinegar4 ,acetate of lead1 for sugar of lead4 ,sulphate of lime1 for gypsum4 ,carbonate of potass1 for pearlash4 ,bitartrate of potass1 for cream of tartar4 ,nitrate of silver1 for lunar caustic4 ,supercarbonate of iron1 for plumbago4 ,cyanide of iron1 for ,prussian blue4 ,subacetate of copper1 for common verdigris4 ,susquecarbonate of ammonia1 for sal volatile4 ,alcohol1 for pure spirit4 ,sulphate of iron1 for green copperas4 ,sulphate of zinc1 for white copperas4 ,process of ,staining4--,the natural qualities of woods are very variable2 so also are the textures of the different sorts usually used for staining4 ,it will be readily perceived that there is no fixed principle upon which certain peculiar tints or shades can be produced with any degree of certainty4 ,in order to arrive at the best results1 the stainer is recommended to observe the following rules3-- ,all dry stuffs are best reduced to powder1 when it is possible1 before macerating or dissolving them4 ,all liquids should be strained or filtered before use4 ,the requisite ingredients should always be tested before a free use is made of them1 as the effect produced by a coat of stain cannot be accurately ascertained until it is thoroughly dry4 ,amateurs in staining had far better coat twice or thrice with a weak stain than apply a strong one2 for if too dark a tint is first obtained it is often irremediable4 ,flat surfaces will take stain more evenly if a small portion of linseed-oil is first wiped over1 well rubbed off1 and allowed to dry1 then lightly papered down with fine glass-paper4 ,end-way wood which is of a spongy nature should first have a coat of thin varnish1 and when dry well glass-papered off4 ,for applying stain a flat hog-hair tool is the best2 and for a softener-down a badger-hair tool is used4 ,for mahogany shades and tints a mottler will be found of service1 as will also a soft piece of ,turkey sponge4 ,for oak1 the usual steel graining-comb is employed for the streaking1 and for veining badger sash-tools and sable pencils4 ,ready-made ,wood ,stains4--,there are numerous stains suitable for common work in the market obtainable at a small cost by residents in ,london1 but it is cheaper for those who reside in country towns to make their own1 if only a small quantity is required4 ,the principal makers of wood stains are ,h4 ,c4 ,stephens1 of #aia1 ,aldersgate-street1 ,e4,c41 and ,jackson1 #bac1 ,union-street1 ,southwark1 ,s4,e4 ,these makers prepare stains in a liquid state1 and also in powders for oak1 walnut1 mahogany1 satin-wood1 ebony1 and rosewood4 ,the powders are sold in packages at #hs4 per lb4 or #as4 for two ounces1 and are soluble in boiling water4 ,judson1 of #gg1 ,southwark-street1 ,s4,e41 makes a mahogany powder in sixpenny packets1 and any reliable oilman will sell a good black stain at #h;d4 per quart1 or a superior black stain at #as4 #b;d4 per quart4 ,fox1 of #aji1 ,bethnal ,green-road1 also prepares stains in a liquid state4 ,,chapter ,,iii4 ,,french ,,polishing4 ,the ,polish ,used4--,the oil or wax polish was used for all kinds of furniture before the introduction of ,french polish1 the invention of which1 as its name implies1 is due to ,french cabinet-makers4 ,it was first introduced into ,england about seventy years since2 some time elapsed1 however1 before it was brought to a high state of perfection4 ,at first apprentices or porters were entrusted with the polishing1 they having been usually called upon to do the wax polishing2 but in course of time it was found that its successful adoption implied the possession of considerable skill1 and it came to be regarded as an art of no little importance--so much so1 that the early polishers who had perfected themselves used to work in a shop with closed doors1 lest the secret of their success should be discovered4 ,from that time polishing became a separate branch of the cabinet business4 ,the following original recipe as first invented has been extracted from a ,french work1 the ,dictionnaire ,technologique1 not1 however1 for its usefulness 7it having gone into disuse many years ago71 but as a matter of curiosity3-- ,french ,polish4 ,gum sandarach #ad ounces #b drachms ,gum mastic in drops #g #b ,shellac 7the yellower the better7 #ad #b ,alcohol of #j4hbie specific gravity #c quarts and #a pint4 ,pound the resinous gums1 and effect their solution by continued agitation1 without the aid of heat2 if the woods are porous1 add seven ounces one drachm of ,venice turpentine4 ,if an equal weight of ground glass be added1 the solution is more quickly made1 and is also otherwise benefited by it4 ,before using1 the wood should be made to imbibe a little linseed-oil1 the excess of which should be removed by an old flannel4 ,notwithstanding the improvement made upon the old processes by this new method1 it was by no means considered to be perfect1 for the polish was found to impart its brown tinge to the light-coloured woods1 especially in marqueterie work1 and to deteriorate their appearance4 ,it will be readily seen that it was a great desideratum among polishers to render shellac colourless1 as1 with the exception of its dark-brown hue1 it possesses all the properties essential to a good polish or spirit varnish in a higher degree than any of the other resins4 ,in #ahbg the ,society of ,arts came forward with its valuable aid and offered a premium of a gold medal1 or thirty guineas1 for a polish or varnish made from shell or seed-lac1 equally hard1 and as fit for use in the arts as that at present prepared from the above substance1 but deprived of its colouring matter4 ,after numerous experiments1 this long-felt want was perfectly attained by ,dr4 ,hare1 who was awarded the premium4 ,his method was as follows3 ,dissolve in an iron kettle one part of pearlash in about eight parts of water2 add one part of shell or seed-lac1 and heat the whole to ebullition4 ,when the lac is dissolved1 cool the solution1 and impregnate it with chlorine till the lac is all precipitated4 ,the precipitate is white1 but its colour deepens by washing and consolidation2 dissolved in alcohol1 lac1 bleached by the process above mentioned1 yields a polish or varnish which is as free from colour as any copal varnish4 ,at the present time shellac is bleached by filtration over animal charcoal4 ,numerous experiments were afterwards made in the manufacture of polishes2 several chemists devoted their attention to its manufacture1 and an improved polish was soon produced which was used for a number of years4 ,the following are its proportions3-- ,shellac #ad ounces4 ,sandarach #c_/d ounce4 ,white resin #c_/d ,benzoin #c_/d ,gum thus #c_/d ,o4,p4 finishing spirit #a_/b a gallon4 ,the filling-in processes also began to be used1 which effected a considerable saving in the quantity of polish usually required1 and in consequence of the expensiveness of spirits of wine rectified spirits of naphtha was used as a substitute for the making of polishes1 etc42 but it was discovered that its continued use soon affected the eyesight of the workmen1 and it had to be abandoned1 the methylic alcohol1 pyroxylic spirit1 or wood spirit1 as it has been differently called1 taking its place4 ,this was first discovered by ,mr4 ,philip ,taylor in #ahab1 and is obtained by distilling wood4 ,messrs4 ,dumas ,peligot1 after analysing it1 determined that it contained #cge per cent4 of carbon1 #abe per cent4 of hydrogen1 and #ej per cent4 of oxygen4 ,when pure1 it remains clear in the atmosphere2 but for the sake of economy it is often employed in the manufacture of other compounds called methylated4 ,this spirit began to be much used in the manufacture of polishes and varnishes in the year #ahdh1 and has continued to be much used ever since4 ,the wonderful improvements which have been effected in polishes since their first introduction obviously prove that they have now arrived at a very high point of perfection1 and polishing is now justly acknowledged1 both by skilled artisans and connoisseurs1 to be an important decorative art4 ,french polish or varnish at the present time can easily be obtained at most chemists or oil shops1 or direct from the manufacturers1 amongst whom may be mentioned ,mr4 ,w4 ,urquhart1 #cbg1 ,edgware-road1 ,w42 ,messrs4 ,turner ,sons1 #g to #i1 ,broad-street1 ,bloomsbury1 ,w4,c42 ,messrs4 ,william ,fox ,son1 ,bethnal ,green-road1 ,e42 ,mr4 ,g4 ,purdom1 #di1 ,commercial-road1 ,e4 ,the ,london prices are3 ,best ,french polish1 #es4 #f;d4 per gallon2 best white polish1 #is4 per gallon2 brown or white hard varnish1 #hs4 per gallon2 patent glaze1 #ajs4 per gallon2 methylated spirits1 #cs4 #c;d4 per gallon4 ,for those who prefer to make their own1 the following will be found an excellent recipe3-- #ab ounces of orange shellac4 #a ounce of benzoin4 #a ounce of sandarach4 #a_/b gallon of methylated spirits4 ,pound the gums well before mixing with the spirit1 as this will hasten their dissolution4 ,white polish for white wood and marqueterie work should be made with bleached shellac instead of the above4 ,in making polishes or varnishes1 the mixture will frequently require shaking until dissolved4 ,rubbers4--,in commencing to polish1 the materials required are old flannel for the rubbers and clean old linen or cotton rags for the coverings1 the softer the better2 some polishers1 however1 prefer white wadding for rubbers instead of flannel4 ,rubbers for large surfaces are usually made of soft old flannel1 firmly and compactly put together somewhat in the form of a ball1 and the more they possess softness and compactness1 and are large and solid1 the more quickly and satisfactorily will they polish extensive surfaces4 ,small pliable rubbers are usually employed for chairs or light frame-work4 ,perhaps for a beginner a rubber made of old flannel may be best1 as it takes some little practice to obtain the necessary lightness of hand4 ,the rubber for spiriting-off should be made up from a piece of old flannel or woollen cloth1 and covered with a piece of close rag1 doubled4 ,carefully fold the rag and screw it round at the back to make it as firm as possible1 and sprinkle some spirit on the face of it just as it is covered2 then give it two or three good smacks with the palm of the hand1 and begin by laying on as lightly as possible for the first few strokes and gradually increase the pressure as the rubber gets dry2 then take off the first fold of the cover and work it perfectly dry4 ,the rubber should present to the wood you are about to work on a smooth-rounded or convex surface4 ,have beside you linseed-oil in one receptacle1 and some ,french polish in another4 ,apply one drop of polish and one drop of oil1 and polish with a circular movement--traversing steadily the whole surface to be polished1 and from time to time1 as may be necessary 7when the rubber gets sticky and harsh1 indicating that the inside needs replenishing with more polish71 open and apply more of it1 and again draw over the linen cover1 holding it tightly to form the convex face proper to do the work4 ,after replenishing1 the rubber will probably need a little more oil to help it to work smoothly4 ,having thus worked on one coat of polish evenly over all the wood until it has got what may best be described as a full look1 set it aside for two or three hours to sink in and become hard1 and when completely dry1 lightly paper off with glass-paper 7very finest71 afterwards dusting the surface to remove any trace of powder1 and lay on a second coat of polish in the same method4 ,then allow twenty-four hours to dry4 ,another light papering may possibly be needed--dust off as before recommended and let the wood have a third coat of polish4 ,for this third coat a fresh rubber should be made1 the inside being sparingly supplied with spirits of wine instead of polish4 ,put a double fold of linen over it1 touch it with one drop of oil1 and go very lightly and speedily over the whole work4 ,in spiriting-off--the object of which is to remove any trace of smudge that may blur the surface unless removed thus by spirit--you should go gently to work1 using a very light hand1 or you may take the polish off as well1 amateurs more especially4 ,position4--,all work should be placed in an easy and accessible position while it is being polished1 so that the eye may readily perceive the effect of the rubber2 this will greatly help to relieve the difficulties attending the polishing of a fine piece of furniture4 ,it should also be kept quite firm1 so that it cannot possibly move about4 ,the most suitable benches for polishers are the ordinary cabinet-makers' benches1 with the tops covered with thick1 soft cloths2 these cloths should not be fastened down1 it being an advantage to be able to remove them when required4 ,when a piece of work too large to be placed upon the bench is in hand1 pads will be found useful to rest it upon4 ,these can be made by covering pieces of wood about two feet in length by three inches in width with cloth several times doubled1 the work being placed so that a good light falls upon it4 ,all thin panelling should be tacked down upon a board by the edges while polishing4 ,filling-in4--,the first process the wood usually undergoes is filling-in4 ,this consists in rubbing into the pores of the wood ,russian tallow and plaster of ,paris1 which have been previously heated and mixed together so as to form a thick paste4 ,for rosewood1 or to darken mahogany1 a little rose-pink should be added4 ,after well rubbing in1 the surface should be cleared from all the surplus paste with the end of the scraper1 and then rubbed off with shavings or old rags1 and made quite clean4 ,for birch or oak1 some use whiting or soft putty moistened with linseed-oil for the filling2 this preparation prevents in a great measure the rising of the grain4 ,for white delicate woods1 such as sycamore1 maple1 or satin-wood1 plaster of ,paris1 mixed with methylated spirit1 is used4 ,when polishing pine1 a coat of ,young's patent size 7#b;d4 per lb47 is used instead of the above mixtures1 and when dry is rubbed down with fine glass-paper4 ,some workmen1 who regard their modes of filling-in as important secrets1 do their work surprisingly quick by the methods here given4 ,the various processes are soon acquired by a little practice1 and contribute greatly to the speedy advancement of a smooth and imporous ground1 which is the most important point to observe in polishing4 ,applying the ,polish4--,in commencing to use the polish some are provided with a small earthenware dish1 into which the polish is poured for wetting the rubbers2 while others make a slit in the cork of the polish bottle1 and so let it drip on to the rubber2 whichever method is adopted1 the rubber should not be saturated1 but receive just enough to make a smear4 ,every time after wetting the rubber and putting on the cover it should be pressed upon the palm of the hand1 or if a small rubber it can be tested between the thumb and finger4 ,this is an important operation1 for by it the polisher can easily tell the exact state of moisture1 and at the same time1 by the pressure being applied1 the moisture is equalised4 ,the tip of the finger should then be just dipped into the linseed-oil1 and applied to the face of it2 if the rubber should be rather sappy1 the greatest care must be used or a coarse streaky roughness will be produced2 extreme lightness of hand is required until the rubber is nearly dry4 7,it would be a serious error to bear heavily on the rubber while the surface is moist2 to do so1 and to use too much oil on the rubber1 are the causes of many failures in polishing47 ,in commencing to work1 pass the rubber a few times gently and lightly over the surface in the direction of the grain2 then rub across the grain in a series of circular movements1 all one way1 in full and free sweeping strokes1 until the rubber is dry4 ,continue this operation until the pores are filled in1 and the surface assumes a satisfactory appearance4 ,it should then be left for about twelve hours2 the polish will be well into the wood by that time4 ,the polish should then be carefully rubbed down with ,no4 glass-paper2 this will remove the atomic roughness usually caused by the rising of the grain during the sinking period4 ,in flat-surface work a paper cork can be used1 and the rubbing lightly and regularly done in a careful manner1 so as to avoid rubbing through the outer skin1 especially at the edges and corners1 or the work will be irremediably defaced4 ,the woods which possess a rising grain are well known to polishers2 these are the light-coloured woods with a coarse grain1 viz41 ash1 birch1 and oak4 ,this rising of the grain can in a great measure be prevented by passing a damp sponge over the work before commencing the polishing1 allowing it to dry1 and papering it4 ,after the rubbing or smoothing-down process is finished1 the work should be well dusted2 the polishing can then recommence4 ,the above operation must be again repeated with a rotary motion and gradually increased pressure as the rubber gets dry1 and finished by lighter rubbings the way of the grain2 this will remove any slight marks that may be occasioned by the circular movements of the rubber4 ,working too long on any one part is to be avoided1 nor should the rubber be allowed to stick even for an instant1 or it will pull the coating of polish off to the bare wood4 ,the rubber should be covered with a clean part of the rag as soon as a shiny appearance becomes apparent upon it1 or at each time of damping1 and less oil should be used towards the end of the operation1 so as to gradually clear it all off from the surface4 ,rubber marks can be removed by rubbing in a direction the reverse of the marks with a half-dry rubber and increased pressure4 ,when the work has received a sufficient body1 in finishing the drying of the last rubber1 ply it briskly the way of the grain to produce a clean dry surface for the spiriting-off4 ,the following is the method usually employed on fine carved or turned work when finished in the best style4 ,in the first place it is embodied with polish1 using a small rubber for the operation1 after which it should have one coat of shellac 7two parts by weight of shellac to one of spirits7 applied with a brush1 and when dry it should be carefully smoothed down with flour paper1 the utmost caution being observed in dealing with the sharp edges1 or the carving will be spoiled4 ,then it is embodied with polish again1 and one coat of glaze applied with the greatest care4 ,a few hours should be allowed to harden1 and then finished off with a rubber slightly damped with thin polish4 ,this is an expensive method1 but it will pay in appearance for all the time bestowed4 ,for the best class of cabinet and pianoforte work in amboyna or burr-walnut it is advisable not to use linseed-oil on the sole of the rubber when polishing1 but the best hog's lard2 the reason for this is that these veneers being so extremely thin and porous the oil will quickly penetrate through to the groundwork1 softening the glue1 and causing the veneers to rise in a number of small blisters4 ,of course1 this is not always the case1 but the use of lard instead of oil will be found a good preventative4 ,lard is also used on the above class of work when it is desirable to preserve the colour of the wood in its natural state4 ,the following method is employed for the best work3 ,immediately on receiving the job from the cabinet-maker1 a good coating of thin1 clean glue should be applied with a sponge or brush2 this is allowed to dry1 and thoroughly harden2 it is then cleaned off1 using the scraper and glass-paper1 cutting it down to the wood4 ,the bodying-in with white polish is the next process1 the usual sinking period being allowed2 it is again cleaned off1 but the scraper this time should not quite reach the wood4 ,then embody again1 and treat in a like manner4 ,in getting up the permanent body1 commence with a slight embodying2 let this stand1 and when the sinking period is over rub it down with a felt rubber and powdered pumice-stone2 continue this several times1 till the surface presents a satisfactory appearance1 and the job is ready for the spiriting process4 ,by this means the wood will retain its natural colour1 and a beautiful transparent polish will result1 and remain for a number of years4 ,this also is an expensive process1 but the result cannot be obtained in any other way4 ,spiriting-off4--,most polishers affirm that if an interval of at least a couple of hours elapse between the final embodying and the spiriting-off the brilliancy of the polish will be improved1 and remain harder and more durable4 ,the spirit is applied in exactly the same way as the polish1 and the same rubber can be used1 but it should be covered with more than one fold of the soft linen rag2 care should be taken not to make it very wet1 or the gum on the surface of the work will be redissolved1 and a dulness instead of a brilliancy will result4 ,if the spirit should be very strong1 the rubber should be breathed upon before using1 and a little more oil taken up2 some1 however1 prefer to mix a little polish with the spirit1 while others prefer the spirit to be weakened by exposure to the air for a few hours2 experience alone must be the teacher in this particular2 but if the spirit should not bite1 as it is termed1 all will be well4 ,the last rubber should be worked a little longer than usual1 and a trifle quicker1 so as to remove the slight greasy moisture on the surface4 ,the finishing touch is given to the work by a soft rag loosely rolled up and just a few drops of spirit dropped upon it1 applied quickly the way of the grain4 ,this will remove every defect1 and leave it clear and brilliant4 ,if1 in a short time after finishing1 the polish becomes dull or rough1 it will be owing to too much oil being absorbed in the process and working through the surface1 combined with dust4 ,it should be cleaned off first with a soft cloth1 damped with a little warm water1 and the whole repaired1 as at first1 with equal parts of polish and spirits mixed together1 using the least possible damp of oil to make it finish clear2 there is no danger of its happening again4 ,in all cases the work must be rubbed till quite dry1 and when nearly so the pressure may be increased4 ,the rubber for spiriting-off should be made up from a piece of old flannel1 and be covered with a piece of old rag4 ,this is preferable to very thin rag1 and will give a better finish4 ,prepared ,spirits4--,this preparation is useful for finishing1 as it adds to the lustre and durability1 as well as removes every defect of other polishes1 and it gives the surface a most brilliant appearance4 ,it is made of half a pint of the very best rectified spirits of wine1 two drachms of shellac1 and two drachms of gum benzoin4 ,put these ingredients in a bottle and keep in a warm place till the gum is all dissolved1 shaking it frequently2 when cold add two teaspoonfuls of the best clear white poppy oil2 shake them well together1 and it is fit for use4 ,antique ,style4--,for medival or old ,english furniture a dull polish is generally preferred to a ,french polish1 because it has a gloss rather than a brilliant polish1 which materially assists in showing up mouldings or carvings to the best advantage2 it is also more in character with the work of the ,middle ,ages4 ,another advantage is the facility of obtaining a new polish 7after being once done7 should the first one get tarnished1 as the finishing process can be performed without difficulty by any one1 and a new polish obtained each time4 ,on receiving a job which is required to be done in this style1 it should be filled-in in the usual manner1 and afterwards bodied with white polish to a good extent2 it is then left for a sinking period 7say twelve hours74 ,the work is then carefully rubbed down with powdered pumice-stone and a felt-covered block or rubber1 and after well dusting it is ready for finishing4 ,the preparation used for this process is mainly composed of bees'-wax and turpentine 7see ,wax ,polish1 page #hg71 well rubbed in with a piece of felt or a woollen rag1 and finished off by rubbing briskly with a very soft cloth or an old handkerchief to produce a gloss4 ,dull or ,egg-shell ,polish4--,this is another style of finishing for medival work2 the process is very simple4 ,in commencing a job to be finished in this style1 the process of filling-in and embodying are first gone through1 then a sinking period is allowed1 after which it is embodied again1 till the work is ready for finishing4 ,all the parts should be carefully examined to see if there is a good coating of polish upon them4 ,this is important1 for if the work should be only thinly coated it is liable to be spoiled by rubbing through in the last process4 ,after allowing a few hours for the surface to harden1 a pounce bag of powdered pumice-stone should be applied to the work1 and a felt-covered rubber used1 rubbing down in the direction of the grain until the work is of the desired dulness4 ,for the cheaper kind of work done in this style1 the first process1 of course1 is the filling-in2 then a rubber of wadding is taken and used without a cover1 made rather sappy with polish and a few drops of oil added2 and after bodying-in with this sufficiently1 the work should be stood aside for twelve hours1 then rubbed down with some fine worn glass-paper4 ,the embodying is then again commenced1 a proper rubber and cover being used2 and when sufficient is put on1 and while the surface is still soft1 the pounce above mentioned should be applied1 and rubbed down with a piece of wadding slightly moistened with linseed-oil until the desired dulness appears4 ,this is becoming the fashionable finish for black walnut work4 ,polishing in the ,lathe4--,the lathe is of more use to a polisher than a great many persons outside the trade would imagine4 ,by its aid turned work can be finished in a most superior style1 and in less time than by hand4 ,the articles usually done by the lathe are wood musical instruments1 such as clarionets1 flutes1 etc42 also cornice-poles1 ends1 and mahogany rings1 the latter being first placed in a hollow chuck and the insides done1 after which they are finished upon the outside on a conical chuck4 ,for table-legs1 chair-legs1 and all the turnery used in the cabinet-work1 it will be found of great advantage to finish the turned parts before the work is put together4 ,most of the best houses in the trade finish their work in this way1 where all the work is polished out entirely with the rubber4 ,in the first place1 the filling-in is done4 ,the band is thrown off the pulley and the work rubbed in2 at the same time the pulley is turned round by the left hand4 ,when this is done1 the band is replaced and the work cleaned off with rags or shavings1 the lathe to be driven with speed to get a clean surface4 ,when applying the polish the lathe should revolve with a very slow motion4 ,the rubbers best adapted for turned work are made of white wadding1 as the hollows and other intricacies can be completely finished out with a soft rubber4 ,the work should first receive a coating of thick shellac1 two parts by weight of shellac to one of methylated spirits1 and applied with a brush or a soft sponge2 after a couple of hours this is nicely smoothed with fine paper1 and the bodying-in completed with the soft rubber and thin polish4 ,there are numerous hard woods which do not require filling-in1 amongst which may be mentioned boxwood1 cocus1 ebony1 etc42 these may be rapidly polished in the lathe1 on account of their texture1 with the white polish4 ,in spiriting-off a very soft piece of chamois leather 7if it is hard and creased it will scratch7 should be damped with methylated spirits1 then wrung so that the spirit may be equally diffused2 the lathe should then be driven at a rapid speed1 and the leather held softly to the work4 ,in a few minutes1 if a dark wood1 a brilliant surface will be produced4 ,,chapter ,,iv4 ,,cheap ,,work4 ,glazing4--,glaze is known to the trade under several names1 such as slake1 finish1 and telegraph2 it is used only for cheap work1 when economy of time is a consideration1 and is made as follows3 mastic1 #a oz42 benzoin1 #e ozs42 methylated spirit1 #e gills4 ,a superior article can be obtained from ,g4 ,purdom1 #di1 ,commercial ,road1 ,whitechapel1 ,e41 who is the manufacturer of a patent glaze4 ,first give the work a rubber or two of polish after the filling-in2 it is important to dry the last rubber thoroughly1 so that no unctuousness remains upon the surface before applying the glaze1 otherwise it will be of no effect4 ,the way to apply it is as follows3 ,prepare a rubber as for polishing and make it moderately wet1 and take only one steady wipe the way of the grain1 never going over the same surface twice while wet2 and when dry1 if one coat is found not to be enough1 apply a second in the same manner4 ,for mouldings or the backs and sides of chair-work1 this is generally considered to be sufficient4 ,some polishers will persist in using glaze to a large extent1 even on the best-paid work2 but it is not recommended1 as the surface will not retain its brilliancy for a lengthened period1 particularly in hot weather4 ,nothing is so good for the best class of work as polishing entirely with ,french polish4 ,the way of treating small flat surfaces such as the frames of tables1 looking-glasses1 builders' work1 etc41 is to first fill in1 and give one or two rubbers of polish1 drying the last rubber thoroughly2 then glaze1 and after a period of two or three hours finish with a rubber slightly wetted with thin polish4 ,it is a bad plan to put glaze on newly-spirited work1 or to re-apply it on old bodies4 ,the following is another method for cheap work3 ,a coating of clear size is first given in a warm state 7this can be obtained at most oil-shops71 and when dry is rubbed down with fine glass-paper1 after which a coating of varnish is applied with a sponge or a broad camel-hair brush1 giving long sweeping strokes4 ,the tool should be plied with some degree of speed1 as spirit varnishes have not the slow setting properties which distinguish those of oil1 and care should be taken not to go over the same part twice4 ,when this is thoroughly hard it is nicely smoothed with fine paper1 a few rubberfuls of polish is given1 and it is then ready for spiriting-off4 ,another plan is frequently adopted for cheap work3 ,make a thin paste with plaster of ,paris1 suitably tinted and watered1 and well rub in across the grain with a piece of felt or old coarse canvas till the pores are all full2 any superfluity should be instantly wiped off from the surface before it has time to set4 ,the succeeding processes are papering and oiling4 ,in applying the polish1 which should be done immediately after oiling1 the rubber should be made rather sappy with thin polish1 and worked without oil4 ,during the embodying a pounce-bag containing plaster of ,paris is sparingly used2 this application tends to fill the pores and also to harden the body of polish on the exterior1 but too much should not be used1 or it will impart a semi-opaque appearance to the work4 ,this first body is allowed sufficient time to harden2 it is then rubbed down lightly with flour paper or old worn ,no4 #a1 and then embodied with thicker polish or a mixture of polish and varnish1 and the smallest quantity of oil applied to the rubber4 ,when a sufficient body of polish is given to the work1 the surface is rubbed very carefully with a lump of moist putty plied in the longitudinal direction of the grain2 this will bring up a gloss1 and very little spiriting will be required4 ,stencilling4--,an imitation of marqueterie on light-coloured woods can be obtained by the following method3 ,cut a stencil pattern in stout cartridge paper 7this is best done upon a piece of glass with the point of a sharp penknife71 and place it on the centre of a panel or wherever required1 and have ready some gas-black mixed with thin polish2 apply this with a camel-hair pencil over the cut-out pattern1 and when it is removed finish the lines and touch up with a finer tool4 ,the work should be first bodied-in1 and when the pattern is dry rubbed down with a piece of hair-cloth 7the smooth side down7 on a cork rubber to a smooth surface1 after which the polishing can be proceeded with until finished4 ,upon oak this will have the appearance of inlaid work4 ,charcoal ,polishing4--,a method known as charcoal polishing is now much used for producing the beautiful dead-black colour which seems to have the density of ebony4 ,its invention is due to ,french cabinet-makers4 ,the woods used by them are particularly well adapted for staining black or any other colour1 limetree1 beech1 cherry1 pear1 soft mahogany1 or any wood of a close and compact grain being the woods usually selected4 ,the first process is to give the work a coating of camphor dissolved in water and made rather strong2 this will soon soak into the wood1 and immediately afterwards another coat composed of sulphate of iron-water with a few nut-galls added4 ,these solutions in blending penetrate the wood and give it an indelible tinge1 and also prevent insects from attacking it4 ,after these coats are dry1 rub the surface with a hard brush 7an old scrubbing-brush will do7 the way of the grain1 after which rub the flat parts with natural stick charcoal1 and the carved or indented portions with powdered charcoal2 the softest portion of the charcoal only should be used1 because if a single hard grain should be applied it would seriously damage the surface4 ,the workman should have ready at the same time a preparation of linseed-oil and essence of turpentine 7linseed-oil one gill1 and essence of turpentine one teaspoonful71 a portion of which should be freely taken up with a piece of soft flannel and well rubbed into the work4 ,these rubbings with the preparation and charcoal several times will give the article of furniture a beautiful dead-black colour and polish4 ,this method of polishing is applied to the black-and-gold furniture1 cabinets1 etc41 in imitation of ebony4 ,another good black polish is obtained by gas-black being applied to the rubber after wetting with ,french polish1 the cover being then put on and worked in the usual manner4 ,these black polishes should not be applied if there are coloured woods in the piece of furniture4 ,should the work be already dyed black1 or in black veneers1 it is best to use white polish1 which will greatly help to preserve the transparent density of the dye4 ,,chapter ,v4 ,,re-,,polishing ,,old ,,work4 ,if the piece of furniture requiring to be re-polished should be in bad condition1 it is best to clean off thoroughly1 using the liquid ammonia 7see page #id71 or by the scraper and glass-paper4 ,the indentations may be erased by dipping into hot water a piece of thick brown paper three or four times doubled and applying it to the part2 the point of a red-hot poker should be immediately placed upon the wet paper1 which will cause the water to boil into the wood and swell up the bruise2 the thickness of the paper prevents the wood from being scorched by the hot poker4 ,after the moisture is evaporated1 the paper should be again wetted if required4 ,if only shallow dents1 scratches1 and broken parts of the polish present themselves1 carefully coat them two or three times with a thick solution of shellac1 and when the last coating becomes hard carefully paper down with a piece of old glass-paper and a cork rubber4 ,if the surface should be in good condition1 it is necessary only to remove the viscid rust2 this is done by friction with a felt-covered rubber and pure spirits of turpentine2 by this means the polish remains unsullied4 ,if the surface should not be in very good condition1 a flannel should be used smeared with a paste of bathbrick-dust and water1 or a paste made of the finest emery flour and spirits of turpentine4 ,after cleansing1 and before the polish is applied1 it is a good plan to just moisten the surface with raw linseed-oil2 this will cause the old body to unite with the new one4 ,in order to carry out the process of re-polishing with facility1 it is necessary to disunite all the various parts1 such as panels1 carvings1 etc41 before commencing the operation4 ,the polish is applied in the usual manner1 and when a good body is laid on the work should be set aside for twelve hours1 after which it can be finished4 ,it should be particularly observed that in polishing no job should be finished immediately after the rubbing-down process2 a sinking period should always be allowed4 ,if the work should be immediately finished1 the consequences are that in a few hours all the marks and scratches of the paper1 etc41 will be discernible1 and the polished surface will present a very imperfect appearance1 although looking perfect when first finished4 ,holes and crevices may be well filled up with a cement made in the following manner3 ,in a large iron spoon place a lump of beeswax about the size of a walnut1 a pinch of the pigments mentioned on page #e1 according to the colour required1 a piece of common rosin the size of a nut1 and a piece of tallow as large as a pea2 melt1 and it is ready for use4 ,some add a little shellac1 but much will make it very brittle4 ,a similar substance to the above can be bought at the ,french warehouses4 ,,chapter ,,vi4 ,,spirit ,,varnishing4 ,most polishers are agreed that to obtain a good surface with varnish it is necessary to give the work1 where it is possible to do so1 a rubberful of polish first1 and to thoroughly dry the rubber2 but in most carved work the surface is not accessible1 and the brush must be used4 ,sometimes the carving is extremely coarse1 and with an open porous grain1 in which case it is best to oil it first and then to fine-paper it down2 by this process a thin paste is formed by the attrition1 which materially assists in filling up the pores4 ,before commencing to use the varnish have ready an earthenware dish or box1--one of the tins used for the preserved meats or fish will answer the purpose1--with two holes drilled so that a piece of wire can be fastened diametrically across the top2 this is called a regulator1 and when the brush is passed once or twice over this it prevents an unnecessary quantity of varnish being transferred to the work4 ,varnishes4--,the ingredients for making varnish are very similar to those for making polish1 but the proportions are somewhat different4 ,furniture varnish consists of two kinds1 viz43 the brown-hard and the white-hard2 the former is used for dark woods1 such as mahogany1 walnut1 rosewood1 etc42 whilst the latter is used for the light-coloured woods1 in conjunction with the white polish4 ,a few years since the brown-hard varnish was made from these ingredients3 #a gallon of methylated spirit1 #dj ozs4 of shellac1 #d ozs4 of rosin1 #e ozs4 of benzoin1 #b ozs4 of sandarach1 #b ozs4 of white rosin4 ,the brown-hard varnish which is used at the present time is made differently1 and produces a better result2 it is made from the following3 #a gallon of methylated spirit1 #cb ozs4 of shellac1 #h ozs4 of rosin1 #h ozs4 of benzoin4 ,the white-hard or transparent varnish for white wood is made with #a gallon of methylated spirit1 #cb ozs4 of bleached shellac1 #bd ozs4 of gum sandarach4 ,in making either polishes or varnishes1 all the gums should be first pounded and reduced to powder before mixing with the spirit1 and when mixed they should be occasionally well shaken or stirred1 so as to hasten their dissolution4 ,brushes and ,pencils4--,the brushes used for varnishing are either flat1 in tin1 or round1 tied firmly to the handle1 and made of camel's-hair2 but the small white bristle-tools and red-sable pencils will frequently be found of service in coating delicate carving1 or turned work4 ,varnish brushes can be obtained from a quarter of an inch to four inches and upwards in width2 the most useful brush1 however1 for general use is about an inch wide4 ,it is important that brushes should be cleaned in spirits immediately after use1 for if laid by in varnish they lose their elasticity and are soon spoiled2 but if this preservative principle is ever neglected1 the hardened brush should be soaked in methylated spirit1 and if wanted for immediate use the spirit will soften the varnish quicker if made luke-warm4 ,the spirit should be gently pressed out by the finger and thumb4 ,all varnish brushes when not in use should be hung up1 or kept in such a position that they do not rest upon their hairy ends1 either in a box or tin free from dust4 ,mode of ,operation4--,it is usual in varnishing to give the work three coats1 and always allow each coat to dry thoroughly before applying the next4 ,it should be noted that spirit varnishes begin to dry immediately they are laid on2 therefore1 on no account should they be touched with the brush again whilst wet1 or when dry they will present a rough surface4 ,always ply the brush quickly1 and never go over a second time4 ,when giving the first or second coats it is unimportant how they are applied1 whether across the grain or with the grain1 but the finishing coat should always be with the grain4 ,if the varnish should appear frothy when laid on1 it is of no consequence1 as it will dry smooth if equally and evenly applied before a good fire or in a warm atmosphere4 ,coloured varnishes can be made in exactly the same manner as coloured polishes 7see page #f74 ,the beautiful glossy black varnishes so admired on ,indian cabinet-work1 specimens of which can be seen at the ,indian ,museum1 are very difficult to obtain in ,england1 but a description of them may be interesting4 ,east ,indian ,varnishes4--,the ,sylhet varnish is composed of two parts of the juice of the bhela 7the tree which bears the marking nuts of ,india71 and one part of the juice of the jowar4 ,the articles varnished with it at ,sylhet are of the most beautiful glossy black2 and it seems equally fitted for varnishing iron1 leather1 paper1 wood1 or stone4 ,it has a sort of whitish-grey colour when first taken out of the bottle1 but in a few minutes it becomes perfectly black by exposure to the air4 ,in the temperature of this country it is too thick to be laid on alone2 but it may be rendered more fluid by heat4 ,in this case1 however1 it is clammy1 and seems to dry very slowly4 ,when diluted with spirits of turpentine1 it dries more quickly2 but still with less rapidity than is desirable4 ,the tsitsi1 or ,rangoon varnish1 is less known than the ,sylhet varnish4 ,it is probably made from the juice of the bhela alone4 ,it appears to have the same general properties as the ,sylhet varnish1 but dries more rapidly4 ,the varnish from the kheeso1 or varnish-tree1 may be the same as the ,rangoon varnish1 but is at present considered to be very different4 ,the kheeso grows particularly in ,kubboo1 a valley on the banks of the ,ningtee1 between ,munnipore and the ,burman empire4 ,it attains to such a large size1 that it affords planks upwards of three feet in breadth1 and in appearance and grain is very like mahogany4 ,a similar tree is found in great abundance and perfection at ,martaban4 ,a poisonous vapour exhales from several of the ,indian varnishes1 especially from that of ,sylhet1 and is apt to produce over the whole skin inflammations1 swellings1 itchings1 and pustules1 as if the body had been stung by a number of wasps4 ,its effects1 however1 go off in a few hours4 ,as a preventative the persons who collect the varnish1 before going to work1 smear their faces and hands with greasy matter to prevent the varnish poison coming into contact with their skin4 ,,chapter ,,vii4 ,,general ,,instructions4 ,remarks on ,polishing4--,amateurs at ,french polishing will be more successful on a large surface than a small one4 ,when polishing1 the rubber-cloth should be changed occasionally1 or the brightness will not remain when finished4 ,a most efficacious improver of many kinds of woods is raw linseed-oil mixed with a little rectified spirits of turpentine4 ,french polish can be tinted a light-red with alkanet-root1 and a dark-red with dragon's blood4 ,a good ,turkey sponge is capable of spreading either stain or varnish more smoothly than a camel's-hair brush on a flat surface4 ,the sub-nitrate of bismuth mentioned on p4 #ab is beginning to supersede oxalic acid for bleaching processes4 ,thin panels for doors should be securely tacked down to a level board1 and polished with a large round flannel rubber having a very flat sole4 ,fret-work panels should have all the edges entirely finished with varnish before they undergo the above operation4 ,to get a good polish upon a full-fret panel is considered by polishers to be the most difficult part in the work1 on account of the extreme delicacy and frangibility of the work and the great carefulness required4 ,soft spongy wood may be satiated by rubbing a sponge well filled with polish across the grain until it becomes dry4 ,in polishing a very large surface1 such as a ,loo-table top or a wardrobe end1 it is best to do only half at a time1 or if a large top a quarter only4 ,the approved method of treating dining-table tops is to well body-in with ,french polish1 after which thoroughly glass-paper down with fine paper1 and then use the oil polish 7see page #hg74 ,immediately after using a rubber1 it should be kept in an air-tight tin canister1 where it will always remain fresh and fit for use4 ,the ,polishing ,shop4--,a few words as to the polishing shop may be acceptable to those who possess ample room and desire the best results4 ,first in order is the location and arrangement of the finishing rooms4 ,preference is to be given to the upper rooms of a building for several reasons1 among which may be named the securing of better light1 greater freedom from dust1 and superior ventilation4 ,a good light in this1 as in many other arts1 is a very important matter1 and by a good light we mean all the light that can be obtained without the glare of the direct rays of the sun4 ,light from side windows is preferable to that from skylights for three reasons3 7#a7 ,skylights are very liable to leakage2 7#b7 they are frequently1 for greater or less periods1 covered with snow in winter2 7#c7 the rays of the sun transmitted by them in summer are frequently so powerful as to blister shellac or varnish4 ,good ventilation is at all times of importance1 and especially so in summer1 both as tending to dry the varnish or shellac more evenly and rapidly1 and as contributing to the comfort of the workmen4 ,the latter consideration is of importance even as a matter of economy1 as men in a room the atmosphere of which is pleasant and wholesome will feel better and accomplish more than they could do in the close and forbidding apartments in which they sometimes work4 ,any suggestion in reference to freedom from dust1 as a matter to be considered in locating rooms for this business1 would seem to be entirely superfluous1 as it is clear that there is hardly any department of mechanical work which is so susceptible to injury from dust as the finishing of furniture1 including varnishing and polishing4 ,finishing rooms may be arranged in three departments4 ,the first should include the room devoted to sand-papering and filling4 ,these processes1 much more than any other part of furniture polishing1 produce dirt and dust1 and it is plain that the room devoted to them should be so far isolated from the varnishing room as not to introduce into it these injurious elements4 ,another room should be appropriated to the bodying-in1 smoothing and rubbing-down processes4 ,the third room is for spiriting and varnishing1 or the application of the final coats of varnish1 which is the most important of all the processes in finishing4 ,it requires a very light and clean room1 and a greater degree of heat than a general workroom4 ,it should1 as nearly as possible1 be uniform1 and kept up to summer heat2 in no case ought the temperature to fall below fifty nor rise higher than eighty-five degrees ,fahrenheit while the varnishing process is going on4 ,varnishing performed under these circumstances will be more thorough in result1 have a brighter appearance and better polish1 than if the drying is slow and under irregular temperature4 ,for drying work1 the best kind of heat is that from a stove or furnace4 ,steam heat is not so good for two reasons3 7#a71 it is too moist and soft1 causing the work to sweat rather than to dry hard1 and 7#b71 the temperature of a room heated by steam is liable to considerable variation1 and especially to becoming lower in the night4 ,this fire heat is as necessary for the varnishing room in damp and cloudy weather in summer as it is in winter4 ,at all seasons1 and by night as well as by day1 the heat should be as dry as possible1 and kept uniformly up to summer heat1 by whatever means this result is secured4 ,varnished work1 after receiving the last coat1 should be allowed to remain one day in the varnishing room4 ,it may then be removed into the general workroom4 ,a remark may be proper here1 viz41 that there is sometimes a failure to secure the best and most permanent results from not allowing sufficient time for and between the several processes4 ,an order is perhaps to be filled1 or for some other reason the goods are rushed through at the cost of thoroughness and excellence of finish4 ,the following suggestion is made by way of caution in reference to the disposal of oily rags and waste made in the various processes of finishing4 ,these articles are regarded as very dangerous1 and are frequently the cause of much controversy between insurance companies and parties who are insured4 ,the best way to dispose of this waste is to put it into the stove and burn it as fast as it is produced4 ,if this rule is strictly adhered to there will be no danger of fire from this source4 ,all liquid stock should be kept in close cans or barrels1 and as far from the fire as possible4 ,,chapter ,,viii4 ,,enamelling4 ,the process of enamelling in oil varnishes as applied to furniture must be understood as a smooth1 glossy surface of various colours produced by bodies of paint and varnish skilfully rubbed down1 and prepared in a peculiar way so as to produce a surface equal to ,french polish4 ,ornament can be added by gilding1 etc41 after the polished surface is finished4 ,we will begin with the white or light-tinted enamel4 ,the same process must be pursued for any colour1 the only difference being in the selection of the materials for the tint required to be produced4 ,it should be observed that enamelling requires the exercise of the greatest care1 and will not bear hurrying4 ,each coat must be allowed sufficient time for the hardening1 and the rubbing down must be patiently and gently done2 heavy pressure will completely spoil the work4 ,materials4--,the materials used for the purpose above named are3 white lead ground in turpentine and the best white lead in oil2 a clear1 quick1 and hard-drying varnish1 such as the best copal1 or the varnishes for enamel manufactured by ,mr4 ,w4 ,urquhart1 #cbg1 ,edgware ,road1 ,w42 or white coburg and white enamel varnish1 ground and lump pumice-stone1 or putty-powder1 great care being taken in the selection of the pumice-stone1 as the slightest particle of grit will spoil the surface2 and rotten-stone1 used either with water or oil4 ,tools4--,the tools required are several flat wooden blocks1 of various sizes and forms1 suitable for inserting into corners and for mouldings--these must be covered with felt on the side you intend to use1 the felt best adapted for the purpose being the white felt1 from a quarter to half an inch in thickness1 which can be obtained of ,messrs4 ,thomas ,wallis ,co41 ,holborn ,circus1 or at the woollen warehouses2 two or three bosses 7made similar to polish rubbers7 of cotton-wool1 and covered with silk 7an old silk handkerchief makes capital coverings72 wash or chamois leather1 and a good sponge4 ,mode of ,operation4--,if the wood is soft and porous it is best to commence with a coating of size and whiting applied in a warm state1 which is allowed to dry2 it is then rubbed down with glass-paper1 and two coats of common paint given1 mixed in the usual way and of the same colour as you intend to finish with4 ,in practice this is found to be best2 after these two coats are thoroughly dry1 mix the white-lead ground in turps1 with only a sufficient quantity of varnish to bind it1 thinning to a proper consistency with turps4 ,it is as well to add a little of the ordinary white-lead ground in oil1 as it helps to prevent cracking4 ,give the work four or five coats of this1 and allow each coat to dry thoroughly4 ,when it is hard and ready for rubbing down1 commence with a soft piece of pumice-stone and water1 and rub just sufficient to take off the roughness4 ,now use the felt-covered rubbers and ground pumice-stone1 and cut it down1 working in a circular manner4 ,the greatest care is required to obtain a level surface free from scratches4 ,after the work is well rubbed down1 if it should appear to be insufficiently filled up1 or if scratched1 give it two more coats1 laid on very smoothly1 and rub down as before4 ,if properly done1 it will be perfectly smooth and free from scratches4 ,wash it well down1 and be careful to clean off all the loose pumice-stone4 ,then mix flake-white from the tube with either of the above-named varnishes1 till it is of the consistency of cream4 ,give one coat of this1 and when dry give it another1 adding more varnish4 ,let this dry hard1 the time taken for which will of course depend upon the drying qualities of the varnish2 some will polish in eight or nine days1 but it is much the best to let it stand as long as you possibly can1 as the harder it is1 the brighter and more enduring will be the polish4 ,when sufficiently hard1 use the felt1 and very finely-ground pumice-stone and water2 with this cut down till it is perfectly smooth2 then let it stand for a couple of days1 to harden the surface4 ,polishing4--,in commencing to bring up a polish1 first take rotten-stone1 either in oil or water2 use this with the felt rubber for a little while1 then put some upon the surface of the silk-covered boss1 and commence to rub very gently in circular strokes2 continue this till there is a fine equal surface all over4 ,the polish will begin to appear as you proceed1 but it will be of a dull sort4 ,clean off3 if the rotten-stone is in oil1 clean off with dry flour2 if in water1 wash off with sponge and leather1 taking care that you wash it perfectly clean and do not scratch4 ,you will now1 after having washed your hands1 use a clean damp chamois leather1 holding it in the left hand1 and using the right to polish with1 keeping it clean by frequently drawing it over the damp leather4 ,with the ball of the right hand press gently upon the work1 and draw your hand sharply1 forward or towards you2 this will produce a bright polish1 and every time you bring your hand forward a sharp shrill sound will be heard similar to rubbing on glass4 ,continue this till the whole surface is one bright even polish4 ,it will be some time before you will be able to do this perfectly1 especially if the skin is dry or hard1 as it is then liable to scratch the work4 ,a smooth1 soft skin will produce the best polish4 ,for the interior of houses1 the ,albarine enamel manufactured by the ,yorkshire ,varnish ,company1 of ,ripon1 is recommended4 ,this article combines in itself a perfectly hard solid enamel of the purest possible colour2 and for all interior decorations1 where purity of colour and brilliancy of finish are desired1 it is universally admitted to be the most perfect article of the kind hitherto introduced to the trade4 ,it is applied in the same manner as ordinary varnish4 ,another ,process4--,the preceding section describes the process of enamelling by oil varnishes1 and the directions referring to the polishing will be found of value for the polishing up on painted imitations of woods or marbles4 ,there is another process whereby an enamel can be produced upon furniture at a much cheaper rate than the preceding1 and one too1 perhaps1 in which a polisher may feel more at home4 ,the work should first have a coating of size and whiting 7well strained72 this will act as a pore-filler4 ,when dry1 rub down with fine paper1 after which use the felt-covered rubber and powdered pumice-stone1 to remove all the scratches caused by the glass-paper and to obtain a smooth and good surface4 ,then proceed to make a solution for the enamel3 first procure two ounces of common isinglass from the druggist's1 and thoroughly dissolve it in about a pint of boiling water2 when dissolved1 stir in two ounces and a-half of subnitrate of bismuth--this will be found to be about the right quantity for most woods1 but it can be varied to suit the requirements4 ,with this give the work one coat1 boiling hot2 apply it with a soft piece of ,turkey sponge1 or a broad camel's-hair brush1 and when dry cut down with powdered pumice-stone2 if a second coat is required1 serve in precisely the same manner4 ,then proceed to polish in the ordinary way with white polish4 ,after wetting the rubber1 sprinkle a small quantity of the subnitrate of bismuth upon it2 then put on the cover1 and work in the usual manner2 continue this till a sufficient body is obtained1 and after allowing a sufficient time for the sinking and hardening it can be spirited off4 ,enamelled furniture has had1 comparatively speaking1 rather a dull sale1 but there is no class of furniture more susceptible of being made to please the fancy of the many than this4 ,it can be made in any tint that may be required by the application of ,judson's dyes1 and the exercise of a little skill in the decoration will produce very pleasing effects4 ,decorations4--,the decorations are usually ornaments drawn in gold4 ,a cut-out stencil pattern is generally used1 and the surface brushed over with a camel's-hair pencil and japanner's gold size1 which can be obtained at the artist's colourman's1 or1 if preferred1 can be made by boiling #d ozs4 of linseed-oil with #a oz4 of gum anme and a little vermilion4 ,when the size is tacky1 or nearly dry1 gold powder or gold leaf is applied4 ,the gold is gently pressed down with a piece of wadding1 and when dry the surplus can be removed with a round camel's-hair tool4 ,in all cases where gold has been fixed by this process it will bear washing without coming off1 which is a great advantage4 ,,chapter ,,ix4 ,,american ,,polishing ,,processes ,the method of polishing furniture practised by the ,american manufacturers differs considerably from the ,french polishing processes adopted by manufacturers in most ,european countries4 ,this difference1 however1 is mostly compulsory1 and is attributable to the climate4 ,the intense heat of summer and the extreme cold of winter will soon render a ,french polish useless1 and as a consequence numerous experiments have been tried to obtain a polish for furniture that will resist heat or cold4 ,the writer has extracted from two ,american cabinet-trade journals1 ,the ,cabinet-maker and ,the ,trade ,bureau1 descriptions of the various processes now used in the ,states1 which descriptions were evidently contributed by practical workmen4 ,the following pages are not1 strictly speaking1 a mere reprint from the above-named journals1 the articles having been carefully revised and re-written after having been practically tested2 attention to them is1 therefore1 strongly recommended4 ,in these processes the work is first filled in with a putty filler1 and after the surface has been thoroughly cleaned it is ready for shellac or varnish4 ,second1 a coating of shellac is next applied with a brush or a soft piece of ,turkey sponge4 ,this mixture is composed of two parts 7by weight7 of shellac to one of methylated spirits1 but what is called thin shellac is composed of one part shellac to two of spirits4 ,after the coating is laid on and allowed to dry1 which it does very soon1 it is rubbed carefully with fine flour glass-paper1 or powdered pumice-stone--about four coats are usually given1 each one rubbed down as directed4 ,third1 when the surface has received a sufficient body1 get a felt-covered rubber and apply rotten-stone and sweet oil in the same manner as you would clean brass2 with this give the work a good rubbing1 so as to produce a polish4 ,fourth1 clean off with a rag and sweet oil1 and rub dry2 then take a soft rag with a few drops of spirit upon it1 and vapour up to a fine polish4 ,with these few preliminary remarks1 the following will be easily understood4 ,use ,of ,fillers4--,the cost of a putty filler consists chiefly in the time consumed in applying it4 ,in the matter of walnut-filling much expense is saved in the processes of coating and rubbing if the pores of the wood be filled to the surface with a substance that will not shrink1 and will harden quickly4 ,the time occupied in spreading and cleaning a thin or fatty mixture of filler1 or a stiff and brittle putty made fresh every day1 is about the same1 and while the thin mixture will be subject to a great shrinkage1 the putty filler will hold its own4 ,it will thus be seen that a proper regard to the materials used in making fillers1 and the consistency and freshness of the same1 form an important element in the economy of filling4 ,a principal cause of poor filling is the use of thin material4 ,by some a putty-knife is used1 and the filling rubbed into the surfaces of mouldings with tow1 while others use only the tow for all surfaces1 mostly1 however1 in cases of dry filling4 ,in the use of the wet filler1 either with a knife or with tow1 workmen are prone to spread it too thin because it requires less effort1 but experience shows that the greatest care should always be taken to spread the putty stiff and thick1 notwithstanding the complaints of workmen4 ,in fact1 this class of work does not bring into play so much muscle as to warrant complaints on account of it4 ,nor can there be any reasonable excuse for taking a longer time to spread a stiff filler than a thin filler4 ,good results are not always obtained by the use of thick fillers1 because the putty is spread too soon after the application of the first coat of oil1 which liquid should be quite thin1 and reduced either with benzine or turpentine1 so that when the putty is forced into the pores the oil already in them will have the effect of thinning it4 ,as an illustration of the idea meant here to be conveyed1 we will suppose a quantity of thick mud or peat dumped into a cavity containing water1 and a similar quantity of the same material dumped into another cavity having no water2 the one fills the bottom of the cavity solid1 while the other becomes partly liquid at the bottom1 and must of necessity shrink before it assumes the solidity of the former4 ,hence it appears that work to be filled should be oiled and allowed to stand some time before receiving the filler1 or until the oil has been absorbed into the pores4 ,the preparatory coating should not be mixed so as to dry too quickly1 nor allowed to stand too long before introducing the putty1 for in this case the putty when forced along by the knife will not slip so easily as it should4 ,the cost of rubbing and sand-papering in the finishing process is very much lessened if the cleaning be thorough1 and if all the corners and mouldings be scraped out1 so that pieces of putty do not remain to work up into the first coat of shellac1 or whatever finish may be used as a substitute for shellac4 ,another important feature in hard filling is to let the work be well dried before applying the first coat of finish4 ,one day is not sufficient for the proper drying of putty fillers1 and if in consequence of insufficient drying a part of the filling washes out1 it is so much labour lost4 ,as a safeguard against washing out1 these fillers should be mixed with as much dryer or japan as the case warrants1 for it frequently occurs that work must be finished1 or go into finish1 the day following the filling1 whether it be dry or not4 ,by observing the main facts here alluded to1 good filling may always be obtained1 and at a cost not exceeding that of poor work4 ,for the light woods1 including ash1 chestnut1 and oak1 the filling is similar to that used in walnut1 except the colouring material1 which1 of course1 must be slight1 or just enough to prevent the whiting and plaster from showing white in the pores4 ,this colouring may consist of raw sienna1 burnt sienna1 or a trifle raw1 or umber2 one of these ingredients separate1 or all three combined1 mixed so as to please the fancy and suit the prevailing style4 ,the colouring may be used with a dry filling1 although a wet filling is more likely to give a smooth finish and greater satisfaction1 and the colour of the filler can be seen better in the putty than in the dry powder4 ,upon cheap work a filler should be used that requires the least amount of labour in its application4 ,for this purpose liquid fillers1 like japan1 are suitable4 ,if1 however1 a fine finish on fine goods is required1 the putty compositions of various mixtures are the more appropriate4 ,the secret of the process of filling consists in the mixing of the compounds and the method of using them4 ,a liquid filler or a japan simply spread over the work in one or two coats can hardly be called filling1 yet this will serve the purpose very well for cheap furniture4 ,thick compositions or putty fillers are composed of whiting and plaster1 or similar powders having little or no colour4 ,this material is mixed with oil1 japan1 and benzine1 with a sufficient quantity of colouring matter to please the fancy4 ,the value of these fillers is in proportion to their brittleness or shortness1 as it is termed1 and1 to give them this quality1 plaster is used and as much benzine or turpentine as the mixture will bear without being too stiff or too hard to clean off4 ,sometimes a little dissolved shellac is used to produce shortness4 ,this desirable feature of a filler is best effected by mixing a small quantity of the material at a time4 ,many workmen mistakenly mix large batches at a time with a view of securing uniformity of colour1 and this is one cause why such fillers work tough and produce a poor surface4 ,an oil mixture soon becomes fatty and tough1 and must be reduced in consistency when used1 as it is apt when old to drag and leave the pores only partly filled4 ,these fillers should be mixed fresh every day1 and allowed to stiffen and solidify in the wood rather than out of it4 ,the surface of a pore is the largest part of it1 and it is desirable to fill it to a level as nearly as possible4 ,this is done by using the filler thick or stiff4 ,making ,fillers4--,in making fillers1 a quantity of the japan which is used in the ingredients can be made at one time1 and used from as occasion may require4 ,it is made in the following manner3 ,japan of the ,best ,quality4--,put #c_/d lb4 gum shellac into #a gall4 linseed-oil2 take #a_/b lb4 each of litharge1 burnt umber1 and red-lead1 also #f oz4 sugar of lead4 ,boil in the mixture of shellac and oil until all are dissolved2 this will require about four hours4 ,remove from the fire1 and stir in #a gall4 of spirits of turpentine1 and the work is finished4 ,fillings for ,light ,woods4--,take #e lb4 of whiting1 #c lb4 calcined plaster 7plaster of ,paris71 #a_/b gall4 of raw linseed-oil1 #a qt4 of spirits of turpentine1 #a qt4 of brown japan1 and a little ,french yellow to tinge the white4 ,mix well1 and apply with a brush2 rub it well with excelsior or tow1 and clean off with rags4 ,this thoroughly fills the pores of the wood and preserves its natural colour4 ,another for ,light ,woods4--,take #aj lb4 of whiting1 #e lb4 of calcined plaster1 #a lb4 of corn starch1 #c oz4 calcined magnesia1 #a gall4 of raw linseed-oil1 #a_/b gall4 spirits of turpentine1 #a qt4 of brown japan1 #b oz4 ,french yellow4 ,mix well1 and apply with brush2 rub in well with excelsior or tow1 and clean off with rags4 ,for ,mahogany or ,cherry ,wood4--,take #e lb4 of whiting1 #b lb4 of calcined plaster1 #aa_/b oz4 dry burnt sienna1 #a oz4 ,venetian red1 #a qt4 of boiled linseed-oil1 #a pt4 of spirits of turpentine1 and #a pt4 of brown japan4 ,mix well1 apply with brush1 and rub well in with excelsior or tow4 ,clean off with rags dry4 ,for ,oak ,wood4--,take #e lb4 of whiting1 #b lb4 calcined plaster1 #a oz4 dry burnt sienna1 #a_/b oz4 of dry ,french yellow1 #a qt4 raw linseed-oil1 #a pt4 benzine spirits1 and #a_/b pt4 white shellac4 ,mix well1 apply with brush1 rub in with excelsior or tow1 and clean off with rags4 ,for ,rosewood4--,take #f lb4 of fine whiting1 #b lb4 of calcined plaster1 #a lb4 of rose-pink1 #b oz4 of ,venetian red1 #a_/b lb4 of ,vandyke brown1 #a_/b lb4 of ,brandon red1 #a gall4 of boiled linseed-oil1 #a_/b gall4 of spirits of turpentine1 #a qt4 of black japan4 ,mix well together1 apply with brush1 rub well in with tow1 and clean off with rags4 ,for ,black ,walnut 7#a74--;,for medium and cheap work4 ,take #aj lb4 of whiting1 #c lb4 dry burnt umber1 #d lb4 of ,vandyke brown1 #c lb4 of calcined plaster1 #a_/b lb4 of ,venetian red1 #a gall4 of boiled linseed-oil1 #a_/b gall4 of spirits of turpentine1 #a qt4 of black japan4 ,mix well and apply with brush2 rub well with excelsior or tow1 and clean off with rags4 ,for ,black ,walnut 7#b74--;,an improved filling1 producing a fine imitation of wax finish1 may be effected by taking #e lb4 of whiting1 with #a lb4 of calcined plaster1 #f oz4 of calcined magnesia1 #a oz4 of dry burnt umber1 #a oz4 of ,french yellow to tinge the white4 ,add #a qt4 of raw linseed-oil1 #a qt4 of benzine spirits1 #a_/b pt4 of very thin white shellac4 ,mix well1 and apply with a brush2 rub well in1 and clean off with rags4 ,an ,oil-,colour for ,black ,walnut 7#c71 to be used only on first-class and custom work4--,take #c lb4 of burnt umber ground in oil1 #a lb4 of burnt sienna ground in oil1 #a qt4 of spirits of turpentine1 #a pt4 of brown japan4 ,mix well and apply with a brush4 ,sand-paper well2 clean off with tow and rags4 ,this gives a beautiful chocolate colour to the wood4 ,numerous compositions are in the market for filling the pores of wood1 and in this connection particular attention has been given to walnut1 for the reason that this wood is used in large quantities in the furniture industry1 and is nearly1 if not quite1 as porous as any other of the woods used4 ,a variety of walnut fillings have been recommended to the trade in order to meet the demand consequent upon the different grades of finish and the method of obtaining the finish1 so that it would be difficult to pronounce as to the superiority of any one filling for general purposes4 ,in treating this subject1 attention should be given to the necessities for the use of filling1 so that each one may determine for himself the kind of composition best adapted for the work in hand1 and the best method of applying it4 ,finishing4--,having described the methods of making and applying the fillings1 we will now describe the mode of finishing1 and begin with the dead-oil finish4 ,we can remember when a satisfactory oil-finish was produced either with a good quality of japan or a fair quality of spirits4 ,these materials are recommended to be used by inexperienced workmen and those not familiar with the mixing of the various grades of japan and varnish with oil1 turpentine1 benzine1 etc4 ,this method of oil-finish1 too1 is scarcely inferior to the shellac or spirit-varnish method1 and it is cheaper4 ,when the best finish is desired1 a sufficient number of coats to fill the pores of wood to a level are required1 and then the whole surface should be subjected to the rubbing process4 ,the use of these fillers provides an oil-finish in a simplified form for those who are not aware of the difference between hard and soft gum compositions as a base for rubbing4 ,in fact1 the rubbing process constitutes a fine oil-finish1 and requires a hard gum1 whether it be of japan1 varnish1 or shellac4 ,the use of varnish or its substitute as a filler and finish is more frequent than the use of shellac1 and for cheap work it is equally good4 ,the surface produced by a hard gum composition must be smooth and dead1 or but slightly glossed1 so as to admit of the pores being filled full or to a level4 ,it may be added that a coat or any number of coats of the composition referred to above is substantially a filling1 and the quality of finish depends upon the number of coats1 together with the amount of rubbing applied4 ,thus far we have simply called attention to the best quality of oil-finish and the manner of producing it4 ,possibly three-fourths of all wood-finishing1 particularly walnut-finishing1 is several degrees below the best quality4 ,in fact1 oil-finish may imply only one coat of any composition that will dry1 while two coats may be regarded as fair1 and three coats a very good quality of finish4 ,for the class of finish not rubbed down with pumice-stone and water1 oil-varnish would be out of place on account of its gloss2 hence shellac1 being in composition similar to japan1 is the better material1 because of its dull appearance or lack of gloss as compared with shellac4 ,in addition to the liquid fillers already mentioned1 there is a putty or powder filling used for cross-grained woods1 or such woods as have a deep pore4 ,this filling is forced into the wood previous to the application of the other finishing compounds1 with the use of which it in no way interferes4 ,on the contrary1 it economises the use of the liquid fillers1 and1 while constituting a part of an oil-finish1 is also a finish wholly independent of the other methods mentioned--that is to say1 the same results can be obtained by the use of either one1 although the putty or powder filling is attended with greater expense both as to time and material4 ,the hard filling is generally used on walnut1 ash1 and all coarse-grained woods4 ,with regard to oil-finishes1 viz41 spirit-varnish or oil-varnish1 shellac is thought by many to be the best for fine work2 but others think differently4 ,we may say of shellac that it will finish up into any degree of polish1 and while it will not retain a ,french polish long in this climate1 it will replenish easier and cheaper than any other finish1 and continue to improve under each application4 ,for a common finish1 however1 oil preparation is as good as shellac1 and even for a fine finish it is only second to shellac1 if made of a hard gum4 ,on common finish1 too1 the oil will wear better than shellac in stock or on storage1 so far as preserving its freshness is concerned4 ,the cost of oil-finish is governed chiefly by the amount of labour expended on it4 ,a suite of walnut furniture can be well rubbed with sand-paper in two hours1 or even less2 while two weeks could be profitably employed in rubbing another suite with pumice and water4 ,black ,walnut ,finishing4--,the fashionable finish for black walnut work1 particularly chamber sets1 is what is known to the trade as the dead-oil finish4 ,it is admired1 perhaps1 because it has a gloss1 rather than a shine of the varnish stamp4 ,there is no more labour required upon it than upon a bright finish1 but the process of manipulation is different1 and harder to the fingers4 ,it should be premised that the walnut work of the day bears upon its surface1 to a greater or less extent1 raised panels covered with ,french burl veneer4 ,and upon this fact largely depends the beauty of the production4 ,and the endeavour is to so finish the article that there shall be a contrast between the panel and the groundwork on which it is placed4 ,in other words1 the former should be of a light colour1 while the latter is of a darker shade4 ,in that view the palest shellac should be used on the panels1 and darker pieces1 liver coloured1 etc41 on the body of the work4 ,the darker grades of shellac are the cheaper1 and will answer for the bulk of the work1 but the clearest only for the panels4 ,in commencing to finish a job direct from the cabinet-maker's hand1 rough and innocent of sand-paper1 first cover the panels with a coat of shellac to prevent the oil in the filling from colouring them dark4 ,next1 cover the body of the work with a wood filling composed of whiting and plaster of ,paris1 mixed with japan1 benzine1 and raw linseed-oil1 or the lubricating oil made from petroleum2 the whole covered with umber1 to which1 in the rare cases when a reddish shade is wanted1 ,venetian red is also added4 ,this filling is then rubbed off with cloths1 and by this process tends to close up the grain of the wood and produce an even surface4 ,more or less time should be allowed after each of the several steps in the finishing process for the work to dry and harden1 though much less is required in working with shellac than with varnishes composed of turpentine1 oil1 and gums4 ,but the time that should be allowed is often lessened by the desire to get the work through as soon as possible1 so that no standard can be set up as to the number of hours required between each of the several processes4 ,it would be well if twelve hours intervened1 but if work to which ten days could well be devoted must be hurried through in three1 obviously the processes must follow each other in a corresponding haste4 ,a coating of shellac is then given the whole work1 light on the panels and dark on the body work1 and when it has dried and hardened1 which it does very soon1 it may be rubbed down4 ,this process of rubbing down should be done evenly and carefully1 so as not to rub through the shellac at any point1 and be done with the finer grades of sand-paper for the cheaper class of work1 particularly at first1 but at a later period of the process1 and for the better class of articles in all cases1 hair-cloth should be used1 the material for the rubbing down being pumice-stone moistened with raw linseed-oil for the best work1 and the lubricating oil1 before mentioned1 for cheaper work1 or the covered parts of the better grades4 ,this rubbing down involves labour1 wear of fingers and finger-nails1 and is carried on with an ordinary bit of hair-cloth1 the smooth surface next the wood1 and not made in any particular shape1 but as a wad1 ball1 or otherwise4 ,in the corners and crevices where the hair-cloth will not enter it will be necessary to use sand-paper of the finest grades1 and worn pieces only4 ,three coats of shellac are put on1 followed each time by this rubbing-down process1 each one giving the work a smoother feeling and a more perfect appearance4 ,afterwards1 to complete the whole1 a coating of japan thinned with benzine is applied1 which gives to the work a clean appearance and the dead glossy finish4 ,there is this objection to the above style of finish1 that the japan catches all the dust which touches it1 and holds it permanently1 so that many of the best workmen will not have work finished in this way for their own private houses1 preferring the brighter look given by shellac and varnish without rubbing down the last coat1 believing that the work can be kept much cleaner4 ,finishing ,veneered ,panels1 etc4--,the large oval panels of desks1 etc41 covered with ,french veneer1 are generally taken out and finished by themselves4 ,the process is similar to that above given1 with successive coats of shellac and varnish1 and the oil and pumice-stone rubbing down2 but the final part of this latter process is a rubbing down with rotten-stone2 then the merest trifle of sweet-oil is applied all over the surface and wiped off4 7,see ,rosewood1 etc41 farther on47 ,for ,light ,woods 7,dead ,finish74--,apply two or three coats of white shellac2 rub down with pumice and raw linseed-oil1 and clean off well with rags2 use varnish-polish on the panels4 ,another4--,finish as in the previous recipe4 ,for a flowing coat of varnish-finish apply one flowing coat of light amber varnish4 ,if a varnish-polish is desired1 apply three coats of ,zanzibar polishing varnish4 ,rub down and polish1 and the result will be a splendid finish4 ,mahogany or ,cherry ,wood4--,for shellac dead finish apply two coats of yellow shellac4 ,rub down with pumice and raw linseed-oil4 ,if a varnish-finish is desired1 apply a flowing coat of light amber varnish or shellac thus rubbed4 ,the panels should receive two coats of ,zanzibar polishing varnish4 ,oak4--,for a dead finish give three coats of shellac1 two-thirds of white and one-third of yellow1 mixed4 ,rub down with pumice and raw linseed-oil4 ,for a cheap varnish-finish give one flowing coat of light amber varnish in the shellac1 rubbed as directed4 ,varnish-polish the panels4 ,rosewood1 ,coromandel1 or ,kingwood 7a ,bright ,finish74--,apply two thin coats of shellac1 sand-papering each coat2 then apply three or four coats of ,zanzibar polishing varnish1 laying it on thin1 and giving it sufficient time to dry thoroughly4 ,when it is perfectly hard1 rub down with pumice and water4 ,polish with rotten-stone to a fine lustre1 clean up with sweet-oil1 and vapour up the oil with a damp alcohol rag4 ,the result is a splendid mirror-like polish4 ,this is the method employed in polishing pianofortes in ,america4 ,walnut4--,for a cheap finish1 apply one coat of yellow shellac4 ,when dry1 sand-paper down4 ,apply with brush2 rub in well2 clean off with rags4 ,this gives a very fair finish4 ,for a medium dead finish apply two or three coats of yellow shellac4 ,when dry1 rub down with pumice and raw linseed-oil2 clean up well2 varnish-polish the panels4 ,for finish4 ,before using the above filling1 give the work one coat of white shellac4 ,when dry1 sand-paper down1 and apply the above filling4 ,give two coats of white shellac2 rub down with pumice and raw linseed-oil2 clean up well with brown japan and spirits of turpentine1 mixed4 ,wipe off4 ,this is a good imitation of wax-finish2 it is waterproof1 and will not spot as wax-finish does4 ,the panels are to be varnished-polished4 ,this is to be used with the improved filling ,no4 #b4 ,for finish4 ,apply three coats of yellow shellac2 rub down with pumice and raw linseed-oil2 clean off well4 ,varnish-polish the panels4 ,use this with the oil colour ,no4 #c4 ,finishing ,cheap ,work4--,with ,one ,coat of ,varnish4--,give the work a coat of boiled linseed-oil2 immediately sprinkle dry whiting upon it1 and rub it well in with tow all over the surface4 ,the whiting absorbs the oil and completely fills the pores of the wood4 ,for black walnut add a little dry burnt umber4 ,for mahogany or cherry add a little ,venetian red1 according to the colour of the wood4 ,the application can be made to turned work while in motion in the lathe4 ,clean off well with rags4 ,the work can then be finished with a single coat of varnish1 and for cheap work makes a very good finish4 ,for varnishing large surfaces1 a two-inch oval varnish brush is to be used first to lay out the varnish1 and then a two-inch flat badger flowing-brush for a softener4 ,the latter lays down moats and bubbles left by the large brush4 ,a perfectly smooth glass-like surface is thus obtained4 ,when not in use1 these tools should be put into a pot containing raw linseed-oil and spirits of turpentine4 ,this keeps them in a better working condition than if they are kept in varnish1 making them clean and soft4 ,standing in varnish they congeal and become hard as the spirit evaporates from the varnish4 ,for shellacing a large surface use a two-inch bristle brush2 for small work1 such as carvings and mouldings1 use a one-and-a-half inch flat brush4 ,these brushes when not in use should be taken from the various pots and deposited in an earthen pot sufficiently large to hold all the shellac brushes used in the shop4 ,put in enough of raw linseed-oil and thin shellac to cover the bristles of the brushes4 ,kept in this manner1 they will remain clean and elastic1 and will wear much longer4 ,wax ,finishing4--,take #a_/b gall4 of turpentine1 #aa_/b lb4 yellow beeswax1 #a lb4 white beeswax1 #a_/b lb4 white rosin4 ,pulverise the rosin1 and shave the wax into fine shavings4 ,put the whole into the turpentine1 and dissolve it cold4 ,if dissolved by a fire-heat1 the vitality of the wax is destroyed4 ,when it is thoroughly dissolved1 mix well and apply with a stiff brush4 ,rub well in1 and clean off with rags4 ,when dry1 it is ready for shellac or varnish as may be desired4 ,a ,varnish ,polish4--,take #aj oz4 gum shellac1 #a oz4 gum sandarach1 #a drachm ,venice turpentine1 #a gall4 alcohol4 ,put the mixture into a jug for a day or two1 shaking occasionally4 ,when dissolved it is ready for use4 ,apply a few coats4 ,polish by rubbing smooth4 ,for the commonest kind of work in black walnut a very cheap polish can be made in the following manner3 ,take #a gall4 of turpentine1 #b lb4 pulverised asphaltum1 #a qt4 boiled linseed-oil1 #b oz4 ,venetian red4 ,put the mixture in a warm place and shake occasionally4 ,when it is dissolved1 strain and apply to the wood with a stiff brush4 ,rub well with cloth when dry4 ,then take #a pt4 of thin shellac1 #a_/b pt4 boiled linseed-oil4 ,shake it well before using4 ,apply with cloth1 rubbing briskly1 and you will have a fine polish4 ,with ,copal or ,zanzibar ,varnish4--,as a substitute for filling1 the wood may receive one coat of native coal-oil1 thinned with benzine-spirits2 then apply one coat of shellac1 and follow with varnish1 as desired4 ,the time is not far distant when manufacturers must and will use varnish for the finishing of all kinds of furniture on account of the high price of shellac4 ,furniture finished in the last-named method may be rubbed with either water or oil4 ,water has a tendency to harden varnish1 while oil softens it4 ,if water is used there will be a saving of oil and rags4 ,in the other case shellac1 when rubbed with oil1 should be cleaned with japan4 ,this removes the greasy and cloudy appearance which is left after the rubbing with oil1 and the work will have a clean1 dry1 and brighter appearance than otherwise4 ,we suggest another idea for finishing black walnut for a cheap or a medium class of work4 ,in the first place1 fill the pores of the wood1 and apply one thin coat of shellac to hold the filling in the pores of the wood4 ,let this stand one day2 sand-paper down with fine paper1 then with a brush apply a coat of coach japan4 ,rub well1 and clean off with rags4 ,let this stand one day to dry1 then1 with some sand-paper that has been used before1 take off the moats from the japan4 ,go over the whole surface with a soft rag saturated with japan2 wipe and clean off carefully1 and the job is finished4 ,this1 though a cheap finish1 is a good one for this class of work4 ,we give one more method of finishing black walnut1 that is1 with boiled linseed-oil only1 and there is no other way of obtaining a genuine oil-finish4 ,sand-paper the wood down smoothly2 apply a coat of boiled linseed-oil over the whole surface2 sand-paper well1 and clean up dry with rags2 let it stand one day to dry1 then apply one more coat of oil2 rub well in with rags1 but do not use sand-paper on this coat4 ,apply three1 four1 or more coats in the same way4 ,when the work has received the last coat of oil and is dry1 sand-paper down with old paper4 ,then clean up with the best coach japan with rags1 and let the work stand one day to dry4 ,the panels are to be varnish-polished the same as other wood4 ,the work is then finished1 and ready for the warerooms4 ,this method takes a longer time than finishing with either varnish or shellac2 but the cost is less both for materials and for labour1 the workman being able to go over a greater surface in the same time4 ,the work will stand longer1 and the method gives a rich and close finish1 bringing out the figure and rich colour of the wood better than in any other method of finishing4 ,it does not cost so much as shellac finish2 it only requires a little more time for drying between the coats of oil4 ,in finishing in varnish or shellac1 to get the body or surface for polishing three or four coats are frequently applied1 which is liable to produce a dull cloudy appearance4 ,for this reason1 and having in view the high and increasing price of stock1 it seems to us that this really superior method of finishing in oil must take the place of shellac and varnish-finish in good work4 ,polishing ,varnish4--,this is certainly a tedious process1 and considered by many a matter of difficulty4 ,the following is the mode of procedure3 ,put two ounces of powdered tripoli into an earthen pot or basin1 with water sufficient to cover it2 then1 with a piece of fine flannel four times doubled1 laid over a piece of cork rubber1 proceed to polish your varnish1 always wetting it well with the tripoli and water4 ,you will know when the process is complete by wiping a part of the work with a sponge and observing whether there is a fair and even gloss4 ,clean off with a bit of mutton suet and fine flour4 ,be careful not to rub the work too hard1 or longer than is necessary to make the face perfectly smooth and even4 ,some workmen polish with rotten-stone1 others with putty-powder1 and others with common whiting and water2 but tripoli1 we think1 will be found to answer best4 ,an ,american ,polish ,reviver4--,take of olive-oil #a lb41 of rectified oil of amber #a lb41 spirits of turpentine #a lb41 oil of lavender #a oz41 tincture of alkanet-root #a_/b oz4 ,saturate a piece of cotton batting with this polish1 and apply it to the wood2 then1 with soft and dry cotton rags1 rub well and wipe off dry4 ,this will make old furniture in private dwellings1 or that which has been shop-worn in warerooms1 look as well as when first finished4 ,the articles should be put into a jar or jug1 well mixed1 and afterwards kept tightly corked4 ,this is a valuable recipe1 and is not known1 the writer believes1 outside of his practice4 ,,chapter ,x4 ,,miscellaneous ,,recipes4 ,oil ,polish4--,one quart of cold-drawn linseed-oil to be simmered 7not boiled7 for ten minutes1 and strained through flannel2 then add one-eighth part of spirits of turpentine3 to be applied daily with soft linen rags1 and rubbed off lightly2 each time the oil is applied the surface should be previously washed with cold water1 so as to remove any dirt or dust4 ,this method of polishing is particularly useful for dining-table tops2 it will in about six weeks produce a polish so durable as to resist boiling water or hot dishes1 and be like a mirror for brilliancy4 ,wax ,polish4--,eight ounces of beeswax1 #b oz4 of resin1 and #a_/b oz4 of ,venetian turpentine1 to be melted over a slow fire2 the mass1 when quite melted1 is poured into a sufficiently large stone-ware pot1 and while it is still warm #f oz4 of rectified turpentine are stirred in4 ,after the lapse of twenty-four hours the mass will have assumed the consistency of soft butter1 and is ready for use4 ,a small portion of the polish is taken up with a woollen rag and rubbed over the surface of the work--at first gently1 then more strongly4 ,when the polish is uniformly laid on1 the surface is once more rubbed lightly and quickly with a fresh clean rag to produce a gloss4 ,waterproof ,french ,polish4--,take #b oz4 gum benjamin1 #a_/b oz4 gum sandarach1 #a_/b oz4 gum anme1 #aa_/b oz4 gum benzoin1 and #a pt4 alcohol4 ,mix in a closely-stoppered bottle1 and put in a warm place till the gums are well dissolved4 ,then strain off1 and add #a_/d gill of poppy-oil4 ,shake well together1 and it is ready for use4 ,a ,varnish for ,musical ,instruments4--,take one gallon of alcohol1 #a lb4 gum sandarach1 #a_/b lb4 gum mastic1 #b lbs4 best white resin1 #c lbs4 gum benzoin2 cut the gums cold4 ,when they are thoroughly dissolved1 strain the mixture through fine muslin1 and bottle for use2 keep the bottle tightly corked4 ,this is a beautiful varnish for violins and other musical instruments of wood1 and for fancy articles1 such as those of inlaid work4 ,it is also well adapted for panel-work1 and all kinds of cabinet furniture4 ,there is required only one flowing coat1 and it produces a very fine mirror-like surface4 ,apply this varnish with a flat camel's-hair or sable brush4 ,in an hour after application the surface is perfectly dry4 ,french ,varnish for ,cabinet-work4--,take of shellac #aa_/b oz4 gum mastic and gum sandarach1 of each #a_/b oz41 spirit of wine by weight #bj oz4 ,the gums to be first dissolved in the spirit1 and lastly the shellac4 ,this may be best effected by means of the water-bath4 ,place a loosely-corked bottle containing the mixture in a vessel of warm water of a temperature below the boiling point1 and let it remain until the gums are dissolved4 ,should evaporation take place1 an equal quantity to the spirit of wine so lost must be replaced till the mixture settles1 then pour off the clear liquid for use1 leaving the impurities behind2 but do not filter it4 ,greater hardness may be given to the varnish by increasing the quantity of shellac1 which may be done to the amount of one-twelfth of the lac to eleven-twelfths of spirit4 ,but in this latter proportion the varnish loses its transparency in some degree1 and must be laid on in very small quantities at a time4 ,mastic ,varnish4--,mastic should be dissolved in oil of turpentine1 in close glass vessels1 by means of a gentle heat4 ,this varnish is extensively used in transparencies1 etc4 ,cabinet-maker's ,varnish4--,take #e lbs4 very pale gum shellac1 #g oz4 gum mastic1 #a gallon alcohol4 ,dissolve in a cold atmosphere with frequent stirring4 ,amber ,varnish4--,this is a most difficult varnish to make4 ,it is usually prepared by roasting the amber and adding hot linseed-oil1 after which turpentine can be mixed if required4 ,but for a small quantity1 dissolve the broken amber1 without heat1 in the smallest possible quantity of chloroform or pure benzine4 ,heat the linseed-oil1 remove it from the fire1 and pour in the amber solution1 stirring all the time4 ,then add the turpentine4 ,if not quite clear1 heat again1 using the utmost caution4 ,colourless ,varnish with ,copal4--,to prepare this varnish the copal must be picked2 each piece is broken1 and a drop of rosemary-oil poured on it4 ,those pieces which1 on contact with the oil1 become soft are the ones used4 ,the pieces being selected1 they are ground and passed through a sieve1 being reduced to a fine powder4 ,it is then placed in a glass1 and a corresponding volume of rosemary-oil poured over it2 the mixture is then stirred for a few minutes until it is transformed into a thick liquor4 ,it is then left to rest for two hours1 when a few drops of rectified alcohol are added1 and intimately mixed4 ,repeat the operation until the varnish is of a sufficient consistency2 leave the rest for a few days1 and decant the clear4 ,this varnish can be applied to wood and metals 7,journal of ,applied ,chemistry74 ,seedlac ,varnish4--,wash #c oz4 of seedlac in several waters2 dry it and powder it coarsely4 ,dissolve it in one pint of rectified spirits of wine2 submit it to gentle heat1 shaking it as often as convenient1 until it appears dissolved4 ,pour off the clear part1 and strain the remainder4 ,patent ,varnish for ,wood or ,canvas4--,take #a gallon spirits of turpentine1 #ba_/d lbs4 asphaltum4 ,put them into an iron kettle on a stove1 and dissolve the gum by heat4 ,when it is dissolved and a little cool1 add #a pint copal varnish and #a pint boiled linseed-oil4 ,when entirely cool it is ready for use4 ,for a perfect black add a little lamp-black4 ,copal ,varnish4--,dissolve the copal1 broken in pieces1 in linseed-oil1 by digestion1 the heat being almost sufficient to boil the oil4 ,the oil should be made drying by the addition of quick-lime4 ,this makes a beautiful transparent varnish4 ,it should be diluted with oil of turpentine2 a very small quantity of copal1 in proportion to the oil1 will be found sufficient4 ,carriage ,varnish4--,take #ai oz4 gum sandarach1 #ia_/b oz4 orange shellac1 #aba_/b oz4 white resin1 #ah oz4 turpentine1 #e pints alcohol4 ,dissolve and strain4 ,use for the internal parts of carriages and similar purposes4 ,this varnish dries in ten minutes4 ,transparent ,varnish4--,take #a gallon alcohol1 #b lbs4 gum sandarach1 #a_/b lb4 gum mastic4 ,place them in a tin can4 ,cork tight and shake frequently1 placing the can in a warm place4 ,when dissolved it is ready for use4 ,crystal ,varnish for ,maps1 etc4--,mix together #a oz4 ,canada balsam and #b oz4 spirits of turpentine4 ,before applying this varnish to a drawing or a painting in water-colours the paper should be placed on a stretcher1 sized with a thin solution of isinglass in water1 and dried4 ,apply the varnish with a soft camel's-hair brush4 ,a ,black ,varnish4--,mix a small quantity of gas-black with the brown hard varnish previously mentioned4 ,the black can be obtained by boiling a pot over a gas-burner1 so that it almost touches the burner1 when a fine jet-black will form at the bottom1 which remove and mix with the varnish1 and apply with a brush4 ,a ,black ,polish can be made in the same way3 after wetting the rubber1 just touch it with the black4 ,place the linen cover over1 touch it with oil1 and it is ready for work4 ,varnish for ,iron4--,take #b lbs4 pulverised gum asphaltum1 #a_/d lb4 gum benzoin1 #a gallon spirits of turpentine4 ,to make this varnish quickly1 keep in a warm place1 and shake often till it is dissolved4 ,shade to suit with finely-ground ivory-black4 ,apply with a brush4 ,this varnish should be used on iron-work exposed to the weather4 ,it is also well adapted for inside work1 such as iron furniture1 where a handsome polish is desired4 ,varnish for ,tools4--,take #b oz4 tallow1 #a oz4 resin2 melt together1 and strain while hot to remove the specks which are in the resin4 ,apply a slight coat on the tools with a brush1 and it will keep off the rust for any length of time4 ,to ,make ,labels ,adhere to a ,polished ,surface4--,brush the back of a label over with thin varnish or polish1 and press down with a soft rag2 this must be done quickly1 as the polish soon becomes dry4 ,this is the way labels are put on pianofortes1 and also the paper imitation of fancy woods on polished pine-work4 ,how to ,remove ,french ,polish or ,varnish from ,old ,work4--,cleaning off old work for re-polishing or varnishing is usually found difficult1 and to occupy much time if only the scraper and glass-paper be used4 ,it can be easily accomplished in a very short time by washing the surface with liquid ammonia1 applied with a piece of rag2 the polish will peel off like a skin1 and leave the wood quite bare4 ,in carvings or turned work1 after applying the ammonia1 use a hard brush to remove the varnish4 ,unadulterated spirits of wine used in a tepid state will answer the same purpose4 ,colouring for ,carcase ,work4--,in the best class of cabinet-work all the inside work--such as carcase backs1 shelves1 etc4--is made of good materials1 such as wainscot1 soft mahogany1 ,havannah cedar1 or ,american walnut2 but for second-class work1 pine or white deal is used instead1 and coloured4 ,the colouring matter used should match with the exterior wood4 ,for mahogany take #a_/b lb4 of ground yellow ochre to a quart of water1 and add about a tablespoonful of ,venetian red--a very small quantity of red in proportion to the yellow is sufficient for mahogany--and a piece of glue about the size of a walnut2 the whole to be well stirred and boiled4 ,brush over while hot1 and immediately rub off with soft shavings or a sponge4 ,for the antique hues of old wainscot mix equal parts of burnt umber and brown ochre4 ,for new oak1 bird's-eye maple1 birch1 satin-wood1 or any similar light yellowish woods1 whiting or white-lead1 tinted with orange chrome1 or by yellow ochre and a little size4 ,for walnut1 brown umber1 glue size1 and water2 or by burnt umber very moderately modified with yellow ochre4 ,for rosewood1 ,venetian red tinted with lamp-black4 ,for ebony1 ivory-black2 but for the common ebonised work lamp-black is generally used4 ,when the colouring is dry1 it should be rubbed down with a piece of worn fine glass-paper1 and polished with beeswax rubbed on a very hard brush--a worn-out scrubbing-brush is as good as anything--or it can be well rubbed with ,dutch rush4 ,in polishing always rub the way of the grain4 ,the cheap work seldom gets more than a coat of colour rubbed off with shavings4 ,cheap but ,valuable ,stain for the ,sap of ,black ,walnut4--,take #a gallon of strong vinegar1 #a lb4 dry burnt umber1 #a_/b lb4 fine rose-pink1 #a_/b lb4 dry burnt ,vandyke brown4 ,put them into a jug and mix them well2 let the mixture stand one day1 and it will then be ready for use4 ,apply this stain to the sap with a piece of fine sponge2 it will dry in half an hour4 ,the whole piece is then ready for the filling process4 ,when completed1 the stained part cannot be detected even by those who have performed the work4 ,this recipe is of value1 as by it wood of poor quality and mostly of sap can be used with good effect4 ,polish for ,removing ,stains1 etc41 from ,furniture 7,american74--,take #a_/b pint alcohol1 #a_/d oz4 pulverised resin1 #a_/d oz4 gum shellac1 #a_/b pint boiled linseed-oil4 ,shake the mixture well1 and apply it with a sponge1 brush1 or cotton flannel1 rubbing well after the application4 ,walnut ,stain to be used on ,pine and ,white-wood4--,take #a gallon of very thin sized shellac2 add #a lb4 of dry burnt umber1 #a lb4 of dry burnt sienna1 and #a_/d lb4 of lamp-black4 ,put these articles into a jug1 and shake frequently until they are mixed4 ,apply one coat with a brush4 ,when the work is dry1 sand-paper down with fine paper1 and apply one coat of shellac or cheap varnish4 ,it will then be a good imitation of solid walnut1 and will be adapted for the back-boards of mirror-frames1 for the backside and inside of case-work1 and for similar work4 ,rosewood ,stain4--,take #a lb4 of logwood chips1 #a_/b lb4 of red-sanders1 #a_/b gallon of water4 ,boil over a fire until the full strength is obtained4 ,apply the mixture1 while hot1 to the wood with a brush4 ,use one or two coats to obtain a strong red colour4 ,then take #a gallon of spirits of turpentine and #b lb4 of asphaltum4 ,dissolve in an iron kettle on a stove1 stirring constantly4 ,apply with a brush over the red stain1 to imitate rosewood4 ,to make a perfect black1 add a little lamp-black4 ,the addition of a small quantity of varnish with the turpentine will improve it4 ,this stain applied to birchwood gives as good an imitation of rosewood as on black walnut1 the shade on the birch being a little brighter4 ,rosewood ,stain for ,cane ,work1 etc4--,take #a gallon alcohol1 #a lb4 red-sanders1 #a lb4 dragon's blood1 #a lb4 extract logwood1 #a_/b lb4 gum shellac4 ,put the mixture into a jug1 and steep well till it obtains its full strength4 ,then strain1 and it will be ready for use4 ,apply with brush1 giving one1 two1 or more coats1 according to the depth of colour desired4 ,then give one or more coats of varnish4 ,this stain is suitable for use on cane1 willow1 or reed work1 and produces a good imitation of rosewood4 ,french ,polish ,reviver4--,this recipe will be found a valuable one4 ,if the work is sweated and dirty1 make it tolerably wet1 and let it stand a few minutes2 then rub off and polish with a soft rag4 ,it is important that the ingredients should be mixed in a bottle in the order as given3 ,vinegar1 #a gill2 methylated spirit1 #a gill2 linseed-oil1 #a_/b pint2 butter of antimony 7poison71 #a oz4 ,raw linseed-oil1 moderately thinned with turpentine or spirits of wine1 will also make a good reviver4 ,old furniture1 or furniture that has been warehoused for a long time1 should be washed with soda and warm water previous to applying the reviver4 ,morocco ,leather ,reviver4--,the coverings of chairs or sofas in morocco1 roan1 or skiver can be much improved by this reviver4 ,if old and greasy1 wash with sour milk first4 ,the reviver should be applied with a piece of wadding1 and wiped one way only1 as in glazing4 ,the colour can be matched by adding red-sanders4 ,methylated spirit1 #a_/b pint2 gum benzoin1 #b oz42 shellac1 #a_/b oz4 ,mix1 and shake up occasionally until dissolved4 ,hair-cloth ,reviver4--,mix equal parts of marrow-oil 7neats-foot71 ox-gall4 and ivory-black1 to be well rubbed with a cloth4 ,this composition forms a valuable renovator for old hair-cloth4 ,to ,remove ,grease ,stains from ,silks1 ,damasks1 ,cloth1 etc4--,pour over the stain a small quantity of benzoline spirit1 and it will soon disappear without leaving the least mark behind4 ,the most delicate colours can be so treated without fear of injury4 ,for paint stains chloroform is very efficacious4 ,to ,remove ,ink ,stains from ,white ,marble4--,make a little chloride of lime into a paste with water1 and rub it into the stains1 and let it remain a few hours2 then wash off with soap and water4 ,,chapter ,,xi4 ,,materials ,,used4 ,alkanet-root 7botanical name1 ,anchusa tinctoria74--,this plant is a native of the ,levant1 but it is much cultivated in the south of ,france and in ,germany4 ,the root is the only part used by ,french polishers to obtain a rich quiet red2 the colouring is chiefly contained in the bark or outer covering1 and is easily obtained by soaking the root in spirits or linseed-oil4 ,the plant itself is a small herbaceous perennial1 and grows to about a foot in height1 with lance-shaped leaves and purple flowers1 and with a long woody root with a deep red bark4 ,madder-root 7,rubia tinctoria74--,this plant is indigenous to the ,levant2 but it is much cultivated in ,southern ,europe1 and also in ,india4 ,its uses are for dyeing and staining2 it can be procured in a powdered state1 and imparts its red colour when soaked in water or spirits4 ,this is a creeping plant with a slender stem2 almost quadrangular1 the leaves grow four in a bunch2 flowers small1 fruit yellow1 berry double1 one being abortive4 ,the roots are dug up when the plant has attained the age of two or three years2 they are of a long cylindrical shape1 about the thickness of a quill1 and of a red-brownish colour1 and when powdered are a bright ,turkish-red4 ,extracts of madder are mostly obtained by treating the root with boiling water1 collecting the precipitates which separate on cooling1 mixing them with gum or starch1 and adding acetate of alumina or iron4 ,this is in fact a mixture of colouring matter and a mordant4 ,red-sanders 7,pterocarpus santalinus74--,the tree from which this wood is obtained is a lofty one1 and is to be found in many parts of ,india1 especially about ,madras4 ,it yields a dye of a bright garnet-red colour1 and is used by ,french polishers for dyeing polishes1 varnishes1 revivers1 etc4 ,logwood 7,hmatoxylon campeachianum74--,this is a moderate-sized tree with a very contorted trunk and branches1 which are beset with sharp thorns1 and blooms with a yellow flower4 ,it is a native of ,central ,america and the ,west ,indies4 ,this valuable dye-wood is imported in logs2 the heart-wood is the most valuable1 which is cut up into chips or ground to powder for the use of dyers by large powerful mills constructed especially for the purpose4 ,logwood1 when boiled in water1 easily imparts its red colour4 ,if a few drops of acetic acid 7vinegar7 is added1 a bright red is produced2 and when a little alum is added for a mordant1 it forms red ink4 ,if an alkali1 such as soda or potash1 is used instead of an acid1 the colour changes to a dark blue or purple1 and with a little management every shade of these colours can be obtained4 ,logwood put into polish or varnish also imparts its red colour4 ,fustic 7,maclura tinctoria74--,this tree is a native of the ,west ,indies1 and imparts a yellow dye4 ,great quantities are used for dyeing linens1 etc4 ,the fustic is a large and handsome evergreen1 and is imported in long sticks4 ,turmeric 7,curcuma longa74--,turmeric is a stemless plant1 with palmated tuberous roots and smooth lance-shaped leaves4 ,it is imported from the ,east ,indies and ,china4 ,the root is the part which affords the yellow powder for dyeing4 ,it is also a condiment1 and is largely used in ,indian curry-powder4 ,paper stained with turmeric is used by chemists as a test for alkalies1 and it is also used in making ,dutch1 pink1 and gold-coloured varnishes4 ,indigo 7,indigofera tinctoria74--,indigo is a shrub which grows from two to three feet in height1 and is cut down just as it begins to flower4 ,it is cultivated in almost all the countries situated in the tropics4 ,the dye substance is prepared from the stems and leaves1 and is largely used in calico-printing4 ,persian ,berries 7,rhamnus infectorius74--,these berries are the produce of a shrub of a species of buckthorn common in ,persia1 whence they derive their name2 but large quantities are also imported into ,england from ,turkey and the south of ,france4 ,the berries are gathered in an unripe state1 and furnish a yellow dye4 ,nut-galls4--,these are found upon the young twigs of the ,turkish dwarf oak 7,quercus infectoria71 and are produced by the puncture of an insect called ,cynips4 ,the supply is principally from ,turkey and ,aleppo4 ,nut-galls contain a large quantity of tannin and gallic acid1 and are extensively used in dyeing4 ,catechu4--,this is obtained from the ,east ,indies1 and is the extract of the ,acacia catechu1 a thorny tree4 ,the wood is cut up into chips similar to logwood1 and after boiling and evaporation the liquor assumes the consistency of tar2 but when cold it hardens1 and is formed into small squares4 ,it is extensively used by tanners in place of oak bark4 ,thus4--,thus is the resin which exudes from the spruce-fir1 and is used by some polishers in the making of polishes and varnishes4 ,sandarach is the produce of the ,thuya articulata of ,barbary4 ,it occurs in small pale yellow scales1 slightly acid1 and is soluble in alcohol2 it is used in both polishes and varnishes4 ,mastic exudes from the mastic-tree 7,pistacia lentiscus71 and is principally obtained from ,chios1 in the ,grecian ,archipelago4 ,it runs freely when an incision is made in the body of the tree1 but not otherwise4 ,it occurs in the form of nearly colourless and transparent tears of a faint smell1 and is soluble in alcohol as well as oil of turpentine1 forming a rapidly-drying but alterable varnish1 which becomes brittle and dark-coloured by age4 ,benzoin4--,this is the produce of the ,american tree ,laurus benzoin1 and also of the ,styrax benzoin of ,sumatra1 which is called gum benjamin2 it is used in polishes and varnishes1 and as a cosmetic1 and is also burnt as incense in ,catholic churches4 ,copal is one of the most valuable of gums1 and is furnished by many countries in the districts of ,africa explored by ,mr4 ,h4 ,m4 ,stanley1 the discoverer of ,livingstone4 ,copal is found in a fossil state in very large quantities4 ,the natives collect the gum by searching in the sandy soil1 mostly in the hilly districts1 the country being almost barren1 with no large tree except the ,adansonia1 and occasionally a few thorny bushes4 ,the gum is dug out of the earth by the copal gatherers at various depths1 from two or three to ten or more feet1 in a manner resembling gold-digging2 and great excitement appears when a good amount is discovered4 ,the gum is found in various shapes and sizes1 resembling a hen's egg1 a flat cake1 a child's head1 etc4 ,there are three kinds1 yellow1 red1 and whitish2 and the first furnishes the best varnish and fetches the highest price from the dealers4 ,many of the natives assert that the copal still grows on different trees1 and that it acquires its excellent qualities as a resin by dropping off and sinking several feet into the soil1 whereby it is cleansed1 and obtains1 after a lapse of many years1 its hardness1 inflammability1 and transparency4 ,dragon's ,blood is the juice of certain tropical plants of a red colour1 especially of the tree ,pterocarpus draco4 ,after the juice is extracted1 it is reduced to a powder by evaporation4 ,it is used for darkening mahogany1 colouring varnishes or polishes1 etc41 and for staining marble4 ,chemists also use it in preparing tinctures and tooth powders4 ,shellac--or1 more properly1 gum-lac--is a resinous substance obtained from the ,bihar-tree1 and also from the ,ficus ,indica1 or ,banyan-tree4 ,it exudes when the branches are pierced by an insect called the ,coccus ficus4 ,the twigs encrusted with the resin in its natural state is called ,stick-lac4 ,when the resin is broken off the twigs1 powdered1 and rubbed with water1 a good deal of the red colouring matter is dissolved1 and the granular resin left is called seed-lac2 and when melted1 strained1 and spread into thin plates it is called shellac1 and is prepared in various ways and known by the names of button1 garnet1 liver1 orange1 ruby1 thread1 etc41 and is used for many purposes in the arts4 ,shellac forms the principal ingredient for polishes and spirit varnishes4 ,red sealing-wax is composed of shellac1 ,venice turpentine1 and vermilion red2 for the black sealing-wax ivory-black is used instead of the vermilion4 ,shellac is soluble in alcohol1 and in many acids and alkalies4 ,lac-dye is the red colour from the stick-lac dissolved by water and evaporated to dryness4 ,the dye1 however1 is principally from the shrivelled-up body of the insect of the ,stick-lac4 ,shellac is produced in the largest quantity and the best quality in ,bengal1 ,assam1 and ,burmah4 ,the chief seat of manufacture is ,calcutta1 where the native manufacturers are accused of adulterating it with resin to a considerable extent4 ,the best customers are ,great ,britain and the ,united ,states1 though the demand in the ,italian markets appears to be on the increase4 ,amber is a yellow1 semi-transparent1 fossil resin2 hard but brittle1 and easily cut with a knife2 tasteless1 and without smell1 except when pounded or heated1 and then it emits a fragrant odour4 ,it has considerable lustre2 becomes highly electric by friction2 and will burn with a yellow flame4 ,it is found in nodules of various sizes in alluvial soils1 or on the seashore in many places1 particularly on the shores of the ,baltic4 ,amber is much employed for ornamental purposes1 and is also used in the manufacture of amber-varnish4 ,it will not dissolve in alcohol1 but yields to the concentrated action of sulphuric acid1 which will dissolve all resins except caramba wax4 ,pumice-stone4--,this well-known light and spongy volcanic substance is extensively quarried in the small islands that lie off the coast of ,sicily4 ,its porosity and smooth-cutting properties render it of great value to painters and polishers for levelling down first coatings4 ,ground pumice-stone is the best for cutting down bodies of polish or varnish that are more advanced towards completion4 ,the best way to get a surface to a piece of lump pumice-stone is to rub it down on a flat ,york stone1 or1 better still1 an old tile that has been well baked4 ,pumice-stone should not be allowed to stand in water2 it causes the grain to contract and to harden1 thereby deteriorating its cutting properties4 ,linseed-oil4--,this valuable oil is obtained by pressure from the seed of the flax plant 7,linum usitatissimum74 ,linseed contains on an average about #cc per cent4 of oil1 though the amount varies materially1 the percentage obtained fluctuating considerably1 not being alike on any two successive days4 ,this is partly due to the varying richness of the seed1 and partly to the manner in which it is manipulated in extracting the oil1 it being a very easy matter to lose a considerable percentage of the oil by a lack of skill in any of the processes1 though they all seem so simple4 ,the first thing done with the seed from which the oil is to be extracted is to pass it through a screen1 to cleanse it from foreign substances4 ,the seed is received in bags containing from three to four bushels1 and pockets containing one-sixth of that amount4 ,having been screened it is passed through a mill1 whose large iron-rollers1 three in number1 grind it to a coarse meal4 ,thence it is carried to what are known as the mullers1 which are two large stones1 about eight feet in diameter and eighteen inches thick1 weighing six tons each1 standing on their edges1 and rolling around on a stone bed4 ,about five bushels of the meal are placed in the mullers1 and about eight quarts of hot water are added4 ,the meal is afterwards carried by machinery to the heaters1 iron pans holding about a bushel each4 ,these are heated to an even temperature by steam1 and are partly filled with the meal1 which for seven minutes is submitted to the heat1 being carefully stirred in order that all parts may become evenly heated4 ,at the end of that time the meal is placed in bags1 which in turn are placed in hydraulic presses1 iron plates being placed between the bags4 ,pressure is applied for about eight minutes1 until1 as is supposed1 all the oil is pressed out1 leaving a hard cake1 known to the trade as oil-cake1 or linseed-cake4 ,the product of these various processes is known as raw oil1 a considerable portion of which is sold without further labour being expended upon it4 ,there is1 however1 a demand for boiled oil1 for certain purposes where greater drying properties are needed4 ,to supply this want oil is placed in large kettles1 holding from five hundred to one thousand gallons1 where it is heated to a temperature of about #ejj degrees1 being stirred continually4 ,this process1 when large kettles are used1 requires nearly the entire day4 ,while the boiling process is going on1 oxide of manganese is added1 which helps to give the boiled oil better drying properties4 ,a considerable portion of the oil is bleached1 for the use of manufacturers of white paints4 ,venice ,turpentine4--,this is obtained from the larch1 and is said to be contained in peculiar sacs in the upper part of the stem1 and to be obtained by puncturing them4 ,it is a ropy liquid1 colourless or brownish green1 having a somewhat unpleasant odour and bitter taste4 ,oil of ,turpentine is the most plentiful and useful of oils4 ,it is obtained in ,america from a species of pine very plentiful in the ,carolinas1 ,georgia1 and ,alabama1 known as the long-leaved pine 7pinus ,australis71 and found only where the original forest has not been removed4 ,methylated ,spirits4--,the methylated spirit of commerce usually consists of the ordinary mixed grain1 or plain spirit1 as produced by the large distillers in ,london and elsewhere1 with which are blended1 by simply mixing in various proportions1 one part vegetable naphtha and three parts spirits of wine4 ,the mixing takes place in presence of a revenue officer1 and the spirits so methylated are allowed to be used duty free4 ,the revenue authorities consider the admixture of naphtha1 having so pungent and disagreeable a smell1 a sufficient security against its sale and consumption as a beverage4 ,no process has yet been discovered of getting rid of this odour4 ,it is illegal for druggists to use it in the preparation of medicinal tinctures1 unless they are for external use4 ,,printed ,,by ,,william ,,clowes ,,and ,,sons1 ,,limited1 ,,london ,,and ,,beccles4 ,,crosby ,,lockwood ,,son',s ,,list ,,of ,,works ,,on ,,trades ,,and ,,manufactures1 ,,the ,,industrial ,,arts1 ,,chemical ,,manufactures1 ,,counting ,,house ,,work1 ,,etc4 ,a ,complete ,catalogue of ,,new and ,,standard ,,books relating to ,,civil1 ,,mechanical1 ,,marine and ,,electrical ,,engineering2 ,,mining1 ,,metallurgy1 and ,,colliery ,,working2 ,,architecture and ,,building2 ,,agriculture and ,,estate ,,management1 etc4 ,post ,free on ,application4 #g1 ,,stationers' ,,hall ,,court1 ,,london1 ,e4,c41 ,,and #aba;a1 ,,victoria ,,street1 ,,westminster1 ,s4,w4 #aiaj4 ,,list ,,of ,,works ,,on ,,trades and ,,manufactures1 ,,the ,,industrial ,,arts1 ,etc4 ,,acetylene1 ,,lighting ,,by4 ,generators1 ,burners1 and ,electric ,furnaces4 ,by ,,william ,e4 ,,gibbs1 ,m4,e4 ,with #ff ,illustrations4 ,crown #hvo1 cloth #g_/f ,,air ,,gas ,,lighting ,,systems4 ,see ,,petrol ,,gas4 ,,alcohol 7,,industrial73 ,,its ,,manufacture ,,and ,,uses4 ,a ,practical ,treatise based on ,dr4 ,max ,maercker's ,introduction to ,distillation1 as revised by ,drs4 ,,delbruck and ,,lange4 ,by ,j4 ,k4 ,,brachvogel4 #ejj pages1 #aje engravings ,net #af_/f ,,the ,,industrial ,,value ,,of ,,tax-,,free ,,alcohol ,,and ,,what ,,it ,,means ,,to ,,agricultural ,,interests--,,summary ,,of ,,the ,,processes ,,in ,,spirit ,,manufacture--,,starch1 ,,how ,,formed1 ,,its ,,characteristics1 ,,and ,,the ,,changes ,,it ,,undergoes--,,enzymes ,,or ,,ferments--,,products ,,of ,,fermentation--,,starchy ,,and ,,sacchariferous ,,raw ,,materials--,,preparation ,,of ,,the ,,malt--,,steaming ,,the ,,raw ,,material--,,the ,,mashing ,,process--,,fermenting ,,the ,,mash--,,preparation ,,of ,,artificial ,,yeast ,,in ,,the ,,distillery--,,fermentation ,,in ,,practice--,,distillation ,,and ,,rectification--,,arrangement ,,of ,,the ,,distillery--,,the ,,spent ,,wash--,,denaturing ,,of ,,alcohol--,,alcohol ,,for ,,the ,,production ,,of ,,power1 ,,heating ,,and ,,illumination--,,statistics4 ,,alkali ,,trade ,,manual4 ,including the ,manufacture of ,sulphuric ,acid1 ,sulphate of ,soda1 and ,bleaching ,powder4 ,by ,,john ,,lomas1 ,alkali ,manufacturer4 ,with #bcb ,illustrations4 ,super-royal #hvo1 cloth4 #a #ajs4 ,,blowpipe ,,in ,,chemistry1 ,,mineralogy1 ,etc4 ,containing all known ,methods of ,anhydrous ,analysis1 many ,working ,examples1 and ,instructions for ,making ,apparatus4 ,by ,lieut4-,colonel ,w4 ,a4 ,ross1 ,r4,a41 ,f4,g4,s4 ,second ,edition4 ,crown #hvo1 cloth #e_/j ,,boot ,,and ,,shoe ,,making1 including ,measurement1 ,last-fitting1 ,cutting-out1 ,closing and ,making1 with a ,description of the most ,approved ,machinery employed4 ,by ,j4 ,b4 ,,leno4 ,crown #hvo1 cloth #b_/j ,,brass ,,founder',s ,,manual4 ,modelling1 ,pattern ,making1 ,moulding1 ,turning1 c4 ,by ,w4 ,,graham4 ,crown #hvo1 cloth #b_/j ,,bread ,,biscuit ,,baker',s ,,sugar-,,boiler',s ,,assistant4 ,including a large variety of ,modern ,recipes4 ,by ,,robert ,,wells4 ,fifth ,edition4 ,crown #hvo1 cloth #a_/j ,a large number of wrinkles for the ordinary cook1 as well as the baker4--,saturday ,review4 ,,breakfast ,,dishes4 ,for every ,morning of ,three ,months4 ,by ,miss ,,allen 7,mrs4 ,a4 ,,macaire74 ,author of ,savouries and ,sweets1 c4 ,twenty-third ,edition4 ,f'cap #hvo4 ,sewed #a_/j ,or1 quarter bound1 fancy boards #a_/f ,,brewers1 ,,handy ,,book ,,for4 ,being a ,practical ,guide to the ,art of ,brewing and ,malting4 ,embracing the ,conclusions of ,modern ,research which bear upon the ,practice of ,brewing4 ,by ,h4 ,e4 ,,wright1 ,m4,a4 ,third ,edition4 ,thoroughly ,revised and ,enlarged4 ,large ,crown #hvo1 #egh pp41 cloth ,net #ab_/f ,,barley1 ,,malting ,,and ,,malt--,,water ,,for ,,brewing--,,hops ,,and ,,sugars--,,the ,,brewing ,,room--,,chemistry ,,as ,,applied ,,to ,,brewing--,,the ,,laboratory--,,mashing1 ,,sparging1 ,,and ,,boiling--,,ferments ,,in ,,general--,,fermentation ,,with ,,commercial ,,yeast--,,culture ,,from ,a ,,single ,,cell ,,with ,,yeasts--,,treatment ,,of ,,beer--,,the ,,brewery ,,and ,,plants4 ,we have great pleasure in recommending this handy ,book4--,the ,brewers' ,guardian4 ,,calculator1 ,,number1 ,,weight ,,and ,,fractional4 ,containing upwards of #bej1jjj ,separate ,calculations1 showing at a ,glance the ,value at #dbb ,different ,rates1 ranging from #a_/abhth of a ,penny to #bjs4 each1 or per cwt41 and #bj per ton1 of any number of articles consecutively1 from #a to #dgj4 ,any number of cwts41 qrs41 and lbs41 from #a cwt4 to #dgj cwts4 ,any number of tons1 cwts41 qrs41 and lbs41 from #a to #a1jjj tons4 ,by ,,william ,,chadwick1 ,public ,accountant4 ,fourth ,edition1 ,revised and ,improved4 #hvo1 strongly bound #ah_/j ,it is as easy of reference for any answer or any number of answers as a dictionary4 ,for making up accounts or estimates the book must prove invaluable to all who have any considerable quantity of calculations involving price and measure in any combination to do4--,engineer4 ,the most perfect work of the kind yet prepared4--,glasgow ,herald4 ,,cements1 ,,pastes1 ,,glues1 ,,and ,,gums4 ,a ,guide to the ,manufacture and ,application of ,agglutinants for ,workshop1 ,laboratory1 or ,office ,use4 ,with #ijj ,recipes and ,formul4 ,by ,h4 ,c4 ,,standage1 ,crown #hvo1 cloth #b_/j ,as a revelation of what are considered trade secrets1 this book will arouse an amount of curiosity among the large number of industries it touches4--,daily ,chronicle4 ,,chemistry ,,for ,,army ,,and ,,matriculation ,,candidates4 ,by ,,geoffrey ,,martin1 ,b4,,sc41 ,ph4,d4 ,crown #hvo1 cloth4 ,with numerous ,illustrations ,net #b_/j ,,preparation ,,and ,,use ,,of ,,apparatus--,,preparation ,,and ,,properties ,,of ,,certain ,,gases ,,and ,,liquids--,,simple ,,quantitative ,,experiments--,,analytical ,,operations--,,solubility--,,water ,,crystallisation--,,neutralisation ,,of ,,acids ,,by ,,bases1 ,,and ,,preparation ,,of ,,simple ,,salts--,,volumetric ,,analysis--,,chemical ,,equivalents--,,observation ,,of ,,reaction--,,melting ,,and ,,boiling ,,points--,,symbols ,,and ,,atomic ,,weights ,,of ,,the ,,elements--,,weights ,,and ,,measures--,,hints ,,on ,,regulating ,,work ,,in ,,practical ,,chemistry ,,classes4 ,,clocks1 ,,watches1 ,,bells for ,,public ,,purposes4 ,by ,,edmund ,,beckett1 ,,lord ,,grimthorpe1 ,,ll4,d41 ,k4,c41 ,f4,r4,a4,s4 ,eighth ,edition1 with new ,list of ,great ,bells and an ,appendix on ,weathercocks4 ,crown #hvo1 cloth #d_/f2 cloth boards1 #e_/f ,the only modern treatise on clock-making4--,horological ,journal4 ,,coach-,,building4 ,a ,practical ,treatise1 ,historical and ,descriptive4 ,by ,j4 ,w4 ,,burgess4 ,crown #hvo1 cloth #b_/f ,,coke--,,modern ,,coking ,,practice4 ,including the ,analysis of ,materials and ,products4 ,a handbook for those engaged or interested in ,coke ,manufacture with recovery of ,by-,products4 ,by ,t4 ,h4 ,,byrom1 ,f4,i4,c41 ,f4,c4,s41 ,mem4 ,soc4 of ,chem4 ,industry1 ,chief ,chemist to the ,wigan ,coal and ,iron ,company4 ,for fifteen years ,lecturer at the ,wigan ,technical ,college4 ,author of ,the ,physics and ,chemistry of ,mining2 and ,j4 ,e4 ,,christopher1 ,mem4 ,soc4 of ,chem4 ,industry1 ,sub-manager of the ,semet ,solvay ,coking ,plant of the ,wigan ,coal and ,iron ,company4 ,lecturer on ,coke ,manufacture at the ,wigan ,technical ,college4 #afh pages1 with numerous illustrations4 ,demy #hvo1 cloth4 ,just ,published ,net #h_/f ,the authors have succeeded in treating the subject in a clear and compact way1 giving an easily comprehensible review of the different processes4--,mining ,journal4 ,the book will be eagerly read1 and the authors may be assured that their labour will be appreciated4 ,we anticipate that the book will be a success2 at any rate it possesses the necessary merit4--,science and ,art of ,mining4 ,,commercial ,,correspondent1 ,,foreign4 ,being ,aids to ,commercial ,correspondence in ,five ,languages--,english1 ,french1 ,german1 ,italian1 and ,spanish4 ,by ,,conrad ,e4 ,,baker4 ,third ,edition1 ,carefully ,revised ,throughout4 ,crown #hvo1 cloth #d_/f ,whoever wishes to correspond in all the languages mentioned by ,mr4 ,baker cannot do better than study this work1 the materials of which are excellent and conveniently arranged4 ,they consist not of entire specimen letters1 but--what are far more useful--short passages1 sentences1 or phrases expressing the same general idea in various forms4--,athenum4 ,,confectioner1 ,,modern ,,flour4 ,containing a large ,collection of ,recipes for ,cheap ,cakes1 ,biscuits1 c4 ,with remarks on the ,ingredients ,used in their ,manufacture4 ,by ,r4 ,,wells #a_/j ,,confectionery1 ,,ornamental4 ,a ,guide for ,bakers1 ,confectioners and ,pastrycooks2 including a variety of ,modern ,recipes1 and ,remarks on ,decorative and ,coloured ,work4 ,with #abi ,original ,designs4 ,by ,,robert ,,wells4 ,crown #hvo1 cloth #e_/j ,a valuable work1 practical1 and should be in the hands of every baker and confectioner4 ,the illustrative designs are worth treble the amount charged for the work4--,bakers' ,times4 ,,cotton ,,manufacture4 ,a ,manual of ,practical ,instruction of the ,processes of ,opening1 ,carding1 ,combing1 ,drawing1 ,doubling and ,spinning1 ,methods of ,dyeing1 c4 ,for the ,use of ,operatives1 ,overlookers1 and ,manufacturers4 ,by ,j4 ,,lister4 #hvo1 cloth #g_/f ,,dangerous ,,goods4 ,their ,sources and ,properties1 ,modes of ,storage and ,transport4 ,with ,notes and ,comments on ,accidents arising therefrom4 ,for the ,use of ,government and ,railway ,officials1 ,steamship ,owners1 c4 ,by ,h4 ,j4 ,,phillips4 ,crown #hvo1 cloth #i_/j ,,dentistry 7,,mechanical74 ,a ,practical ,treatise on the ,construction of the ,various ,kinds of ,artificial ,dentures4 ,by ,c4 ,,hunter4 ,crown #hvo1 cloth #c_/j ,,discount ,,guide4 ,comprising several ,series of ,tables for the ,use of ,merchants1 ,manufacturers1 ,ironmongers1 and ,others1 by which may be ascertained the ,exact ,profit arising from any mode of using ,discounts1 either in the ,purchase or ,sale of ,goods1 and the method of either ,altering a ,rate of ,discount1 or ,advancing a ,price1 so as to produce1 by one operation1 a sum that will realise any required ,profit after allowing one or more ,discounts3 to which are added ,tables of ,profit or ,advance from #aa_/d to #ij per cent41 ,tables of ,discount from #aa_/d to #ihc_/d per cent41 and ,tables of ,commission1 c41 from #a_/h to #aj per cent4 ,by ,,henry ,,harben1 ,accountant4 ,new ,edition1 ,corrected4 ,demy #hvo1 half-bound #a #es4 ,a book such as this can only be appreciated by business men1 to whom the saving of time means saving of money4 ,the work must prove of great value to merchants1 manufacturers1 and general traders4--,british ,trade ,journal4 ,,drying ,,machinery ,,and ,,practice4 ,a ,handbook on the ,theory and ,practice of ,drying and ,desiccating1 with ,classified ,description of ,installations1 ,machinery1 and ,apparatus1 including also a ,glossary of ,technical ,terms and ,bibliography4 ,by ,,thomas ,g4 ,,marlow1 ,grinding1 ,drying1 and ,separating ,machinery ,specialist4 ,medium #hvo4 ,about #bej pages1 with #aej ,illustrations ,in the ,press1 price about #ab_/f net4 ,,electricity ,,in ,,factories ,,and ,,workshops3 ,,its ,,cost ,,and ,,convenience4 ,a ,handbook for ,power ,producers and ,power ,users4 ,by ,a4 ,p4 ,,haslam1 ,m4,i4,e4,e4 #cbh pages1 with numerous illustrations4 ,large crown1 #hvo1 cloth ,net #g_/f ,,electro-,,metallurgy4 ,a ,practical ,treatise4 ,by ,,alexander ,,watt4 ,tenth ,edition1 enlarged and revised4 ,including the most ,recent ,processes4 ,crown #hvo1 cloth #c_/f ,,electro-,,plating4 ,a ,practical ,handbook on the ,deposition of ,copper1 ,silver1 ,nickel1 ,gold1 ,aluminium1 ,brass1 ,platinum1 c41 c4 ,by ,j4 ,w4 ,,urquhart1 ,c4,e4 ,fifth ,edition1 ,revised4 ,crown #hvo1 cloth #e_/j ,,electro-,,plating ,,electro-,,refining ,,of ,,metals ,being a new edition of ,,alexander ,,watt',s ,,electro-,,deposition4 ,revised and ,rewritten by ,a4 ,,philip1 ,b4,sc41 ,principal ,assistant to the ,admiralty ,chemist4 ,crown #hvo1 cloth ,net #ab_/f ,,part ,i4 ,,electro-,,plating--,,preliminary ,,considerations--,,primary ,,and ,,secondary ,,batteries--,,thermopiles--,,dynamos--, ,cost ,,of ,,electrical ,,installations ,,of ,,small ,,output ,,for ,,electro-,,plating--,,historical ,,review ,,of ,,electro ,,deposition--,,electro ,,deposition ,,of ,,copper--,,deposition ,,of ,,gold ,,by ,,simple ,,immersion--,,electro ,,deposition ,,of ,,gold--,,various ,,gilding ,,operations--,,mercury ,,gilding--,,electro ,,deposition ,,of ,,silver--,,imitation ,,antique ,,silver--,,electro ,,deposition ,,of ,,nickel1 ,,tin1 ,,iron ,,and ,,zinc1 ,,various ,,metals ,,and ,,alloys--,,recovery ,,of ,,gold ,,and ,,silver ,,from ,,wash ,,solutions--,,mechanical ,,operations ,,connected ,,with ,,electro ,,deposition--,,materials ,,used ,,in ,,electro ,,deposition4 ,,part ,,ii4 ,,electro ,,metallurgy--,,electro ,,metallurgy ,,of ,,copper--,,cost ,,of ,,electrolytic ,,copper ,,refining--,,current ,,density ,,as ,a ,,factor ,,in ,,profits--,,some ,,important ,,details ,,in ,,electrolytic ,,copper ,,refineries--,,electrolytic ,,gold ,,and ,,silver ,,bullion ,,refining--,,electrolytic ,,treatment ,,of ,,tin--,,electrolytic ,,refining ,,of ,,lead--,,electrolytic ,,production ,,of ,,aluminium ,,and ,,electrolytic ,,refining ,,of ,,nickel--,,electro ,,galvanising4 ,eminently a book for the practical worker in electro-deposition4--,engineer4 ,,electro-,,typing4 ,the ,reproduction and ,multiplication of ,printing ,surfaces and ,works of ,art by the ,electro-,deposition of ,metals4 ,by ,j4 ,w4 ,,urquhart1 ,c4,e4 ,crown #hvo1 cloth #e_/j ,,engineering ,,chemistry4 ,a ,practical ,treatise for the ,use of ,analytical ,chemists1 ,engineers1 ,iron ,masters1 ,iron ,founders1 ,students and others4 ,comprising ,methods of ,analysis and ,valuation of the ,principal ,materials used in ,engineering ,work1 with numerous ,analyses1 ,examples and ,suggestions4 ,by ,h4 ,,phillips4 ,third ,edition1 ,revised4 ,crown #hvo1 #dbj pp41 with ,illustrations1 cloth ,net #aj_/f ,,explosives1 ,,modern1 ,a ,,handbook ,,on4 ,a ,practical ,treatise on the ,manufacture and ,use of ,dynamite1 ,gun-,cotton1 ,nitro-,glycerine and other ,explosive ,compounds1 including ,collodion-,cotton4 ,with ,chapters on ,explosives in ,practical ,application4 ,by ,m4 ,,eissler1 ,m4,e4 ,second ,edition1 ,enlarged4 ,crown #hvo1 cloth #ab_/f ,a veritable mine of information on the subject of explosives employed for military1 mining1 and blasting purposes4--,army and ,navy ,gazette4 ,,explosives3 ,,nitro-,,explosives4 ,the ,properties1 ,manufacture1 and ,analysis of ,nitrated ,substances1 including the ,fulminates1 ,smokeless ,powders1 and ,celluloid4 ,by ,p4 ,g4 ,,sanford1 ,f4,i4,c41 ,f4,c4,s41 ,public ,analyst to the ,borough of ,penzance4 ,second ,edition1 enlarged4 ,with ,illustrations4 ,demy #hvo1 cloth ,net #aj_/f ,,nitro-,,glycerine--,,nitro-,,cellulose 1 ,,etc4--,,dynamite--,,nitro-,,benzol1 ,,roburite1 ,,bellite1 ,,picric ,,acid1 ,,etc4--,,the ,,fulminates--,,smokeless ,,powders ,,in ,,general--,,analysis ,,of ,,explosives--,,firing ,,point1 ,,heat ,,tests1 ,,determination ,,of ,,relative ,,strength1 ,,etc4 ,one of the very few text-books in which can be found just what is wanted4 ,mr4 ,sanford goes steadily through the whole list of explosives commonly used1 he names any given explosive1 and tells of what it is composed and how it is manufactured4 ,the book is excellent4--,engineer4 ,,factory ,,accounts3 ,,their ,,principles ,,and ,,practice4 ,a ,handbook for ,accountants and ,manufacturers1 with ,appendices on the ,nomenclature of ,machine ,details1 the ,income ,tax ,acts1 the ,rating of ,factories1 ,fire and ,boiler ,insurance1 the ,factory and ,workshop ,acts1 etc41 including a ,glossary of ,terms and a large number of ,specimen ,rulings4 ,by ,,emile ,,garcke and ,j4 ,m4 ,,fells4 ,fifth ,edition1 ,revised and ,enlarged4 ,demy #hvo1 cloth #g_/f ,a very interesting description of the requirements of ,factory ,accounts4444 ,the principle of assimilating the ,factory ,accounts to the general commercial books is one which we thoroughly agree with4--,accountants' ,journal4 ,,flour ,,manufacture4 ,a ,treatise on ,milling ,science and ,practice4 ,by ,,friedrich ,,kick1 ,imperial ,regierungsrath1 ,professor of ,mechanical ,technology in the ,imperial ,german ,polytechnic ,institute1 ,prague4 ,translated from the ,second ,enlarged and ,revised ,edition4 ,by ,h4 ,h4 ,p4 ,,powles1 ,a4,m4,inst4,c4,e4 #djj pp41 with #bh ,folding ,plates1 and #afg ,woodcuts4 ,royal #hvo1 cloth #a #es4 ,this invaluable work is the standard authority on the science of milling4--,the ,miller4 ,,french ,,polishing ,,and ,,enamelling4 ,including numerous ,recipes for making ,polishes1 ,varnishes1 ,glaze1 ,lacquers1 ,revivers1 c4 ,by ,r4 ,,bitmead4 ,crown #hvo1 cloth #a_/f ,,gas ,,engineer',s ,,pocket-,,book4 ,comprising ,tables1 ,notes and ,memoranda relating to the ,manufacture1 ,distribution and ,use of ,coal ,gas and the ,construction of ,gas ,works4 ,by ,h4 ,o',,connor1 ,a4,m4,inst4,c4,e4 ,third ,edition4 ,revised4 ,crown #hvo1 leather4 ,net #aj_/f ,,general ,,constructing ,,memoranda--,,general ,,mathematical ,,tables--,,unloading ,,materials ,,and ,,storage--,,retort ,,house--,,condensers--,,boilers1 ,,engines1 ,,pumps1 ,,and ,,exhausters--,,scrubbers ,,and ,,washers--,,purifiers--,,gasholder ,,tanks--,,gasholders--,,workshop ,,notes--,,manufacturing--,,storing ,,materials--,,retort ,,house 7,,working7--,,condensing ,,gas--,,exhausters1 ,,etc4--,,washing ,,and ,,scrubbing--,,purification--,,gasholder s 7,,care ,,of7--,,distributing ,,gas--,,testing--,,enriching ,,processes--,,product ,,works--,,supplementary4 ,the book contains a vast amount of information4--,gas ,world4 ,,gas ,,engineering4 ,see ,,producer ,,gas ,,practice ,,and ,,industrial ,,gas ,,engineering4 ,,gas ,,fitting4 ,a ,practical ,handbook4 ,by ,,john ,,black4 ,revised ,edition4 ,with #acj ,illustrations4 ,crown #hvo1 cloth #b_/f ,,gas ,,lighting4 ,see ,,acetylene4 ,,gas ,,lighting ,,for ,,country ,,houses4 ,see ,,petrol ,,air ,,gas4 ,,gas ,,manufacture1 ,,chemistry ,,of4 ,a ,practical ,manual for the use of ,gas ,engineers1 ,gas ,managers and ,students4 ,by ,,harold ,m4 ,,royle1 ,chief ,chemical ,assistant at the ,beckton ,gas ,works4 ,demy #hvo1 cloth1 #cdj pages1 with numerous ,illustrations and ,coloured ,plate4 ,net #ab_/f ,,preparation ,,of ,,standard ,,solutions--,,analysis ,,of ,,coals--,,description ,,of ,,various ,,types ,,of ,,furnaces--,,products ,,of ,,carbonisation ,,at ,,various ,,temperatures--,,analysis ,,of ,,crude ,,gas--,,analysis ,,of ,,lime--,,analysis ,,of ,,ammoniacal ,,liquor--,,analytical ,,valuation ,,of ,,oxide ,,of ,,iron--,,estimation ,,of ,,naphthalin--,,analysis ,,of ,,fire-,,bricks ,,and ,,fire-,,clay--,,art ,,of ,,photometry--,,carburetted ,,water ,,gas--,,appendix ,,containing ,,statutory ,,and ,,official ,,regulations ,,for ,,testing ,,gas4 ,,valuable ,,excerpts ,,from ,,various ,,important ,,papers ,,on ,,gas ,,chemistry1 ,,useful ,,tables1 ,,memoranda1 etc4 ,,gas ,,works4 ,their ,construction and ,arrangement1 and the ,manufacture and ,distribution of ,coal ,gas4 ,by ,s4 ,,hughes1 ,c4,e4 ,ninth ,edition4 ,revised by ,h4 ,o',,connor1 ,a4,m4,inst4,c4,e4 ,crown #hvo #f_/j ,,gold ,,working4 ,,jeweller',s ,,assistant for ,masters and ,workmen1 ,compiled from the ,experience of ,thirty ,years' ,workshop ,practice4 ,by ,g4 ,e4 ,,gee4 ,crown #hvo #g_/f ,,goldsmith',s ,,handbook4 ,alloying1 ,melting1 ,reducing1 ,colouring1 ,collecting1 and ,refining4 ,manipulation1 ,recovery of ,waste1 ,chemical and ,physical ,properties2 ,solders1 ,enamels1 and other useful ,rules and ,recipes1 c4 ,by ,g4 ,e4 ,,gee1 ,sixth ,edition4 ,crown #hvo1 cloth #c_/j ,,goldsmith',s ,,and ,,silversmith',s ,,complete ,,handbook4 ,by ,g4 ,e4 ,,gee4 ,crown #hvo1 half bound #g_/j ,,hall-,,marking ,,of ,,jewellery4 ,comprising an account of all the different ,assay ,towns of the ,united ,kingdom1 with the ,stamps at present employed2 also the ,laws relating to the ,standards and ,hall-marks at the various ,assay ,offices4 ,by ,g4 ,e4 ,,gee4 ,crown #hvo #c_/j ,,handybooks ,,for ,,handicrafts4 ,by ,,paul ,n4 ,,hasluck4 ,see page #af4 ,,horology1 ,,modern1 ,,in ,,theory ,,and ,,practice4 ,translated from the ,french of ,,claudius ,,saunier1 ex-,director of the ,school of ,horology at ,macon1 by ,,julien ,,tripplin1 ,f4,r4,a4,s41 ,besanon ,watch ,manufacturer1 and ,,edward ,,rigg1 ,m4,a41 ,assayer in the ,royal ,mint4 ,with ,seventy-eight ,woodcuts and ,twenty-two ,coloured ,copper ,plates4 ,second ,edition4 ,super-royal #hvo1 #b #bs4 cloth2 half-calf #b #ajs4 ,there is no horological work in the ,english language at all to be compared to this production of ,m4 ,saunier's for clearness and completeness4 ,it is alike good as a guide for the student and as a reference for the experienced horologist and skilled workman4--,horological ,journal4 ,,illuminating ,,and ,,missal ,,painting ,,on ,,paper ,,and ,,vellum4 ,a ,practical ,treatise on ,manuscript ,work1 ,testimonials1 and ,herald ,painting1 with ,chapters on ,lettering and ,writing1 and on ,medival ,burnished ,gold4 ,with two ,coloured ,plates4 ,by ,,philip ,,whithard 7,first-class ,diploma for ,illumination and ,herald ,painting1 ,printing ,trades ,exhibition1 #aijf74 #aef pages4 ,crown #hvo1 cloth ,net #d_/j ,,interest ,,calculator4 ,containing ,tables at #a1 #aa_/b1 #b1 #ba_/b1 #c1 #ca_/b1 #cc_/d1 #d1 #da_/b1 #dc_/d and #e per cent4 ,by ,a4 ,m4 ,,campbell1 ,author of ,the ,concise ,calendar4 ,crown #hvo1 cloth ,net #b_/f ,,iron ,,and ,,metal ,,trades' ,,companion4 ,for ,expeditiously ascertaining the ,value of any ,goods bought or sold by ,weight1 from #as4 per cwt4 to #aabs4 per cwt41 and from one farthing per pound to one shilling per pound4 ,by ,,thomas ,,downie4 ,strongly bound in leather1 #cif pp4 #i_/j ,a most useful set of tables4 ,nothing like them before existed4--,building ,news4 ,,iron-,,plate ,,weight ,,tables4 ,for ,iron ,shipbuilders1 ,engineers and ,iron ,merchants4 ,containing the ,calculated ,weights of upwards of #aej1jjj different sizes of ,iron ,plates1 from #a ft4 by #f ins4 by #a_/d in4 to #aj ft4 by #e ft4 by #a in4 ,worked out on the basis of #dj lbs4 to the square foot of iron of #a in4 in thickness4 ,by ,h4 ,,burlinson and ,w4 ,h4 ,,simpson4 #dto1 half bound #a #es4 ,,labour ,,contracts4 ,a ,popular ,handbook on the ,law of ,contracts or ,works and ,services4 ,by ,,david ,,gibbons4 ,fourth ,edition1 with ,appendix of ,statutes by ,t4 ,f4 ,,uttley2 ,solicitor4 ,f'cap4 #hvo1 cloth #c_/f ,,laundry ,,management4 ,a ,handbook for use in ,private and ,public ,laundries4 ,cr4 #hvo1 cloth #b_/j ,,law ,,for ,,manufacturers1 ,,employers ,,and ,,others1 ,,etc4 ,see ,,every ,,man',s ,,own ,,lawyer4 ,a ,handy-book of the ,principles of ,law and ,equity4 ,by a ,,barrister4 ,forty-seventh 7#aiaj7 ,edition1 including the ,legislation of #aiji4 #hcj pp4 ,large crown #hvo1 cloth ,just ,published4 ,net #f_/h ,,summary ,,of ,,contents3 ,,landlord ,,and ,,tenant--,,vendors ,,and ,,purchasers--,,contracts ,,and ,,agreements--,,conveyances ,,and ,,mortgages--,,joint-,,stock ,,companies--,,partnership--,,shipping ,,law--,,dealings ,,with ,,money--,,suretiship--,,cheques1 ,,bills ,,and ,,notes--,,bills ,,of ,,sale--,,bankruptcy--,,masters1 ,,servants ,,and ,,workmen--,,insurance3 ,,life1 ,,accident1 ,,etc4--,,copyright1 ,,patents4 ,,trade ,,marks--,,husband ,,and ,,wife1 ,,divorce--,,infancy1 ,,custody ,,of ,,children--,,trustees ,,and ,,executors--,,taxes ,,and ,,death ,,duties--,,clergymen1 ,,doctors1 ,,and ,,lawyers--,,parliamentary ,,elections--,,local ,,government--,,libel ,,and ,,slander--,,nuisances--,,criminal ,,law--,,game ,,laws1 ,,gaming1 ,,innkeepers--,,forms ,,of ,,wills1 ,,agreements1 ,,notices1 ,,etc4 ,a useful and concise epitome of the law4--,law ,magazine4 ,a complete digest of the most useful facts which constitute ,english law4--,globe4 ,a dictionary of legal facts well put together4 ,the book is a very useful one4--,spectator4 ,,leather ,,manufacture4 ,a ,practical ,handbook of ,tanning1 ,currying1 and ,chrome ,leather ,dressing4 ,by ,a4 ,,watt4 ,fifth ,edition1 ,revised and ,enlarged4 #hvo1 cloth ,net #ab_/f ,,chemical ,,theory ,,of ,,the ,,tanning ,,process--,,the ,,skin--,,hides ,,and ,,skins--,,tannin ,,or ,,tannic ,,acid--,,gallic ,,acid--,,gallic ,,fermentation--,,tanning ,,materials--,,estimation ,,of ,,tannin--,,preliminary ,,operations--,,depilation ,,or ,,unhairing ,,skins ,,and ,,hides--,,deliming ,,or ,,bating--,,tanning ,,butts ,,for ,,sole ,,leather--,,tanning ,,processes--,,tanning ,,by ,,pressure--,,quick ,,tanning--,,harness ,,leather ,,tanning--,,american ,,tanning--,,hemlock ,,tanning--,,tanning ,,by ,,electricity--,,chemical ,,tanning--,,miscellaneous ,,processes--,,cost ,,of ,,american ,,tanning--,,manufacture ,,of ,,light ,,leathers--,,dyeing ,,leather--,,manufacture ,,of ,,white ,,leather--,,chrome ,,leather ,,manufacture--,,box ,,calf ,,manufacture--,,chamois ,,or ,,oil ,,leather ,,manufacture--,,currying--,,machinery ,,employed ,,in ,,leather ,,manufacture--,,embossing ,,leather--,,fellmongering--,,parchment1 ,,vellum1 ,,and ,,shagreen--,,gut ,,dressing--,,glue ,,boiling--,,utilisation ,,of ,,tanner',s ,,waste4 ,a sound1 comprehensive treatise on tanning and its accessories4--,chemical ,review4 ,,leather ,,manufacture4 ,,practical ,,tanning3 ,a ,handbook of ,modern ,processes1 ,receipts and ,suggestions for the ,treatment of ,hides1 ,skins1 and ,pelts of every description1 including various ,patents relating to ,tanning1 with specifications4 ,by ,,louis ,a4 ,,flemming1 ,american ,tanner4 ,second ,edition1 in great part re-written1 thoroughly revised1 and much enlarged4 ,illustrated by six full-page ,plates4 ,medium #hvo1 cloth1 #fcj pages ,just published4 ,net #bh_/j ,,magnetos ,,for ,,automobilists1 ,,how ,,made ,,and ,,how ,,used4 ,a ,handbook of ,practical ,instruction in the ,manufacture and ,adaptation of the ,magneto to the needs of the ,motorist4 ,by ,s4 ,r4 ,,bottone1 late of the ,collegio del ,carmine1 ,turin1 ,author of ,the ,dynamo1 ,ignition ,devices1 c4 ,second ,edition1 enlarged4 ,with #eb ,illustrations4 ,crown #hvo1 cloth ,net #b_/j ,,marble ,,and ,,marble ,,working4 ,a ,handbook for ,architects1 ,sculptors1 ,marble ,quarry ,owners and ,workers1 and all engaged in the ,building and ,decorative ,industries4 ,containing numerous ,illustrations and thirteen ,coloured ,plates4 ,by ,w4 ,g4 ,,renwick1 ,author of ,the ,marble ,industry1 ,the ,working of ,marble for ,decorative ,purposes1 etc4 #bdj pages4 ,medium #hvo1 cloth #ae_/j ,,the ,,chemistry ,,of ,,marble--,,its ,,geological ,,formation--,a ,,short ,,classification ,,of ,,marbles--,,antiquity ,,of ,,the ,,marble ,,industry--,,ancient ,,quarries ,,and ,,methods ,,of ,,working--,,modern ,,quarries ,,and ,,quarrying ,,methods--,,machinery ,,used ,,in ,,quarrying--,,european ,,and ,,american ,,systems ,,compared--,,marble ,,as ,,building ,,material--,,uses ,,of ,,marble ,,other ,,than ,,for ,,building ,,purposes-,,sources ,,of ,,production3 ,,italian1 ,,french1 ,,belgian1 ,,and ,,greek ,,marbles1 ,,etc4--,,marbles ,,of ,,the ,,united ,,kingdom ,,and ,,british ,,colonies--,,continental ,,marble ,,working--,,marble ,,working ,,machinery--,,marble ,,working ,,in ,,the ,,united ,,states--,,american ,,machinery ,,described ,,and ,,compared--,,marble ,,working3 ,a ,,british ,,industry--,,marble ,,substitutes ,,and ,,imitations--,,practical ,,points ,,for ,,the ,,consideration ,,of ,,architects--,,hints ,,on ,,the ,,selection ,,of ,,marble--,,list ,,of ,,marbles ,,in ,,ordinary ,,use1 ,,with ,,descriptive ,,notes ,,and ,,instances ,,of ,,their ,,application4 ,,mensuration ,,and ,,gauging4 ,a ,,pocket-,,book containing ,tables1 ,rules1 and ,memoranda for ,revenue ,officers1 ,brewers1 ,spirit ,merchants1 c4 ,by ,j4 ,b4 ,,mant4 ,second ,edition4 #ahmo1 leather4 #d_/j ,should be in the hands of every practical brewer4--,brewers' ,journal4 ,,metric ,,tables1 ,a ,,series ,,of4 ,in which the ,british ,standard ,measures and ,weights are compared with those of the ,metric ,system at present in ,use on the ,continent4 ,by ,c4 ,h4 ,,dowling1 ,c4,e4 #hvo1 cloth #aj_/f ,mr4 ,dowling's tables are well put together as a ready-reckoner for the conversion of one system into the other4--,athenum4 ,,metrology1 ,,modern4 ,a ,manual of the ,metrical ,units and ,systems of the present ,century4 ,with an ,appendix containing a proposed ,english ,system4 ,by ,,lowis d',a4 ,,jackson1 ,a4,m4,inst4,c4,e41 ,author of ,aid to ,survey ,practice1 etc4 ,large crown #hvo1 cloth #ab_/f ,we recommend the work to all interested in the practical reform of our weights and measures4--,nature4 ,,motor ,,car1 ,,the4 ,a ,practical ,manual for the use of ,students and ,motor ,car ,owners1 with notes on the ,internal ,combustion ,engine and its fuel4 ,by ,,robert ,w4 ,a4 ,,brewer1 ,a4,m4,inst4,c4,e41 ,m4,i4,m4,e41 ,m4,i4,a4,e4 #bej pages4 ,with numerous illustrations4 ,demy #hvo1 cloth ,net #e_/j ,,motor ,,car ,,catechism4 ,containing about #cbj ,questions and ,answers ,explaining the ,construction and ,working of a ,modern ,motor ,car4 ,for the ,use of ,owners1 ,drivers1 and ,students4 ,by ,,john ,,henry ,,knight4 ,second ,edition1 revised and enlarged1 with an additional chapter on ,motor ,cycles4 ,crown #hvo1 with ,illustrations ,net #a_/f ,,the ,,petrol ,,engine--,,transmission ,,and ,,the ,,chassis--,,tyres--,,duties ,,of ,a ,,car ,,driver--,,motor ,,cycles--,,laws ,,and ,,regulations4 ,,motor ,,cars ,,for ,,common ,,roads4 ,by ,a4 ,j4 ,,wallis-,,tayler1 ,a4,m4,inst4,c4,e4 #bab pp41 with #gf ,illustrations4 ,crown #hvo4 #d_/f ,,motor ,,vehicles ,,for ,,business ,,purposes4 ,a ,practical ,handbook for those interested in the ,transport of ,passengers and ,goods4 ,by ,a4 ,j4 ,,wallis-,,tayler1 ,a4,m4,inst4,c4,e4 ,with #acd ,illustrations4 ,demy #hvo1 cloth ,net #i_/j ,,resistance ,,to ,,traction ,,on ,,common ,,roads--,,power ,,required ,,for ,,motor ,,vehicles--,,light ,,passenger ,,vehicles--,,heavy ,,passenger ,,vehicles--,,light ,,goods ,,vans--,,heavy ,,freight ,,vehicles--,,self-,,propelled ,,vehicles ,,for ,,municipal ,,purposes--,,miscellaneous ,,types ,,of ,,motor ,,vehicles--,,cost ,,of ,,running ,,and ,,maintenance4 ,,oils ,,and ,,allied ,,substances4 ,,an ,,analysis4 ,by ,a4 ,c4 ,,wright1 ,m4,a4,oxon41 ,b4,sc4,lond41 formerly ,assistant ,lecturer in ,chemistry at the ,yorkshire ,college1 ,leeds1 and ,lecturer in ,chemistry at the ,hull ,technical ,school4 ,demy #hvo1 cloth ,net #i_/j ,,the ,,occurrence ,,and ,,composition ,,of ,,oils1 ,,fats ,,and ,,waxes--,,the ,,physical ,,properties ,,of ,,oils1 ,,fats1 ,,and ,,waxes1 ,,and ,,their ,,determination--,,the ,,chemical ,,properties ,,of ,,oils1 ,,fats1 ,,and ,,waxes ,,from ,,the ,,analytical ,,standpoint--,,detection ,,and ,,determination ,,of ,,non-,,fatty ,,constituents--,,methods ,,for ,,estimating ,,the ,,constituents ,,of ,,oils ,,and ,,fats--,,description ,,and ,,properties ,,of ,,the ,,more ,,important ,,oils1 ,,fats1 ,,and ,,waxes1 ,,with ,,the ,,methods ,,for ,,their ,,investigation--,,examination ,,of ,,certain ,,commercial ,,products4 ,,organ ,,building 7,,practical74 ,by ,w4 ,e4 ,,dickson1 ,m4,a41 ,precentor of ,ely ,cathedral4 ,second ,edition1 ,crown #hvo #b_/f ,,paints1 ,,mixed4 ,,their ,,chemistry ,,and ,,technology4 ,by ,,maximilian ,,toch4 ,with #fj ,photomicrographic ,plates and other ,illustrations ,net #ab_/f ,,the ,,pigments--,,yellow1 ,,blue1 ,,and ,,green ,,pigments--,,the ,,inert ,,fillers ,,and ,,extenders--,,paint ,,vehicles--,,special ,,paints--,,analytical--,,appendix4 ,,painting ,,for ,,the ,,imitation ,,of ,,woods ,,and ,,marbles4 ,as ,taught and ,practised by ,a4 ,r4 ,,van ,,der ,,burg and ,p4 ,,van ,,der ,,burg1 ,directors of the ,rotterdam ,painting ,institution4 ,royal folio1 cloth1 #aha_/b by #aba_/b in4 ,illustrated with #bd full-size ,coloured ,plates2 also #ab ,plain ,plates1 comprising #aed ,figures4 ,fifth ,edition ,net #be_/j ,,painting1 ,,graining1 ,,marbling1 ,,and ,,sign ,,writing4 ,with a ,course of ,elementary ,drawing and a ,collection of ,useful ,receipts4 ,by ,e4 ,a4 ,,davidson4 ,ninth ,edition4 ,coloured ,plates4 ,crown #hvo1 cloth1 #e_/j2 cloth boards1 #f_/j ,,paper-,,making4 ,a ,practical ,manual for ,paper ,makers and ,owners and ,managers of ,paper-,mills4 ,with ,tables1 ,calculations1 etc4 ,by ,g4 ,,clapperton1 ,paper-,maker4 ,with ,illustrations of ,fibres from ,micro-,photographs4 ,second edition1 revised and enlarged4 ,crown #hvo1 cloth ,net #e_/j ,,chemical ,,and ,,physical ,,characteristics ,,of ,,various ,,fibres--,,cutting ,,and ,,boiling ,,of ,,rags--,,jute ,,boiling ,,and ,,bleaching--,,wet ,,picking--,,washing1 ,,breaking1 ,,and ,,bleaching--,,electrolytic ,,bleaching--,,antichlor--,,cellulose ,,from ,,wood--,,mechanical ,,wood ,,pulp--,,esparto ,,and ,,straw--,,beating-- ,,loading--,,starching--,,colouring ,,matter--,,resin1 ,,size1 ,,and ,,sizing--,,the ,,fourdrinier ,,machine ,,and ,,its ,,management--,,animal ,,sizing--,,drying--,,glazing ,,and ,,burnishing--,,cutting1 ,,finishing--,,microscopical ,,examination ,,of ,,paper--,,tests ,,for ,,ingredients ,,of ,,paper--,,recovery ,,of ,,soda--,,testing ,,of ,,chemicals--,,testing ,,water ,,for ,,impurities4 ,the author caters for the requirements of responsible mill hands1 apprentices1 etc41 whilst his manual will be found of great service to students of technology1 as well as to veteran paper-makers and mill-owners4 ,the illustrations form an excellent feature4--,the ,world's ,paper ,trade4 ,,paper-,,making4 ,a ,practical ,handbook of the ,manufacture of ,paper from ,rags1 ,esparto1 ,straw1 and other ,fibrous ,materials4 ,including the ,manufacture of ,pulp from ,wood ,fibre1 with a ,description of the ,machinery and ,appliances used4 ,to which are added ,details of ,processes for ,recovering ,soda from ,waste ,liquors4 ,by ,a4 ,,watt4 ,with ,illustrations4 ,crown #hvo #g_/f ,,paper ,,making1 ,,chapters ,,on4 ,a ,series of ,volumes dealing in a practical manner with all the leading questions in connection with the ,chemistry of ,paper-,making and the ,manufacture of ,paper4 ,by ,,clayton ,,beadle1 ,lecturer on ,paper-,making before the ,society of ,arts1 #ahih and #aijb1 and at the ,battersea ,polytechnic ,institute1 #aijb1 etc41 etc4 ,each volume is published separately1 at the price of #e_/j net per vol4 ,volume ,i1 comprises a ,series of ,lectures delivered on behalf of the ,battersea ,polytechnic ,institute in #aijb4 ,crown #hvo4 #aea pp4 ,net #e_/j ,volume ,,ii4 comprises ,answers to ,questions on ,paper-,making ,set by the ,examiners to the ,city and ,guilds of ,london ,institute1 #aija-aijc4 ,crown #hvo1 #ahb pp4 ,net #e_/j ,volume ,,iii4 comprises a short practical ,treatise in which ,boiling1 ,bleaching1 ,loading1 ,colouring1 and similar ,questions are discussed4 ,crown #hvo1 #adb pp4 ,net #e_/j ,,contents3--,,brass ,,and ,,steel ,,beater ,,bars--,,the ,,size ,,and ,,speed ,,of ,,beater ,,rolls--,,the ,,fading ,,of ,,prussian ,,blue ,,papers--,,the ,,effect ,,of ,,lowering ,,the ,,breast ,,roll--,,the ,,effect ,,of ,,loading ,,on ,,the ,,transparency ,,of ,,paper--,,terra ,,alba ,,as ,a ,,loading ,,for ,,paper--,,the ,,use ,,of ,,alum ,,in ,,tub ,,sizing--,,the ,,influence ,,of ,,temperature ,,on ,,bleaching--,,the ,,use ,,of ,,refining ,,engines--,,agitation ,,as ,,an ,,auxiliary ,,to ,,bleaching--,,the ,,heating ,,of ,,stuff ,,for ,,the ,,paper ,,machine--,,the ,,comparative ,,results ,,of ,,quadruple ,,and ,,open ,,effect ,,evaporation--,,how ,,to ,,prevent ,,electrification ,,of ,,paper ,,on ,,the ,,machine--,,transparency ,,of ,,papers--,,the ,,life ,,of ,,machine ,,wires--,,edge ,,runners4 ,volume ,,iv4 contains discussions upon ,water ,supplies and the ,management of the ,paper ,machine and its influence upon the ,qualities of ,papers4 ,crown #hvo1 #afd pp4 ,net #e_/j ,,contents3--,,the ,,bulking ,,of ,,papers--,,special ,,qualities ,,of ,,art ,,papers--,,the ,,ageing ,,and ,,storage ,,of ,,papers--,,the ,,use ,,of ,,lime ,,in ,,boiling--,,controlling ,,the ,,mark ,,of ,,the ,,dandy--,,machine ,,and ,,hand ,,cut ,,rags--,,froth ,,on ,,paper ,,machine--,,scum ,,spots ,,in ,,paper--,,consumption ,,of ,,water ,,in ,,the ,,manufacture ,,of ,,paper--,,the ,,management ,,of ,,suction-,,boxes--,,the ,,shrinkage ,,of ,,paper ,,on ,,the ,,machine--,,paper ,,that ,,does ,,not ,,shrink ,,or ,,expand--,,the ,,production ,,of ,,non-,,stretchable ,,paper--,,the ,,connection ,,between ,,stretch ,,and ,,expansion ,,of ,,papers--,,stretch ,,and ,,breaking ,,strain--,,paper ,,testing ,,machines4 ,volume ,v4 concerning ,,the ,,theory ,,and ,,practice ,,of ,,beating4 ,crown #hvo4 ,with photomicrographs and other ,illustrations4 ,net #e_/j ,,contents3--,,early ,,beating ,,appliances--,,the ,,hollander--,,the ,,economy ,,of ,,beating--,,difficulties ,,of ,,arriving ,,at ,,definite ,,results--,,behaviour ,,of ,,different ,,fibres--,,refining--,,power ,,consumption--,a ,,comparison ,,of ,,two ,,different ,,kinds ,,of ,,beaters--,,power ,,consumed ,,in ,,the ,,breaking1 ,,beating1 ,,and ,,refining ,,of ,,different ,,materials--,,dealing ,,with ,,the ,,circulation ,,and ,,agitation ,,in ,a ,,hollander--,,comparisons ,,of ,,large ,,and ,,medium-,,sized ,,hollanders ,,when ,,beating ,,hard ,,and ,,soft ,,stock--,,trials ,,to ,,determine ,,the ,,relative ,,merits ,,of ,,stone ,,and ,,metal ,,beater-,,bars--,,trials ,,with ,,breakers1 ,,reed ,,beaters1 ,,and ,,kingsland ,,refiners--,a ,,system ,,of ,,beating ,,combined ,,with ,a ,,system ,,for ,,continuous ,,bleaching--,,beaters ,,and ,,refiners--,,power ,,consumed ,,in ,,grinding ,,wood-,,pulp--,,the ,,reduction ,,in ,,length ,,of ,,fibres ,,at ,,different ,,stages ,,of ,,beating--,,method ,,for ,,determining ,,the ,,wetness ,,of ,,beaten ,,stuff--,,the ,,position ,,of ,,beaters ,,in ,,old ,,and ,,modern ,,paper-,,mills--,,appendix4 ,,para ,,rubber4 ,,its ,,cultivation ,,preparation4 ,by ,w4 ,h4 ,,johnson1 ,f4,l4,s41 ,ex-,director of ,agriculture1 ,gold ,coast ,colony1 ,west ,africa1 ,director of ,agriculture1 ,mozambique ,company1 ,east ,africa1 ,commissioned by ,government in #aijb to visit ,ceylon to ,study the ,methods employed there in the ,cultivation and ,preparation of ,para ,rubber and other ,agricultural ,staples for ,market1 with a view to ,introduce them into ,west ,africa4 ,second ,edition1 rewritten and greatly enlarged1 with numerous illustrations4 ,demy #hvo1 cloth ,net #g_/f ,,the ,,world',s ,,production ,,and ,,consumption ,,of ,,rubber--,,the ,,para ,,rubber ,,tree ,,at ,,home ,,and ,,abroad--,,propagation--,,planting ,,and ,,cultivating--,,soils ,,and ,,manures--,,pests--,,latex--,,collectin g ,,the ,,latex--,,rubber ,,manufacture--,,the ,,antisepticisation ,,of ,,rubber--,,drying ,,and ,,packing ,,rubber ,,for ,,export--,,yield ,,of ,,para ,,rubber ,,from ,,cultivated ,,trees--,,establishment ,,and ,,maintenance ,,of ,a ,,para ,,rubber ,,plantation--,,commercial ,,value ,,of ,,the ,,oil ,,in ,,hevea ,,seeds4 ,,pastrycook ,,and ,,confectioner',s ,,guide4 ,for ,hotels1 ,restaurants1 and the ,trade in general1 adapted also for ,family ,use4 ,by ,r4 ,,wells1 ,author of ,the ,bread and ,biscuit ,baker #a_/j ,,petrol ,,air ,,gas4 ,a ,practical ,handbook on the ,installation and ,working of ,air ,gas ,lighting ,systems for ,country ,houses4 ,by ,,henry ,o',,connor1 ,f4,r4,s4,e41 ,a4,m4 ,inst4 ,c4,e41 c41 author of ,the ,gas ,engineer's ,pocket ,book4 #hj pages with illustrations4 ,crown #hvo1 cloth ,net #a_/f ,,description ,,of ,,previous ,,plants ,,and ,,systems ,,for ,,country-,,house ,,lighting1 ,,difficulties ,,with1 ,,objections ,,and ,,prices--,,history ,,of ,,petrol ,,gas1 ,,comparative ,,costs--,,petrol1 ,,its ,,nature1 ,,dangers1 ,,and ,,storing1 ,,notes ,,on ,,the ,,law ,,regarding ,,same--,,burners1 ,,description ,,of ,,same1 ,,piping1 ,,mantles--,,general ,,principles ,,of ,,parts ,,of ,,plants--,,motive ,,power ,,meters--,,weight-,,driven ,,plants--,,root',s ,,blowers--,,hot-,,air ,,engines--,,pelton ,,water-,,wheels--,,descriptions ,,of ,,various ,,plants--,,extract ,,from ,,an ,,act ,,for ,,the ,,safe-,,keeping ,,of ,,petroleum ,,and ,,other ,,substances ,,of ,a ,,like ,,nature--,,appendix--,,useful ,,notes4 ,,petroleum4 ,,the ,,oil ,,fields ,,of ,,russia ,,and ,,the ,,russian ,,petroleum ,,industry4 ,a ,practical ,handbook on the ,exploration1 ,exploitation1 and ,management of ,russian ,oil ,properties1 the ,origin of ,petroleum in ,russia1 the ,theory and ,practice of ,liquid ,fuel4 ,by ,a4 ,b4 ,,thompson1 ,a4,m4,i4,m4,e41 ,f4,g4,s4 #dae pp41 with numerous ,illustrations and ,photographic ,plates4 ,second ,edition ,revised4 ,super-royal #hvo1 cloth ,net #ba_/j ,,petroleum ,,mining ,,and ,,oil-,,field ,,development4 ,a ,guide to the ,exploration of ,petroleum ,lands1 and a ,study of the ,engineering ,problems connected with the ,winning of ,petroleum4 ,including ,statistical ,data of important ,oil ,fields4 ,notes on the ,origin and ,distribution of ,petroleum1 and a description of the ,methods of ,utilizing ,oil and ,gas ,fuels4 ,by ,a4 ,,beeby ,,thompson1 ,a4,m4,i4,mech4,e41 ,f4,g4,s4 ,author of ,the ,oil ,fields of ,russia4 #chd pages1 #aad illustrations1 including #bb full-page plates4 ,demy #hvo1 cloth4 ,just ,published4 ,net #ae_/j ,it is an admirable text-book by a competent authority on an interesting subject4--,mining ,magazine4 ,the present effort is likely to receive a warm welcome in engineering circles1 and it can be cordially commended for perusal4 ,it will doubtless have that large sale to which its merits entitle it4--,mining ,world4 ,the general aspects of the ,petroleum ,industry are fully and ably laid out4--,engineer4 ,,pigments1 ,,artists' ,,manual ,,of4 ,showing their ,composition1 ,conditions of ,permanency1 ,non-,permanency1 and ,adulterations1 etc41 with ,tests of ,purity4 ,by ,h4 ,c4 ,,standage4 ,third ,edition4 ,crown #hvo1 cloth #b_/f ,,portland ,,cement1 ,,the ,,modern ,,manufacture ,,of4 ,by ,,percy ,c4 ,h4 ,,west1 ,chemical ,engineer and ,consulting ,chemist4 ,in ,three ,volumes4 ,vol4 ,i41 dealing with ,machinery and ,kilns4 ,about #bjj pages1 ,medium #hvo4 ,with numerous ,illustrations4 ,nearly ready1 price about #aj_/f ,,producer ,,gas ,,practice 7,,american7 ,,and ,,industrial ,,gas ,,engineering4 ,by ,,nisbet ,,latta1 ,m4,amer4,soc4,m4,e41 ,m4,amer4,gas ,inst4 #eeh pages1 with #bdg illustrations4 ,demy #dto1 cloth ,just ,published4 ,net #be_/- ,,producer ,,operation--,,cleaning ,,the ,,gas--,,works ,,details--,,producer ,,types--,,moving ,,gases--,,solid ,,fuels--,,physical ,,properties ,,of ,,gases--,,chemical ,,properties ,,of ,,gases--,,gas ,,analysis--,,gas ,,power--,,gas ,,engines--,,industrial ,,gas ,,applications--,,furnaces ,,and ,,kilns--,,burning ,,lime ,,and ,,cement--,,pre-,,heating ,,air--,,doherty ,,combustion ,,economiser--,,combustion ,,in ,,furnaces--,,heat3 ,,temperature1 ,,radiation ,,and ,,conduction--,,heat ,,measurements3 ,,pyrometry ,,and ,,calorimetry--,,pipes1 ,,flues1 ,,and ,,chimneys--,,materials3 ,,fire ,,clay1 ,,masonry1 ,,weights ,,and ,,rope--,,useful ,,tables--,,oil ,,fuel ,,producer ,,gas4 ,,recipes1 ,,formulas ,,and ,,processes1 ,,twentieth ,,century ,,book ,,of4 ,edited by ,,gardner ,d4 ,hiscox1 ,m4,e4 ,nearly #aj1jjj ,scientific1 ,chemical1 ,technical1 and ,household ,recipes1 ,formulas and ,processes for ,use in the ,laboratory and the ,office1 the ,workshop and the ,home4 ,medium #hvo1 #hjj pp41 cloth4 ,net #ab_/f ,,selected ,,list ,,of ,,contents3--,,absinthe--,,acid ,,proofing--,,adhesives-- ,,alcohol--,,alkali--,,alloys--,,alumini um--,,ammonia--,,aniline--,,antidotes ,,for ,,poison--,,anchovy ,,preparations--,,antiseptics--,,antique s--,,baking ,,powders-- ,,arometers--,,beverages--,,bleaching--, ,brass--,,brick--,,carbolic ,,acids--,,casting-- ,,celluloid--,,cheese--,,ceramics--,,cig ars--,,coffee--,,condiments--,,copper-- ,,cosmetics--,,cotton--,,diamond ,,tests--,,donarite--,,dyes--,,electro ,,plating-- ,,embalming--,,enamelling--,,engraving-- ,,essences--,,explosives--,,fertilisers- - ,,filters--,,food ,,adulterants--,,gelatine--,,glass--,,go ld--,,gums--,,harness ,,dressings--,,horn--,,inks--,,insectici des--,,iron--,,ivory--,,jewellers' ,,formulas-- ,,lacquers--,,laundry ,,preparations--,,leather--,,linoleum--, ,lubricants-- ,,matches--,,metals--,,music ,,boxes--,,oils--,,paints--,,paper--,,pe rfumes--,,petroleum-- ,,photography--,,plaster--,,plating--,,p olishes--,,porcelain--,,poultry--,,putty --,,rat ,,poisons--,,refrigeration--,,ropes--,,r ubber--,,rust ,,preventives--,,salt--,,screws-- ,,silk--,,silver--,,soaps--,,solders--,, spirit--,,sponges--,,steel--,,stone-- ,,thermometers--,,tin--,,valves--,,varni shes--,,veterinary ,,formulas--,,watchmakers' ,,formulas--,,waterproofing--,,wax--,,we ights ,,and ,,measures--,,whitewash-- ,,wood--,,yeast4 ,,rubber ,,hand ,,stamps4 ,and the ,manipulation of ,rubber4 ,a ,practical ,treatise on the ,manufacture of ,indiarubber ,hand ,stamps1 ,small ,articles of ,indiarubber1 ,the ,hektograph1 ,special ,inks1 ,cements1 and ,allied ,subjects4 ,by ,t4 ,o',,conor ,,sloane ,a4,m41 ,ph4,d4 ,with numerous ,illustrations4 ,square #hvo1 cloth #e_/j ,,savouries ,,and ,,sweets4 ,suitable for ,luncheons and ,dinners4 ,by ,miss ,m4 ,l4 ,allen 7,mrs4 ,a4 ,macaire71 ,author of ,breakfast ,dishes1 etc4 ,thirty-first ,edition4 ,f'cap #hvo1 sewed #a_/j ,or1 quarter bound1 fancy boards #a_/f ,,sheet ,,metal-,,worker',s ,,guide4 ,a ,practical ,handbook for ,tinsmiths1 ,coppersmiths1 ,zincworkers1 c41 with #df ,diagrams and ,working ,patterns4 ,by ,w4 ,j4 ,e4 ,,crane4 ,crown #hvo1 ,cloth #a_/f ,,sheet ,,metal-,,worker',s ,,instructor4 ,comprising ,geometrical ,problems and ,practical ,rules for ,describing the ,various ,patterns ,required by ,zinc1 ,sheet-,iron1 ,copper1 and ,tin-,plate ,workers4 ,by ,r4 ,h4 ,,warn4 ,third ,edition4 ,revised and ,further ,enlarged by ,j4 ,g4 ,,horner1 ,a4,m4,i4,m4,e4 ,crown #hvo1 #bhj pp41 with #dfe ,illustrations1 cloth #g_/f ,,silversmith',s ,,handbook4 ,alloying and ,working of ,silver1 ,refining and ,melting1 ,solders1 ,imitation ,alloys1 ,manipulation1 ,prevention of ,waste1 ,improving and ,finishing the ,surface of the ,work1 etc4 ,by ,,george ,e4 ,,gee4 ,fourth ,edition ,revised1 ,crown #hvo1 cloth #c_/j ,,soap-,,making4 ,a ,practical ,handbook of the ,manufacture of ,hard and ,soft ,soaps1 ,toilet ,soaps1 etc4 ,with a ,chapter on the ,recovery of ,glycerine from ,waste ,leys4 ,by ,,alexander ,,watt4 ,seventh ,edition1 including an ,appendix on ,modern ,candlemaking4 ,crown #hvo1 cloth #g_/f ,the work will prove very useful1 not merely to the technological student1 but to the soap boiler who wishes to understand the theory of his art4--,chemical ,news4 ,,soaps1 ,,candles1 and ,,glycerine4 ,a ,practical ,manual of ,modern ,method of ,utilisation of ,fats and ,oils in the ,manufacture of ,soap and ,candles1 and of the recovery of ,glycerine4 ,by ,l4 ,l4 ,,lamborn1 ,massachusetts ,institute of ,technology1 ,m4,am4,c4,s4 ,medium #hvo1 cloth4 ,fully ,illustrated4 #gjf pages ,net #cj_/j ,,the ,,soap ,,industry--,,raw ,,materials--,,bleaching ,,and ,,purification ,,of ,,soap-,,stock--,,the ,,chemical ,,characteristics ,,of ,,soap-,,stock ,,and ,,their ,,behaviour ,,towards ,,saponifying ,,agents--,,mechanical ,,equivalent ,,of ,,the ,,soap ,,factory--,,cold ,,process ,,and ,,semi-,,boiled ,,soap--,,grained ,,soap--,,settled ,,rosin ,,soap--,,milled ,,soap-,,base--,,floating ,,soap--,,shaving ,,soap--,,medicated ,,soap--,,essential ,,oils ,,and ,,soap ,,perfumery--,,milled ,,soap--,,candles-- ,,glycerine--,,examination ,,of ,,raw ,,materials ,,and ,,factory ,,products4 ,,solubilities ,,of ,,inorganic ,,and ,,organic ,,substances4 ,a ,hand-book of the most ,reliable ,quantitative ,solubility ,determinations4 ,recalculated and ,compiled by ,,atherton ,,seidell1 ,ph4,d41 ,chemist1 ,hygienic ,laboratory1 ,u4 ,s4 ,public ,health ,service1 ,washington1 ,d ,c4 ,medium #hvo1 cloth1 #cgg pages ,net #ab_/f ,,tea ,,machinery ,,and ,,tea ,,factories4 ,describing the ,mechanical ,appliances required in the ,cultivation and ,preparation of ,tea for the ,market4 ,by ,a4 ,j4 ,,wallis-,,tayler1 ,a4,m4,inst4,c4,e4 ,medium #hvo1 #dfh pp4 ,with #bah ,illustrations ,net #be_/j ,the subject of tea machinery is now one of the first interest to a large class of people1 to whom we strongly commend the volume4--,chamber of ,commerce ,journal4 ,,wages ,,tables4 ,at #ed1 #eb1 #ej1 and #dh ,hours per ,week4 ,showing the ,amounts of ,wages from one quarter of an hour to sixty-four hours1 in each case at ,rates of ,wages advancing by ,one ,shilling from #ds4 to #ees4 per week4 ,by ,,thos4 ,,carbutt1 ,accountant4 ,square crown1 #hvo1 half-bound #f_/j ,,watch ,,repairing1 ,,cleaning1 ,,and ,,adjusting4 ,a ,practical ,handbook dealing with the ,materials and ,tools ,used1 and the ,methods of ,repairing1 ,cleaning1 ,altering1 and ,adjusting all kinds of ,english and ,foreign ,watches1 ,repeaters1 ,chronographs1 and ,marine ,chronometers4 ,by ,f4 ,j4 ,,garrard1 ,springer and ,adjuster of ,marine ,chronometers and ,deck ,watches for the ,admiralty4 ,second ,edition4 ,revised4 ,with over #bjj ,illustrations4 ,crown #hvo1 cloth ,net #d_/f ,,watches ,,and ,,other ,,timekeepers1 ,,history ,,of4 ,by ,j4 ,f4 ,,kendal1 ,m4,b4,h4 ,inst4 #a_/f boards2 or cloth #b_/f ,,watchmaker',s ,,handbook4 ,intended as a ,workshop ,companion for those engaged in ,watchmaking and the ,allied ,mechanical ,arts4 ,translated from the ,french of ,,claudius ,,saunier1 and enlarged by ,,julien ,,tripplin1 ,f4,r4,a4,s41 and ,,edward ,,rigg1 ,m4,a41 ,assayer in the ,royal ,mint4 ,fourth ,edition4 ,cr4 #hvo1 cloth #i_/j ,each part is truly a treatise in itself4 ,the arrangement is good and the language is clear and concise4 ,it is an admirable guide for the young watchmaker4--,engineering4 ,,weight ,,calculator4 ,being a ,series of ,tables upon a ,new and ,comprehensive ,plan1 exhibiting at one ,reference the ,exact ,value of any ,weight from #a lb4 to #ae tons1 at #cjj ,progressive ,rates1 from #a;d4 to #afhs4 per cwt41 and containing #ahf1jjj ,direct ,answers1 which1 with their ,combinations1 consisting of a single addition 7mostly to be performed at sight71 will afford an aggregate of #aj1bff1jjj ,answers2 the whole being calculated and designed to ensure correctness and promote despatch4 ,by ,,henry ,,harben1 ,accountant4 ,sixth edition1 carefully corrected4 ,royal #hvo1 strongly half bound #a #es4 ,a practical and useful work of reference for men of business generally4--,ironmonger4 ,of priceless value to business men4--,sheffield ,independent4 ,,wood ,,engraving4 ,a ,practical and ,easy ,introduction to the ,study of the ,art4 ,by ,w4 ,n4 ,,brown4 ,crown #hvo1 cloth4 #a_/f ,,handybooks ,,for ,,handicrafts4 ,,by ,,paul ,n4 ,,hasluck4 ,author of ,lathe ,work1 etc4 ,crown #hvo1 #add pp41 price #as4 each4 symbol3 right pointing hand,these ,,handybooks have been written to supply information for ,,workmen ,,students1 and ,,amateurs in the several ,handicrafts1 on the actual ,,practice of the ,,workshop1 and are intended to convey in plain language ,,technical ,,knowledge of the several ,,crafts4 ,in describing the processes employed1 and the manipulation of material1 workshop terms are used2 workshop practice is fully explained2 and the text is freely illustrated with drawings of modern tools1 appliances1 and processes4 ,,metal ,,turner',s ,,handybook4 ,a ,practical ,manual for ,workers at the ,foot-,lathe4 ,with #ajj ,illustrations #a_/j ,the book displays thorough knowledge of the subject4--,scotsman4 ,,wood ,,turner',s ,,handybook4 ,a ,practical ,manual for ,workers at the ,lathe4 ,with #ajj ,illustrations #a_/j ,we recommend the book to young turners and amateurs4--,mechanical ,world4 ,,watch ,,jobber',s ,,handybook4 ,a ,practical ,manual of ,cleaning1 ,repairing1 and ,adjusting4 ,with #ajj ,illustrations #a_/j ,all connected with the trade should acquire and study this work4--,clerkenwell ,chronicle4 ,,pattern ,,maker',s ,,handybook4 ,a ,practical ,manual on the ,construction of ,patterns4 ,with #ajj ,illustrations #a_/j ,a most valuable1 if not indispensable1 manual for the pattern-maker4--,knowledge4 ,,mechanic',s ,,workshop ,,handybook4 ,a ,practical ,manual on ,mechanical ,manipulation1 embracing ,information on various ,handicraft ,processes4 ,with ,useful ,notes and ,miscellaneous ,memoranda4 ,comprising about #bjj ,subjects #a_/j ,should be found in every workshop1 and in all technical ,schools4--,saturday ,review4 ,,model ,,engineer',s ,,handybook4 ,a ,practical ,manual on the ,construction of ,model ,steam ,engines4 ,with upwards of #ajj ,illustrations #a_/j ,mr4 ,hasluck has produced a very good little book4--,builder4 ,,clock ,,jobber',s ,,handybook4 ,a ,practical ,manual on ,cleaning1 ,repairing1 and ,adjusting4 ,with #ajj ,illustrations #a_/j ,it is of inestimable service to those commencing the trade4--,coventry ,standard4 ,,cabinet ,,worker',s ,,handybook4 ,a ,practical ,manual on the ,tools1 ,materials1 ,appliances1 and ,processes employed in ,cabinet ,work4 ,with upwards of #ajj ,illustrations #a_/j ,amongst the most practical guides for beginners in cabinet-work4--,saturday ,review4 ,,woodworker',s ,,handybook4 ,embracing information on the ,tools1 ,materials1 ,appliances and ,processes ,employed in ,woodworking4 ,with #ajd ,illustrations #a_/j ,written by a man who knows1 not only how work ought to be done1 but how to do it1 and how to convey his knowledge to others4--,engineering4 ,mr4 ,hasluck writes admirably1 and gives complete instructions4--,engineer4 ,mr4 ,hasluck combines the experience of a practical teacher with the manipulative skill and scientific knowledge of processes of the trained mechanician1 and the manuals are marvels of what can be produced at a popular price4--,schoolmaster4 ,helpful to workmen of all ages and degrees of experience4--,daily ,chronicle4 ,,bradbury1 ,,agnew1 ,,co4 ,,ld41 ,,london ,,and ,,tonbridge4 7#cia4be4e4aj47 ,,weale',s ,,scientific ,,technical ,,series4 ,,mathematics1 ,,arithmetic1 c4 ,geometry1 ,descriptive4 ,j4 ,f4 ,,heather #b_/- ,practical ,plane ,geometry4 ,j4 ,f4 ,,heather #b_/- ,analytical ,geometry4 ,j4 ,,hann ,j4 ,r4 ,,young #b_/- ,geometry4 ,part ,i4 7,euclid1 ,bks4 ,i4--,,iii47 ,h4 ,,law #a_/f ,part ,,ii4 7,euclid1 ,books ,,iv41 ,v41 ,,vi41 ,,xi41 ,,xii474 ,h4 ,,law #a_/f ,geometry1 in #a vol4 7,euclid's ,elements7 #b_/f ,plane ,trigonometry4 ,j4 ,,hann #a_/f ,spherical ,trigonometry4 ,j4 ,,hann #a_/- ,the above #b vols41 bound together #b_/f ,differential ,calculus4 ,w4 ,s4 ,b4 ,,woolhouse #a_/f ,integral ,calculus4 ,h4 ,,cox #a_/f ,algebra4 ,j4 ,,haddon #b_/- ,key to ditto #a_/f ,book-keeping4 ,j4 ,,haddon #a_/f ,arithmetic4 ,j4 ,r4 ,,young #a_/f ,key to ditto #a_/f ,equational ,arithmetic4 ,w4 ,,hipsley #a_/f ,arithmetic4 ,j4 ,,haddon #a_/f ,mathematical ,instruments4 ,,heather ,,walmisley #b_/- ,drawing ,measuring ,instruments4 ,j4 ,f4 ,,heather #a_/f ,optical ,instruments1 ,j4 ,f4 ,,heather #a_/f ,surveying ,astronomical ,instruments4 ,j4 ,f4 ,,heather #a_/f ,the above #c vols41 bound together #d_/f ,mensuration and ,measuring4 ,t4 ,,baker #a_/f ,slide ,rule1 ,how to ,use it4 ,c4 ,,hoare #b_/f ,measures1 ,weights1 ,moneys4 ,w4 ,s4 ,b4 ,,woolhouse #b_/f ,logarithms1 ,treatise on1 with ,tables4 ,h4 ,,law #c_/- ,compound ,interest and ,annuities4 ,f4 ,,thoman #d_/- ,compendious ,calculator4 ,d4 ,o',,gorman #b_/f ,mathematics4 ,f4 ,,campin #c_/- ,astronomy4 ,r4 ,,main ,w4 ,t4 ,,lynn #b_/- ,statics and ,dynamics4 ,t4 ,,baker #a_/f ,superficial ,measurement4 ,j4 ,,hawkings #c_/f ,,building ,,architecture4 ,building ,estates4 ,f4 ,,maitland #b_/- ,science of ,building4 ,e4 ,w4 ,,tarn #c_/f ,building1 ,art of4 ,e4 ,,dobson and ,j4 ,p4 ,,allen #b_/- ,book on ,building4 ,sir ,e4 ,,beckett #d_/f ,dwelling ,houses1 ,erection of4 ,s4 ,h4 ,,brooks #b_/f ,cottage ,building4 ,c4 ,b4 ,,allen #b_/- ,acoustics of ,public ,buildings4 ,prof4 ,t4 ,r4 ,,smith4 #a_/f ,practical ,bricklaying4 ,a4 ,,hammond #a_/f ,practical ,brick ,cutting ,setting4 ,a4 ,,hammond #a_/f ,brickwork4 ,f4 ,,walker #a_/f ,brick and ,tile ,making4 ,e4 ,,dobson #c_/- ,practical ,brick ,tile ,book4 ,,dobson ,,hammond #f_/- ,carpentry and ,joinery4 ,t4 ,,tredgold ,e4 ,w4 ,,tarn #c_/f ,atlas of #ce plates to the above #f_/- ,handrailing1 and ,staircasing4 ,g4 ,,collings #b_/f ,circular ,work in ,carpentry4 ,g4 ,,collings #b_/f ,roof ,carpentry4 ,g4 ,,collings #b_/- ,construction of ,roofs4 ,e4 ,w4 ,,tarn #a_/f ,joints used by ,builders4 ,j4 ,w4 ,,christy #c_/- ,shoring4 ,g4 ,h4 ,,blagrove #a_/f ,timber ,importer's ,builder's ,guide4 ,r4 ,e4 ,,grandy #b_/- ,plumbing4 ,w4 ,p4 ,,buchan #c_/f ,ventilation of ,buildings4 ,w4 ,p4 ,,buchan #c_/f ,practical ,plasterer4 ,w4 ,,kemp #b_/- ,house-,painting4 ,e4 ,a4 ,,davidson #e_/- ,elementary ,decoration4 ,j4 ,w4 ,,facey #b_/- ,practical ,house ,decoration4 ,j4 ,w4 ,,facey #b_/f ,gas-,fitting4 ,j4 ,,black #b_/f ,portland ,cement for ,users4 ,h4 ,,faija ,d4 ,b4 ,,butler #c_/- ,limes1 ,cements1 ,mortars4 ,g4 ,r4 ,,burnell #a_/f ,masonry and ,stone ,cutting4 ,e4 ,,dobson #b_/f ,arches1 ,piers1 and ,buttresses4 ,w4 ,,bland #a_/f ,quantities and ,measurements4 ,a4 ,c4 ,,beaton #a_/f ,complete ,measurer4 ,r4 ,,horton #d_/- ,superficial ,measurement4 ,j4 ,,hawkings #c_/f ,light1 for use of ,architects4 ,e4 ,w4 ,,tarn #a_/f ,hints to ,young ,architects4 ,,wightwick ,,guillaume #c_/f ,dictionary of ,architectural ,terms4 ,j4 ,,weale #e_/- ,architecture1 ,orders4 ,w4 ,h4 ,,leeds #a_/f ,architecture1 ,styles4 ,t4 ,t4 ,,bury #b_/- ,the above #b vols41 bound together #c_/f ,architecture1 ,design4 ,e4 ,l4 ,,garbett #b_/f ,the above #c vols41 bound together #f_/- ,architectural ,modelling4 ,t4 ,a4 ,,richardson #a_/f ,vitruvius' ,architecture4 ,j4 ,,gwilt #e_/- ,grecian ,architecture4 ,lord ,,aberdeen #a_/- ,the above #b vols41 bound together #f_/- ,,fine ,,arts4 ,dictionary of ,painters4 ,p4 ,,daryl #b_/f ,painting1 ,fine ,art4 ,t4 ,j4 ,,gullick ,j4 ,,timbs #e_/- ,grammar of ,colouring4 ,g4 ,,field ,e4 ,a4 ,,davidson #c_/- ,perspective4 ,g4 ,,pyne #b_/- ,glass ,staining ,painting on ,glass #b_/f ,music4 ,c4 ,c4 ,,spencer #b_/f ,pianoforte ,instruction4 ,c4 ,c4 ,,spencer #a_/f ,,industrial ,,useful ,,arts4 ,cements1 ,pastes1 ,glues ,gums4 ,h4 ,c4 ,,standage #b_/- ,clocks1 ,watches and ,bells4 ,lord ,,grimthorpe #d_/f ,goldsmith's ,handbook4 ,g4 ,e4 ,,gee #c_/- ,silversmith's ,handbook4 ,g4 ,e4 ,,gee #c_/- ,goldsmith's ,silversmith's ,handbook4 ,g4 ,e4 ,,gee #g_/- ,hall-,marking of ,jewelry4 ,g4 ,e4 ,,gee #b_/- ,cabinet ,maker's ,guide4 ,r4 ,,bitmead #b_/f ,practical ,organ ,building4 ,w4 ,e4 ,,dickson #b_/f ,coach ,building4 ,j4 ,w4 ,,burgess #b_/f ,brass ,founder's ,manual4 ,w4 ,,graham #b_/- ,french ,polishing and ,enamelling4 ,r4 ,,bitmead #a_/f ,house ,decoration4 ,j4 ,w4 ,,facey #e_/- ,letter-,painting ,made ,easy4 ,j4 ,g4 ,,badenoch #a_/f ,boot and ,shoemaking4 ,j4 ,b4 ,,leno #b_/- ,mechanical ,dentistry4 ,c4 ,,hunter #c_/- ,wood ,engraving4 ,w4 ,n4 ,,brown #a_/f ,laundry ,management #b_/- ,,crosby ,,lockwood ,,son1 #g1 ,stationers' ,hall ,court1 ,e4,c4 ,transcriber's note3 the following advertisements were moved from the front of the book4 ,,weale',s ,,scientific ,,technical ,,series4 ,,civil ,,engineering ,,surveying4 ,civil ,engineering4 ,h4 ,,law ,d4 ,k4 ,,clark #f_/f ,pioneer ,engineering4 ,e4 ,,dobson #d_/f ,iron ,bridges of ,moderate ,span4 ,h4 ,w4 ,,pendred #b_/- ,iron and ,steel ,bridges ,viaducts4 ,f4 ,,campin #c_/f ,constructional ,steel ,ironwork4 ,f4 ,,campin #c_/f ,tubular ,girder ,bridges4 ,g4 ,d4 ,,dempsey #b_/- ,materials and ,construction4 ,f4 ,,campin #c_/- ,sanitary ,work4 ,c4 ,,slagg #c_/- ,roads ,streets4 ,,law1 ,,clark1 ,,wallis-,,tayler #f_/- ,construction of ,gasworks4 ,s4 ,,hughes ,h4 ,o',,connor #f_/- ,well-,sinking4 ,j4 ,g4 ,,swindell ,g4 ,r4 ,,burnell #b_/- ,drainage4 ,g4 ,d4 ,,dempsey ,d4 ,k4 ,,clark #d_/f ,blasting and ,quarrying4 ,j4 ,,burgoyne #a_/f ,foundations and ,concrete ,work4 ,e4 ,,dobson #a_/f ,pneumatics4 ,c4 ,,tomlinson #a_/f ,surveying4 ,t4 ,,baker ,f4 ,e4 ,,dixon #b_/- ,,mechanical ,,engineering1 c4 ,engineering ,drawing4 ,j4 ,,maxton #c_/f ,fuels1 ,analysis and ,valuation4 ,h4 ,j4 ,,phillips #b_/- ,fuel4 ,c4 ,w4 ,,williams ,d4 ,k4 ,,clark #c_/f ,boilermaker's ,assistant4 ,j4 ,,courtney #b_/- ,boilermaker's ,ready ,reckoner4 ,j4 ,,courtney #d_/- ,boilermaker's ,ready ,reckoner and ,assistant #g_/- ,steam ,boilers4 ,r4 ,,armstrong #a_/f ,steam and ,machinery ,management4 ,m4 ,p4 ,,bale #b_/f ,steam and the ,steam ,engine4 ,d4 ,k4 ,,clark #c_/f ,steam ,engine1 ,theory of4 ,t4 ,,baker #a_/f ,steam ,engine4 ,dr4 ,,lardner #a_/f ,locomotive ,engines4 ,g4 ,d4 ,,dempsey ,d4 ,k4 ,,clark #c_/- ,locomotive ,engine ,driving4 ,m4 ,,reynolds #c_/f ,stationary ,engine ,driving4 ,m4 ,,reynolds #c_/f ,model ,locomotive ,engineer4 ,m4 ,,reynolds #c_/f ,modern ,workshop ,practice4 ,j4 ,g4 ,,winton #c_/f ,mechanical ,engineering4 ,f4 ,,campin #b_/f ,details of ,machinery4 ,f4 ,,campin #c_/- ,elementary ,marine ,engineering4 ,j4 ,s4 ,,brewer #a_/f ,power of ,water4 ,j4 ,,glynn #b_/- ,mechanism and ,machines4 ,t4 ,,baker ,j4 ,,nasmyth #b_/f ,mechanics4 ,c4 ,,tomlinson #a_/f ,cranes and ,machinery4 ,j4 ,,glynn #a_/f ,smithy and ,forge4 ,w4 ,j4 ,e4 ,,crane #b_/f ,sheet-,metal ,worker's ,guide4 ,w4 ,j4 ,e4 ,,crane #a_/f ,elementary ,electric ,lighting4 ,a4 ,a4 ,c4 ,,swinton #a_/f ,,mining ,,metallurgy4 ,mining ,calculations4 ,t4 ,a4 ,o',,donahue #c_/f ,mineralogy4 ,a4 ,,ramsay #c_/f ,coal ,mining4 ,sir ,w4 ,w4 ,,smyth ,t4 ,f4 ,,brown #c_/f ,metallurgy of ,iron4 ,h4 ,,bauerman #e_/- ,mineral ,surveyor's ,guide4 ,w4 ,,lintern #c_/f ,slate and ,slate ,quarrying4 ,d4 ,c4 ,,davies #c_/- ,mining and ,quarrying4 ,j4 ,h4 ,,collins #a_/f ,subterraneous ,surveying4 ,t4 ,,fenwick ,t4 ,,baker #b_/f ,mining ,tools4 ,w4 ,,morgans #b_/f ,plates to ditto4 #dto #d_/f ,physical ,geology4 ,,portlock ,,tate #b_/- ,historical ,geology4 ,r4 ,,tate #b_/f ,the above #b vols41 bound together4 #d_/f ,electro-,metallurgy4 ,a4 ,,watt #c_/f ,,navigation1 ,,shipbuilding1 c4 ,navigation4 ,j4 ,,greenwood ,w4 ,h4 ,,rosser #b_/f ,practical ,navigation4 ,,greenwood1 ,,rosser ,,law #g_/- ,navigation and ,nautical ,astronomy4 ,j4 ,r4 ,,young #b_/f ,mathematical ,nautical ,tables4 ,,law ,,young #d_/- ,masting and ,rigging4 ,r4 ,,kipping #b_/- ,sails and ,sailmaking4 ,r4 ,,kipping #b_/f ,marine ,engines4 ,r4 ,,murray ,g4 ,,carlisle #d_/f ,naval ,architecture4 ,j4 ,,peake #c_/f ,ships1 ,construction of4 ,h4 ,a4 ,,sommerfeldt #a_/f ,plates to ditto4 #dto #g_/f ,ships and ,boats4 ,w4 ,,bland #a_/f ,,agriculture ,,gardening4 ,fertilisers ,feeding ,stuffs4 ,,dr4 ,b4 ,,dyer net #a_/- ,draining and ,embanking4 ,,prof4 ,j4 ,,scott #a_/f ,irrigation and ,water ,supply4 ,,prof4 ,j4 ,,scott #a_/f ,farm ,roads1 ,fences1 and ,gates4 ,,prof4 ,j4 ,,scott #a_/f ,farm ,buildings4 ,,prof4 ,j4 ,,scott #b_/- ,barn ,implements and ,machines4 ,,prof4 ,j4 ,,scott #b_/- ,field ,implements and ,machines4 ,,prof4 ,j4 ,,scott #b_/- ,agricultural ,surveying4 ,,prof4 ,j4 ,,scott #a_/f ,the above #g vols41 bound together #ab_/- ,farm ,management4 ,r4 ,s4 ,,burn #b_/f ,landed ,estates ,management4 ,r4 ,s4 ,,burn #b_/f ,farming--,soils1 ,manures1 and ,crops4 ,r4 ,s4 ,,burn #b_/- ,farming--,outlines--,farming ,economy4 ,r4 ,s4 ,,burn #c_/- ,farming--,cattle1 ,sheep1 and ,horses4 ,r4 ,s4 ,,burn #b_/f ,farming--,dairy1 ,pigs1 and ,poultry4 ,r4 ,s4 ,,burn #b_/- ,farming--,sewage ,irrigation4 ,r4 ,s4 ,,burn #b_/f ,the above #e vols41 bound together #ab_/- ,book-keeping for ,farmers4 ,j4 ,m4 ,,woodman #b_/f ,ready ,reckoner for ,land4 ,a4 ,,arman #b_/- ,miller's ,farmer's ,ready ,reckoner #b_/- ,hay and ,straw ,measurer4 ,j4 ,,steele #b_/- ,meat ,production4 ,j4 ,,ewart #b_/f ,the ,sheep4 ,w4 ,c4 ,,spooner #c_/f ,multum-in-,parvo ,gardening4 ,s4 ,,wood #a_/- ,forcing ,garden4 ,s4 ,,wood #c_/f ,market and ,kitchen ,gardening4 ,c4 ,w4 ,,shaw #c_/- ,kitchen ,gardening4 ,g4 ,m4 ,f4 ,,glenny #a_/f ,cottage ,gardening4 ,e4 ,,hobday #a_/f ,garden ,receipts4 ,c4 ,w4 ,,quin #a_/f ,potatoes3 ,how to ,grow4 ,j4 ,,pink #b_/- ,culture of ,fruit ,trees4 ,m4 ,,du ,,breuil #c_/f ,tree ,planter ,plant ,propagator4 ,s4 ,,wood #b_/- ,tree ,pruner4 ,s4 ,,wood #a_/f ,tree ,planter1 ,propagator1 ,pruner4 ,s4 ,,wood #c_/f ,grafting and ,budding4 ,c4 ,,baltet #b_/f ,bees for ,pleasure ,profit4 ,g4 ,g4 ,,samson net #a_/- ,,crosby ,,lockwood ,,son1 #g1 ,stationers' ,hall ,court1 ,e4,c4 ,transcriber's notes3 page #ad4 add period after the above processes #bi4 varnsh corrected to varnish #ca4 from corrected #cb4 closing quote added after ,polish #dd4 polish aud spirits changed to and #ic4 added parens close after finish #ie4 earthern corrected to earthen #ig4 boiled-linseed oil corrected to boiled linseed-oil #ajd4 period after coarsely #aad4 campeachiaum corrected to campeachianum #acj4 published net added right bracket #aca4 net added right bracket #aca4 ,,of ,,metals added period #acd4 added right bracket #ace4 ,material added right bracket ,uses of #acg4 ,refining--,power ,consumption added dashes #ach4 added in #c places