,,transcriber',s ,,note ,italic text is denoted by underscores4 ,bold text is denoted by equal signs4 ,underlined text is denoted by plus signs4 ,some minor changes to the text are noted at the end of the book4 ,,the ,,hardwood ,,finisher4 ,,with ,,rules ,,and ,,directions1 ,,for ,,finishing ,,in ,,natural ,,colors ,,and ,,in ,,antique1 ,,mahogany1 ,,cherry1 ,,birch1 ,,walnut1 ,,oak1 ,,ash1 ,,redwood1 ,,sycamore1 ,,pine1 ,,and ,,all ,,other ,,domestic ,,woods4 ,,finishing1 ,,filling1 ,,staining1 ,,varnishing1 ,,and ,,polishing4 ,,also3 ,,miscellaneous ,,rules ,,for ,,dyeing1 ,,gilding1 ,,and ,,bronzing ,,compiled ,,and ,,edited ,,by ,,fred ,t4 ,,hodgson1 ,editor of ,,the ,,operative ,,builder4 ,late ,editor of 8,,builder ,,and ,,wood-,,worker10 and 8,,cabinet-,,maker ,,and ,,upholsterer40 ,,new ,,york3 ,,the ,,industrial ,,publication ,,company1 #ahib4 ,copyright secured #ahib1 by ,john ,h4 ,phin4 ,,preface4 ,the subject of wood-finishing is one that interests every person who has anything to do with the construction or decoration of buildings1 be he architect1 carpenter and joiner1 painter1 decorator or carver1 and it is to meet the requirements of these artists and artisans1 in these respects1 that this work has been prepared4 ,in order to make the book as complete as possible it has been necessary to consult a variety of authorities on the subject1 and cull from them whatever in my opinion--based on experience--,i thought best1 and here and there add to1 or eliminate1 such matter as my experience proved to be good on the one hand1 and what ,i thought useless or absurd on the other4 ,i am of course aware that there are some methods of finishing that ,i have not touched upon2 such as the finishing of musical instruments1 toys1 wooden bric-a-brac1 lacquered ,japanned ware1 walking sticks1 etc41 etc41 but as this work is only intended for the finishing of wood-work employed in the construction and completion of buildings1 it was thought better to confine it to that department alone2 thereby keeping its cost within reasonable limits4 ,among the works drawn from ,i may mention1 ,,cabinet-,,making ,,and ,,upholstery1 ,,the ,,builder ,,and ,,wood-,,workers1 ,,carpentry ,,and ,,building1 ,,scientific ,,american1 ,,furniture ,,men',s ,,manual1 ,,spon',s ,,workshop ,,receipts1 ,,the ,,workshop ,,companion1 ,,english ,,mechanic1 ,,house ,,painting ,,and ,,decorating1 ,,the ,,painters ,,magazine ,,and ,,coach ,,painter1 ,,encyclopedia ,,britannica1 ninth edition1 and many other works4 ,while believing the work1 as now presented to be equal1 if not superior to any published on the subject2 ,i feel that it is defective in some minor points2 as it would be impossible to convey to the mind of the operator all the minuti of each and every process required in wood-finishing2 for the perfect wood-finisher can only be the outcome of experience and observation added to the knowledge and instructions derived from the teachings of others4 ,the latter is offered in this volume2 the experience and observation must rest with the learner2 and if he takes advantage of his opportunities and masters all the details offered herewith1 there is no valid reason why he should not become an expert ,,wood-,,finisher4 ,,fred ,t4 ,,hodgson4 ,,new ,,york1 ,august1 #ahib4 ,,introduction4 ,doubtless1 the arts of ,carpentry and ,joinery were among the oldest in the world1 and these arts must have flourished for many centuries before anything like polish or fine finish on wood-work were even thought of4 ,the handles of stone weapons were probably the first specimens of the wood-worker's art1 then clubs and other wooden weapons subsequently the 8dug-out0 and the paddle or oar4 ,huts or wooden dwellings with doors and shutters1 roofs and floors did not appear until much later4 ,nature always makes her works fittest for the intended end1 and beautiful as well4 ,so long as mankind were in constant contact with ,nature's works they tried to imitate her methods1 but at last this involved two processes1 so1 that1 when they ceased to care for beauty1 they grudged the necessary labor required to attain it4 ,therefore1 in anything made by the hands of man1 with no other motive in view but that of utility1 the chances are a thousand to one that beauty will be conspicuous only by its absence4 ,that wood plays a very important part in the affairs of mankind1 ,i scarcely need mention1 and nature seems to have well understood our wants for it is claimed by those who claim to know1 that about one-third of the earth's surface is covered with trees1 all of which are capable of contributing in some form or another to the wants of man4 ,in this country1 the art of using wood for almost every purpose1 has gone far beyond anything that has ever been attempted by any other people4 ,the introduction of wood-working machinery for the rapid manipulation of intricate mouldings1 spirals1 flutings1 beadings and carvings1 has in a great measure1 had a tendency to elevate the taste of the whole community1 though ,i must confess that artistic excellence of a high order1 in the mechanical arts1 is now scarcely found among our younger workmen2 machinery having almost done away with the necessity for the fine kinds of hand and brain work4 ,fashion1 which rules despotically in the wardrobe1 influences1 to a greater or lesser degree1 the style and finish of wood-work1 and to a certain extent1 the kind of wood that must be used for certain purposes4 ,it is but a few years since1 when no other wood than clean white pine1 would be permitted to do service in a building4 ,every thing must be pine1 floors1 doors1 windows1 and skirtings1 even to the bath fittings4 ,then ,dame fashion sent forth her decree1 and a mixture of white pine1 ,norway and ,southern pine1 was used followed shortly afterward by the abominable mixture of ash1 walnut and chestnut4 ,some architect who deserves well of his country1 introduced all walnut and all mahogany fitments2 and at once1 people of taste who saw this manner of finish noticed its superiority over the 8trash-like0 mixture at once2 and the fashion then of finishing in one kind of wood became the rage4 ,walnut was found too dark for general purposes and was soon abandoned for the lighter woods2 chestnut1 sycamore1 ash and oak were then tried1 but ,i believe ,i voice the opinion of a majority of architects when ,i say that1 with the exception of oak1 the light colored woods were not successful1 from an sthetic point of view1 and it is on record1 that many buildings finished in these woods1 have recently had their wood-work cleaned and stained to imitate darker woods or have been painted4 ,one of the valuable qualities of white oak1 is1 that it grows richer in color as it gets older1 and no matter how it is finished1 so long as the grain is visible1 it mellows and improves with age4 ,this is a quality that no other of our ,american woods possess in the same degree4 ,all the oaks have this quality to a certain extent1 but the white oak 7,quercus alba71 possesses it more than any other4 ,mahogany too1 has this quality largely1 if true ,spanish mahogany is used1 but little of this is in the market2 though there are many woods which have the appearance of mahogany1 and are called mahogany1 and both buyer and user are oftentimes deceived1 and pay for what they do not get4 ,we have often been reproached with willfully or ignorantly ignoring or destroying our own handsome woods1 while importing from abroad at excessive cost1 and the payment of heavy duties1 foreign woods which are much inferior to many of our native productions4 ,this folly prevailed at a time when it was fashionable and even popular to believe there was no merit in domestic productions of any sort1 this state of things1 however is now at an end2 and in the neighborhood of all large towns1 and in country places as well1 a finish in hard wood is the rule1 and a finish in pine the exception1 if the building to be finished1 makes any pretension of being 8up to the times40 ,with regard to the difference in cost between a finish in the best clear pine1 and the best selected hard wood1 there is really but little1 if any1 if we take into consideration durability and good taste4 ,as between pine wood and good well finished hard wood1 the disparity in value and merit is so very little as to completely silence any comparison4 ,between poor pine and poor hard wood the preference should by all means be given to the former2 because1 poor pine as it reveals its defects can be puttied and painted in a manner to disguise them2 whereas the defects of poor hard wood are almost incurable4 ,the rationale of the subject seems to resolve itself into the following statement4 ,modern taste in expensive dwellings calls for the free use of hard woods4 ,it is immaterial which are used1 but highly essential that the best seasoned woods should be selected2 and1 further1 that they should be skillfully treated and finished4 ,the principal recommendation of hard wood is that it admits of a treatment which renders it impervious to the effects of atmospheric changes1 and1 therefore can be made more durable and ultimately less expensive than pine wood4 ,a hard wood that is well seasoned before use1 that is treated with proper fillers to close up its pores1 and then finished with successive coats of copal varnish1 well rubbed in with pumice-stone1 being finally brought to a higher flat finish1 presents the most attractive1 serviceable and reliable style of wood-work that can be introduced into a house4 ,well finished hard wood obviates the expense and annoyance of constant renewals1 which pine work calls for in patching1 puttying and painting4 ,the most brilliant gloss of finished hard wood can be restored by a skilled person without disturbing the furniture or carpets of a house4 ,pine work seems peculiarly and incomparably adapted for cheap work4 ,a good article of common pine1 suitable for ordinary work can be procured1 and worked at considerably less expense than would be involved in using good hard wood4 ,the use of poor hard wood in any work should not be tolerated or thought of under any circumstances1 for the simple reason that it is certain to create annoyance and expense1 which no house-owner1 especially of moderate priced property1 should be subjected to4 ,i have deemed the foregoing introduction necessary as it will enable the workman to have some idea of the development of the art of joinery1 and the transition from the use of pine and the softer woods1 to that of the hard woods4 ,in the following work it is my intention to take each of the woods most in use2 describe them1 say what ,i think they are best adapted for1 and the best way to finish them1 as far as my knowledge extends4 ,by this means the reader will have1 under one head1 all the book contains concerning the particular wood he is about to finish4 ,,preliminary4 ,if the workman who finally finishes wood-work1 had the selection of the materials out of which the work is formed2 and wrought the work himself2 the following suggestions would scarcely be required1 for he would see to it that the material was free from shakes1 cracks1 worm holes1 doze1 sap and fractures2 and he would so choose his material1 that the full beauty of the grain would show1 when the polish coat went on4 ,he would also see1 that the work was clean4 ,that is1 that no plane marks were visible1 no rough spots1 or cross-grains noticeable1 and that all angles were sharp and definite1 all mouldings smooth and not a nail head or screw top to be seen1 nor any point that could suggest a nail head4 ,as a rule1 however1 the workman who puts on the last finishing touches never makes the work1 though he is always expected to cover and hide all the faults of bad workmanship1 bad selection of timber1 and a thousand other objectionable things in connection with work1 over which he has had no control4 ,in order to aid the finisher as much as possible1 ,i give a few hints herewith1 for the use of the workman whose duty it may be to prepare and put up the work to be finished4 ,the suggestions given1 are equally applicable for hard and soft woods and ,i trust they will not be out of place4 ,first1 then see that the material is dry1 free from imperfections1 of the full sizes required1 and of such variety of grain as may be suitable for the purpose intended4 ,next1 make all joints close and as near perfect as possible as on this point rests1 in a great measure1 the artistic appearance of the work4 ,make all angles sharp and clean1 and all mitered mouldings true and with perfect intersections4 ,never use glass-paper where a scraper can be applied1 and when a large quantity of mouldings of similar contour and size are to be employed2 it is always better to make a scraper their reverse shape1 and use it in cleaning and preparing the mouldings for the varnisher1 than to use glass-paper for the purpose4 ,illustration3 ,,fig4 #a4 ,wherever possible and suitable ,i would advise the use of glue in putting up finish1 and ,i may here remark to the workman1 that after a little practice in the use of glue and a little knowledge of its worth and capabilities1 he will prefer it1 to nails or screws where he can apply it2 further on ,i will give a few hints and suggestions on the proper methods of using glue in house finishing4 ,of course1 ,i am well aware that the use of nails and screws is a necessity in wood-finishing1 but where the work is to be left natural color1 or stained and polished1 there should not be the slightest suspicion of a nail or screw head1 and to meet this condition the skilled workman resorts to several expedients to hide the fastenings among which are the following4 ,these methods1 which are similar1 are called 8sliver-nailing10 or sometimes1 8chip blind-nailing40 ,in the first method1 shown at ,fig4 #a1 the wood is raised with a firmer chisel and the screw or nail is then put in place and driven home4 ,at ,fig4 #b1 the 8sliver0 or chip1 is raised with a gouge4 ,in the first instance a sharp knife should be employed to draw lengthwise with the grain two deep cuts the width of the chisel1 as this keeps the sides of the chip from splitting4 ,the chisel should be set at a steep angle at first till the proper depth is reached1 and then made to turn out a cut of even thickness until there is room to drive in a screw or nail4 ,if too sharp a curve is given1 the 8sliver0 is likely to break apart in being straightened out again4 ,in ,fig4 #b1 ,i show how the 8sliver0 is raised by using a gouge4 ,to do this nicely a gouge about three-quarters of an inch across the face should be used and the curve should be quick4 ,in this case no knife cut is needed1 as the corners of the gouge will cut as it progresses4 ,illustration3 ,,fig4 #b4 ,the cut being made and the 8sliver0 slightly raised as shown in both cuts1 the screw or nail may be driven without disturbing either the 8sliver0 or the cut underneath4 ,see that the head of either screw or nail be sunk beneath surface of recess1 so that the 8sliver0 will fit back in its place without obstruction4 ,now take properly prepared glue and1 after warming the 8sliver0 and recess with a warm cloth1 cover the underside of 8sliver0 and the wood underneath1 seeing that the glue is not too thick2 press down the 8sliver0 in place1 then rub with the face of a hammer until the glue holds2 then leave until dry1 when the whole may be dressed off and finished4 ,another way is to glue the 8sliver0 down and then take a flat piece of pine about an inch thick1 and glue over the 8sliver10 rubbing the pine block to and fro until the glue takes4 ,the block is left on until dry and solid4 ,the pine block may be split off1 and the face of the wood dressed clean and finished4 ,in hardwood finish for interior housework this latter plan of fastening up stuff is often resorted to4 ,when the work has been made secure by any or all the methods described1 the next thing to be considered is the smoothing and final finishing1 and these two processes as here defined1 pertain to all sorts of wood1 hard or soft1 that is intended to be finished in the natural colors or stained4 ,in order to obtain a fine and substantial finish the work must either be smoothed fine with a plane1 scraped with a steel scraper1 or rubbed down with the finest glass-paper4 ,for very hard or irregular grained wood1 such as is made into veneers or employed for the finer kinds of work1 the cleaning-off process consists first in planing the surfaces with a toothed plane1 having a serrated edge like a comb1 this tool scratching away the high places and leveling the surface without pulling or splintering the wood1 as a common knife will do unless very carefully adjusted and worked4 ,after tooth-planing1 the surfaces are scraped with a steel hand scraper until the scratches made by a tooth plane are removed1 and the surface is then finished by rubbing with glass-paper of different finenesses4 ,straight-grained hard woods can be cleaned off by planing with a common smoothing plane1 and then scraping and rubbing them with glass-paper4 ,soft wood requires only careful planing and glass-papering1 but if scraping is omitted great care must be taken in planing1 or else the plane marks will show by reflection when the surface is polished1 varnished or painted4 ,i have known of cases where the finishers were wrongly accused of improper execution of the work because the finish1 after being exposed to the changes of temperature occurring in a year1 became impaired on account of the appearance of fine cracks running with the grain1 differing from those caused by the improper application of varnish1 which always runs across the grain4 ,among other reasons for this premature impairment1 one is that the fine fibres become affected2 sandpapering the wood lengthwise or with the grain will loosen these1 but will not break them off4 ,the application of the filler will force them down into the pores1 the filler making them adhere perfectly tight for some time2 but the changing of the temperature expands and contracts the wood1 thus causing the fibres to loosen and work out1 making their appearance in fine cracks and impairing the finish4 ,this fault most frequently occurs in open-grained wood especially when employed in the common class of cabinet-work which is transferred to the finishing-room directly upon leaving the machinery where it has been sandpapered lengthwise by a set of cylinders under heavy pressure1 and should be guarded against with great care4 8,this sandpapering10 finishers will generally say1 8is a matter for the cabinet-maker or the carpenter2 daub it over and let it go40 ,it is immaterial to them how the finish holds out after leaving their hands2 but ,i find it is well for a finisher to do his duty by at least insisting upon having the work lightly cross-sandpapered with paper with ,no4 #a4 or ,no4 #a paper4 ,this process will loosen the fibres at both ends2 consequently1 they will fall off1 or1 if they do not do so1 they should be dusted off previous to filling4 ,there is one more source of injury which should be guarded against with great care1 and that is finishing over wet timber2 nor should steam1 water or dampness in any form be allowed to come in contact with the smooth dry surface1 as it will raise the grain1 making redressing by the joiner a necessity4 ,in their natural state all woods are more or less porous consisting of bundles of hard fibres1 with interstices filled with a softer substance4 ,these constitute the grain1 and as the hard or soft parts predominate1 the wood is said to be hard1 fine1 or close-grained1 or soft and open-grained4 ,to fill these softer parts1 or pores1 and give to the whole an even1 uniform surface1 hard1 and capable of a brilliant polish1 is the object of the finishers' art4 ,this hard1 firm surface was formerly gained by the successive application of several coats of varnish1 at least three preliminary coats being required to fill the pores2 the inequalities were then reduced by fine sand or glass-paper1 and several additional coats laid on1 the last1 after becoming thoroughly hard being polished if desired4 ,in this operation1 however1 a great quantity of varnish is absorbed by the open pores of the wood1 and it is consequently so expensive that it is now seldom used4 ,recourse is therefore had to various plans to render the wood non-absorbent before applying varnishes1 and certain compounds called fillers are largely used for this purpose4 ,these ,i will endeavor to describe1 and give the methods of application in the following section4 ,,wood-,,fillers ,,and ,,wood-,,filling4 ,in woods employed for house and cabinet work there are two distinct natures1 therefore different treatment is required in finishing4 ,first1 there is the coarse or open-grained wood1 having its surface perforated with innumerable pores or cells4 ,in order to obtain a smooth and even finish1 these pores should be filled up to a level with the hard grain1 or1 as the grainer would term them1 the 8lights0 of the wood4 ,next we have the fine or close-grained wood1 which1 like the preceding1 also contains these pores1 but they are of a very fine character1 and simply sealing them up with a liquid filler will enable one to produce a fine smooth finish1 which we shall consider farther on4 ,i will now return to the open or wide-grained wood which requires more attention and care than the closer-grained wood1 if same results are expected4 ,there are many things that will serve the purpose of fillers and make pretty fair work2 among these may be mentioned1 china clay1 silver white and corn starch2 the best of which is probably the last named4 ,this is well adapted to the work being equally useful with light1 or when colored with dark wood2 one fault with it1 is that it never hardens4 ,china clay--the ,english is the best--makes an exceedingly good filler2 it is light in color1 very fine and dries as hard as cement4 ,there are an hundred ways of preparing fillers for use1 and nearly as many different materials for making them2 ,i would recommend however1 that wherever it is possible1 that ,wheeler's patent quartz filler be used2 though ,i am aware1 that in many cases1 it may not be advisable to use it1 and to meet these rare conditions the following mixtures may be substituted4 ,a filler should be so mixed that the greater portion of the vehicle will penetrate into the wood1 leaving the pigment on the surface to be rubbed into the pores and still retain enough combining property to form a hard and impenetrable surface4 ,this depends entirely upon the proportions of the vehicles employed1 and1 as different pigments require different quantities of vehicle1 ,i seldom mix filler by actual measurement unless it be in large amounts4 ,i proceed with the mixing by filling my pot two-thirds full of the dry pigment1 then add boiled linseed oil1 producing the consistency of putty1 then dilute with about one part japan and two parts turpentine4 ,should it be required to keep the wood as light as possible1 replace the boiled oil with raw1 using a smaller quantity1 but a little more japan4 ,for all light wood the light japan should be preferred1 although there are many who never use anything but the common brown4 ,naphtha can also be employed in place of the turpentine1 somewhat reducing the expense2 but1 as naphtha evaporates much faster1 it prevents the operator from covering an extended surface without running the risk of having it dry hard4 ,this causes difficulty at 8rubbing it in0 and wiping off the surplus1 although 8wiping off0 should not proceed until the filler has flatted--or1 at least1 8set40 ,this to a certain extent the operator can accelerate or retard by omitting or adding a small quantity of oil1 keeping in view the fact that the smaller the quantity of oil used1 the lighter colored1 but the less durable1 will be the finish4 ,oil is sometimes used as a filler1 but its use is not recommended2 applied directly to the wood1 its effect is to swell the fibres1 or 8raise the grain10 which remains in that condition until the oil becomes entirely dry or disappears4 ,during this time the fibres are gradually shrinking1 and consequently moving or checking the varnish4 ,the qualities essential to a good filler are that it shall readily enter the porous portion of the wood1 and shall very soon harden and render the wood impervious to the varnish1 which should lie smoothly upon the surface1 giving brilliancy and effect to the natural beauty of the wood2 and that it shall not raise the grain of the wood2 and that it shall not change the color of the wood4 ,these conditions are satisfactorily fulfilled by few of the home-made fillers ordinarily used in shops1 and while ,i give a number of receipts1 my readers are advised that they will obtain better satisfaction1 at less cost by purchasing some of the patent fillers now coming into general use4 ,in these fillers very little oil is used and a large amount of dryers1 so that the wood becomes perfectly dry and hard in a few hours preventing any swelling or shrinking of the fibres of the wood after the varnish is applied4 ,the following fillers should be allowed to dry until quite hard4 ,a period of about eight hours is usually sufficient1 but it is better to let the work stand for twenty-four hours before touching it with glass-paper4 ,in applying a filler it should always be borne in mind that the substance of wood consists of a multitude of small tubes lying side by side4 ,these tubes or cells are not continuous from top to bottom of the tree1 but are comparatively short and taper out to points so that they are thickest in the middle4 ,most of the common woods have the walls of these tubes so thin that liquid is readily absorbed by them and carried into the substance for some distance4 ,different kinds of wood differ much in the shape and arrangement of these cells4 ,in filling the pores the first step is taken in providing an absolutely smooth surface4 ,we trust mainly to mechanical force in rubbing in1 aided by the absorptive powers of the wood4 ,formerly successive varnishings and rubbings and scrapings took much time and when they were done1 the final finish had still to be applied1 but the whole process has now been simplified1 by using fillers4 ,the careful workman will not leave 8great daubs0 of superfluous filler here and there on the work1 but will see that all corners and heads and quirks of mouldings are well cleaned off before it gets too hard to remove easily1 and should there be any nail holes--which there ought not to be--he will have them filled with properly colored putty or cement and nicely smoothed down before he makes any attempt to put on his finishing coats4 ,among the many home-made fillers ,i have endeavored to select the best4 ,walnut ,filler4--,for ,medium and ,cheap ,work4--#aj lbs4 bolted ,english whiting1 #c lbs4 dry burnt umber1 #d lbs4 ,vandyke brown1 #c lbs4 calcined plaster1 lb4 ,venetian red1 #a gal4 boiled linseed oil1 gal4 spirits turpentine1 #a quart black japan4 ,mix well and apply with brush2 rub well with excelsior or tow1 clean off with rags4 ,walnut ,filler4--,for ,imitation ,wax ,finish4--#e lbs4 bolted whiting1 #a lb4 calcined plaster1 #f oz4 calcined magnesia1 #a oz4 dry burnt umber1 #a oz4 ,french yellow1 #a quart raw linseed oil1 #a quart benzine spirits1 pint very thin white shellac4 ,mix well and apply with a brush4 ,rub well in and clean off with rags4 ,before using the above filling give the work one coat of white shellac4 ,when dry1 sandpaper down and apply the filler4 ,walnut ,filler4--,for ,first-,class ,work4--#c lbs4 burnt umber1 ground in oil1 #a lb4 burnt sienna1 ground in oil1 #a quart spirits of turpentine1 #a pint brown japan4 ,mix well and apply with a brush2 sandpaper well2 clean off with tow and rags4 ,this gives a beautiful chocolate color to the wood4 ,filler for ,light ,woods4--#e lbs4 bolted ,english whiting1 #c lbs4 calcined plaster1 #a lb4 corn starch1 #c oz4 calcined magnesia1 gallon raw linseed oil1 #a quart spirits of turpentine1 #a quart brown japan1 and sufficient ,french yellow to tinge the white4 ,mix well and apply with a brush1 rub in with excelsior or tow1 and clean off with rags4 ,filler for ,cherry4--#e lbs4 bolted ,english whiting1 #b lbs4 calcined plaster1 #a oz4 dry burnt sienna1 #a oz4 ,venetian red1 #a quart boiled linseed oil1 #a pint spirits of turpentine1 #a pint brown japan4 ,mix well1 rub in with excelsior or tow and clean off with rags4 ,filler for ,oak4--#e lbs4 bolted ,english whiting1 #b lbs4 calcined plaster1 #a oz4 dry burnt sienna1 oz4 dry ,french yellow1 #a quart raw linseed oil1 #a pint benzine spirits1 pint white shellac4 ,mix well1 apply with brush1 rub in with excelsior or tow1 and clean off with rags4 ,filler for ,rosewood4--#f lbs4 bolted ,english whiting1 #b lbs4 calcined plaster1 #a lb4 rose pink1 #b oz4 ,venetian red1 lb4 ,vandyke brown1 lb4 brandon red1 #a gallon boiled linseed oil1 gallon spirits of turpentine1 #a quart black japan4 ,mix well1 apply with brush1 rub in with excelsior or tow1 and clean off with rags4 ,another4--,stir boiled oil and corn starch into a very thick paste2 add a little japan1 and reduce with turpentine1 but add no color for light ash4 ,for dark ash and chestnut use a little raw sienna2 for walnut1 burnt umber1 add a small quantity of ,venetian red2 for bay wood1 burnt sienna4 ,in no case use more color than is required to overcome the white appearance of the starch1 unless it is wished to stain the wood4 ,the filler is worked with brush and rags in the usual manner4 ,let it dry forty-eight hours1 or until it is in condition to rub down with ,no4 #j sandpaper without much gumming up1 and if an extra fine finish is desired1 fill again with the same materials1 using less oil1 but more of japan and turpentine4 ,another4--,take three papers corn starch1 one quart boiled linseed oil1 two quarts turpentine1 one-quarter pint japan2 cut in half the turpentine before mixing2 it will not cut perfectly otherwise4 ,for dark woods add burnt umber to color4 ,when nearly dry rub off with cloths4 ,the above mixture must be used fresh1 as it is of no value after it is four or five days old4 ,the cloths used in rubbing as above mentioned should be destroyed immediately after use1 as spontaneous combustion is likely to ensue from the ingredients employed4 ,preparation of ,wood for ,staining4--,as a filler of wood to be stained1 apply ,french plaster of ,paris1 mixed as a creamy paste with water1 and after rubbing in1 clean any surplus off2 or use whiting finely powdered1 or white lead slacked with painters' drying oil1 and used as a filler4 ,another process is that of oiling then rubbing crosswise to the grain with a sponge dipped in thin polish composed of melted beeswax1 resin1 and shellac1 and smoothing the surface1 when dry1 with pumice-stone1 or fine glass-paper4 ,embody the work a second time with thicker polish1 or a mixture of polish and varnish4 ,the rubbers will work easily with half the quantity of oil which is ordinarily used4 ,this second body should be rubbed very smooth with moist putty4 ,in the use of any filler1 care must be taken in the selection of color1 for the employment of a light colored filler on dark wood or vice versa would result in gross defacement1 as the lighter color would show at the pores of the wood in the one case1 and the darker in the other4 ,therefore1 to avoid this the filler should be as near as possible the color of the wood to be filled4 ,as a general thing1 paint manufacturers who do not make fillers a specialty use opaque colors to stain their filler1 as it requires a less quantity4 ,this will do sometimes1 but not always4 ,but those which give to the wood a clear and bright appearance1 and therefore produce the best results1 are stained with transparent colors2 those chiefly employed are burnt umber and sienna1 ,venetian red1 ,vandyke brown and charcoal black1 the charcoal being ground fine in oil1 while the others can be used dry and according to the following recipes with good results3 ,in mixing any or all dark fillers the same pigments used for the light 7previously described7 should be kept for a basis1 with sufficient coloring to stain it to the desired depth of shade4 ,filler for ,walnut is very often stained with burnt umber2 this is reddish in hue and gives to the wood a pleasing effect4 ,others use ,venetian red darkened somewhat with lamp black2 this is rather opaque1 and tends to deaden the color of the wood4 ,there is another article--namely1 ,vandyke brown--which gives fair results4 ,in order to obtain a rich effect1 the filler should be made considerably darker than the wood when new4 ,fillers for mahogany1 cherry1 ,california redwood1 and other woods of similar shade1 should be stained with burnt sienna1 as they should be finished very clear4 ,it is well to know that charcoal black1 and ,venetian red will give the desired shade for any dark-colored wood in common use or for all colors in antique1 but it does not show up quite as clear as some other combinations4 ,for rosewood1 charcoal as a stain will suffice1 and for vanilla or ,brazil-wood the use of rose-pink will give good results4 ,the methods of mixing these fillers are quite numerous4 ,it is impossible to give the proportions definitely1 owing to the strength of the colors or the transparency of the chief ingredient1 but one cannot go astray by following the preceding rules4 ,mix the light pigment to a paste with boiled oil1 which must be well stirred up4 ,then in another pot mix a quantity of the colored pigment with turpentine or naphtha2 and when thoroughly 8cut10 or dissolved1 add sufficient of it to the light to give the shade required4 ,after this is obtained1 dilute with turpentine or naphtha and japan1 as directed in mixing light filler4 ,this applies to all colors except black1 which is seldom obtained finely ground unless in oil1 and properly thinned down4 ,there are many finishers and firms who exclusively use manufactured fillers1 and in consequence meet with many difficulties as to the shade they require1 as different manufacturers use different colors to stain their filler4 ,but this difficulty can be overcome by a few experiments with the above-named stains4 ,as the foregoing gives pretty nearly all the fillers in general use with the exception of some of the manufactured mineral preparations of which ,i will have more to say further on1 ,i will now proceed to describe the method of application1 and for the greater portion of this description1 and other matters in this work1 ,i am indebted to ,mr4 ,r4 ,a4 ,a4 ,bahre's papers on the subject contributed to ,house-,painting and ,decorating1 a monthly magazine published in the city of ,new ,york4 ,the secret of this is to do the work well1 quickly and economically4 ,these points are dealt with in the following3 ,have your filler mixed to the consistency of ordinary lead paint2 then apply to the prepared surface of the wood with a pound brush1 or1 what is still better1 a #c-j or #d-j oval chisel varnish brush4 ,in applying the filler it is not necessary to cover all the small beads and carvings2 and if the filler be light better avoid coating them at all1 and if dark or antique stain them with a little of the filler1 much reduced with spirits of turpentine4 ,for this purpose have at hand a small pot with a small fitch or sash tool4 ,by not filling the beads and carvings1 the varnish is not so liable to run down in them1 although sufficient remains to produce a finish equal to the balance of the surface4 ,after enough surface has been covered with the filler1 so that what has been first applied begins to flatten1 the process of wiping should immediately begin1 using for that purpose either a rag or a handful of waste or ,excelsior4 ,if the wood is very open-grained1 waste is preferable4 ,with a piece of this that has previously been used and is pretty well supplied with filler1 rub crosswise of the grain1 rather rubbing it into the grain than wiping it off4 ,after the whole surface has been gone over in this way1 take a clean piece of waste or rag 7never use ,excelsior for wiping clean7 and wipe the surface perfectly clean and free from filler1 using a wooden pick the point of which has been covered with a rag or waste to clean out the corners1 beads1 etc4 ,it is well to give these picks some attention1 as a person once accustomed to certain tools can accomplish more and better work than with tools that feel strange in his hands2 therefore1 each finisher should furnish his own pick4 ,as to their construction1 these are best made from second-growth hickory1 which can be procured at any carriage repair shop1 such as old spokes1 broken felloes1 etc4 ,they are made eight inches in length1 half inch oval at one end and tapering down to the point at the other4 ,sharpen the oval end like a cold chisel1 then smooth with sandpaper1 which should also be used to sharpen the tool when the same becomes worn dull4 ,this picking out of the filler from beads1 etc41 can be accelerated by the use of a picking brush manufactured especially for that purpose1 but it is not advisable to use this on very coarsely grained wood1 as it scrubs the filler out of the pores4 ,there are several fillers used which do not require this picking and scrubbing4 ,one is a liquid filler used chiefly for carriage finishing2 but it can be used successfully on butternut1 bird's-eye maple1 curly maple1 satinwood1 hickory1 etc4 ,it is made from gum and oil4 ,another is a filler made from finely-ground pumice stone1 mixed as other fillers4 ,it is applied with a brush1 and must be left to dry at least twenty-four hours2 it is then sandpapered smooth1 when an oil varnish is applied1 rendering it completely transparent4 ,this last can be used only upon light wood4 ,the workman1 as a matter of course1 will understand that different woods1 require slightly different treatment1 and the finer-grained woods1 among which are the pines1 maples1 cedars and poplars1 of different varieties1 and birch1 cherry1 beech1 sycamore1 white box1 satinwood1 etc41 require no filling1 not that a filling would prove detrimental to the finish--except upon stained work or white holly1 which in order to maintain a clear color should never be filled--but1 from the condition of all fine wood1 it is superfluous1 and only causes unnecessary labor and expense4 ,at this point it will be convenient to pause to consider the subject of mineral or prepared wood-fillers4 ,i think ,i have prepared the mind of the reader to receive the fact1 that of all the several manufactured preparations in the market ,i think that ,wheeler's patent filler made by the ,bridgeport ,wood-,finishing ,company1 is decidedly the best and the most economical to use1 for many reasons1 the chief one being its certainty of action4 ,a great deal of time and money have been wasted in attempting to make good fillers1 to no purpose1 and a great variety1 as ,i have shown--of substances as chalk1 plaster of ,paris1 corn starch1 etc41 etc41 have been mixed with various vehicles and rubbed into the wood with but indifferent success4 ,most of these compounds labor under the disadvantages of forming chemical compounds with the oil and consequently they shrink very much on drying1 so that though the surface may appear smooth when they are first put on1 waves and hollows make their appearance as they dry4 ,these waves having round edges1 are difficult to fill1 the second coat building up as much or more upon the level spaces as in the hollows4 ,it sometimes seems almost impossible with these fillers in the latter coats to make the hollows hold any substance1 the filler clinging chiefly to the surfaces4 ,i have thought it necessary to show how the ordinary or home-made fillers act1 and fail in order to show by contrast how much easier it is to work efficiently with the mineral fillers4 ,the mineral quartz1 when mixed with oil1 probably shrinks less in drying than any other similar known mixture4 ,if a surface of wood be covered with this and then rubbed1 the sharp and angular particles of the silica imbed themselves in the pores of the wood1 closing them up1 while the oil cements them fast4 ,this is the foundation of ,wheeler's wood-filler1 and which we recommend for use by all wood finishers4 ,when the pores have been filled with the silica1 and are cemented fast by the proper mixture of gums and oils1 the difficult part of the work is done4 ,after a good surface has been made upon the article it is ready for the filler1 which is to be selected according to the color desired4 ,in putting the filler on it is thinned with turpentine until about like flowing varnish1 and is applied with a brush4 ,only so much of the surface is covered as can be cleaned off before it hardens4 ,when it has set so that the gloss has left the surface1 it is at once rubbed off with 8excelsior0 or shavings1 going across the grain with the strokes4 ,if the filler dries too fast or too light a little raw linseed oil may be used in it4 ,for a nicer job the filler is rubbed in with a rubber1 made by gluing a piece of sole or belt leather on the face of a block of wood and trimming the edges flush with the block4 ,the rubbing is done after the filler has set and before it is cleaned off4 ,if it dries off too light1 a little white japan may be added on nice work4 ,the light colored filler should be used on all work where light and dark woods are used together4 ,the filling1 it must be understood1 is done by the silica1 which will often be found in the shape of a sediment in the bottom of the mixture4 ,eight hours is generally considered a sufficient time for the filler to dry4 ,when the work with the filler is done the surface of the wood ought to be like so much ground glass4 ,such portions of the wood as show a solid grain need very little filler4 ,on ,georgia pine1 after the filler is dry1 a little rubbing in the direction of the grain with very fine sandpaper is an advantage4 ,if the filler has been properly used the desired results will be obtained with little labor4 ,the wood is now in a condition to receive the final coatings4 ,whether the work is to be polished or 8dead finished10 do not employ shellac or 8,french polish40 ,if a 8dead0 surface is wanted1 wax finish is easily put on1 and as easily rubbed to a good surface4 ,f4 ,w4 ,devoe ,co4 prepare a wax finish1 which is a convenient preparation of wax and gums1 and can be applied with a brush and then rubbed down with a woolen cloth1 tied up to make a hard rubber1 until a fine lusterless surface is obtained4 ,with mahogany and similar woods this greatly improves the color of the wood4 ,when this has dried1 which will be in the course of a few hours1 the work is ready for use4 ,the wax finish1 like many of the furniture creams1 has the advantage that it can be put on in a few minutes at any time to brighten up work when it has become dull4 ,a piece of work prepared in this way1 after four operations1 will present as fine an appearance as the best cabinet work found in the furniture stores4 ,the materials which have been described1 it will be noticed1 are both manufactured articles4 ,the prepared filler is indispensable2 the wax finish can be made by the mixing together1 by the aid of heat1 white wax and spirits of turpentine until they are of the consistency of thick paste4 ,another wax finish is made of beeswax1 spirits of turpentine and linseed oil in equal parts4 ,the addition of two drams of ,alkanet root to every twenty ounces of turpentine darkens and enriches the color4 ,the root is to be put into a little bag and allowed to stand in the turpentine until it is sufficiently colored4 ,an altogether more durable surface can be made by a little change in the treatment4 ,when the wood is filled instead of applying the wax1 take some hard oil finish1 a preparation manufactured by ,messrs4 ,berry ,bros41 of ,detroit1 ,mich41 and put it on with a brush precisely like varnish4 ,the coat should not be too heavy1 especially on vertical surfaces1 and the brush used ought to be a good one4 ,this material gives a most brilliant polish4 ,by rubbing it down with a woolen cloth and pumice-stone powder it can also be made dull4 ,hard oil finish does not spot with hot or cold water1 is slightly elastic and is not injured by pretty severe soaking in water4 ,it gets hard in twelve hours or less in warm weather and over night in winter time4 ,it is one of the best surfaces which can be used1 and has the advantage of working very well in the hands of one who is not an expert in the art of finishing wood or handling varnish4 ,it will make a very fair surface applied direct to the unfilled wood1 in which case it is a good substitute for shellac4 ,wax finish has the advantage that scratches can be easily repaired without sending to the cabinet-maker or the painter4 ,here a word of advice to the carpenter who does any work of this character may save him some trouble and make way for the further use of the same kind of finish4 ,when the wood-work of a house is treated in this way1 be sure and leave a little bottle of the wax polish with the housekeeper1 with directions as to the method of using it4 ,in sending out a 8what-not10 book-case1 or any other article of similar kind1 put up a little bottle of the polish and show the owner1 or1 preferably the lady of the house1 how to repair any little scratch and make the work look 8as good as new40 ,the fresh appearance of the work will be a good advertisement1 while it will prevent complaints and dissatisfaction that often follow the use of work which1 when injured1 cannot be restored4 ,it may be said that either of the methods of finishing involves a great deal of labor4 ,this is true2 but the amount is not much greater than is needed for three coats of paint1 and the cost of the paint would probably be more than the cost of the finish4 ,the labor in one case can be of a cheap character1 and in the other an experienced painter must be employed4 ,the profit upon the 8dead finish0 can go into the pocket of the carpenter1 while that of the painting must in any event be divided between the carpenter and painter1 or belong to the latter altogether who is1 after all the proper person to do the work4 ,i have now said about all that is necessary in the matter of 8fillers0 and 8filling10 but1 as sometimes happens1 the old system of 8sizing10 has to be resorted to for certain kinds of work1 ,i give herewith a formula for its construction and use3 ,size of different kinds is sometimes applied to the surface of wood to prevent absorption of the varnish4 ,the kind of material used for the size is not important1 the object being only to prevent absorption by a very thin coat of some substance not soluble in the varnish4 ,for dark-colored wood1 thin size1 made by reducing ordinary glue with water1 is generally used2 but for lighter-colored surfaces a white size is used1 which is prepared by boiling white kid or other leather or parchment-cuttings1 in water for a few hours1 or until it forms a thin jelly like substance1 which is reduced with water to a thin consistency1 and used in a tepid state4 ,sometimes solutions of isinglass or tragacanth are employed in like manner4 ,unlike the best fillers1 sizes of any kind do not improve the finish1 and are sometimes a positive detriment to it4 ,they are used solely as an economy to reduce the quantity of the varnish needed2 and their use is not recommended for the best work4 ,,staining1 ,,finishing1 ,,varnishing ,,and ,,polishing4 ,the following will apply to nearly all stained work with the exception that the coloring materials must be chosen to suit the results desired2 directions for mixing and preparing will be found under the head of woods4 ,staining1 or dyeing1 though not very modern1 has grown in popularity of late4 ,this is due not so much to the natural imitation of valuable wood as to the beautiful colors in which it may be produced--for example1 the deep red1 generally represented as mahogany1 which forms a handsome and lively contrast with nearly any color or style of finishing4 ,in house interiors1 however1 it has not been so extensively used as it has on furniture1 owing to the preference for the light wood for house finishing4 ,but1 despite its handsome color1 at the present time it is obliged to yield to the more artistic and substantial old oak1 which1 it is generally anticipated1 will continue in vogue a greater length of time than did the stained work4 ,an objection to stained work is that after it has been in service a comparatively short time the finish and stain wear off from those portions most exposed to severe usage4 ,the appearance is thereby destroyed1 and it cannot be restored by refinishing4 ,another objection to stains is that they fade1 a fault to which all these bright colors are subject4 ,whether this style of work is la mode or not1 it will always remain in greater or less demand4 ,a few details of staining will1 therefore1 be due4 ,now1 if the object of staining is to imitate natural wood1 it would be found desirable to procure specimens of the woods to be imitated4 ,excellent and most convenient specimens can be obtained at any scroll-saw supply house at a trifling expense4 ,commence by oiling and varnishing the specimen to bring out the color1 or apply a darkener if an antique color is required4 ,as a darkener for cherry1 apply with a brush aqua-ammonia diluted with water according to the depth of color required4 ,this is probably the best mixture for all red woods1 as it develops the colors to their utmost intensity4 ,lime-water and lye 7potash solution7 are also frequently used1 although lye should be used cautiously2 for if applied too strong1 it destroys the red color after developing it4 ,iron fillings or shavings boiled in vinegar produce a darkener for oak1 and are frequently employed in producing the 8darks0 or shades in sixteenth century finish4 ,after darkening with a water solution the specimens should not be oiled1 but after having thoroughly dried should receive a coat of shellac1 and1 when dry1 a coat of varnish4 ,having the colors well brought out1 they will be found of great utility in preparing a stain of accurate shade4 ,now1 the secret in preparing a good stain is that it should be perfectly transparent1 which may be produced in either oil or water colors4 ,the latter1 however1 with a few exceptions1 will be found to give the best results1 for several reasons4 ,in the first place1 it penetrates deeper into the wood1 thus producing a more substantial finish4 ,next1 the wood employed is generally hard and fine1 and by an application of water stain the grain is raised1 whereby the 8lights0 or veins are more prominently brought out1 imparting to the finish a more vivid appearance1 which cannot be so effectually produced in oil colors4 ,still another advantage in water stain is the saving of time in its application2 for when properly prepared1 it can be used for dipping1 which is the method practised in our cabinet shops for staining much furniture4 ,it can also be applied with a brush1 although good results by this method are accomplished only when skill and practice are exercised4 ,in applying it a four or-five-inch flat bristle brush would be found the right size1 enabling the operator to cover over any one part or section before the stain penetrates the wood4 ,it will be found less difficult to apply oil stain uniformly with a brush1 and it is1 therefore1 generally employed in staining softwood and especially the different species of pine1 all of which absorb water stain in spots1 giving it a daubed appearance4 ,the first thing to be considered is the receptacle or vessel in which the water or acid stains are to be prepared4 ,this should be formed of a material which is unaffected by the corrosive action of acid4 ,porcelain-lined iron or glazed earthenware in the way of kettles or common stew crockery are commonly used4 ,as the latter are often cracked by the heat required in boiling1 it is safer and cheaper in the end to use porcelain-lined kettles4 ,i need not say that care and cleanliness are two very necessary qualities in the preparation and application of stains1 for a good workman is always a careful and a clean workman4 ,in finishing 8rubbing0 may be considered one of the most essential qualities1 since it gives to the varnish when laid upon the wood a degree of smoothness not otherwise attainable2 for by the use of the brush alone minute furrows and ridges are left upon the plastic surface of the varnish1 and although good varnish possesses in itself a high gloss1 the gloss is not nearly so agreeable to the eye as the brilliant polish of which rubbing is the preliminary4 ,the reduction of these ridges and furrows is accomplished by means of finely-powdered pumice-stone moistened with raw linseed oil1 applied with a piece of haircloth or other coarse and fibrous material4 ,for rubbing large flat surfaces the haircloth is sometimes folded over a block of convenient size1 but this is not practicable for articles of small size or irregular shape4 ,in rubbing1 considerable force must be used1 but the stroke must be steady1 and as long as possible1 and great care should be taken to rub the surface uniformly1 as in case it is rubbed unevenly the varnish is liable to be worn away quite to the wood in some places1 and the perfect smoothness that is the beauty of a good finish will thus be impossible4 ,the edges especially are liable to be rubbed bare1 and should be carefully treated4 ,the crevices and hollows of carvings are rubbed by means of hard-pointed sticks of various convenient sizes4 ,the rubbing should be continued until the entire surface appears perfectly smooth and free from marks of any kind4 ,the surplus pumice-stone and oil should all be carefully removed from the surface by means of rags1 and the work may then be cleaned up with a little sweet oil well rubbed in1 and retouched with a cloth slightly dampened in alcohol1 which serves to remove any remaining oil from the surface4 ,if the article has veneered panels they are now ready for the final processes of 8polishing10 or 8flowing10 processes1 whatever the kind of 8finishing10 the workman should make it a point where possible1 to have a suitable temperature4 ,no good finishing can be done under #fj1 and it is hard to get the temperature too high for this work4 ,the wood should be warm and perfectly dry1 and visitors1 flies1 dirt1 dust and dampness should rigorously be excluded from the room while the work is in progress4 ,the word 8shellacking0 has become of late very common with finishers and is often applied to first coating or 8sizing10 whether shellac be used or not4 ,this1 doubtless1 arises from the fact of the general employment of shellac for first coating and up to the present time has proved the most suitable medium discovered for the purpose4 #a again quote from ,r4 ,a4 ,bahre's papers on this subject4 ,before proceeding with the application of shellac1 it will be necessary to investigate the condition of the surface of the wood1 taking care that no successive application is made before the preceding one is perfectly dry4 ,the dry condition of water-stained work may easily be determined by the uniformly dead appearance it presents1 especially in the corners and angles4 ,a surface treated with oil stain1 when dry1 will impart no color to the finger if brought in contact1 and is effected in twelve or fifteen hours according to the amount of japan used4 ,the condition of a filled surface cannot be so readily observed1 for in wiping off the filler from the surface1 the moisture is likewise wiped off1 and the surface is dry to the touch4 ,but let us examine the pores1 which have become small receptacles filled to the brim with a fatty substance4 ,we find that the bulk of the substance in these pores does not dry so fast as were it spread out in a thin layer upon an extended surface4 ,when regard is not paid to this condition and the surface is prematurely coated1 it will be but a matter of a short time before the effects will become manifest by the cracking of the varnish1 caused by the varnish becoming dry before the filler4 ,we shall have something more to say on this subject later4 ,the safest way to ascertain whether a filler has become perfectly dry is to drop1 while filling1 a few drops upon a board and let them remain until they become hard enough to resist the pressure of the finger nail4 ,the length of time required will depend upon the amount of oil contained in the filler4 ,upon acquiring this degree of hardness the filler in the work may be considered dry1 and ready to receive the first coating4 ,this coating1 which should be employed on all first-class work1 is an alcoholic solution of gum shellac4 ,among the advantages of this solution are1 first1 that it dries very rapidly1 thus preventing it penetrating and sinking into the pores4 ,besides levelling the surface1 it forms a close impenetrable body for receiving the varnish4 ,by reason of this property it is also used for sealing up the pores of fine grained wood by applying two coats4 ,on account of its best solvent 7alcohol71 it is indispensable for developing1 certain stains1 especially the aniline and other water stains which do not contain lye or glue4 ,alcohol does not affect the stains nor the glue2 for this reason an alkali stain should first receive a light coat of oil1 while the glue stains require a strong glue size for their development4 ,the second advantage of shellac solution is its exceedingly hard drying qualities2 as it dries in five or six hours sufficiently hard to sandpaper1 and in eight or ten hours becomes so hard that the finger nail can make no impression upon it1 the surface is then ready for the second coat4 ,in addition to this1 its quality of hardness makes it indispensable for the first coating of all resinous woods1 especially the pines1 of which it not only seals up the pores but prevents the exudation of the resin while it sandpapers as fine as satin4 ,in preparing shellac for general use1 dissolve in a gallon of alcohol 7ethylic alcohol1 spirits of wine7 four pounds of the orange or five pounds of the white shellac1 using the white upon light wood if a clean or clear job is required1 and the orange if the color is immaterial or is required to be darkened1 as the cost of the orange gum is about forty per4 cent4 less4 ,the clearness of the orange gum depends much upon its freshness1 and it is therefore undesirable to prepare it until it is wanted for use1 when the dissolving of the gum can be accelerated by warming and continually agitating the mixture4 ,wood spirit 7methylic alcohol7 also dissolves this gum and is frequently substituted for pure alcohol1 its cost being about one-third2 but on account of disagreeable odor and deleterious effect it is rejected for first-class work4 ,the application of shellac is to an experienced finisher the most agreeable and least difficult part of finishing2 but to a beginner it is often most aggravating and discouraging1 it being very difficult to prevent lapping or doubling up4 ,especially is this the case when the lac is darker than the wood1 as1 for instance1 in shellacking pine shutters with orange shellac1 when the attempt of the beginner usually results in a total botch4 ,an experienced hand will produce a clear and even effect by proceeding in the following manner3 ,having in view the fact that the wood is very soft1 he will dilute his lac somewhat with the spirits1 to make it work free4 ,then1 with a double-thick flat-chiselled bristle brush about two inches wide he will apply a very free coat to the closed slats1 on the bar side1 including the small ogee edge of the frame1 taking care to daub none on the flat surface4 ,then1 quickly turning to the other side and opening the slats1 he will finish and lay off the sides1 and1 again closing the slats1 proceed by coating them upon the plain 7non-bar7 sides1 including the other edge of the frame4 ,he will then return to the bar side1 open1 lay off and finish2 then1 running the brush up and down the bar1 complete that portion of the work4 ,it may be laid down as a rule that one section should be completed before another is started4 ,when one portion is coated1 proceed with the frame by coating the outside edges and then the centre rail1 cutting the joints clean4 ,then begin at one end of the style and follow around until the starting-point is reached1 being always careful to complete as you go on4 ,it is sometimes required to finish shutters in a hanging condition1 but1 on account of the speed required in applying the shellac1 there is much danger of spattering the walls or windows4 ,if1 therefore1 they are hung with loose joint butts1 it will be found economical to remove them and finish them in a separate room4 ,we have thus far referred to the shellacking of pine shutters with orange shellac4 ,if one has acquired proficiency in this point1 all the remainder will come very easy to him1 especially when using white shellac 7transparent71 which does not show the laps after varnishing4 ,the whole secret of shellacking may be condensed in adherence to the following simple rules3 ,first1 to keep a wet edge to work to2 second1 always to work to a joint before stopping2 and third1 never to repeat with the brush after becoming partly set1 thereby causing it to 8double up40 ,there are several substitutes for shellac1 but the operator should remember they are only 8substitutes10 and cannot compare with the 8real thing0 and only the man who takes his work at starvation prices1 will use the 8subs10 unless such be specified4 ,oil shellac1 which is used to a great extent1 is generally supposed to be gum shellac dissolved in a volatile oil1 and in quality virtually equal to alcohol shellac4 ,this supposition is wrong however1 for the gums employed are of an inferior sort1 being chiefly taken from our pines and dissolved in turpentine or naphtha1 and having a little linseed oil and chemical dryer thrown in4 ,when dry it is very brittle1 easily spoils and will not resist the action of water on the grain1 and is utterly useless as a substantial finish4 ,this so-called shellac1 is applied in the same manner as varnish4 ,glue size proves most effectual in holding out varnish1 and while the work is new1 it is not easily marred4 ,in the course of two or three years1 however1 the glue decays1 when the slightest bruise causes the varnish1 size and all to give4 ,for developing water-stains containing alkali it is quite effective4 8,hard oil finish0 so-called1 is simply an application of a quick-drying brittle varnish1 that will polish with rubbing2 for inside work it contains very little 8oil0 while that prepared for outside purposes1 contains more 8oil10 is more expensive1 dries slower and is more durable4 ,it matters but little whether we employ shellac or a substitute1 or even varnish for first coating4 ,it should be allowed to dry and then receive a rubbing to take off all the grit or roughness which may have been caused by a little filler remaining on the surface or dust settled upon it before dry4 ,whatever it may be1 it should be smoothed before applying a coat of varnish4 ,for this purpose ,no4 #j sandpaper will be found the best adapted1 but1 as the ordinary sandpaper is very heavy1 and therefore stiff1 we are liable to cut through the edge in using it4 ,neither does it conform easily to mouldings and corners4 ,it is therefore advisable to employ the thin paper especially prepared for the purpose2 but if it cannot be obtained1 the heavy should be split--that is1 by detaching one or two layers of the back paper4 ,this can be accomplished in the following manner3 ,hold one corner of the sheet between the thumb and forefinger2 rub that corner briskly with a moistened finger of the other hand1 and the layers will then become detached and can easily be separated by running the finger down the edge between the two layers4 ,then1 holding the paper down upon a flat surface1 the layers can be drawn asunder across the whole width of the sheet4 ,by tearing the sheet once lengthwise and twice crosswise1 we have pieces of a convenient size for use4 ,as new paper scratches more or less1 it will be advisable to rub the grit off upon another piece2 then by moistening the back we are able conveniently to get into the corners without scouring the edges through4 ,should the sandpaper still scratch 7which it frequently does when inferior stock is used for coating71 haircloth will do instead1 using the hair side on the surface4 ,this can be obtained at any furniture repair shop4 ,a very important part of hardwood finishing is the varnishing4 ,simple as it looks1 it is extremely difficult to properly lay on a coat of varnish1 and experienced varnishers will tell us that this is so4 ,scarcely two varnishers work alike1 and it takes time and patient experience with any particular varnish to learn its peculiarities4 ,we cannot teach how the varnishing should be done1 but we can give a few general directions that may prove helpful4 ,in the first place1 do not be afraid of your varnish2 do not get excited if it threatens to give trouble4 ,i have seen a carriage-painter tremble so when applying a strange varnish that he appeared as though in an ague-fit1 and it is needless to say that it was a bad job4 ,apply the varnish quickly and freely1 and do not work it much2 the less varnish is worked after being applied1 the higher will be the lustre4 ,remember this1 for it is true and very important to know4 ,flow it on freely with a flat brush of suitable width1 and use a badger or fitch hair brush2 a fine elastic or half-elastic chiselled bristle brush is very good4 ,i mention the badger and the fitch more because they will outwear any bristle varnish brush and of course are cheaper4 ,a pound or any other bristle brush will answer for varnishing grained or painted work1 on which the varnish is generally scrubbed1 but in varnishing natural wood it should be laid on so as to level the surface1 for which purpose fine-haired brushes are necessary4 ,having the surface of the wood filled and shellacked1 we have a ground-work suitable for any class of work from piano polish to cheap one-coat work4 ,in selecting the varnish for the latter--which is generally left in the gloss--use a 8finishing0 varnish2 that is1 a varnish retaining a bright gloss when dry4 ,however1 the varnishes with the brightest gloss are generally not very durable4 ,when successive coats are to be applied either in oil--finishing--i4 e41 oil rubbing--or polishing1 a varnish is required that dries hard1 but not brittle1 the latter especially being characteristic of cheap gum varnish1 such as colophony--common pitch or rosin--poor copal1 etc4 ,if the varnish contains much oil1 it will render it elastic1 making it difficult to rub2 and therefore a good rubbing varnish should be made either of amber or of copal1 the former being especially adapted to the manufacture of polishing varnish1 as the gum is susceptible of a very fine polish4 ,varnishes to suit almost any purpose are generally obtainable at the dealers4 ,we never can expect good results if we put a hard varnish over an elastic one or apply a coat before the previous one is dry4 ,these are the main causes for varnishing cracking4 ,the same trouble also arises when varnish is applied too heavily1 so that the coat forms an enamel on the surface1 remaining soft underneath1 and then drying very slowly4 ,while drying1 the surface enamel contracts1 consequently drawing the cracks open quite wide4 ,it is impossible to lay down rules which by simply being read would make a practical varnisher of a person1 as varnishing requires much judgment and practice1 but a few 8tips0 may not go amiss2 at any rate1 they assist in completing the subject4 ,we will now enter a room that has been sandpapered as described previously1 having a temperature of about seventy degrees4 ,we sprinkle with water1 not flooding the floor1 as a very damp atmosphere would prove injurious to the gloss of the varnish1 then with a painter's duster carefully dust off all the work4 ,this generally ends the preparation1 but in order to remove all the dust it requires wiping off with a damp chamois skin2 and when all is clean and dry1 we are ready for the varnish4 ,for a bucket or pot use one of the clean tin pails known as 8two-quart-lunch pails40 ,then1 to prevent the varnish from running down the outside by scraping the brush over the edge1 a bar should be soldered across the pail about inch from the top and a little on one side from the centre4 ,manufacturers claim that varnish should be used just as it is sold1 and we find that nearly all good quality of varnishes work freely without diluting1 but how to obtain good results with some of their cheap stuff without diluting remains a mystery to finishers4 ,if1 therefore1 the varnish is of a poor1 thick quality1 add turpentine until it spreads freely with your 8fitch brush10 which1 if the work is very complicated1 should be two inches in width2 and if the work be plain1 a three-inch could be used to advantage4 ,varnish should be applied freely--or1 rather1 flowed on1 and not rubbed out1 or 8skinned0 on1 as finishers term it4 ,in applying the varnish1 first run freely over a panel1 then run over it crosswise4 ,if there are projections rising with an angle1 or any grooves or depressions1 as in mouldings1 they will retain more varnish than the flat surface1 and to prevent running down in them it requires drawing out4 ,this is done by stabbing the brush into the angles and at the same time drawing it out toward the flat surface2 and when this is done1 the whole length of the angle1 we finish by laying off up and down4 ,this should complete this portion of the work without being obliged to touch it again1 and thus proceeding until a section of panels have been finished1 when the frame should be gone over4 ,in coating the panels the surface of the frame is very often daubed--in fact this is nearly inevitable--and to coat over this would form fat edges2 so we shall again make it fluid by mixing it with the fresh varnish1 and this is done by 8pounding0 it up well--or1 as a painter would call it1 8stabbing0 it--when it can be evenly laid off4 ,the amount a surface will hold without running can be ascertained only by experience and judgment2 although much depends upon the way it is laid off1 as a greater quantity can be applied if laid off up and down than horizontally1 as the brushmarks give occasion for the varnish to 8sag40 ,but if such should take place after the varnish is partly set1 it could be stopped by stabbing with the brush rubbed out dry1 although this will leave the surface pitted1 but1 at any rate1 much easier to rub out than a run4 ,the brushes1 when not in use1 should be kept in varnish or washed out clean1 which can be done by rubbing them out well with kerosene and then washing them with soap and water until perfectly clean4 ,should it be desired after applying one coat of varnish1 to proceed with the oil finish1 that is 8oil rubbing or polishing10 we should first take into consideration the condition of our surface4 ,providing that one coat has filled the little depressions of the grain to a perfect level1 we are prepared to proceed with the rubbing2 but this levelling is seldom effected with one coat1 requiring1 as a rule1 at least two coats for fine wood and three or four coats for coarse-grained woods4 ,the main object1 however1 is to form a coating sufficiently heavy to prevent rubbing it entirely off from the elevations in getting it down to that in the depressions4 ,as to the best method of rubbing and polishing as much or more diversity of opinion exists than in any other branch of the trade4 ,this is probably due to the scheming and experimenting of the so-called 8rushers10 who get nervous at seeing a man take sufficient time to rub down a surface1 and thus devise some new plan for hustling out the work1 and generally1 when the gloss is removed1 the job is completed regardless of appearance4 ,but nevertheless in all of these snide finishes there is generally a point or two of importance for us4 ,we have for instance1 a dead finish produced by adding wax to varnish4 ,this is made by scraping the wax fine1 putting it into a dish and covering it with a good turpentine japan placed over a fire to dissolve1 but with a moderate heat4 ,when dissolved1 add twice its amount of varnish and apply with a fitch flowing brush4 ,although this does not produce a rubbed finish1 it produces quite a clever imitation1 and we can use it to advantage on the slats of shutters and on elaborately carved capitals1 etc4 ,it is not infrequently employed in floor finishing4 ,there is a method practised which removes the gloss from the varnish by rubbing with a mixture of oil and pumice-stone applied with a furniture scrub brush1 or1 for a large flat surface1 a commercial stencil brush--,no4 #ab or #ad is frequently used--dipping the brush into the mixture and scrubbing it on to the surface2 three or four scrubs are generally sufficient1 depending particularly upon the cleaning off with wadding completely to remove the gloss4 ,unless the varnish has been very cleanly applied and is perfectly level1 it does not amount to much1 for it does not smooth the surface4 ,others1 again1 first sandpaper the surface with fine sandpaper1 then rub it a trifle with oil and pumice1 using a piece of burlap or old felt boot for a rubber4 ,the only way yet discovered by which to level the surface is to rub it down with felt4 ,for this operation we provide ourselves with a set of rubbers which may be made as follows3 ,first take a piece of white ,spanish felt one inch thick and about #cx#e in size2 split it in two1 and keep one half for the large plain surfaces4 ,then again split the other half1 obtaining two thin pieces1 reserving one for mouldings1 etc41 to which it will easily conform4 ,we now want some tools to get into small corners so we whittle sticks about six or eight inches long and in shape of a triangle1 half round and oblong2 then1 cutting the ends square1 glue a piece of thin felt upon it1 allowing the glue to dry thoroughly before putting in oil4 ,for getting around in the bottom of carvings1 we whittle a stick of basswood bark1 and1 moistening it1 stub the end to a pulp4 ,a scrub brush will also be necessary to remove the gloss from the beads and around the edges of the panels1 etc4 ,the oil generally used for rubbing is golden oil1 known as machine oil1 although crude petroleum1 raw linseed and cotton seed oils are often used1 but none of the latter cut so rapidly or clean off so well as the golden4 ,pumice-stone ,no4 #j is generally used1 although some prefer ,no4 #jj or #jjj1 but these are quite fine1 and therefore do not cut very fast4 ,in applying the oil and pumice1 some prefer dipping the rubber first into the oil1 then into the powder1 and thus convey it to the surface1 while others apply the oil with a piece of wadding1 then sprinkle on the powder4 ,to excel in rubbing1 like all other branches of the trade1 requires practice1 always remembering that if the rubber is allowed to lag over the edge while drawing back and forward it will rub the edge through4 ,and1 furthermore1 the work should always be rubbed lengthwise the grain1 so if it be necessary at the ends of panels next to the rails1 where it is generally inclined to be rough1 to rub crosswise1 it should be rubbed down crosswise1 but finished lengthwise1 to take away the scratchy appearance4 ,before attempting to rub1 the varnish should resist the impression of the finger nail1 or when rubbed before dry it will again flow1 causing bright spots to reappear1 generally known as 8sweating10 and would require re-rubbing after becoming dry4 ,an experienced hand could easily tell when his surface was sufficiently rubbed by raising the felt or edge and drawing a clean streak the length of the work1 and if the surface has lost its pitted appearance the rubbing is complete and ready to be cleaned off4 ,this is accomplished easier if done directly1 not allowing the oil to soak and soften the varnish1 which causes the surface to appear mottled and smeary4 ,in cleaning use fine softwood sawdust1 moistened a trifle to prevent scratching2 and when the bulk of the oil is removed1 the corners picked out and the work dusted it is again wiped off with wadding or waste1 splitting the sheets of wadding to get the soft inside1 then with the point of a pick and the wadding the beads and corners are carefully freed from all particles of oil and pumice4 ,should there be sags and runs or wrinkles which the ordinary rubbing did not remove1 they should be rubbed out with pumice and strong soapsuds1 then rubbed over a little with the oil again4 ,it is often required1 in finishing a job1 to form a contrast by polishing the raise of the panels1 thus producing a rich and elegant finish4 ,in polishing as well as rubbing the hustlers have their schemes4 ,one scheme commonly practised is1 after the ordinary oil rubbing1 to rub the surface to be polished with a bunch of raw cotton moistened with about equal parts of sweet oil and alcohol1 the oil and spirits being put into a bottle and well shaken before moistening the cotton4 ,although this may be a hustler's scheme1 an experienced hand with it can produce elegant results4 ,in hand polishing proceed somewhat differently4 ,first complete the oil rubbing1 omitting the parts to be polished1 then proceed by rubbing those parts with pumice and water1 using pumice for that purpose1 levelling the surface as much as the coating will permit1 then cleaning off with damp chamois frequently rinsed in clean water4 ,we then apply a coat of polishing varnish1 which1 when dry1 is again rubbed down with pumice flour and water1 using a fine but soft piece of felt2 and when perfectly smooth1 it is carefully cleaned off1 so that none of the pumice remains upon the surface1 as this will scratch and destroy the polish4 ,it is then rubbed again with rotten-stone and a piece of chamois leather1 using the lump of rotten-stone and changing the rubber by rubbing it over the lump three or four times1 then rubbing the surface quite briskly1 for in this rubbing is where the polishing really is done4 ,this powder then is allowed to dry upon the surface1 and then with a short circular motion with the ball of the hand we proceed to rub off the powder1 frequently wiping the hand upon a rag free from all other dust or pumice-stone4 ,then1 if the varnish was of a superior quality1 the polish is complete2 but should the varnish contain cheap gum or a too great amount of oil1 it is nearly impossible to produce a bright polish1 although in this case the method first mentioned would prove quite effective--viz41 that of using an old silk handkerchief to rub with in place of the cotton4 ,in the finest sort of general work1 get a good quality of carriage varnish1 and be sure and1 do not mix either oil or turpentine with it1 as it is prepared and put up for immediate use and specially prepared to meet special needs4 ,two coats of varnish are usually sufficient when the filling has been complete4 ,when the first coat is dry1 rub it down with pulverized pumice-stone and water--in some cases simply with curled hair1 which removes the gloss and makes a good finishing-coat possible4 ,the rubbing accomplished1 wash and dust off well2 then apply the finishing-coat of varnish4 ,if a 8polished0 surface be required1 the last coat must be rubbed down as before with pumice-stone and brought to a mirror-like surface with rotten-stone and water4 ,clear up with a little sweet oil1 and afterward with a cloth dampened with alcohol4 ,a 8dead finish0 is produced by rubbing the varnished surface with powdered pumice-stone and raw linseed oil1 which gives a semi-lustrous finish of great beauty and durability4 ,another method of polishing hardwood is described as follows3 ,take a long piece of list or coarse flannel and roll it up in a wad like a roll of rope1 and over this wrap a soft piece of linen several times doubled up2 sew it on tightly and form a sort of handle by tying up a round wad4 ,then put into a saucer some shellac varnish1 into which dip the flat side of the wad until it becomes saturated4 ,pouring a few drops of boiled linseed oil on the face of the wad1 rub the work briskly and lightly in a circular direction1 doing a small space at a time until the whole surface is gone over4 ,repeat the operation1 allowing each successive application to dry well1 or rubbing dry and not putting on too much polishing-liquid at a time4 ,observe cleanliness and care during these operations4 ,such parts as cannot well be reached with the wad polish with a bit of flannel4 ,this will give a very durable polish1 and the parts are readily brightened up at any time by means of flannel moistened with oil4 ,remember that in all these operations the utmost care and patience must be exercised if one would have a perfect job4 ,do not slight the work in the minutest particular4 ,take your time and do everything as it should be done1 filling in well1 rubbing down smoothly and dusting off carefully4 ,a term sometimes used by ,american workmen is somewhat misleading2 ,i refer to the word 8flowing10 as applied to varnishing4 ,the term is given to the process of giving the work1 after it has been properly prepared1 a coat of varnish made expressly for that purpose1 called 8flowing varnish40 ,the process as so named1 as given herewith is quoted from an ,english authority3 ,veneered panels are usually finished that way4 ,some finishers1 when the body-work is to be dead finish with flowed panels1 coat the panels with the same varnish--shellac or other--used for the body1 and rub them with pumice-stone and oil2 in fact1 up to the point of flowing make no difference whatever in the treatment of the body-work and the panels4 ,such treatment is not recommended2 whatever varnish is used for the body-work1 the panels should be coated with two or three coats of the best rubbing varnish2 oil should not be used for rubbing1 as1 if the surface is at all greasy1 the subsequent coat of flowing varnish cannot be evenly laid1 therefore water should be used with the pumice-stone for rubbing1 in place of oil4 ,after the rubbing is completed1 wash off with a sponge1 and dry with a chamois skin4 ,let it stand for a day1 and after freeing the work from all pumice-stone and dust1 taking it to the flowing-room1 which should be clean1 dry1 and free from all draughts of air1 apply the varnish with a flat brush of suitable width1 made of badger or fitch hair2 lay the varnish on smoothly and evenly1 leaving no marks of the brush4 ,the quicker the varnish is put on1 and the less it is worked1 the better it will look4 ,let it stand in the room until it is hard enough to handle4 ,upholstered work should not be flowed until it comes from the hands of the upholsterer and is ready for the ware-rooms4 ,varnish polishing is used when it is desired to give to the work a bright lustre1 differing from the natural gloss1 and resulting from a perfectly smooth surface produced by rubbing4 ,the previously applied coats of rubbing varnish having been rubbed down with pumice-stone and water1 one or more coats of polishing varnish are applied1 rubbed down as before1 and brought to a bright mirror-like surface with rotten-stone and water4 ,clean up with a little sweet oil1 and afterward with a cloth damped in alcohol4 ,there are many makes of varnish in the market at the present writing1 that are especially adapted for natural wood finish and which may be obtained from any respectable dealer4 ,the most reliable manufacturers of varnish in the ,united ,states1 whose preparations may be depended on to a dead certainty1 do not number more than a half a dozen firms among which may be named ,devoe ,co41 of ,new ,york ,city1 ,murphy ,co41 of ,new ,york1 and ,berry ,bros41 of ,detroit1 ,mich4 ,the ,murphy ,company make a transparent varnish that is extensively used in the trade4 ,it is used for either a high polish or dead surface4 ,it is recommended especially for developing the grain of natural wood2 for durability in all temperatures1 freedom from discoloration from soap1 water or acids1 a perfect adherence to the surfaces1 preventing cracking1 flaking or blistering1 while acting as a good preservative of the wood or metal1 preventing either decay or rust4 ,it is made in different qualities1 adapted to interior finishing on walls1 floors or ceilings in halls1 bath-rooms or kitchens for dwellings1 asylums and hospitals1 and also for exterior work1 such as front doors1 vestibules1 window castings1 and protecting the wood from weather exposure4 ,the ,berry ,bros4 of ,detroit1 also make a white varnish that possesses all the requisites of a first-class finishing material4 ,the preparations of ,devoe ,co4 are so well known and so universally used1 that only a bare reference to them is necessary4 ,doubtless there are other makes of varnish that answer equally well with those named4 ,i think ,i have now placed before the reader pretty nearly all that is worth saying on the subject of hardwood and natural wood finish1 and have drawn largely from the best authorities extant2 but it would not be wise to close this section1 without giving as briefly as possible1 a few rules on the now almost obsolete process of ,french polishing1 as occasionally this method of finishing is employed for certain purposes3 ,french polishing is a method of varnishing by rubbing the varnish upon the surface of the wood instead of applying it with brushes4 ,when varnish is applied simply with a brush1 a comparatively uneven surface results1 rendering necessary the subsequent process of rubbing and polishing1 but by the method of ,french polishing1 a smooth and continuous1 surface hard and not easily scratched1 is secured4 ,all the polishes are applied very much in the same way1 and a general description will therefore be sufficient4 ,to obtain a good polish with lac varnish on wood1 the quantity applied must be very small1 and must be rubbed continuously until dry4 ,if the work be porous or cross-grained1 it will be necessary to give it a coat of thin clear size previous to commencing with the polish2 when dry1 the surface must be smoothed with fine glass or sandpaper4 ,the size fills up the pores and saves the polish1 and also saves considerable time in the operation4 ,make a wad of cotton-batting1 covered with several folds of very new fine soft linen cloth2 put the wad or cushion to the mouth of the bottle containing the preparation 7or polish7 and shake it sufficiently to damp the cloth2 then proceed to lightly rub the work with circular motion2 as the rubber becomes drier1 the pressure may be increased1 but care should be taken not to press too heavily when the rubber contains much polish1 as a streakiness will result4 ,the circular motion should be continued until the rubber becomes quite dry1 when more polish may be taken upon it and the rubbing renewed4 ,it should be borne in mind that the rubber should never be raised directly from the work1 but should be raised with a sweeping motion2 also that it should never for a moment remain quiet upon the surface2 and that its motion should be as even as possible2 neglect of these precautions will produce a rough surface wherever the rubber remains quiet or is improperly removed4 ,the circular rubbing must be continued until the surface appears perfectly smooth and the pores are no longer visible4 ,be very particular to keep the cloth covering of the wad clean and soft2 it is desirable to use a clean portion each time it is dipped in the polish4 ,it is quite likely that in about twelve hours after the above operation the surface of the work will be lustreless1 and the grain plainly visible1 in that case proceed over the work again until the grain is thoroughly filled4 ,french polishing is a process requiring particular care and skill1 and considerable experience is necessary to produce good results4 ,beginners will find that they will be more successful with a flannel rubber1 made in the shape of a ball4 ,most polishers use wadding1 which is more pliable and better to get in the internal angles or small mouldings4 ,a bottle with a slit cork is the best to apply the polish to the rubber4 ,in commencing1 the rubber should not be rubbed quite dry1 as you will never get any body on the work by so doing2 but1 as the shiny appearance advances1 you must rub each rubber dry4 ,every time the rubber is wetted with polish it should be pressed in the palm of the left hand1 which will equalize the polish4 ,after the cover is put over1 which should be some clean old cotton or print rags1 the top of the finger should be dipped in linseed oil and applied to rubber-cover--just enough to keep it from sticking4 ,as soon as the cover has a shiny appearance1 it should be removed to a fresh place4 ,as soon as the work has got a good body of polish on1 it should be set away for at least ten hours1 to allow for the polish to sink1 which always takes place4 ,before commencing to polish again1 the work should be very carefully rubbed over with the finest glass-paper obtainable1 taking care not to cut through the skin2 then proceed as before4 ,be sure never to let the rubber stop in one place for an instant1 as it will surely take off the polish to the bare wood and spoil the job4 ,after the work has sufficient polish on1 it should be allowed to stand three or four hours before spiriting off4 ,the same rubber will do2 only use spirits4 ,just damp the rubber1 and cover three or four times double with cover1 and rub very lightly over the work2 but care must be taken not to make the rubber too wet1 or the work will be spoilt4 ,the same process will answer for pine or deal1 only no filling is required1 but a coat of clean patent size1 before applying the polish4 ,the ingredients for the above kind of work are quite numerous1 but shellac1 dissolved in alcohol1 is the basis of all ,french polishes1 and some finishers use thin shellac varnish without other admixture1 slightly moistening the rubber with linseed oil to prevent stickiness and make it work smoothly4 ,there is a great variety of admixtures and diversity in the proportion of ingredients1 but the differences are not material4 ,i subjoin a number of receipts4 ,first and ,best4--,to one pint of spirits of wine add a quarter of an ounce of gum-copal1 a quarter of an ounce of gum-,arabic1 and one ounce of shellac4 ,let the gums be well bruised1 and sifted through a piece of muslin4 ,put the spirits and the gums together in a vessel that can be closely corked2 place them near a warm stove1 and frequently shake them4 ,in two or three days they will be dissolved4 ,strain the mixture through a piece of muslin1 and keep it tight corked for use4 ,next4--,take one ounce each of mastic1 sandarac1 seed lac1 shellac1 gumlac1 and gum-,arabic2 reduce them to powder2 and add a quarter of an ounce of virgin wax2 put the whole into a bottle1 with one quart of rectified spirits of wine2 let it stand twelve hours1 and it will be fit for use4 ,another4--,put into a glass bottle one ounce of gumlac1 two drachms of mastic in drops1 four drachms of sandarac1 three ounces of shellac1 and half an ounce of gum dragon2 reduce the whole to powder2 add to it a piece of camphor the size of a nut1 and pour on it eight ounces of rectified spirits of wine4 ,stop the bottle close1 but take care1 when the gums are dissolving1 that it is not more than half full4 ,place near a warm stove until dissolved4 ,other ,french ,polish ,receipts4--#a pint naphtha1 #c ounces orange shellac1 ounce elima4 ,darken with red saunders wood4 ,to one pint of spirits of wine1 add half an ounce of gum shellac1 half an ounce of seed lac1 and a quarter of an ounce of gum sandarac2 submit the whole to a gentle heat1 frequently shaking it1 till the various gums are dissolved1 when it is fit for use4 ,shellac1 #f ounces2 naphtha1 #a quart2 sandarac1 #a ounce2 benzoin1 ounce4 ,three ounces shellac1 ounce of gum mastic pulverized1 and one pint of methylated spirits of wine added4 ,let it stand till dissolved4 ,twelve ounces shellac1 #b ounces gum elima1 #c ounces gum copal1 #a gallon of spirits of wine2 dissolve4 ,the following must be well mixed and dissolved3--,pale shellac1 #b pounds2 #c ounces mastic1 #c ounces sandarac1 #a gallon spirits of wine4 ,after the above is dissolved1 add #a pint copal varnish1 #a ounces shellac1 ounce gum juniper1 ounce benzoin1 pint of methylated alcohol4 ,a ,good ,polish4--,to a pint of spirits of wine add1 in fine powder1 one ounce seed lac1 two drachms of gum guaiacum1 two drachms of dragon's-blood1 and two drachms of gum mastic2 expose them1 in a vessel stopped close1 to a moderate heat for three hours1 until you find the gums dissolved2 strain the whole into a bottle for use1 with a quarter of a gill of the best linseed oil1 to be shaken up well with it4 ,this polish is more particularly intended for dark-colored woods--for it is apt to give a tinge to light ones1 as satinwood or air-wood1 etc4--owing to the admixture of the dragon's-blood1 which gives it a red appearance4 ,a ,polish that ,will ,stand ,water4--,take a pint of spirits of wine1 two ounces of gum benzoin1 a quarter of an ounce of gum sandarac1 and a quarter of an ounce of gum anime2 these must be put into a stopped bottle1 and placed either in a sand-bath or in hot water till dissolved2 then strain the mixture1 and1 after adding about a quarter of a gill of the best clear poppy oil1 shake it well up1 and put it by for use4 ,prepared ,spirits4--,this preparation is useful for finishing after any of the foregoing receipts1 as it adds to the lustre and durability1 as well as removes every defect1 of the other polishes2 and it gives the surface a most brilliant appearance4 ,half a pint of the very best rectified spirits of wine1 two drachms of shellac1 and two drachms of gum benzoin4 ,put these ingredients into a bottle1 and keep it in a warm place till the gum is all dissolved1 shaking it frequently2 when cold1 add two teaspoonfuls of the best clear white poppy oil2 shake them well together1 and it is fit for use4 ,this preparation is used in the same manner as the foregoing polishes2 but1 in order to remove all dull places1 you may increase the pressure in rubbing4 ,polish for ,turner's ,work4--,dissolve #a ounce of sandarac in pint of spirits of wine2 shave #a ounce of beeswax1 and dissolve it in a sufficient quantity of spirits of turpentine to make it into a paste1 add the former mixture to it by degrees2 then1 with a woollen cloth1 apply it to the work while it is in motion in the lathe1 and polish it with a soft linen rag2 it will appear as if highly varnished4 ,a ,french ,polish ,reviver4--,beat gum acacia and white of two eggs in a mortar until they amalgamate2 then add half a pint of raw linseed oil and best vinegar1 eight ounces methylated spirits of wine1 one ounce hydrochloric acid and two ounces muriate of antimony4 ,they are to be rubbed on the surface of the furniture until dry1 and will give a brilliant and lasting polish4 ,it now remains to explain the several varieties of finishing in use2 these are largely derived from the peculiar qualities of the different varnishes used4 ,polishing varnishes1 which are very hard and durable1 are so called because their surface can be brought to a high lustre by rubbing with the proper materials4 ,flowing or finishing-varnishes contain more oil than polishing-varnishes1 dry more slowly1 and are softer1 but their peculiar qualities are brilliancy and durability1 fitting them for work requiring a brilliant gloss1 such as veneered panels4 ,rubbing-varnishes are those that dry sufficiently hard to admit of being rubbed to a smooth surface4 ,turpentine varnishes1 being the cheapest variety1 are employed for cheap work1 such as common chairs1 bedsteads1 c4 ,dead ,finish is a term applied to the finish produced by the reduction of any of the rubbing varnishes with powdered pumice-stone1 and raw linseed oil1 the surface thus produced being left in the semi-lustrous state by omitting the polishing process4 ,it is now more used than any other for body-work1 shellac varnish being generally employed because of its adaptation to the requirements of fine cabinet-work1 and its properties of quick and hard drying4 ,copal1 anime1 and amber varnishes are also used1 but are slower drying4 ,the number of coats required depends somewhat upon the quality of the filler1 but usually three coats1 and sometimes less1 are amply sufficient4 ,varnish ,finish4--,for ,cheap ,work4--,one coat of filler or stain followed by one coat of cheap turpentine varnish without rubbing4 ,in this class of work the brilliancy of the gloss and covering qualities of the varnish are principally considered4 ,the cheaper turpentine varnishes have a brilliant gloss1 and dry very hard1 but the gloss is not permanent1 and after drying the gum is very brittle and easily cracked and broken4 ,the gum is principally common resin4 ,wax ,finish4--,mix together1 with heat1 white wax1 and spirits of turpentine to the consistency of thick paste2 when cold1 apply it to the work with a rag2 rub on heavily so as to fill the pores of the wood2 remove all wax from the surface with a wooden scraper made in the shape of a carpenter's chisel2 smooth off with a bunch of soft rags by rubbing hard and quick for a few minutes2 finish with a little ,french polish applied with a cotton pad4 ,for table tops and all large flat surfaces1 allow the wax to remain on1 and finish with a warm iron by passing it lightly and quickly over the work until the wax is made smooth and the surface is sufficiently polished4 ,this is not considered a desirable finish1 as it is not durable1 and water spots it very easily4 ,the brushes required for varnishing are of many kinds and sizes and a description of even a portion of them1 is out of the question in a small work of this kind2 however a few remarks concerning them may not be out of place4 ,for spirit varnishes1 camel's-hair pencils and brushes are used1 the sizes of which vary from one-quarter to three-quarters of an inch diameter1 according to the size of the work4 ,when the surfaces are very large1 flat camel-hair brushes are used2 but from their comparative thinness they scarcely contain a sufficient quantity of varnish to preserve the brush uniformly charged in passing over a large surface4 ,turpentine and oil varnishes require less delicacy2 and flat brushes1 made of fine soft bristles1 are generally used1 or sometimes ordinary painting brushes are employed1 but they are rather harsh1 and1 owing to the adhesion of the varnish1 the hairs are apt to be loosened1 and come out4 ,brushes should always be kept perfectly soft and clean1 and therefore should never be laid aside when through work1 without cleaning4 ,for this purpose turpentine is best2 the brushes can either be washed out quite clean in it1 dried on a cloth1 and laid aside1 or the bristles can be partially immersed in turpentine and allowed to remain in it until wanted for use4 ,warm water and soap will also serve to clean the brushes4 ,if1 however1 the brushes are laid aside without being thoroughly cleaned1 they will certainly be ruined by the hardening of the varnish4 ,varnish pans can be procured at any varnish shop4 ,they are constructed of tin1 with a false bottom2 the interval between the two bottoms is filled with sand1 which being heated over the fire keeps the varnish fluid1 and it flows more readily from the brush4 ,there is a tin handle to them1 and the false bottom slopes from one end to the other1 which gives sufficient depth when the varnish is low4 ,they should also have a wire fixed across the top to wipe the brush against4 ,an ordinary preserve jar is frequently used for containing the varnish1 and is sufficiently suitable2 but it also should have a wire or string stretched across the top1 for reducing the quantity of varnish taken up by the brush4 ,the quantity of varnish poured into the jar should be sufficient to nearly cover the hairs of the brush in order to keep it soft4 ,too small a quantity of varnish is liable to thicken rapidly by evaporation1 which should at all times be prevented as far as possible1 by keeping the vessel closely covered when not in actual use4 ,the ,various ,woods1 their ,stains and ,finish4--,the foregoing rules and instructions apply1 in a great measure to all woods that are to be finished in natural colors or stained1 but under this head it is intended to take each wood separately1 with regard to coloring1 and other matters not before mentioned1 that may be considered necessary to insure good work4 ,it should not be forgotten1 when speaking of hardwood finishing1 that some of the prettiest woods used1 are not 8,hard0 but soft woods among which may be mentioned pine of various kinds1 poplar1 cedar1 redwood1 hemlock and basswood4 ,when some of these are finished in their natural state or stained to imitate harder woods their beauty is much enhanced and they become deserving of more than a passing notice4 ,pine when properly prepared1 is in my opinion one of the most useful as well as one of the prettiest woods that ,nature has given to this continent1 and hemlock which is a much despised wood1 when properly prepared and finished in the natural state1 or slightly 8,mahoganized10 makes the richest of panels for doors1 wainscot or other house finish4 ,as oak and mahogany are rivals as to which is the better and handsomer woods for finish1 ,i will commence this section with those woods1 giving oak the preference4 ,oak4--,we have in this country over forty kinds of oak nearly every one of which may be used for some special purpose1 those most used for building finish and for furniture however are only few1 among which are the white oak1 7,quercus rulia71 rock oak 7,quercus primas murticola7 and black oak 7,quercus tindoris74 ,all of the above named oaks are capable of being handsomely finished1 the white and black oaks being the best and the red being next4 ,what is known as quarter-oak is made by first sawing the log from end to end through the middle4 ,then each half is sawed from end to end through the middle1 thus leaving four quarters4 ,each quarter has only three sides1 one side the bulge part of the log1 and the other two sides flat and coming to an edge4 ,the boards are sawed off the sharp edge1 and each sawing1 therefore1 throws off a board wider than one before it4 ,sawing the quarters of the log in this manner1 lumber possesses that beautiful cross-grained figure so much in fashion now that it has become somewhat of a craze4 ,this cross-grained material finds favor in the finest furniture and interior work4 ,the wood is susceptible of the very finest polish1 and the cross-grain produces an effect made by both nature and the saw1 that is quite superior to the art of the most skillful grainer4 ,to effect a good imitation of antique oak lamp black or ,vandyke brown in oil is applied to the surface of the wood1 darkening its natural hue1 but this is not by any means best or the only way1 but answers very well where other processes or methods are not available4 ,with regard to giving oak an antique appearance1 many opinions exist4 ,formerly--and probably the first--imitations of antique oak were produced by exposing the bare dressed surface to the steam of boiling ammonia4 ,this process1 however1 it was impossible to apply to casings of house interiors1 thus leading to the application of the aqua ammonia with a brush1 but1 it is by repeated application that the desired results are produced4 ,it stains the wood gray4 ,there are finishers who claim this to be the only process by which to imitate ,nature1 but another much faster1 and one which gives the same results1 is to use strong vinegar with iron filings or shavings added2 by a little experimenting1 this can be made to suffice with one coat1 depending upon the amount of iron added4 ,a very clever imitation of the general antique can be obtained by staining the filler with ,vandyke brown and charcoal1 equal parts1 using about one part of the colored to four parts of the light4 ,then there is another antique which imitates certain oak from the sixteenth century3 the peculiarity of it consists in dark cloud streaks permeating the wood in every direction some of them crossing the panels in a ,v-shape1 others straight near top and bottom4 ,to give them an odd appearance1 a pair of panels can be clouded by streaking one three or four times and the other once or twice4 ,these stripes vary in width from three to five inches4 ,the wider streaks look well across the top of a table three or four times1 or even partly across1 while the narrow ones would do well around the legs and across the styles and rails of panelled work4 ,in putting these on1 they should be dark in the centre and blend out at the edges4 ,this is done with an automatic paint burner1 allowing the flames to scorch the wood nearly black2 but care must be taken not to char it4 ,after the work is all streaked the wood is filled with filler stained with burnt umber mixed as for black walnut4 ,care must be taken to have the filler stained to the proper tint1 and in applying correctly4 ,by following the rules given under the head 8,filling0 the operator should have no trouble in making good work1 and we here repeat the instruction4 8,after enough surface has been covered with the filler1 so that what has been first applied begins to flatten1 the process of wiping should immediately begin1 using for that purpose either a rag or a handful of waste or excelsior4 ,if the oak is very open-grained1 waste is preferable4 ,with a piece of this that has previously been used and is pretty well supplied with filler1 rub crosswise of the grain1 rather rubbing it into the grain than wiping it off4 ,after the whole surface has been gone over in this way1 take a clean piece of waste or rag 7never use excelsior for wiping clean7 and wipe the surface perfectly clean and free from filler1 using a wooden pick1 the point of which has been covered with a rag or waste to clean out the corners1 beads1 etc4 ,it is well to give these picks some attention1 as a person once accustomed to certain tools can accomplish more and better work than with tools that feel strange in his hands2 therefore1 each finisher should furnish his own pick4 ,as to their construction1 these are best made from second-growth hickory1 which can be procured from any carriage repair shop1 such as old spokes1 broken felloes1 etc4 ,they are made eight inches in length1 half inch oval at one end and tapering down to the point at the other4 ,sharpen the oval end like a coal chisel1 then smooth with sandpaper1 which should also be used to sharpen the tool when the same becomes worn dull40 ,this picking out of the filler from beads1 etc41 can be accelerated by the use of a picking brush manufactured especially for that purpose1 but it is not advisable to use this on very coarse-grained oak1 as it scrubs the filler out of the pores4 ,there are several fillers used which do not require this picking and scrubbing4 ,one is a liquid filler used chiefly for carriage finishing2 but it can be used successfully on butternut1 bird's-eye maple1 curly maple1 satinwood1 hickory1 etc4 ,it is made from gum and oil4 ,another is a filler made from finely-ground pumice stone1 mixed as other fillers4 ,it is applied with a brush1 and must be left to dry at least twenty-four hours2 it is then sandpapered smooth1 when an oil varnish is applied1 rendering it completely transparent4 ,this last can be used only upon light wood4 ,it is a well-established fact that nearly all the oaks grow dark with age2 many of them assume an entirely different shade from that which they have when new and first cut4 ,for instance1 light oak1 when new1 is of a sort of cream color2 when aged in a dry atmosphere1 it will assume a reddish brown1 and in a damp atmosphere it will turn a gray with a blue tinge and eventually become brown4 ,cherry will turn from a light salmon to a maroon1 and the same with mahogany4 ,it has not been so long since mahogany and cherry were antiquated by being colored dark with stains or other coloring material1 while1 at the same time1 oak was finished light4 ,at present this manner of finishing is entirely reversed4 ,cherry1 mahogany and all dark woods are finished as light as possible1 while oak and ash1 especially black ash1 are finished antique4 ,another method of rendering new oak wainscoting and other oak work dark1 and give it an antique appearance is given4 ,a correspondent in the ,english ,mechanic gives the following process of treatment1 which he considers the best1 after trying the various other processes used by builders and cabinet-makers to darken woods3 8,oak is fumigated by liquid ammonia1 strength #hhj1 which may be bought at any wholesale chemist's at #es4 a gallon4 ,the wood should be placed in a dark and air-tight room 7in a big packing case1 if you like671 and half a pint or so of ammonia poured into a soup plate1 and placed upon the ground in the center of the compartment4 ,this done1 shut the entrance1 and secure any cracks1 if any1 by pasted slips of paper4 ,remember that the ammonia does not touch the oak1 but the gas that comes from it acts in a wondrous manner upon the tannic acid in that wood1 and browns it so deeply that a shaving or two may actually be taken off without removing the color4 ,the depth of shade will entirely depend upon the quantity of ammonia used and the time the wood is exposed4 ,try an odd bit first experimentally1 and then use your own judgment40 ,short pieces of stuff may be so treated by using an air-tight box4 ,the box-ready1 a flat dish or plate of strong ammonia should be placed in the bottom1 so that the fumes will rise and surround the object4 ,all that is now necessary is to place the article in the box1 nailing up as close as possible and await results4 ,ten hours exposure using strong ammonia1 should give a good color2 if not dark enough let it remain longer1 bearing in mind1 however1 that the wood will present no noticeable change until oiled or brought in contact with a wet substance such as shellac4 ,it is well1 therefore1 to note the progress by touching the wood with the wet finger when it will show at once the stage it has reached4 ,there could be no better method devised to stain oak than this when practicable1 and in adopting it we simply anticipate nature which in time through the action of the ammonia of the atmosphere would present the same result4 ,mahogany may also be treated similarly with success4 ,here is another method of making antique oak1 and ,i might add1 that white1 and black ash1 and chestnut1 similarly treated1 will give a fair imitation of antique oak3 ,the job should be made of hard wood1 with as full an open grain as possible to secure a fine effect4 ,sandpaper this and clean off4 ,then prepare a priming made of #a part japan1 #a part raw linseed oil and #a part rubbing varnish4 ,drop into gallon of the liquid #a pound of commercial corn starch1 such as is used for culinary purposes4 ,next take some good1 dry1 burnt ,turkish umber1 and add about pound of this to the starch4 ,apply to the job a good flowing coat of this priming4 ,let stand until it is set and has soaked well into the grain1 and then take a broad putty knife and stick it into the grain1 working the knife crosswise of the grain4 ,again let stand a little while1 and then wipe with rags2 especially clean out all the corners1 and get the job into as good condition as possible as regards having the grain well filled4 ,upon the completion of the operation above described it will be found that the open grain has absorbed the starch and umber1 and that these portions now show the dark shade suggestive of age1 while all the rest of the surface is also slightly darkened4 ,when again perfectly dry1 give one coat of rubbing varnish1 prepared by adding to it pound of starch to each gallon of varnish4 ,this coat should be flowed on freely as a medium coat of rubbing varnish1 but be careful not to have runs of sags4 ,this ought to completely fill the wood1 after which proceed to varnish1 rub and finish the job in the usual manner4 ,to produce a natural oak finish1 follow precisely the same course as above described1 with the single exception of omitting the umber4 ,this will leave the wood in its natural color4 ,some of the most attractive work in this line1 however1 is effected by simply spreading on the surface of the material a concentrated solution of permanganate of potash1 this being allowed to act until the desired shade is obtained4 ,five minutes suffice ordinarily to give a good color1 a few trials indicating the proper proportions4 ,the substance named is decomposed by the vegetable fibre with the precipitation of brown peroxide of manganese1 which the influence of the potash1 at the same time set free fixes in a durable manner on the fibres4 ,when the action is terminated1 the wood is carefully washed with water1 dried1 then oiled and polished in the usual manner4 ,the effect produced by this process in several woods is really remarkable4 ,on the cherry especially it develops a beautiful red color which well resists the action of air and light1 and on the other woods it has a very pleasing and natural effect4 ,along with the foregoing may be added the following stains for oak3 add to a quart of water #b ounces each of potash and pearl-ash4 ,this is a very good stain1 but it should be used carefully as it blisters the hands and softens brushes4 ,the stain may be made lighter by adding more water4 ,other ,oak ,stains4--,to darken the color of oak any of the following may be used3 ,liquid ammonia laid on evenly with a rag or brush will deepen the color immediately1 and it will not fade1 this being an artificial production of result produced naturally by age4 ,bichromate of potash1 dissolved in cold water1 and applied with a brush1 will produce a similar result4 ,a decoction of green walnut-shell will bring new oak to any shade or nearly black4 ,another4--,to two quarts of boiled oil2 half a pound of ground umber1 mixed in oil by colorman2 one pint of liquid driers1 stirred in2 one pint of turpentine2 mix4 ,after cleaning and planing your boards1 lay this on with the grain of the wood4 ,if required lighter add naphtha till the required shade is attained2 it darkens with age4 ,give it twelve hours to dry2 then varnish with wood varnish1 or use only beeswax and turpentine4 ,the result is good in time1 but slower than varnish4 ,mahogany4--7,svietened47--,the tree has a darkish-brown bark and a reddish-brown1 coarsely fibred1 streaky1 hard wood4 ,the tree grows to the height of #ce metres1 and is pretty strong4 ,the chief varieties are the common mahogany1 with a very hard1 very durable wood1 which is never attacked by worms1 and is excellent for ship-building2 but its capability for taking a fine polish is its chief recommendation4 ,mahagoni ,haiti1 ,mahagoni ,jamaika1 ,mahagoni ,havanna are the other chief kinds4 ,thirty-five years ago mahogany was commercially designated as 8,st4 ,domingo10 from the island of ,st4 ,domingo1 and 8,baywood10 or 8,bay ,mahogany10 from the vicinity of the ,bay of ,honduras1 in ,central ,america4 ,the ,central ,american wood was condemned as being too soft1 of light weight1 straight-grained and characterless4 ,in recent years it has ceased coming to this market1 but one cargo having arrived at the port of ,new ,york 7the largest mahogany market in the world7 in six years4 ,st4 ,domingo mahogany likewise exists only in name1 the original growth having long since been utilized2 only the small and stunted second growth being received here now4 ,the individual logs of great size and best quality are so seldom found as to come within the category of 8rare specimens40 ,the ,central ,american wood having been debarred by reason of softness1 and the ,st4 ,domingo being virtually extinct1 it became a matter of discovery where else to find this wood4 ,from the island of ,cuba a considerable quantity of the smaller sizes1 of good texture and hard1 suitable for small work1 is obtained2 but it is from the vast forest of ,mexico that the great markets of the world are now supplied1 not alone with the bulk of the best mahogany1 but much that is soft1 though these soft grades are superior to the ,baywood of olden times from ,central ,america4 ,with1 perhaps the exception of our oaks1 no wood possesses like advantages of combined soundness1 large size1 durability1 beauty of color and richness of figure4 ,so1 when compared with other woods1 mahogany costs no more to work and stands better than any other--the only point to weigh against this last great feature is the slight difference in the first cost of the wood in the rough2 but if mahogany stands better and longer1 and needs no attention afterward1 surely the sole advantage of less cost at first which any other wood may possess is overcome4 ,but another merit1 equal to any thus far mentioned1 is the warmth in its color and the glory in the figure of this beautiful wood4 ,the air of elegance1 artistic effect and gentle breeding it imparts to all its surroundings1 its joy and life--all these cannot be measured by a few cents a square foot4 ,its growing splendor with age that gives increasing satisfaction may safely be contrasted with the tameness of other woods1 which1 though pleasing at first1 deteriorate rather than improve4 ,does not mahogany add to the value of a private residence or public building8 ,i believe it does2 and it is this very fact that encourages so much imitation in housefinishing and in furniture4 ,when the real wood is used1 but little more is necessary than to fill and varnish or polish1 as it cannot be much improved upon4 ,sometimes1 however1 it may be deemed proper to darken it somewhat to take away the reddish hue that newly wrought mahogany presents1 and this can best be done by darkening the filler1 to suit the taste1 trying the mixture first on a piece of the dressed stuff1 until the desired shade is obtained1 staining the varnish or polish with dragon's-blood or other suitable dyes1 will also accomplish the desired end4 ,staining by the fumes of ammonia will probably give the best results1 as almost any tinge can be given the work from the newness of youth1 to the mellowness of extreme age4 ,this method is considered the best for imparting to mahogany the appearance of age1 and for those wishing to avail themselves of an easy1 clean and certain means of gaining the result1 fumigating offers no serious obstacle to its accomplishment1 the articles necessary being easy of acquirement1 and at small expense4 ,i give a number of receipts for making stains to imitate mahogany4 ,these stains may be applied to cherry1 black birch1 white wood1 basswood1 pine or sycamore1 with pretty fair results4 ,the best of these enumerated are cherry1 birch and pine1 as from these woods the best results are obtainable3 ,a good imitation of and substitute for mahogany1 useful in fine manufactures1 is made by procuring any species of close-grained wood1 such as cherry1 beech or birch1 and properly preparing it smooth and clean4 ,then rub with diluted nitric acid1 which prepares it for the materials subsequently to be applied4 ,these consist of one and a half ounces of dragon's-blood1 dissolved in a pint of spirits of wine1 and one-third of that quantity of carbonate of soda1 mixed together and filtered1 the liquid in this state being rubbed1 or rather1 laid upon the wood with a soft brush4 ,this process is repeated with very little alteration1 and in a short interval the wood possesses all the external appearance of mahogany4 ,for other stains the following are given3 ,two ounces of dragon's-blood dissolved in one quart of rectified spirits of wine1 well shaken2 or raw sienna in beer1 with burnt sienna to give the required tone2 for darker stains boil a half-pound of madder and two-ounces of logwood chips in one gallon of water and brush the decoction while hot over the wood4 ,when dry paint with a solution of two ounces of potash in one quart of water4 ,a solution of permanganate of potash forms a rapid and excellent brown stain4 ,for the color of new mahogany1 see ,cherry ,stains4 ,a decoction of logwood chips1 made by boiling in a closely-covered vessel one part of the chips in two parts water for two hours2 then strain through a muslin cloth4 ,should this be required dark1 as for antique mahogany1 condense by a gentle heat4 ,another4--,for the red generally called mahogany1 add to a strong decoction of logwood chips a small quantity of chloride of tin4 ,or add to the decoction a trifle eosine4 ,apply two coats4 ,another4--,add to archil 7orchil7 sufficient eosine to produce a natural color4 ,another4--,dilute alizarin-paste to the proper consistency and color4 ,another4--,to produce the red in oil1 apply two coats of crimson or rose-lake diluted with turps and japan4 ,to darken mahogany1 apply a weak solution of bichromate of potash in water4 ,apply successive coats1 allowing each to dry1 until the required shade is secured4 ,half a pound of madder1 two ounces of logwood chips boiled in a gallon of water2 brush over the wood while hot4 ,when dry1 go over the whole with pearl-ash solution1 two drachms to a quart of water4 ,size and polish4 ,if a redder shade be required1 it can be produced by smearing the surface with a strong solution permanganate of potash1 which is left on for a longer or shorter time1 according to the shade required2 in most cases1 five minutes will be enough4 ,the wood is then carefully washed1 dried and polished in the ordinary way4 ,the reader will understand that the mahogany stains mentioned are mostly intended for staining inferior woods to imitate mahogany1 for as mentioned before only in isolated cases1 will the genuine wood require to be stained--8good wine needeth no bush40-- ,cherry4--7,prunus cerasus47--,this is a fine grained wood1 tough and light1 is capable of taking the very finest finish4 ,is harder than ,baywood1 and is the nearest approach in color1 grain and texture1 to mahogany than any other native wood4 ,one of the best methods for making cherry look like mahogany is to have the wood rubbed with diluted nitro acid1 which prepares it for the materials subsequently applied4 ,afterwards to a filtered mixture of one ounce and a half of dragon's-blood dissolved in a pint of spirits of wine is added one-third that quantity of carbonate of soda4 ,the whole constituting a very thin liquid is brushed with a soft brush over the wood4 ,this process is repeated with very little alteration1 and in a short interval of time the wood assumes the external appearance of mahogany4 ,if the composition has been properly made the surface will resemble an artificial mirror and should this brilliancy ever decline it may be restored by rubbing the surface with a little cold drawn linseed oil4 ,when cherry is nicely filled and rubbed well down and not varnished1 it has a soft glow not possessed by any other1 and has none of those distortions of grain that are so unpleasant in mahogany4 ,the timber is chosen from the wild cherry1 which in ,new ,england and the ,north generally does not usually grow to a girth of more than #bj inches1 but in some of the ,western ,states and in the ,south frequently attains a diameter of #bd inches4 ,the domestic fruit cherry gives some good specimens of small timber1 but as the tree is rarely sacrificed until it is past bearing and is decayed1 this source of supply is precarious4 ,the facility with which cherry can be worked makes it a favorite with the cabinet-maker and the house joiner2 and it also possesses the quality of 8staying where it is put10 and that is more than can be said of many of the hard woods4 ,i give below several stains for making pine and other suitable woods to have an appearance of cherry4 #a4 ,to prepare this color in water stain1 boil in a gallon of water one pound of ,spanish annotto and one ounce of concentrated lye 7potash74 ,should this not be deep enough1 allow the water to evaporate by a gentle heat4 ,the stain can also be darkened by adding gamboge previously dissolved in a weak potash solution4 #b4 ,gamboge in oil1 diluted with turpentine1 and a little japan added as a siccative4 ,this produces the same color in oil as the former in water stain1 and can be deepened with dragon's-blood in oil or finely-ground burnt sienna in oil4 #c4 ,mix together1 by stirring1 #a quart of spirits of turpentine1 #a pint of varnish1 and #a lb4 of dry burnt sienna2 apply with a brush and after it has been on about five minutes wipe it off with rags4 ,this stain takes about #ab hours to dry4 #d4 ,take #a quart alcohol1 #b ozs4 of dragon's-blood2 pulverize the latter along with oz4 of alkanet root2 mix and let stand in a warm place a couple of days4 ,shake frequently in the meantime4 ,apply with a sponge or brush4 ,two or three coats may be required4 ,this makes a fine stain4 ,there are a number of other compounds1 but it is considered that the above are ample for all ordinary purposes4 ,when stains are wanted in large quantities it is much better to purchase them1 as a number of excellent mixtures are now obtainable1 among which may be mentioned those of the ,chilton ,mfg4 ,co41 ,new ,york1 who make fine ebony1 mahogany and cherry stains4 ,aniline stain may be purchased at any color shop4 ,ash4 7,fraxinus excelsior47 ,this wood is now used very much by cabinet-makers and house joiners in place of oak1 and ,i have often seen furniture palmed off1 to unsuspecting customers as antique oak and in one instance ,i know of an architect who specified oak1 and who 8passed0 a mixture of white and black ash1 as oak1 either knowingly or otherwise4 ,i am not sure that the owners in either case lost anything1 for good sound ,canadian ash1 is decidedly better than dosey red oak4 ,in finishing ash1 either black or white1 the same methods are adopted as for finishing oak and similar processes will give similar results4 ,ingenious stainers and finishes can make ash resemble oak wainscot1 in vein and color so correctly that it is almost impossible for the most experienced connoisseur to distinguish the genuine from the spurious4 ,in order to do this some finishers make a commencement by sketching out1 upon certain parts of the ash exterior1 the requisite white veins1 by means of a camel-hair pencil1 with white stain2 that done1 they coat the veins with thin varnish1 and then darken the general ground1 dealing carefully throughout the entire process with the veined portions4 ,others stain and embody1 i4 e4 ,french polish--the ash with the ordinary preparation1 after which they pursue an operative course termed 8champing02 that is1 scratching fancifully1 so as to form the veins1 upon different parts of the coated surface1 before it gets time to harden1 with a saturated rag4 ,the former process is1 however1 the most suitable of the two4 ,birch4 7,betula ,nigra47 or ,canadian birch is superior to all other birches for constructive purposes and when properly finished has a fine quiet refined look that commands itself to all lovers of domestic woods4 ,so popular has the use of black birch become within the last ten years1 that the price of good grades has advanced from #h per ,m feet1 in #ahhj to #ajj per ,m feet1 in #ahib4 ,black birch is a close-grained1 handsome wood1 and can be easily stained to resemble walnut exactly4 ,it is just as easy to work1 and is suitable for nearly1 if not all1 the purposes to which walnut is at present applied4 ,birch is much the same color as cherry1 but the latter wood is now scarce1 and consequently dear4 ,when properly stained it is almost impossible to distinguish the difference between it and walnut1 as it is susceptible of a beautiful polish1 equal to any wood now used in the manufacture of furniture1 and inside finishings4 ,there is a species of bird's-eye birch1 but it is very scarce4 ,an evidence of the weight and solidity of the wood is the fact that it will sink after being a few days on the water4 ,it also possesses the quality of durability in a pre-eminent degree4 ,birch is generally finished the same as cherry1 and directions given under that head will apply here also4 ,pine4--7,pinus ,strobus74 ,if oak is the king of woods1 pine is most assuredly 8president10 for it is at once the most useful and the most democratic of woods4 ,it is found in the halls of the great and powerful1 and in the cottage of the most humble among us4 ,it is strong and vigorous1 plain or ornamental and is not out of place either in the backwoodsman's cabin or in the stately cathedral1 and like a true man of the world1 it adapts itself to every condition that circumstances may place it in4 ,pine can be made to look like any known wood1 but is at its best when left natural and finished in clear shellac4 ,there is no wood grows1 that will convey so cheerful a feeling to the beholder as yellow or white pine finished in a natural state4 ,next to being finished in a natural state1 is to imitate mahogany or light cherry which coloring it takes readily4 ,where the pine--of any kind--is to be either stained or left natural1 it should be 8quarter sawed0 as it will show a finer grain1 shrink less1 and last longer4 ,the softness of its texture and its susceptibility to injury may have had some influence in preventing its general use for ornamental purposes1 but the wood can be 8filled10 so that much of this objection is removed4 ,its pure white color--white as compared with other woods--recommends it for purposes for which holly has been heretofore used2 and the size of the timber from which clear boards may be cut is greatly in its favor1 boards of a width of sixteen1 and even twenty inches being not uncommon1 with no shade of distinction between sap wood and heart1 and only the faintest perceptible grain4 ,some specimens lately examined show a greatly enhanced beauty by very simple treatment--the filling with warm shellac varnish1 bleached shellac in alcohol1 applied with a brush while warm4 ,several coats are given1 the last coat being rubbed with pumice and rotten-stone1 moistened with water1 not oil4 ,a finish of a flowing coat of copal varnish completes the preparation4 ,thus treated1 the wood is of a faint creamy tint1 with an appearance of semi-transparency4 ,beautiful gradations of tone were obtained by panels of this prepared pine4 ,most of the stains given under previous heads1 are applicable to pine1 ,i add1 however a few more1 so that the workmen may have a number of recipes to draw from3 ,for ,walnut ,no4 #a4--;,dissolve by boiling one part each of ,epson salt and permanganate of potash in about twenty-five parts of water4 ,this stain may be improved by adding a little eosine1 and it works best when applied hot4 #b4 ,catechu broken into crumbs and boiled in about twice its bulk of water until dissolved4 ,to darken to the required depth1 add bichromate of potash previously dissolved in about eight times its equivalent of water4 ,if the deep yellow shade peculiar to the ,southern walnut be required1 add yellow chromate of potash4 ,for the reddish shade of the ,northern wood1 add more eosine4 #c4 ,for oil stain1 use ,vandyke brown toned up with the siennas1 the colors being strictly pure and finely ground in oil1 and diluted with turpentine and a small amount of japan4 #d4 ,burnt ,turkey umber mixed in the same way as the former4 #e4 ,mix together1 by stirring1 #a quart spirits of turpentine1 #a pint asphaltum varnish1 #a pint of japan1 #a lb4 dry burnt umber1 #a lb4 dry ,venetian red2 apply with a brush4 ,this stain is transparent1 and allows the grain of the wood to show through4 #f4 ,boil #a ounces washing soda1 and ounce bichromate of potash1 in #a quart of water2 add #b ounces ,vandyke brown4 ,this stain may be used either hot or cold4 #g4 ,with a brush apply a thin solution of permanganate of potassa in water1 until the desired color is produced1 allowing each coat to dry before another is applied4 ,for ,mahogany or ,cherry ,no4 #a4 ,for mahogany1 use a pint of turpentine and an ounce of color known as dragon's-blood4 ,dissolve and shake well before applying4 ,for ebony1 use hot liquor from logwood chips1 and after dry apply a coat of tincture of steel4 ,for walnut1 use two ounces of washing soda1 darkened with ,vandyke brown in water4 ,add two ounces of bichromate of potash in pint and a half of water4 #b4 ,mix together1 by stirring1 #a quart of spirits of turpentine1 #a pint of varnish1 and #a lb4 of dry burnt sienna2 apply with a brush1 and after it has been on about five minutes wipe it off with rags4 ,this stain takes about #ab hours to dry4 #c4 ,take #a quart alcohol1 #b ozs4 of dragon's-blood2 pulverize the latter along with oz4 of alkanet root2 mix1 and let stand in a warm place a couple of days4 ,shake frequently in the meantime4 ,apply with a sponge or brush4 ,two or three coats may be required4 ,this makes a fine stain4 ,for ,rosewood ,no4 #a4 ,mix in a bottle lb4 of extract of logwood1 #a oz4 salts of tartar1 and #a pint of water2 in another bottle1 put #a lb4 of old iron in small pieces1 and #a pint of vinegar1 which1 after standing twenty-four hours1 will be ready for use2 make a hard stiff brush with a piece of rattan sharpened at one end in a wedge shape1 pounding it so as to separate the fibre4 ,mix in #a pint of varnish1 lb4 of finely-powdered rose-pink4 ,the materials are now ready1 and the first thing in the process is to stain the wood with the logwood stain2 give two coats of this1 allowing the first to become nearly dry before applying the second2 then dip the rattan brush in the vinegar1 and with it form the grain1 after which give the work a coat of the varnish and rose pink4 ,there can be no definite directions given for graining1 except to study the natural wood and imitate it as near as possible4 ,with the above materials skilfully applied1 any common wood can be made to resemble rosewood so nearly that it will take a good judge to distinguish the difference4 #b4 ,boil #a lb4 of logwood in #a gallon of water1 add a double handful of walnut shell1 boil the whole again1 strain the liquor and add to it #a pint of the best vinegar4 ,it is then ready for use4 ,apply it boiling hot1 and when the wood is dry1 form red veins in imitation of the grain of rosewood with a brush dipped in the following solution3 ,nitric acid1 #a pint2 metallic tin1 #a oz42 sal-ammoniac1 #a oz4 ,mix and set aside to dissolve1 occasionally shaking4 ,if carefully executed it will give the appearance of dark rosewood4 ,for surface stains the following are sometimes used3 ,the colors are all to be mixed with very thin glue size1 laid on warm with a soft woollen material1 and the wood wiped dry after application4 ,all the colors used is staining should be well pulverized1 and before use the liquid should be strained4 ,imitation ,oak ,stain4--,equal parts burnt umber and brown ochre4 ,imitation ,mahogany ,stain4--,one ,part ,venetian red1 and two parts yellow lead4 ,imitation ,rosewood ,stain4--,venetian red1 darkened with lamp black to required shade4 ,imitation ,walnut ,stain4--,burnt umber and yellow ochre1 mixed in proportions to give desired shade4 ,before leaving the subject of pine1 it may be as well to say a few words regarding the long leaved1 or ,georgia pine 7,pinus ,pulustris47 as a great deal of it is used now in and about the city of ,new ,york1 and other large centres4 ,this wood is very fine1 strong and lasting4 ,some of it is insusceptible of fine finish1 but the best success with it1 is when treated with shellac finish4 ,in all other respects1 when used as a finishing material1 it may be treated the same as ordinary pine4 ,walnut4--7,juglans ,nigra47--,as this wood is seldom or never stained it is unnecessary to say more about it other than it may be treated like oak cherry or birch4 ,it looks well filled and finished in shellac4 ,birch stained and properly finished looks very much like walnut1 and with a little care in getting a proper tint in the stain1 can scarcely be known from the real thing4 8,filling10 in walnut finishing1 is one of the most important processes1 if the richness of the wood is desired to be shown as much depends on the 8tint0 as on the filling material4 ,poplar4--7,populus balsamifera47 ,basswood4--7,tieia ,americana47 ,cedar4--,white--7cupressus thuyoides7 which is really a spruce1 and all similar woods1 should never be finished in a natural state4 ,deep stains or surface stains should always be employed on these woods if they are not to be painted4 ,beech4--7,fagus ferruginea47 ,this is one of the unnoticed woods of former years but is now gradually gaining in favor as a decorative wood4 ,it is cheap and also quite abundant1 while the more popular hard woods are beginning to grow scarcer and higher in price4 ,beechwood has a fine grain1 is quite durable1 and can be used in the manufacture of furniture and for decorative purposes generally4 ,the red variety has a handsome appearance and is especially suitable for use where a good imitation of cherry is desired4 ,if 8quarter sawed0 it shows a fine grain and has a character distinctly its own which ,i think has never been properly appreciated4 ,when quartered1 properly finished1 filled and polished1 it looks something like dark leopard wood4 ,it will assume a dark mahogany color if prepared like cherry or birch1 or it may be made to appear like walnut if treated with walnut stains and finish4 ,elm4--7,ulmus ,americana47 ,chestnut4--7castanea vesca47 ,butternut4--7,juglans cinerea47 ,these three woods are often used in inferior work1 and are very soft and easily dented4 ,the best is perhaps the elm1 which does very well for bath-room finish1 panels for ash doors and similar work4 ,all require a great deal of 8filling0 and this should be well rubbed in if a good job is required4 ,all of these woods have a very coarse grain1 but if care is taken in selecting the material1 very odd and oftimes pleasing effects may be obtained4 ,any of the stains used on pine1 will answer for these woods1 dependent of course on the tints desired4 ,the best results with these woods is derived by giving the work one coat of shellac after filling and staining1 then sandpaper well and apply your varnish or oil finish or whatever you purpose finishing in4 ,cypress4--7,cupressus sempervierens47 ,the light the dark and the bald are good woods and are coming more and more in favor every day4 ,this wood contains a very small amount of resin1 and a very high polish can be given it2 in fact1 because of its not being affected by moisture1 it is being used for cisterns1 hogsheads1 and sugar1 molasses and honey barrels4 ,the red cypress is the favorite1 and some of it is so heavy that it will sink upon being placed in water4 ,the white variety is much lighter1 and will float after being deadened a short while before being cut1 but it has not the firm grain of the red4 ,the red cypress has a straight trunk with a small top1 and the bark when cut has a reddish tint4 ,these woods may be treated like cherry or birch with good results4 ,they look well when left their natural color and finished 8dead finish40 ,sycamore1 or ,buttonwood1 as it is sometimes called 7acer pseudo platanus7 when quarter sawed and properly finished makes a good appearance1 and in many cases is superseding cherry owing to its beauty and cheapness4 ,heretofore its natural beauty has been destroyed in many cases by staining the wood1 and thus preventing the development of many chemical changes which take place and are thrown to the surface when properly treated4 ,when quarter sawed1 a light bodied and light colored shellac should be used1 when by a natural chemical process a beautiful silver leaf is developed and the surface assumes a charming pink hue4 ,hemlock4--7,abies ,canadensis47 ,this is rarely used for finishing owing to its brittleness and splintery nature4 ,clean boards1 however1 made into panels or other similar work and then finished in natural color1 assumes a very handsome appearance4 ,it has a pink tint of the most delicate kind which improves and mellows with age4 ,it should be finished in the same manner as pine4 ,rosewood4--7,dalbergia ,nigra47 ,it seldom falls to the lot of the ordinary finisher to have to 8try his hand0 on the genuine wood1 but sometimes it does happen and it is just as well that he should be armed with the means to wrestle with the work if such is ever thrown in his way4 ,to finish rosewood1 requires about the same treatment as mahogany1 though1 as a matter of fact1 many pieces of rosewood will be found to have a coarser grain than mahogany1 and will require much care in filling4 ,the main thing to be observed1 is to see that the filling is a shade or two darker than the wood to be filled1 before any varnish is laid on4 ,for imitation of rosewood ,i give below a few recipes3 ,take half a pound of logwood1 boil it with three pints of water till it is of a very dark red1 to which add about half an ounce of salt of tartar4 ,when boiling hot1 stain your wood with two or three coats1 taking care that it is nearly dry between each2 then1 with a stiff1 flat brush1 such as is used for graining1 make streaks with a very deep black stain1 which if carefully executed will be very near the appearance of dark rosewood4 ,the following is another method3 ,stain your wood all over with a black stain1 and when dry1 with a brush as above dipped in the bright liquid form real veins in imitation of the grain of rosewood1 which will produce1 when well managed1 a beautiful effect4 ,a handy brush for the purpose of graining may be made by taking a flat brush such as used for varnishing1 and cutting the sharp points of the hairs and making the edge irregular2 by cutting out a few hairs here and there the grain may be imitated with great accuracy4 ,this is suitable to pine1 cedar1 cyprus1 whitewood1 basswoods while the following should only be used in mahogany1 cherry1 or birch1 spread on the surface of the material a concentrated solution of hypermagnate of potassa1 to act until the desired shade is obtained4 ,five minutes suffice1 ordinarily1 to give a deep color1 a few trials indicating the proper proportions4 ,the hypermagnate of potassa is decomposed by the vegetable fibre with the precipitation of brown peroxide of manganese1 which the influence of the potassa1 at the same time set free1 fixes in a durable manner the fibres4 ,when the action is terminated the wood is carefully washed with water1 dried1 and then oiled and polished in the usual manner4 ,the effect produced by this process in several woods is really remarkable4 ,it has been a mystery to many people why the dark wood so highly prized for furniture is called 8,rosewood40 ,its color certainly does not look much like a rose1 so we must look for some other reason4 ,it is claimed by some that when the tree is first cut the wood possesses a very strong roselike fragrance1 hence the name4 ,this is the most probable reason for its name4 ,there are about a half a dozen kinds of rosewood trees4 ,the varieties are found in ,south ,america1 and in the ,east ,indies and neighboring islands4 ,sometimes the trees grow so large that boards or planks four feet broad and ten feet in length can be cut from them4 ,the broad boards are used for the tops of piano fortes4 ,when growing in the forests the tree is remarkable for its beauty1 but such its value in manufacturing as an ornamental wood that some of the forests where it once grew abundantly now have scarcely a single specimen left4 ,i have purposely left unmentioned a number of our finest woods such as our maples1 and others1 which1 would it not increase the size of this volume1 beyond reasonable dimensions4 ,i should have more to say concerning them4 ,the workmen will know1 from what has already been said1 how these light woods may be treated1 and ,i may add1 that the various maples1 though rather light in color for general purposes1 make the most delicate of finish4 ,gum wood of late1 has been used to some extent and is not hard to deal with when to be finished4 ,it should be treated about as cherry and birch1 and finished in a similar way1 and when done nicely the work looks quite well4 ,redwood is getting to be a favorite wood with some builders1 owing no doubt to its cheapness1 and its easiness to work4 ,it may be classed among the softer woods and requires treating about the same as chestnut1 butternut and the cedars4 ,the following formula and directions have been highly recommended as a finish1 but for my own part1 ,i prefer using ,wheeler's filler as ,i think better results are obtained4 ,here is the formula3 ,take one quart ,spirits ,turpentine4 ,add one pound ,corn ,starch4 ,add 8 ,burnt ,sienna4 ,add one tablespoonful ,raw ,linseed ,oil4 ,add 8 8 ,brown ,japan4 ,mix thoroughly1 apply with a brush1 let it stand say fifteen minutes2 rub off all you can with fine shavings or a soft rag1 then let it stand at least twenty-four hours that it may sink into and harden the fibres of the wood1 afterward apply two coats of white shellac2 rub down well with fine flint paper1 then put on from two to five coats best polishing varnish2 after it is well dried rub with water and pumice-stone ground very fine1 stand a day to dry2 after being washed clean with chamois1 rub with water and rotten-stone2 dry1 wash as before clean1 and rub with olive oil until dry4 ,some use cork for sandpapering and polishing1 but a smooth block of hard wood like maple is better4 ,when treated in this way redwood will be found the peer of any wood for real beauty and life as a house trim or finish4 ,by proper attention1 redwood may be made to appear like mahogany or cherry but its softness is very much against it4 ,general ,recipes4--,ebonizing4--,prepare some shellac varnish by dissolving half a pound of gum shellac in a quart of alcohol2 put in a tightly corked bottle1 set in a warm place1 and shake frequently4 ,when completely dissolved1 add sufficient dry lamp or bone black4 ,it will require only about a heaping tablespoonful to half a pint of varnish4 ,should it be too thick to flow easily from the brush1 and spread evenly1 add alcohol4 ,give the wood two or three coats of this1 which can be done within two days4 ,for fine work give three coats of the black varnish and allow it to dry thoroughly2 then take some #jj or #jjj sandpaper and rub the work down lightly until the surface is smooth and even1 being careful not to rub through to the wood4 ,then apply two or three coats more1 and rub down again with the sandpaper2 give two coats more and allow it to dry perfectly hard4 ,make some rubbers of felt1 an old felt hat is good1 by tacking the felt on blocks of soft wood of proper shape1 which should be flat1 concave or convex to fit the work4 ,apply a few drops of sewing machine oil to the felt and sprinkle on a pinch of pulverized pumice-stone4 ,rub the work with this1 keeping the rubber moist with oil and supplied with the pumice1 until the wood shows a perfectly smooth surface1 without any gloss4 ,when it has all been gone over wipe off the surface and rub clean with dry flannel cloths4 ,the result is fine imitation of ebony4 ,if the shellac varnish is colored with aniline instead of lamp black1 the finished surface is smoother and finer4 ,others4--#a4 ,infuse gall-nut in vinegar1 into which rusty nails have been soaked2 paint the wood with this1 polish and burnish when dry4 #b4 ,wash the wood repeatedly with a solution of sulphate of iron1 made by dissolving #b oz4 of sulphate in a pint of hot water4 ,when dry1 apply a hot decoction of logwood and nut-galls two or three times4 ,when dry1 clean with a wet sponge and then polish4 #c4 ,brush the wood with a strong decoction of logwood chips several times4 ,when dry1 give it a coat of vinegar in which rusty iron has been placed4 ,dissolve beeswax in turpentine by setting in a warm place2 apply warm with a brush1 and rub it till it shines4 #d4 ,wash with a concentrated aqueous solution of logwood several times1 and then with a solution of acetate of iron of #dj deg4 ,baume4 ,repeat till a deep black is produced4 #e4 ,put #b oz4 of logwood chips with #a oz4 of copperas in a quart of water1 boil1 and lay on hot4 ,when dry1 wet the surface again with #b oz4 of steel filings dissolved in half a pint of vinegar4 ,when dry again1 sandpaper smooth1 then oil1 then fill it with powdered drop-black mixed in the filler4 ,work to be ebonized should be smooth and free from holes4 ,give it a light coat of quick drying varnish1 then rub with finely pulverized pumice-stone and linseed oil until very smooth4 #f4 ,boil pound of chip logwood in two quarts of water1 and add oz4 of verdigris and oz4 of copperas1 strain1 and put in pound of rusty steel filings4 ,with this go over the work a second time4 #g4 ,a pound of logwood boiled in four quarts of water1 add two handfuls of walnut shells or peel1 boil up again1 take out the chips1 add a pint of vinegar1 and apply boiling4 ,afterwards dissolve #a oz4 of green copperas in a quart of boiling water and apply hot4 #h4 ,first sponge the wood with a solution of chlorhydrate of aniline in water1 to which a small quantity of copper chloride is added4 ,when dry1 go over again with a solution of potassium bichromate4 ,repeat this twice or thrice4 #i4 ,one gallon of vinegar1 pound of green copperas1 pound of ,china blue1 #b oz4 nut-gall1 #b pounds extract of logwood4 ,boil all these over a slow fire1 and add half a pint of iron-rust4 ,apply as usual4 ,a good varnish for ebonized work is made by dissolving in alcohol some black wax4 ,stains4--,many excellent stains for pine may be obtained by using the ordinary graining colors1 ,vandyke brown1 raw and burnt sienna1 ultramarine blue1 etc41 applied with a brush1 without previous preparation and then wiped off with a cloth--a method that brings out clearly the grain or marks of the wood1 which in pitch pine1 now being extensively used for fittings1 are often extremely beautiful4 ,a better method for general work1 ,french polish being ordinarily too expensive1 is1 where dark oak or mahogany stains are not wanted1 light varnishes1 of which two coats are to be applied4 ,the glue size with which the work is first coated1 in order to fill up the pores of the wood1 should not be too thick1 as in that case it is liable to crack4 ,logwood1 lime1 brown soft-soap1 dyed oil1 sulphate of iron1 nitrate of silver exposed to the sun's rays1 carbonate of soda1 bichromate and permanganate of potash1 and other alkaline preparations1 are used for darkening the wood2 the last three are specially recommended4 ,the solution is applied by dissolving one ounce of the alkali in two gills of boiling water1 diluted to the required tone4 ,the surface is saturated with a sponge or flannel1 and immediately dried with soft rags4 ,the carbonate is used for dark woods4 ,oil tinged with rose madder may be applied to hard woods like birch1 and a red oil is prepared from soaked alkanet root in linseed oil4 ,the grain of yellow pine can be brought out by two or three coats of japan1 much diluted with turpentine1 and afterwards oiled and rubbed4 ,to give mahogany the appearance of age1 lime water used before oiling is a good plan4 ,in staining wood1 the best and most transparent effect is obtained by repeated light coats of the same4 ,for oak stain a strong solution of oxalic acid is employed2 for mahogany1 dilute nitric acid4 ,a primary coat or a coat of wood-fillers is advantageous4 ,for mahogany stains1 the following are given3 two ounces of dragon's-blood dissolved in one quart of rectified spirits of wine1 well shaken1 or raw sienna in beer1 with burnt sienna to give the required tone2 for darker stains boil half pound of madder and two ounces of logwood chips in one gallon of water1 and brush the decoction while hot over the wood2 when dry1 paint with a solution of two ounces of potash in one quart of water4 ,a solution of permangate of potash forms a rapid and excellent brown stain4 ,oak or ash may be stained brown by using linseed oil and benzine half and half1 and burnt umber or ,vandyke brown incorporated with this4 ,maple can be stained green-gray by using copperas in water2 oak will also be changed to a dark green blue through the same agency1 the effect on ash being various shades of olive green4 ,ammonia applied to oak produces the bronze olive tint now used so much by architects4 ,wash any compact wood with a boiling decoction of logwood three or four times1 allowing it to dry between each application4 ,then wash it with a solution of acetate of iron1 which is made by dissolving iron fillings in vinegar4 ,this stain is very black1 and penetrates to a considerable depth into the wood1 so that ordinary scratching or chipping does not show the original color4 ,a wash of one part of nitric acid in ten parts of water will1 if well done1 impart a stain resembling mahogany to pine wood which does not contain much resin4 ,when the wood is thoroughly dry1 shellac varnish will impart a fine finish to the surface4 ,a glaze of carmine or lake will produce a rosewood finish4 ,a turpentine extract of alkanet root produces a beautiful stain which admits of ,french polishing4 ,asphaltum1 thinned with turpentine1 makes an excellent mahogany color on new wood4 ,a ,method4--,of imparting to any plain white wood the appearance of cedar wood is as follows3--,mix two parts of catechu1 and one part of caustic soda1 in a hundred parts of water 7all by weight74 ,the article to be stained should be boiled in this solution for some hours1 and is then rinsed in clear water and dried4 ,if the desired depth of tone has not been obtained1 a second boiling must be resorted to4 ,this stain is said to sink so deep into the wood that even thick sheets of veneer thus treated will be colored right through2 while other wood articles thus stained may be safely manipulated without any fear of the original color of the wood showing through4 ,for a ,brown ,stain4--,boil #a lb4 of the brown pigment called ,terre de ,cassel with #d quarts of water1 until it is reduced one-third4 ,mix two ounces 7,troy7 of white potash with sufficient water to dissolve it1 and mix with the ,terre de ,cassel4 ,this stain must be applied with a brush1 two or even three times1 according to the depth of the shade required4 ,another4--,paint the wood with a solution made by boiling one pot of catechu with thirty parts of water and a little soda2 when dry paint over with another solution made of one part bichromate of potash and thirty parts water4 ,by a little difference in the mode of treatment1 and by varying the strength of the solutions1 several shades of color may be given4 ,for a ,black ,dye4--,put #f lbs4 of chip logwood into the copper1 with as many veneers as it will conveniently hold1 without pressing too tight2 fill it with water1 and let it boil slowly for about three hours2 then add half a pound of powdered verdigris1 half a pound of copperas1 and four ounces of bruised nut-galls2 fill the copper up with vinegar as the water evaporates2 let it boil gently two hours each day till the wood is dyed through4 ,to ,brighten ,stains4--,any of the stains named 7except the surface stains7 will be rendered much more brilliant by an application of the following3 #a oz4 nitric acid1 teaspoonful muriatic acid1 oz4 grain tin1 #b ozs4 rain water4 ,mix in a bottle1 at least two days before using1 and keep the bottle well corked4 ,the above stains are probably the most important to a house finisher1 and1 as they have all been employed and found practicable1 they can be relied upon4 ,in performing a small job it will generally be found more convenient and economical to obtain the stain from some furniture shop where it is kept in bulk4 ,the best way to preserve stain is to keep it in bottles or jugs4 ,it is said that four or five drops of creosote added to a quart of stain will prevent it from becoming mouldy and stagnant4 ,the stainers at the furniture shops have contrived a scheme to prevent their hands from becoming deeply stained while at work1 by dipping them into a quick-dry varnish or oil shellac1 and then in cleansing them they rinse them first in water to remove the stain1 and then submit them to a turpentine bath1 thus removing the varnish4 ,miscellaneous4--,many processes have of late been applied to the finishing of wood-work1 such as staining in various colors1 fumigating and other methods4 ,a new finish is now practised in the ,european market1 and is known as the ,rubenick process4 ,it is used for giving a metallic surface to wood1 and consists in first immersing the wood in a bath of caustic alkaline lye1 in which it is allowed to remain for two or three days1 according to the degree of permeability of the wood1 at a temperature of #afg to #aid ,f4 ,from this bath the wood passes to another of hydrosulphate of calcium1 to which is added1 after #bd or #cf hours1 a concentrated solution of sulphur4 ,here it remains for about #dh hours at a temperature of #ie to #abb ,f41 and1 lastly1 for from #cj to #ej hours the wood is immersed in a solution of acetate of lead at the same temperature4 ,the timber1 thus pickled1 is allowed to dry1 when it is said to be susceptible1 after burnishing1 of a high polish and even metallic luster1 which is more brilliant if the surfaces of the wood have been previously rubbed with lead1 tin or zinc plates1 and then polished with a glass or porcelain burnisher4 ,treated in this way the wood may assume the appearance of a metallic mirror1 being also hard and very strong4 ,with the majority of lumbermen the term hardwood includes everything except white pine1 and is accepted in that sense generally by the trade1 though in reality there are two or three woods1 such as buckeye and ,southern white lynn1 that are softer than white pine4 ,some writer1 we know not who1 says3 8,the relative hardness of woods is calculated by the hickory1 which is the toughest4 ,estimating this at #ajj1 we get for pignut hickory #if1 white oak #hd1 white ash #gg1 dogwood #ge1 scrub oak #gc1 white hazel1 #gb1 apple tree #gj1 red oak #gi1 white beech #fe1 black walnut #fe1 black birch #fb1 yellow and black oak1 #fj1 hard maple #ef1 white elm #eh1 red cedar #ef1 cherry #ee1 yellow pine #ed1 chestnut #eb1 yellow poplar #ea1 butternut and white birch #dc1 and white pine #ce40 ,according to this formula1 woods possessing a degree of hardness equal to only about #dj per cent41 or less than that of hickory1 should not be classed as hardwoods4 ,such woods are1 however1 limited in quantity1 and are not of sufficient importance to justify a classification1 and the trade will continue to construe hardwood to mean everything except white pine4 ,dyeing wood is mostly applied for the purpose of veneers1 while staining is more generally had recourse to give the desired color to the article after it has been manufactured4 ,in the one case1 the color should penetrate throughout1 while in the latter the surface is all that is essential4 ,in dyeing1 pear tree1 holly and beech1 take the best black2 but for most colors holly is preferable4 ,it is also best to have wood as young and as newly cut as possible4 ,after the veneers are cut1 they should be allowed to lie in a trough of water for four or five days before they are put into the copper2 as the water1 acting as a purgative to the wood1 brings out an abundance of slimy matter1 which must be removed1 or the wood will never be a good color4 ,after this purificatory process1 they should be dried in the open air for at least twelve hours4 ,they are then ready for the copper4 ,by these simple means the color will strike much quicker1 and be of a brighter hue4 ,it would also add to the improvement of the colors1 if1 after the veneers have boiled a few hours1 they are taken out1 dried in the air1 and again immersed in the coloring copper4 ,always dry veneers in the open air1 for fire invariably injures the colors4 ,fine ,black ,dye4--,put #f lbs4 of chip logwood into the copper1 with as many veneers as it will conveniently hold1 without pressing too tight2 fill it with water1 and let it boil slowly for about three hours2 then add half a pound of powdered verdigris1 half a pound of copperas1 and #d ounces of bruised nut-galls2 fill the copper up with vinegar as the water evaporates2 let it boil gently two hours each day till the wood is dyed through4 ,another4--,procure some liquor from a tanner's pit1 or make a decoction of oak bark1 and to every gallon of the liquor add a quarter of a pound of green copperas1 and mix them well together2 put the liquor into the copper1 and make it quite hot1 but not boil2 immerse the veneers in it1 and let them remain for an hour2 take them out1 and expose them to the air1 till it has penetrated its substance2 then add some logwood to the solution1 place the veneers again in it1 and let it simmer for two or three hours2 let the whole cool gradually1 dry the veneers in the shade1 and they will be a very fine black4 ,fine ,blue ,dye4--,into a clean glass bottle put #a lb4 of oil of vitriol1 and #d ozs4 of the best indigo pounded in a mortar 7take care to set the bottle in a basin or earthen glazed pan1 as it will ferment72 then put the veneers into a copper or stone trough2 fill it rather more than one-third with water1 and add as much of the vitriol and indigo 7stirring it about7 as will make a fine blue1 which may be known by trying it with a piece of white paper or wood1 ,let the veneers remain till the dye has struck through4 ,the color will be much improved if the solution of indigo in vitriol be kept a few weeks before using it4 ,the color will strike better if the veneers are boiled in plain water till completely soaked through1 and then allowed for a few hours to dry partially1 previous to being immersed in the dye4 ,another4--,throw pieces of quicklime into soft water2 stir it well2 when settled1 strain or pour off the clear part2 then to every gallon add ten or twelve ounces of the best turnsole2 put the whole into the copper with the veneers1 which should be of white holly1 and prepared as usual by boiling in water2 let them simmer gently till the color has sufficiently penetrated1 but be careful not to let them boil in it1 as it would injure the color4 ,a ,fine ,yellow ,dye4--,reduce #d lbs4 of the root of barberry1 by sawing1 to dust1 which put in a copper or brass trough2 add #d ozs4 of turmeric and #d gallons of water1 then put in as many white holly veneers as the liquor will cover2 boil them together for three hours1 often turning them2 when cool1 add #b ozs4 of aquafortis and the dye will strike through much sooner4 ,a ,bright ,yellow ,dye4--,to every gallon of water necessary to cover the veneers1 add #a lb4 of ,french berries2 boil the veneers till the color has penetrated through2 add to the infusion of the ,french berries1 the liquid for brightening colors given on page #gh1 and let the veneers remain for two or three hours1 and the color will be very bright4 ,bright ,green ,dye4--,proceed as in either of the previous receipts to produce a yellow2 but instead of adding aquafortis or the brightening liquid1 add as much vitriolated indigo 7see page #hj7 as will produce the desired color4 ,green ,dye4--,dissolve #d ozs4 of the best verdigris1 and of sap-green and indigo half an ounce each in #c pints of the best vinegar2 put in the veneers1 and gently boil till the color has penetrated sufficiently4 ,the hue of the green may be varied by altering the proportion of the ingredients2 and it is advised1 unless wanted for a particular purpose1 to leave out the sap-green1 as it is a vegetable color very apt to change1 or turn brown1 when exposed to the air4 ,bright ,red ,dye4--,to #b lbs4 of genuine ,brazil dust1 add #d gallons of water2 put in as many veneers as the liquor will cover2 boil them for three hours2 then add #b ozs4 of alum1 and #b ozs4 of aquafortis1 and keep it lukewarm until it has struck through4 ,red ,dye4--,to every pound of logwood chips1 add #b gallons of water2 put in the veneers1 and boil as in the last2 then add a sufficient quantity of the brightening liquid 7see page #gh7 till you see the color to your mind2 keep the whole as warm as the finger can be borne in it1 till the color has sufficiently penetrated4 ,the logwood chips should be picked from all foreign substances1 with which it generally abounds1 as bark1 dirt1 etc42 and it is always best when fresh cut1 which may be known by its appearing of a bright-red color2 for if stale1 it will look brown1 and not yield so much coloring matter4 ,purple ,dye4--,to #b lbs4 of chip logwood and half a pound of ,brazil dust1 add #d gallons of water1 and after putting in the veneers1 boil them for at least three hours2 then add #f ozs4 of pearl-ash and #b ozs4 of alum2 let them boil for two or three hours every day1 till the color has struck through4 ,the ,brazil dust only contributes to make the purple of a more red cast2 you may1 therefore1 omit it1 if you require a deep bluish purple4 ,another4--,boil #b lbs4 of logwood1 either in chips or powder1 in #d gallons of water1 with the veneers2 after boiling till the color is well struck in1 add by degrees vitriolated indigo 7see page #hj7 till the purple is of the shade required1 which may be known by trying it with a piece of paper2 let it then boil for one hour1 and keep the liquid in a milk-warm state till the color has penetrated the veneer4 ,this method1 when properly managed1 will produce a brilliant purple1 not so likely to fade as the foregoing4 ,liquid ,for ,brightening ,,and ,,setting ,,colors4--,to every pint of strong aquafortis1 add #a oz4 of grain tin1 and a piece of sal-ammoniac of the size of a walnut2 set it by to dissolve1 shake the bottle round with the cork out1 from time to time2 in the course of two or three days it will be fit for use4 ,this will be found an admirable liquid to add to any color1 as it not only brightens it1 but renders it less likely to fade from exposure to the air4 ,orange ,dye4--,let the veneers be dyed by either of the methods given in page #ha1 of a fine deep yellow1 and while they are still wet and saturated with the dye1 transfer them to the bright red dye as in page #hb1 till the color penetrates equally throughout4 ,silver ,grey ,dye4--,expose to the weather in a cast-iron pot of six or eight gallons1 old iron nails1 hoops1 etc41 till covered with rust2 add #a gallon of vinegar and #b of water1 boil all well for an hour2 have the veneers ready1 which must be hardwood 7not too dry17 put them in the copper used to dye black1 and pour the iron liquor over them2 add #a lb4 of chip logwood and #b ozs4 of bruised nut-galls2 then boil up another pot of the iron liquor to supply the copper with1 keeping the veneers covered1 and boiling two hours a day1 till the required color is obtained4 ,gray ,dye4--,expose any quantity of old iron1 or what is better1 the borings of gun-barrels1 etc41 in any convenient vessel1 and from time to time sprinkle them with spirits of salt 7muriatic acid7 diluted in four times its quantity of water1 till they are very thickly covered with rust2 then to every six pounds add a gallon of water1 in which has been dissolved two ounces of salt of tartar2 lay the veneers in the copper1 and cover them with this liquid2 let it boil for two or three hours till well soaked1 then to every gallon of liquor add a quarter of a pound of green copperas1 and keep the whole at a moderate temperature till the dye has sufficiently penetrated4 ,gilding1 ,silvering and ,bronzing are processes of applying to previously prepared surfaces a thin layer of gold or silver leaf1 or in bronzing1 of a fine powder1 prepared from various metals and intended to imitate the peculiar appearance of genuine bronze4 ,the processes of gilding and silvering being identical1 the description of one will suffice to explain the other4 ,gilding4--,gold leaf1 applied to articles of furniture as a means of decoration1 is used in two ways2 it is applied over an ordinary varnish or other finish1 in which case but little special preparation is necessary2 or1 as when used for picture-frames1 cornices1 etc41 it is applied to a specially prepared foundation1 the basis of which is whiting1 mixed with various other ingredients suggested by experience or fancy4 ,in either case1 the gold leaf is caused to adhere to the work1 by size specially prepared for the purpose1 receipts for which follow herewith2 the size being first applied to the work1 and when it has become of the right consistency1 the gold is laid upon it4 ,,oil-,,gilding and ,,burnish-,,gilding are different methods used to obtain certain desired effects1 the former principally for articles exposed to the weather1 and for heightening the effect of incised carving or engraving1 and the latter for picture-frames and articles having a specially prepared foundation1 whose entire surface is to be gilded4 ,it is intended that the gold shall adhere to the work only in the places to which the size has been applied1 but the smallest portion of oil or even a slight dampness may cause the gold to partially adhere to the adjoining surface1 resulting in slightly ragged edges2 to prevent this1 before applying the size to the desired design1 the entire surface is covered with a thin film of some substance perfectly free from moisture1 and easily removable by water1 after completion of the process4 ,the ,requisites4--,first1 a sufficient quantity of leaf-gold1 which is of two sorts--the deep gold1 as it is called1 and the pale gold4 ,the former is the best2 the latter very useful1 and may occasionally be introduced for variety or effect4 ,second1 a gilder's cushion3 an oblong piece of wood1 covered with rough calf-skin1 stuffed with flannel several times doubled1 with a border of parchment1 about four inches deep1 at one end1 to prevent the air blowing the leaves about when placed on the cushion4 ,thirdly1 a gilding-knife1 with a straight and very smooth edge1 to cut the gold4 ,fourthly1 several camel-hair pencils in sizes1 and tips1 made of a few long camel's hairs put between two cards1 in the same manner as hairs are put into tin cases for brushes1 thus making a flat brush with a very few hairs4 ,lastly1 a burnisher1 which is a crooked piece of agate set in a long wooden handle4 ,sizes4--,these are of two kinds3 oil sizes are those which when applied1 present an adhesive surface1 requiring the immediate laying of the gold-leaf upon it2 of this class is the oil-size commonly used in decorating furniture2 water-sizes are those that are allowed to become dry and hard when applied1 and are rendered adhesive when the gold is to be laid1 by brushing over with water2 for burnish-gilding these are always employed1 as oil-size does not dry sufficiently hard to permit of burnishing4 ,oil ,size for ,oil-,gliding4--,grind calcined red-ochre with the best and oldest drying-oil4 ,when desired for use1 add sufficient oil of turpentine to make it work freely4 ,parchment-,size4--,for preparing ,frames1 etc4--,to half a pound of parchment shavings1 or cuttings of white leather1 add three quarts of water1 and boil it in a proper vessel till reduced to nearly half the quantity2 then take it off the fire1 and strain it through a sieve4 ,be careful in the boiling to keep it well stirred1 and do not let burn4 ,gold-,size for ,burnish-,gilding4--,grind fine sal-ammoniac well with a muller and stone2 scrape into it a little beef suet1 and grind all wet together2 after which1 mix in with a pallet knife a small proportion of parchment-size with a double proportion of water4 ,when about to use1 add parchment-size until it will just flow from the brush4 ,another4--,grind a lump of tobacco-pipe clay into a very stiff paste with thin size2 add a small quantity of ruddle and fine black lead1 ground very fine1 and temper the whole with a small piece of tallow4 ,when ready to use1 reduce with parchment size until it will just flow from the brush4 ,another4--,grind separately in water1 #a lb4 ,armenian bole1 #b ozs4 red lead1 a sufficient quantity of black lead2 mix1 and regrind with a small quantity of olive oil4 ,reduce with parchment size to the proper consistency4 ,to ,prevent ,gold ,adhering4--,either one of the following methods will prevent gold-leaf or bronze from adhering to the surface beyond the outlines of the sizing laid on to receive it3 #a4 ,whiting used dry1 and applied by means of a pounce bag4 #b4 ,whiting mixed in water1 and applied with a soft brush4 ,when the water has evaporated1 dust off the superfluous whiting with an ordinary paint duster4 ,by this method a very thin coating of whiting remains1 which is free from any grittiness4 ,one advantage gained by the use of whiting thus applied is1 it furnishes a whitish ground over which clear varnish or oil-size may be distinctly seen as the striping progresses4 ,after the leaf or bronze has been applied1 the work must be carefully washed1 so as to insure the removal of the whiting4 #c4 ,white of egg reduced with water1 and applied with a piece of sponge4 #d4 ,a thin wash of starch water1 either brushed on with a flat camel-hair brush1 or applied with a soft sponge4 #e4 ,take ball liquorice and water1 a weak solution1 and apply with a soft brush4 ,this may be kept in a bottle ready for use at any time4 #f4 ,cut a new potato in two1 and rub over the part to be sized with the raw face exposed1 allowing the juice to remain until dry4 ,it will be observed that any substance which interposes a film over the varnish1 itself being free from tackiness and readily removed by water1 will answer the purpose4 ,oil ,gilding4--,applying the ,gold4--,if the wood to be gilded is finished with varnish or otherwise1 no additional foundation is necessary upon which to lay the gold-leaf2 if the wood is not finished1 after it has been smoothed and dusted1 give it one or two coats of parchment size1 after it is perfectly dry and hard1 again smoothing the surface with fine sandpaper4 ,that the gold may not adhere to any part of the work except where the size is hard1 powder the surface lightly with whiting from a pounce-bag1 which is a small bag made of material sufficiently loose to permit the powdered whiting to sift through as fine dust2 if preferred1 any of the preceding receipts for that purpose can be used instead4 ,remove the surplus whiting with the dusting-brush1 and the work is then ready for the size4 ,apply this with a sable or fit brush of the proper size1 carefully observing to make the outer lines of the design clear and sharp1 that the work may not appear ragged4 ,let the size remain until it feels tacky1 when the gold may be applied4 ,this is the most difficult part of the operation1 and experience is necessary before gold-leaf can be laid smoothly without a wrinkle or a break4 ,turn a leaf of gold out of the book upon the cushion2 breathe gently upon the centre of the leaf and it will lay flat on the cushion2 cut it to the proper size by bringing the knife perpendicularly over it1 and sawing it gently until divided4 ,take your tip 7a brush used for the purpose7 and after drawing it lightly over your hair to remove any particles or dust that may be upon it1 breathe upon it gently1 which will dampen it sufficiently to cause the leaf of gold to adhere to it2 lay the tip upon the leaf of gold and carefully transfer it to the work2 blow upon it gently and it will straighten out and adhere4 ,it may be rendered quite smooth by slightly dabbing it with a bit of cotton4 ,in about an hour wash off the superfluous gold from the edges1 with a sponge and water4 ,if the article is to be exposed to the weather or much wear1 the gilding may be varnished with copal varnish4 ,burnish-,gilding4--,as previously stated1 this process requires a specially prepared foundation upon which to lay the gold1 and as the preparation of this foundation is a distinct trade1 the furniture dealer or cabinet-maker seldom finds it necessary to undertake it1 the articles coming to his hand ready-prepared for gilding2 but as in repairing picture-frames1 cornices1 mirror frames1 etc41 it frequently becomes necessary to renew the foundation1 a comprehensive description of the whole process is given4 ,preparing the ,woodwork4--,after smoothing and dusting the work1 coat the frames in every part with boiling-hot parchment-size1 as previously described1 then mix a sufficient quantity of whiting with size to the consistency of thick cream1 and with it by means of a brush1 coat every part of the frame several times1 permitting each coat to become perfectly dry before proceeding with the next4 ,the wood will thus be covered with a layer of hard whiting nearly or quite a sixteenth of an inch in thickness4 ,the size must not be too thick1 and when mixed with the whiting should not be so hot as the preliminary coat of size4 ,polishing4--,when the preparations are quite dry1 clean and polish them4 ,to do this1 wet a small piece at a time1 and1 with a smooth1 fine piece of cloth1 dipped in water1 rub the part till all the bumps and inequalities are removed2 and for those parts where the fingers will not enter1 as the mouldings1 etc41 wind the wet cloth round a piece of wood1 and by this means make the surface all smooth and even alike4 ,where there is carved work1 etc41 it will sometimes be necessary to bring the mouldings to their original sharpness by means of chisels1 gouges1 etc41 as the preparation will be apt to fill up all the finer parts of the work1 which must be thus restored4 ,it is sometimes the practice1 after polishing1 to go over the work once with fine yellow or ,roman ochre2 but this is rarely necessary4 ,applying the ,size4--,select the proper gold-size from the receipts previously given2 add parchment size until it will just flow from the brush2 make it quite hot1 and apply it to the wood with a very soft brush1 taking care not to make the first coat too thick2 let it dry and give two or three successive coats1 after the last brushing it with a stiff brush to remove any inequalities4 ,the work is then ready for the gold4 ,laying the gold4 ,the manipulation of the gold leaf has been described under the heading ,,oil ,,gilding4 ,in the paint now being described1 size used 7being water-size1 which previously explained is permitted to become hard and dry after being applied7 must be moistened to cause the gold-leaf to adhere to it4 ,for this purpose1 with a long-haired camel-hair pencil1 dipped in water1 go over as much of the work as you intend the piece of gold to cover2 then lay the gold upon it in the manner previously explained4 ,be sure that the part to which the gold is applied is sufficiently wet2 indeed it must be floating1 or the gold will be apt to crack4 ,proceed in this manner a little at a time1 and do not attempt to cover too much at once1 until by experience you are going to handle the gold with freedom4 ,burnishing4--,when the work is covered with gold1 set it by to dry2 there is a particular state or degree of dryness1 known only by experience in which the moulding is in a fit state for burnishing2 it will probably be ready to burnish in about eight or ten hours1 but it will depend on the warmth of the room or state of the air4 ,when it is ready1 those parts intended to be burnished must be dusted with a soft brush2 then wiping the burnisher with a piece of soft wash-leather 7quite dry7 begin to burnish about an inch or two in length at a time1 taking care not to bear too hard1 but with a gentle and quick motion1 applying the tool until all the parts of the surface are equally bright4 ,matting or ,dead ,gold4--,certain portions only of the work are burnished1 according to the fancy1 and the facility with which the burnishing tool can be applied2 the remaining parts are now to be deprived of their metallic lustre1 to make a more effective contrast with the burnishing4 ,the parts thus treated are said to be matted or dead gold4 ,the process is as follows3 ,grind some vermilion or yellow ochre very fine1 and mix a very small portion either with the parchment size or with the white of an egg1 and with a very soft brush lay it evenly on the parts to be dulled2 if well done1 it will add greatly to the beauty of the work4 ,previous to matting1 the work must be well cleared of superfluous gold1 by means of a soft brush4 ,finishing4--,in elaborate works it is frequently impossible to lay gold-leaf into all the intricacies of an elaborate design1 and the parts thus left bare must be finished by touching up with a small brush charged with shell-gold1 or gold-powder1 mixed with gum-,arabic to the proper consistency4 ,the following receipt describes the preparation of shell-gold3 ,shelled ,gold4--,take any quantity of leaf-gold and grind it with a small portion of honey1 to a fine powder1 add a little gum-,arabic and sugar-candy1 with a little water1 and mix it well together2 let it dry4 ,silver ,size4--,grind pipe-clay fine with a little black lead and good soap1 and add parchment-size as directed for gold-size4 ,composition for ,frame ,ornaments4--,the ornaments for gilded mirror-frames1 etc41 are usually moulded from some plastic substance that is somewhat tougher and more durable than the ordinary gilding foundation of whiting and size4 ,the proper moulds being prepared they are thoroughly rubbed upon the inside with sweet oil1 and the composition firmly pressed in2 after removing the mould the cast may be dried by a gentle heat1 or while still plastic it can be applied in its proper place and bent into any position4 ,following are receipts for composition3 ,dissolve #a lb4 of glue in #a gallon of water4 ,in another kettle boil together #b lbs4 of resin1 #a gill of ,venice turpentine1 and #a pint of linseed oil2 mix altogether in one kettle1 and boil and stir till the water has evaporated4 ,turn the whole into a tub of finely-rolled whiting1 and work till it is the consistency of dough4 ,boil #g lbs4 of best glue in #g half-pints of water4 ,melt #c lbs4 of white resin in #c pints of raw linseed oil4 ,when the above has been well-boiled put them into a large vessel and simmer them for half an hour1 stirring the mixture and taking care that it does not boil over4 ,the whole must then be turned into a box of whiting rolled and sifted1 and mixed till it is of the consistency of dough4 ,to ,manipulate ,gold ,leaf4--,get a piece of paper1 thin enough to show shadow of gold-leaf through1 slightly wax it1 lay it on gold-leaf1 the latter will then adhere1 and can be easily worked and will come off clean4 ,the paper should be slightly larger than the gold-leaf1 and the fingers passed over the paper to make the gold-leaf adhere4 ,bronzing4--,this is a process for imitating on metal1 plaster wood1 or other material1 the peculiar appearance produced by chemical action upon the surface of bronze metal4 ,it is accomplished by spreading over the surface of the material to be ornamented a very thin coating of bronze-powder1 which is caused to adhere either by applying it directly upon a coating of any of the sizes mentioned in the foregoing pages1 or by mixing with a vehicle1 such as gum-,arabic or transparent varnish4 ,the latter is most desirable1 as in the other case1 being subject to the direct action of the atmosphere1 the bronze-powder soon tarnishes4 ,in ornamenting furniture1 bronzing is generally employed to represent gilding1 a variety of bronze called gold-bronze being used1 which affords an excellent imitation but is not very lasting4 ,it is usually applied after the completion of the other finishing processes1 the ground-work being prepared in the manner described under ,,oil-,,gilding1 and the size likewise applied as there described4 ,a small wad of cotton batting is then dipped in the bronze and passed gently over the sized portions1 causing the bronze to adhere4 ,in the other method--that of applying the bronze by means of a vehicle--the preliminaries of whiting the ground and sizing are not necessary1 a small quantity of bronze being simply mixed with the vehicle employed to such a degree of fluidity that it will flow easily1 and in that condition applied with a fine brush4 ,many preparations are used as vehicles such as transparent varnish thinned with turpentine1 gum-,arabic1 dissolved in water1 and gold-size reduced with parchment-size4 ,there are a variety of colors in bronze-powders1 and to produce the best effect the size or vehicle should be of a color similar to that of the bronze used2 in gold-size the coloring pigment is ochre1 and in its place1 for green-bronze1 or blue-bronze1 may be employed respectively verditer1 vermillion or ,prussian blue1 a very small quantity being sufficient4 ,in bronzing on painted work the ground should be as nearly as possible the color of the bronze to be applied4 ,,the ,,end4 ,,index4 ,a filler for rosewood1 #ah4 ,another method of filling1 #ah4 ,a good recipe for ,french polish1 #dg4 ,another recipe for ,french polish1 #dg4 ,a good polish1 #dh4 ,a polish that will resist water1 #dh4 ,a ,french polish reviver1 #di4 ,antique oak1 #ec4 ,ash1 #fc4 ,a fine yellow dye1 #ha4 ,a bright yellow dye1 #ha4 ,applying size1 #hh4 ,berry ,bros4 hard oil finish1 #be4 ,brushes for varnishing1 #ce4 ,birch1 #fd4 ,basswood1 #fi4 ,beech1 #fi4 ,butternut1 #fi4 ,brown stain1 #gg4 ,brown stain by another method1 #gg4 ,black dye1 #gg4 ,bright green dye1 #ha4 ,bright red dye1 #hb4 ,burnish gilding1 #hg4 ,burnishing1 #hi4 ,carriage varnish1 #da4 ,chamois skin1 #da4 ,cleanliness in polishing1 #db4 ,cotton wads for polishing1 #de4 ,cherry1 #fb4 ,cedar1 #fi4 ,chestnut1 #fi4 ,cypress1 #gj4 ,cedarwood imitation1 #gg4 ,composition for frame ornaments1 #ij4 ,dead finish1 #di4 ,dying wood1 #gi4 ,elm1 #fi4 ,filler for light woods1 #ag4 ,filler for cherry1 #ah4 ,filler for oak1 #ah4 ,filler for rosewood1 #ah4 ,filler for mahogany1 redwood and cherry1 #bj4 ,f4 ,w4 ,devoe ,co4's wax finishing1 #bd4 ,finishing1 varnishing and polishing1 #bg4 ,flowing1 #db4 ,french polishing1 #dd4 ,first and best recipe for ,french polishing1 #dg4 ,finish--dead1 #di4 ,fine black dye1 #hj4 ,fine blue dye1 #hj4 ,finishing1 #ij4 ,glue size1 #cd4 ,general recipes1 #gc4 ,green dye1 #ha4 ,grey dye1 #hc4 ,gilding1 silvering and bronzing1 #hc4 ,gilding1 #hd4 ,gold size for burnish gilding1 #he4 ,hard oil finish1 #be4 ,hard oil finishing1 #cd4 ,hemlock1 #gj4 ,introduction1 #e4 ,imitation oak stain1 #fh4 ,imitation mahogany stain1 #fh4 ,imitation rosewood stain1 #fh4 ,imitation walnut stain1 #fh4 ,liquid for brightening and setting colors1 #hb4 ,murphy's transparent varnish1 #dd4 ,mahogany1 #eh4 ,miscellaneous1 #gh4 ,matting or dead gold1 #hi4 ,oil shellac1 #cc4 ,other ,french polish recipes1 #dg4 ,oak1 #eb4 ,oak stains1 #eh4 ,oak stain 8,no4 #b10 #eh4 ,orange dye1 #hc4 ,oil size for oil gilding1 #he4 ,oil gilding1 #hf4 ,preliminary1 #i4 ,preparation of wood for staining1 #ai4 ,polishing and finishing1 #bg4 ,preparing shellac1 #cb4 ,pumice-stone1 #ci4 ,prepared spirits1 #dh4 ,polish for turner's work1 #di4 ,pine1 #fe4 ,poplar1 #fi4 ,purple dye1 #hb4 ,parchment size1 #he4 ,preparing wood-work1 #hh4 ,polishing1 #hh4 ,rubbing and finishing1 #bi4 ,rubber for polishing1 #df4 ,rosewood1 #ga4 ,red dye1 #hb4 ,size and sizing1 #bf4 ,staining1 finishing1 varnishing and polishing1 #bg4 ,shellacing1 #cj4 ,shellac1 preparing1 #cb4 ,sandpapering1 #cf4 8,sag0 in varnish1 #cg4 ,sweating varnish1 #dj4 ,sycamore1 #gj4 ,stains1 #ge4 ,silver grey dye1 #hc4 ,sizes1 #he4 ,shelled gold1 #ij4 ,silver size1 #ij4 ,the various woods1 their stains and finish1 #ea4 ,to brighten stains1 #gh4 ,the requisites1 #hd4 ,to prevent gold adhering1 #hf4 ,to manipulate gold leaf1 #ia4 ,varnishing and polishing1 #bg4 ,varnishing hardwood1 #ce4 ,varnish brushes1 #ce4 ,veneered panels1 #dc4 ,varnish polishing1 #dc4 ,varnish finish for cheap work1 #ej4 ,varnish pans1 #ea4 ,wood fillers and wood-filling1 #ad4 ,walnut filler1 medium1 #ag4 ,walnut filler for wax finish1 #ag4 ,walnut filler for first-class work1 #ag4 ,wheeler's wood-filler1 #bb4 ,wax finish1 #ej4 ,walnut1 #fh4 ,established #ahgj4 ,,standard ,,books ,,published ,,and ,,for ,,sale ,,by ,,the ,,industrial ,,publication ,,co4 ,new ,york4 ,these books will be sent1 postpaid1 to any address in any accessible part of the world1 on receipt of price4--,full ,descriptive ,catalogues may be had free4--,new ,catalogues1 with additions of new books1 are issued from time to time1 and will be sent to any address on request4--,address1 ,,industrial ,,publication ,,co41 ,new ,york4 ,,the ,,steel ,,square ,,and ,,its ,,uses4 ,being a ,description of the ,square and ,its ,uses in ,obtaining the ,lengths and ,bevels of all kinds of ,rafters1 ,hips1 ,groins1 ,braces1 ,brackets1 ,purlins1 ,collar-,beams1 and ,jack-,rafters4--,also1 its ,application in ,obtaining the ,bevels and ,cuts for ,hoppers1 ,spring ,moldings1 ,octagons1 ,stairs1 ,diminished ,stiles1 c4--,by ,,fred4 ,t4 ,,hodgson1 author of 8,practical ,carpentry10 8,the ,builders' ,guide10 c4--,third ,edition1 ,revised and ,greatly ,enlarged4--,illustrated by ,nearly ,one ,hundred ,fine ,engravings4--,cloth1 gilt4 #a ,this is the only practical work on the steel square and its uses ever published4 ,it is thorough1 accurate1 clear1 and easily understood4 ,confounding terms and scientific phrases have been religiously avoided where possible2 and everything in the book has been made so plain that a boy of twelve years of age1 possessing ordinary intelligence1 can understand it from end to end4 ,this new edition1 just issued1 is illustrated by nearly one hundred handsome engravings1 showing how the square may be used for solving nearly every problem in the whole art of carpentry4 ,the carpenter who possesses this book need not waste time and material 8cutting and trying40 ,he can lay out his work to a hair's breadth1 and 8cut to the line40 ,and1 in these days1 the workman who can not lay out his work accurately at the first attempt stands no show4 ,the book is absolutely indispensable to every person who may have to use a carpenter's square4 ,joiners1 cabinet-makers1 bricklayers1 stonecutters1 plasterers1 lumber-dealers1 amateurs1 and all who build a fence1 tinker a gate1 or make a chicken-coop will find something in this little volume that will help and aid them to do their work better and more intelligently than they could without a knowledge of its contents4 ,many difficult and troublesome mathematical problems can be solved by the use of this tool1 and the methods of solving them are shown in this book4 ,it describes how painting1 plastering1 and brickwork can be measured1 and how many mechanical difficulties can be overcome with great ease4 ,it explains how ellipses1 parabolas1 octagons1 circles1 and many other figures1 may be described by the steel square4 ,it is safe to say that this dollar book will easily enable any intelligent mechanic to save ten dollars in time and material during the first three months that he has it in use4 ,,steel ,,squares ,,and ,,their ,,uses4 ,being a ,description of the ,various ,steel ,squares and ,their ,uses in ,solving a large number of ,mechanical ,problems in ,constructive ,carpentry1 ,joinery1 ,sheet-metal ,work1 ,cut-stone or ,brick-work4 ,also1 showing how many ,geometrical and other ,problems may be solved by the use of the ,steel ,square4--,by ,,fred4 ,t4 ,,hodgson1 author of 8,the ,steel ,square and ,its ,uses10 8,the ,slide-,rule1 and ,its ,uses10 8,practical ,carpentry10 8,the ,builders' ,guide10 c4--,finely ,illustrated4--,cloth4 #a ,this forms ,part ,,ii of 8,the ,steel ,square and ,its ,uses10 and is not in any sense a substitute for the ,first ,part1 which still remains what it always has been--a necessity to every intelligent workman4 ,part ,,ii is an extension and enlargement of the ,first ,part1 giving new problems1 new methods1 and new wrinkles for shortening the labor and increasing the accuracy of the workman4 ,it is illustrated in the same handsome manner which characterizes the ,first ,part1 to which it forms a companion volume4 ,with these two volumes in his possession the workman has at command the entire practical mathematics of construction1 and is prepared to lay out any piece of work more easily1 quickly1 and accurately than it can be done by any other method4 ,,practical ,,carpentry4 ,being a ,guide to the ,correct ,working and ,laying out of all kinds of ,carpenters' and ,joiners' ,work1 with the ,solutions of the ,various ,problems in ,hip-,roofs1 ,gothic ,work1 ,centering1 ,splayed ,work1 ,joints and ,jointing1 ,hingeing1 ,dovetailing1 ,mitering1 ,timber-,splicing1 ,hopper-work1 ,skylights1 ,raking ,moldings1 ,circular ,work1 c4--,to which is prefixed a thorough treatise on 8,carpenters' ,geometry40--,by ,,fred4 ,t4 ,,hodgson1 author of 8,the ,steel ,square and ,its ,uses10 8,the ,slide-,rule1 and ,how to ,use ,it10 8,the ,builders' ,guide10 c4--,illustrated by over ,three ,hundred ,engravings4--,cloth1 gilt4 #a ,this is the most thorough book of the kind ever published4 ,it is thorough1 practical1 and reliable2 and at the same time is written in a style so plain that any workman or apprentice can easily understand it4 ,,stair-,,building ,,made ,,easy4 ,being a ,full and ,clear ,description of the ,art of ,building the ,bodies1 ,carriages1 and ,cases for all kinds of ,stairs and ,steps4--,together with ,illustrations ,showing the ,manner of ,laying ,out ,stairs1 forming ,treads and ,risers1 building ,cylinders1 preparing ,strings2 with ,instructions for making ,carriages for ,common1 ,platform1 ,dog-legged1 and ,winding ,stairs4--,to which is added an ,illustrated ,glossary of ,terms used in ,stair-,building1 and ,designs for ,newels1 ,balusters1 ,brackets1 ,stair-,moldings1 and ,sections of ,hand-,rails4--,by ,,fred4 ,t4 ,,hodgson1 author of 8,the ,steel ,square and ,its ,uses10 c4--,illustrated by over ,one ,hundred and ,twenty ,engravings1 many of them full-page size4--,cloth1 gilt4 #a ,this work takes hold at the very beginning of the subject1 and carries the student along by easy stages until the entire subject of stairbuilding has been unfolded1 so far as ordinary practice can ever require4 ,this book1 and the following one on ,hand-,railing1 cover nearly the whole subject of ,stair-,building4 ,a ,,new ,,system ,,of ,,hand-,,railing4 ,or1 ,how to ,cut ,hand-,railing for ,circular and other ,stairs1 square from the ,plank1 without the aid of a ,falling ,mould4--,by ,,an ,,old ,,stairbuilder4--,edited and corrected by ,,fred4 ,t4 ,,hodgson1 author of 8,stair-building ,made ,easy10 c4--,cloth1 gilt #a ,the system is new1 novel1 economic1 and easily learned4 ,rules1 instructions1 and working drawings for building rails for seven different kinds of stairs are given4 ,,the ,,builders' ,,guide1 and ,estimators' ,price-,book4 ,being a ,compilation of ,current ,prices of ,lumber1 ,hardware1 ,glass1 ,plumbers' ,supplies1 ,paints1 ,slates1 ,stones1 ,limes1 ,cements1 ,bricks1 ,tin1 and other ,building ,materials4 ,also1 ,prices of ,labor and ,cost of ,performing the ,several ,kinds of ,work ,required in ,building2 together with ,prices of ,doors1 ,frames1 ,sashes1 ,stairs1 ,moldings1 ,newels1 and other ,machine-work4--,to which is appended a large number of ,building ,rules1 ,data1 ,tables1 and ,useful ,memoranda1 with a ,glossary of ,architectural and ,building ,terms4--,by ,,fred4 ,t4 ,,hodgson1 author of 8,the ,steel ,square and ,its ,uses10 8,the ,slide-,rule1 and ,how to ,use ,it10 8,practical ,carpentry10 c4--,cloth #b ,,carpenters' and ,,joiners' ,,pocket ,,companion ,containing ,rules1 ,data1 and ,directions for ,laying ,out ,work1 and for ,calculating and ,estimating4--,with ,frontispiece showing the parts of an ,architectural ,column2 also containing many other ,illustrative ,engravings4--,compiled by ,,thomas ,,moloney1 ,carpenter and ,joiner4--,cloth #ej cents4 ,this is a compact and handy little volume1 containing the most useful rules and memoranda1 practically tested by many years' experience in the shop1 factory1 and building4 ,also1 a treatise on the framing-square4 ,it is by a thoroughly practical man1 and contains enough that is not easily found any where else to make it worth more than its price to every intelligent carpenter4 ,,easy ,,lessons ,,in ,,architecture4 ,consisting of a ,series of ,questions and ,answers explaining in ,simple ,language the ,principles and ,progress of ,architecture from the ,earliest ,times4--,by ,,thomas ,,mitchell4--,illustrated by nearly ,one ,hundred and ,fifty ,engravings4--,new ,edition1 with ,american additions4--,cloth #ej cents4 ,architecture is not only a profession and an art1 but an important branch of every liberal education4 ,no person can be said to be well educated who has not some knowledge of its general principles and of the characteristics of the different styles4 ,the present work is probably the best architectural textbook for beginners ever published4 ,the numerous illustrative engravings make the subject very simple1 and prevent all misunderstanding4 ,it tells all about the different styles1 their peculiar features1 their origin1 and the principles that underlie their construction4 ,,hints ,,and ,,aids ,,to ,,builders ,gives hints and prices1 tells how to measure1 explains building terms1 and1 in short1 contains a fund of information for all who are interested in building4--,paper #be cents4 ,,buck',s ,,cottage ,,and ,,other ,,designs4 ,buck's ,designs in ,architecture1 showing a ,variety of ,designs1 together with a large amount of ,miscellaneous ,matter1 making it a very valuable book4--,forty designs for fifty cents4 ,just the book you want1 if you are going to build a cheap and comfortable home4 ,it shows a great variety of cheap and medium-priced cottages1 besides giving a number of useful hints and suggestions on the various questions liable to arise in building1 such as selections of site1 general arrangement of the plans1 sanatary questions4 c4 ,cottages costing from #ejj to #e1jjj are shown in considerable variety1 and nearly every taste can be satisfied4 ,the information on site1 general arrangement of plan1 sanatary matters1 c41 is worth a great deal more than the cost of the book4 ,,water-,,closets4--,a ,historical1 ,mechanical1 and ,sanitary ,treatise4--,by ,,glenn ,,brown1 ,architect2 ,associate ,american ,institute of ,architects4--,neatly bound in cloth1 gilt title4 #a ,this book contains over #bej engravings1 drawn expressly for the work by the author4 ,the drawings are so clear that the distinctive features of every device are easily seen at a glance1 and the descriptions are particularly full and thorough4 ,every known water-closet is fully described1 and an account given of its qualities1 advantages1 and defects4 ,the paramount importance of this department of the construction of our houses renders all comment upon the value of such a work unnecessary4 ,,plaster3 ,,how ,,to ,,make ,,and ,,how ,,to ,,use4 ,being a ,complete ,guide for the ,plasterer in the ,preparation and ,application of all kinds of ,plaster1 ,stucco1 ,portland ,cement1 ,hydraulic ,cements1 ,lime of ,tiel1 ,rosendale and other ,cements4 ,with ,useful and ,practical ,information on the ,chemistry1 ,qualities1 and ,uses of the ,various ,kinds of ,limes and ,cements4--,together with ,rules for ,measuring1 ,computing1 and ,valuing ,plaster and ,stucco ,work4--,to which is appended an ,illustrated ,glossary of ,terms used in ,plastering1 c4--,by ,,fred4 ,t4 ,,hodgson1 author of 8,the ,builders' ,guide1 and ,estimators' ,price-,book10 8,practical ,carpentry10 c4--,cloth1 gilt #a ,this work is illustrated with numerous engravings in the text and three plates1 giving some forty figures of ceilings1 center-pieces1 cornices1 panels1 and soffits4 ,it is an invaluable book for plasterers1 bricklayers1 masons1 builders1 architects1 and engineers4 ,,handsaws3 ,,their ,,use1 ,,care1 ,,and ,,abuse4 ,how to ,select and ,how to ,file ,them4--,being a ,complete ,guide for ,selecting1 ,using1 and ,filing all kinds of ,handsaws1 ,back-saws1 ,compass and ,key-hole ,saws1 ,web1 ,hack1 and ,butchers' ,saws4 ,showing the ,shapes1 ,forms1 ,angles1 ,pitches1 and ,sizes of ,saw-teeth suitable for all kinds of ,saws1 and for all kinds of ,wood1 ,bone1 ,ivory1 and ,metal4--,together with ,hints and ,suggestions on the ,choice of ,files1 ,saw-sets1 ,filing-clamps1 and other matters pertaining to the ,care and ,management of all classes of ,hand and other ,small ,saws4--,by ,,fred4 ,t4 ,,hodgson1 author of 8,the ,steel ,square and ,its ,uses10 8,the ,slide-,rule1 and ,how to ,use ,it10 8,the ,builders' ,guide10 8,practical ,carpentry10 c4--,illustrated by over ,seventy-five ,engravings4--,cloth1 gilt #a ,this work is intended more particularly for operative carpenters1 joiners1 cabinet-makers1 carriage-builders1 and woodworkers generally1 amateurs or professionals4 ,,the ,,practical ,,upholsterer4 ,giving ,clear ,directions for ,skillfully ,performing all kinds of ,upholsterers' ,work in ,leather1 ,silk1 ,plush1 ,reps1 ,cottons1 ,velvets1 and ,carpetings4--,also1 for ,stuffing1 ,embossing1 ,welting1 and ,covering all kinds of ,mattresses1 c4--,rules for ,measuring ,valances1 ,curtains1 ,tapestry1 ,window and ,door ,drapery1 ,curtain ,rods1 ,persian ,beds1 ,mantel ,drapery1 ,lambrequins1 ,cushions1 ,floor-,cloths1 ,festoon ,blinds and ,curtain-,hangings1 and all kinds of ,upholstery4--,fully ,illustrated with ,engravings of ,tools1 ,sketches of ,furniture1 and numerous full-page ,illustrations of ,original ,decorative ,designs4--,by ,a ,,practical ,,upholsterer4 #abmo1 cloth #a ,this work contains a number of original designs in drapery and upholstery1 with full explanatory text1 and an immense number of working illustrations4 ,it gives a description of tools1 appliances1 and materials4 ,it tells how to upholster chairs1 parlor furniture1 bedroom furniture1 c4 ,it contains rules for cutting bed-hangings1 window-curtains1 door-hangings1 blinds1 and for measuring and cutting carpets4 ,it gives arithmetical calculations for cutting carpets1 curtains1 c41 mantle-board drapery1 festoons1 and1 in short1 everything pertaining to upholstery4 ,there is nothing published in this country that is so thorough and complete in the instructions given for upholstering1 as this book4 ,it is invaluable alike to the practical workman and the amateur4 ,,cabinet-,,making1 ,,upholstering1 ,,furniture4 ,hints and ,practical ,information for ,cabinet-makers1 ,upholsterers1 and ,furniture-men ,generally4--,together with a ,description of all kinds of ,finishing1 with ,full ,directions ,therefor2 ,varnishes1 ,polishes1 ,stains for ,wood1 ,dyes for ,wood1 ,gilding and ,silvering1 ,recipes for the ,factory1 ,lacquers1 ,metals1 ,marbles1 c42 ,pictures1 ,engravings1 c4--,cloth1 gilt #a ,this book contains an immense amount of the most useful information for those who are engaged in the manufacture1 superintendence1 or construction of furniture or wood-work of any kind4 ,it is one of the cheapest and best books ever published1 and contains over one thousand hints1 suggestions1 and methods2 and descriptions of tools1 appliances1 and materials4 ,all the recipes1 rules1 and directions have been carefully revised and corrected by practical men of great experience1 so that they will be found thoroughly trustworthy4 ,it contains many of the recipes recently sold at from #e to #ejj4 ,,the ,,workshop ,,companion4--,part ,i4 ,a ,collection of ,useful and ,reliable ,recipes1 ,rules1 ,processes1 ,methods1 ,wrinkles1 and ,practical ,hints1 for the ,household and the ,shop4 ,paper1 #ce cents4--,cloth1 gilt title1 #fj cents4 ,this is a book of #afd closely printed pages1 forming a dictionary of practical information for mechanics1 amateurs1 housekeepers1 farmers1--everybody4 ,it is not a mere collection of newspaper clippings1 but a series of original treatises on various subjects1 such as alloys1 cements1 inks1 steel1 signal-lights1 polishing materials1 and the art of polishing wood1 metals1 c42 varnishing1 gilding1 silvering1 bronzing1 lacquering1 and the working of brass1 ivory1 alabaster1 iron1 steel1 glass1 c4 ,,the ,,workshop ,,companion4--,part ,,ii4 ,a ,collection of ,useful and ,reliable ,recipes1 ,rules1 ,processes1 ,methods1 ,wrinkles1 and ,practical ,hints1 for the ,household and the ,shop4 ,paper1 #ce cents4--,cloth1 gilt title1 #fj cents4 ,this is an extension of the first part1 and contains subjects which have not been discussed in the earlier volume4 ,these two volumes contain an immense amount of practical instruction on matters in regard to which information is constantly desired by amateurs and practical men4 ,,the ,,practical ,,assistant1 ,,and ,,workshop ,,companion4--,a ,treasury of ,useful ,information relating to the ,arts and ,sciences of everyday life4--,containing ,useful and ,reliable ,processes1 ,recipes1 ,wrinkles1 ,methods1 ,rules1 ,data1 ,tables2 and ,hints for the ,factory and the ,household1 the ,shop and the ,farm4--,edited by ,,john ,,phin4--,cloth1 #a ,this is ,parts ,i and ,,ii of 8,the ,workshop ,companion10 described above1 handsomely bound together in cloth1 with gilt title4 ,,the ,,amateurs' ,,handbook ,,of ,,practical ,,information1 for the ,workshop and ,laboratory4 ,second ,edition4--,greatly ,enlarged4--,neatly bound4 #ae cents4 ,this is a handy little book1 containing just the information needed by amateurs in the workshop and laboratory4 ,directions for making alloys1 fusible metals1 cements1 glues1 c42 and for soldering1 brazing1 lacquering1 bronzing1 staining and polishing wood1 tempering tools1 cutting and working glass1 varnishing1 silvering1 gilding1 preparing skins1 c4 ,the new edition contains extended directions for preparing polishing powders1 freezing mixtures1 colored lights for tableaux1 solutions for rendering ladies' dresses incombustible1 c4 ,there has also been added a ,very large number of new and valuable recipes4 ,the ,workshop ,companion1 ,part ,i1 above described1 contains all the matter that is to be found in 8,the ,amateurs' ,handbook40 ,,mechanical ,,draughting4 ,the ,student's ,illustrated ,guide to ,practical ,draughting4--,a series of ,practical ,instructions for ,machinists1 ,mechanics1 ,apprentices1 and ,students at ,engineering ,establishments and ,technical ,institutes4--,by ,t4 ,p4 ,,pemberton1 ,draughtsman and ,mechanical ,engineer4--,illustrated by numerous engravings4--,cloth1 gilt4 #a ,this is a simple but thorough book1 by a draughtsman of twenty-five years' experience4 ,it is intended for beginners and self-taught students1 as well as for those who pursue the study under the direction of a teacher4 ,,drawing ,,instruments4 ,being a ,treatise on ,draughting ,instruments1 with ,rules for their ,use and ,care2 ,explanations of ,scales1 ,sectors1 and ,protractors4 ,together with ,memoranda for ,draughtsmen2 ,hints on ,purchasing ,instruments1 ,paper1 ,ink1 ,pencils1 c4 ,also1 a ,price-list of all ,materials required by ,draughtsmen4--,illustrated with twenty-four ,explanatory ,illustrations4--,by ,,fred4 ,t4 ,,hodgson4--,paper4 #be cents4 ,,the ,,slide-,,rule1 ,,and ,,how ,,to ,,use ,,it4 ,being a ,compilation of ,explanations1 ,rules1 and ,instructions1 suitable for ,mechanics and others interested in the ,industrial ,arts4--,compiled and arranged by ,,fred4 ,t4 ,,hodgson4--#be cents4 ,rules are given for the measurement of all kinds of boards and planks1 timber in the round or square1 glaziers' work and painting1 brickwork1 paviors' work1 tiling and slating1 the measurement of vessels of various shapes1 the wedge1 inclined planes1 wheels and axles1 levers1 the weighing and measurement of metals and all solid bodies1 cylinders1 cones1 globes1 octagon rules and formul1 the measurement of circles1 and a comparison of ,french and ,english measures1 with much other information useful to builders1 carpenters1 bricklayers1 glaziers1 paviors1 slaters1 machinists1 and other mechanics4 ,possessed of this little book and a good slide-rule1 mechanics might carry in their pockets some hundreds of times the power of calculation that they now have in their heads1 and the use of the instrument is very easily acquired4 ,,the ,,engineer',s ,,slide-,,rule1 and ,its ,applications4 ,a ,complete ,investigation of the ,principles upon which the ,slide-,rule is constructed2 together with the ,method of its ,application to all the ,purposes of the ,practical ,mechanic4--,by ,,william ,,tonkes4--,paper4 #be cents4 ,,the ,,lightning ,,calculator4 ,practical ,hints on ,lightning ,calculating4--,to which are added ,rules1 ,tables1 ,data1 ,formul1 and ,memoranda1 for making rapidly those everyday calculations that are required in business1 mechanics1 and agriculture4--,paper4 #bj cents4 ,a ,,century ,,of ,,inventions4 ,an exact reprint of the famous 8,century of ,inventions0 of the ,marquis of ,worcester 7first published in #affc74--,with an ,introduction1 ,notes1 and a ,life of the ,author4--,with ,portrait after a ,painting by ,van ,dyke4--,edited by ,,john ,,phin4--,cloth4 #a ,this is one of the most extraordinary books ever published4 ,the famous 8,century of ,inventions0 is of more than mere historical interest4 ,it contains numerous hints and suggestions of what might be accomplished1 and will be found of great interest and value to every one interested in mechanics4 ,many persons claim that the ,marquis of ,worcester anticipated many of our most important modern inventions and discoveries4 ,great care has been taken to reproduce exactly 7so far as modern type1 c41 could do it7 the edition published by the ,marquis himself4 ,it has been entirely out of print for many years4 ,,the ,,electrician',s ,,pocket ,,companion4 ,electrical ,rules1 ,tables1 ,tests1 and ,formul4--,by ,,andrew ,,jamieson1 ,c4 ,e41 ,f4 ,r4 ,s4 ,e4--,fully illustrated4--,cloth4 #ge cents4 ,this is the most compact and thorough work in the market for the practical electrician4 ,it contains minute directions for all calculations1 tests1 c41 with clear engravings of the apparatus employed4 ,the following list of contents will give an idea of its scope3-- ,formul of the ,absolute ,units4--,practical1 ,electrical1 and ,mechanical4 ,heat and ,light ,units4 ,electro-chemical ,equivalents1 ,electrolysis1 ,heat and ,energy of ,combustion4 ,practical ,methods of ,electrical ,measurements4 ,electric ,conductors3 ,copper1 c4--,insulators3 ,guttapercha1 c4 ,submarine ,cables4--,aerial ,land-lines4 ,electric ,lighting and ,transmission of ,power4 ,,lectures ,,in ,a ,,workshop4--,by ,t4 ,p4 ,,pemberton1 formerly ,associate ,editor of ,the ,technologist2 author of 8,the ,student's ,illustrated ,guide to ,practical ,draughting40--,with an ,appendix containing the famous papers by ,whitworth 8,on ,plane ,metallic ,surfaces of ,true ,planes02 8,on the ,uniform ,system of ,screw-,threads02 8,address to the ,institution of ,mechanical ,engineers1 ,glasgow02 8,on ,standard ,decimal ,measures of ,length40 ,cloth1 gilt4 #a ,we have here a sprightly1 fascinating book1 full of valuable hints1 interesting anecdotes1 and sharp sayings4 ,it is not a compilation of dull sermons or dry mathematics1 but a live1 readable book4 ,the papers by ,whitworth1 now first made readily accessible to the ,american reader1 form the basis of our modern systems of accurate work4 ,,the ,,new ,,pocket ,,cyclopedia4 ,a ,compendium of ,general ,knowledge1 ,useful and ,interesting ,facts1 ,valuable ,statistics1 and ,practical ,information4--#afmo41 cloth4 #ej cents4 ,this is a handy volume of #afd pages1 printed in small but clear type on very fine thin paper1 so that the book may be readily carried in the pocket or trunk4 ,it contains all those facts and figures which are most commonly referred to in everyday life1 great care being taken to secure accuracy and clearness4 ,it is not a collection of 8curious information0 made up from newspaper clippings1 but a thoroughly arranged manual of the most useful general knowledge4 ,,how ,,to ,,become ,a ,,good ,,mechanic4 ,intended as a ,practical ,guide to ,self-taught ,men3 ,telling ,what to ,study2 ,what ,books to ,use2 ,how to ,begin2 ,what ,difficulties will be met2 ,how to ,overcome ,them4 ,in a word1 how to carry on such a course of self-instruction as will enable the young mechanic to rise from the bench to something higher4--,paper4 #be cents4 ,this is not a book of 8goody-goody0 advice1 neither is it an advertisement of any special system1 nor does it advocate any hobby4 ,it gives plain practical advice in regard to acquiring that knowledge which alone can enable a young man engaged in any profession or occupation connected with the industrial arts to attain a position higher than that of a mere workman4 ,,cements1 ,,glue1 ,,and ,,paste4 ,a ,practical ,treatise on the ,preparation and ,use of all kinds of ,cements1 ,glue1 and ,paste4--,by ,,john ,,phin1 author of 8,how to ,use the ,microscope40--,paper4 #be cents4 ,every mechanic and householder will find this volume of almost everyday use4 ,it contains nearly two hundred recipes for the preparation of cements for almost every conceivable purpose4 ,,hints ,,for ,,painters1 ,,decorators1 ,,and ,,paper-,,hangers4 ,being a ,selection of ,useful ,rules1 ,data1 ,memoranda1 ,methods1 and ,suggestions for ,house1 ,ship1 and ,furniture ,painting2 ,paper-,hanging1 ,gilding1 ,color-,mixing1 and other matters useful and instructive to painters and decorators4--,prepared with special reference to the wants of amateurs4--,by ,,an ,,old ,,hand4--,paper4 #be cents4 ,a ,,practical ,,guide ,,to ,,success ,,in ,,the ,,use ,,of ,,recipes1 ,formul1 c41 with ,hints on ,chemical and ,mechanical ,manipulation4--,intended as a supplement to all books of recipes4--,by ,,john ,,phin4--#abmo1 paper4 #be cents4 ,while it is an undoubted fact that many of the recipes published in the ordinary collections are erroneous1 either from original blunders on the part of the authors or from mistakes in copying1 failure in the use of others frequently arises from defective information and vicious methods on the part of those who attempt to put them in practice4 ,the object of the present book is to give such hints and cautions as will enable the worker to secure success where success is possible2 and where the products are intended for sale it gives special and valuable advice as to the best methods of putting them on the market4 ,a ,,manual ,,of ,,instruction ,,in ,,the ,,art ,,of ,,wood ,,engraving4 ,with a ,description of the necessary ,tools and ,apparatus1 and ,concise ,directions for their ,use2 ,explanations of the ,terms used and the ,methods employed for producing the various classes of ,wood ,engravings4--,by ,s4 ,e4 ,,fuller4--,fully illustrated with engravings by the author1 separate sheets of engravings for transfer and practice being added4--,new edition1 neatly bound4 #ej cents4 ,a really thorough and practical work1 written for those who want to learn the art without the aid of a teacher4 ,a ,,guide ,,to ,,collodio ,,etching4--,by ,rev4 ,,benjamin ,,hartley4--,illustrated by the author4--#abmo1 cloth4 #a4jj ,this volume gives complete and minute instructions for one of the most delightful of amateur arts4 ,it is fully illustrated by woodcuts of all the apparatus used 7which is very simple and easily made71 and also by actual photo-prints of the etchings themselves4 ,,the ,,practical ,,pocket ,,companion4 ,a ,cyclopedia of the most useful ,facts1 ,figures1 and ,general ,information required by everybody in everyday life4--,edited by ,,john ,,phin1 author of 8,how to ,use the ,microscope10 8,the ,workshop ,companion10 8,chemical ,history of the ,six ,days of ,creation10 c4--,numerous illustrations4 #aj cents4 ,,contents4--,abbreviations in ,common ,use--,business ,laws and ,commercial ,rules--,acceptances--,agencies--,bills of ,exchange--,checques--,common ,carriers--,corporations--,law of ,finding--,indorsements--,innkeepers--,n egotiable ,instruments--,partnerships--,promissory ,notes--,protests--,receipts--,concrete ,walls for ,houses--,copyrights--,rules for ,correspondence--,how to treat ,accidents to the ,eye--,factors of ,safety--,best ,methods of ,extinguishing ,fires--,language of ,flowers--,significance of ,gems and ,precious ,stones--,periods of ,gestation and ,incubation--,legal ,holidays--,homestead ,law--,distinguishing ,characteristics and ,anxious ,periods of ,infectious ,diseases--,prevention or ,attacks of ,insects--,knots1 and ,how to ,tie ,them1 with full page of illustrations--,general ,rules--,single ,draw-knot--,galley-knot--,square-knot1 or ,reefing-knot--,weaver's-knot1 or ,sheet-bend-knot--,half-hitch--,two ,half-hitches--,clove-hitch--,timber-hit ch--,bowline-knot--,fisherman's-knot--,w hipping or ,binding--,tying ,parcels--,care of ,leather--,lightning-rods1 general rules for--,best ,materials--,proper ,size and ,best ,shapes of ,rod--,painting--,points1 or ,air-,terminals--,ground ,connections--,arrangement and ,mode of ,attaching the ,rod to the ,house--,value of ,moneys of ,foreign ,nations--,passports--,patents--,antidot es for ,poisons--,postal ,rules and ,rates--,railroad and ,steamboat ,signals--,rules for ,spelling and the ,use of ,capitals--,trade-marks--,weather ,indications1 c4 ,,what ,,to ,,do ,,and ,,how ,,to ,,do ,,it ,,in ,,case ,,of ,,accident4--,a book for everybody4--,cloth1 gilt4 #ej cents4 ,this is one of the most useful books ever published4 ,it tells exactly what to do in case of accidents1 such as severe cuts1 sprains1 dislocations1 broken bones1 burns with fire1 scalds1 burns with corrosive chemicals1 sunstroke1 suffocation by foul air1 hanging1 drowning1 frost-bite1 fainting1 stings1 starvation1 lightning1 poisons1 accidents from machinery and from the falling of scaffolding1 gunshot wounds1 c4 ,it ought to be in every house1 for young and old are liable to accident1 and the directions given in this book might be the means of saving many a valuable life4 ,,common ,,sense ,,in ,,the ,,poultry-,,yard4 ,a ,story of ,failures and ,successes1 including a full account of #a1jjj hens and what they did4 ,with a complete description of the houses1 coops1 fences1 runs1 methods of feeding1 breeding1 marketing1 c41 and many new wrinkles and economical dodges4--,by ,j4 ,p4 ,,haig4--,with numerous illustrations4--,cloth1 gilt title4 #a ,this is a lively and entertaining work1 which embodies the actual experience of many years in the keeping of poultry in large and small numbers4 ,it is the most thoroughly practical work on poultry in the market1 and contains an amount of solid information which1 to even the keeper of a dozen fowls1 will make it worth many times its cost4 ,a ,,dictionary ,,of ,,practical ,,bee-,,keeping4 ,with ,notes and ,practical ,hints4--,by ,,john ,,phin1 author of 8,how to ,use the ,microscope10 c4--,numerous illustrations4--,cloth1 gilt4 #ej cents4 ,this work discusses thoroughly nearly five hundred subjects4 ,gives in condensed form an immense amount of valuable information under the different headings4 ,under the heads ,bee1 ,comb1 ,glucose1 ,honey1 ,race1 ,species1 ,sugar1 ,wax1 and others1 it brings together a large number of important facts and figures now scattered through our bee literature and costly scientific works1 and are not easily found when wanted4 ,here they can be referred to at once under the proper head4 ,,plain ,,directions ,,for ,,acquiring ,,the ,,art ,,of ,,shooting ,,on ,,the ,,wing4 ,with ,useful ,hints concerning all that relates to ,guns and ,shooting1 particularly in regard to the art of loading so as to kill4 ,to which has been added several valuable and hitherto secret recipes1 of great practical importance to the sportsman4--,by ,,an ,,old ,,gamekeeper4--#abmo1 cloth4 #ge cents4 ,this book contains a novel and most valuable feature found in no other work on this subject4 ,this is a series of graduated lessons by which the self-taught young sportsman is enabled to advance step by step from such easy marks as a sheet of paper nailed on a fence to the most difficult trap-shooting and the sharpest snap-shots4 ,,the ,,pistol ,,as ,a ,,weapon ,,of ,,defence1 ,in the ,house and on the ,road4--#abmo1 cloth4 #ej cents4 ,this work aims to instruct peaceable and law-abiding citizens in the best means of protecting themselves from the attacks of the brutal and the lawless1 and it is the only practical book published on this subject4 ,its contents are as follows3-- ,the ,pistol as a ,weapon of ,defence--,the ,carrying of ,firearms--,different kinds of ,pistols in ,market--,how to ,choose a ,pistol--,ammunition1 different kinds3 powder1 caps1 bullets1 copper cartridges1 c4--,best form of ,bullet--,how to ,load--,best ,charge for ,pistols--,how to ,regulate the ,charge--,care of the ,pistol3 how to clean it--,how to ,handle and ,carry the ,pistol--,how to ,learn to ,shoot--,practical ,use of the ,pistol--,how to ,protect ,yourself and ,disable your ,antagonist4 ,the ,hardwood ,finisher4 ,,with ,,rules ,,and ,,directions ,,for ,,finishing ,,in ,,natural ,,colors1 ,,and ,,in ,,antique1 ,,mahogany1 ,,cherry1 ,,birch1 ,,walnut1 ,,oak1 ,,ash1 ,,redwood1 ,,sycamore1 ,,pine1 ,,and ,,all ,,other ,,domestic ,,woods2 ,,also ,,for ,,filling1 ,,staining1 ,,polishing1 ,,dyeing1 ,,gilding ,,and ,,bronzing4 ,compiled and ,edited by ,,fred4 ,t4 ,,hodgson1 ,editor of 8,the ,operative ,builder10 late editor of 8,the ,builder and ,woodworker10 and of 8,the ,cabinetmaker and ,upholsterer40 ,illustrated1 #abmo1 ,cloth1 #a4jj4 ,in these days of 8,hardwood ,finish10 the carpenter and joiner who does not make himself acquainted with all the new and latest methods of working and finishing our native woods is handicapped1 and will not be as likely to receive as much money for his day's work as the workman who 8knows all about it40 ,this work has just been brought out at the very time it is wanted the most1 for finishing in the natural woods has lately become the fashion1 particularly in the better class of buildings4 ,this is a proper and healthy fashion1 for paint1 while all right in its way1 is neither in as good taste as the natural finish1 nor is it as clean or as handsome4 ,we know that most carpenters and joiners who have had no experience in preparing wood for this kind of finish do not care to try it for fear of failure2 but we can assure such that if they follow closely the methods laid down in this book they will be astonished and gratified at the results4 ,directions are given at length for the preparation of the wood and the application of 8fillers10 with some good and sound advice regarding these important operations4 ,hints in fixing hardwood finish so that nail or screw heads cannot be seen are clearly presented1 and the whole practice of scraping1 rubbing and polishing are given with a clearness and simplicity that the dullest workman may readily understand4 ,the work is equally useful to the cabinet-maker1 painter and decorator as it is to the carpenter and joiner4 ,this book is written to enable the workman to know1 who does not know1 as well as the man who does know1 but who desires to know more2 and1 to the ,american workman's credit be it said1 in this last class there are many4 ,the following are a few of the many commendatory press notices the work has received since its publication3 8,should be in the library of every painter who aims to keep up with the times in the practice of his art1 as a work of this character will be of great assistance and value4 ,the formulas and suggestions laid down are good1 and we find much to admire in the general make-up of the work4 8,the writer is well known as the author of many practical books of the day1 and thoroughly understands the wants of the trade and meets them in a satisfactory manner40--,national ,builder1 ,chicago1 ,ill4 8,in order to make it as complete as possible1 a variety of authorities on the subject have been consulted1 and every effort put forth to make the work practical in all respects40--,carpentry and ,building1 ,new ,york1 ,n4 ,y4 8,this excellent work1 with its very practical aspect1 seems to cover a field that has been1 perhaps1 somewhat neglected4 ,it is exceedingly practical1 and with numerous formul for all kinds of stains and wood dyes1 as well as finishes1 is one that is to be found of value to many operatives40--,scientific ,american1 ,new ,york1 ,n4 ,y4 ,,practical ,,carpentry4 ,,being ,a ,,guide ,,to ,,the ,correct ,working and ,laying ,out of all kinds of ,carpenters' and ,joiners' ,work4 ,with the ,solutions of the ,various ,problems in ,hip-,roofs1 ,gothic ,work1 ,centering1 ,splayed ,work1 ,joints and ,jointing1 ,hinging1 ,dovetailing1 ,mitering1 ,timber ,splicing1 ,hopper ,work1 ,skylights1 ,raking ,mouldings1 ,circular ,work1 ,etc41 ,etc4 ,,to ,,which ,,is ,,prefixed ,a ,,thorough ,,treatise ,,on 8,,carpenter',s ,,geometry40 ,,illustrated ,,by ,,over #cjj ,,engravings4 ,by ,,fred4 ,t4 ,,hodgson1 ,,author ,,of 8,,the ,,steel ,,square ,,and ,,its ,,uses10 8,,the ,,builder',s ,,guide ,,and ,,estimator',s ,,price ,,book10 8,,the ,,slide ,,rule ,,and ,,how ,,to ,,use ,,it10 ,,etc41 ,,etc4 ,handsomely ,bound in ,cloth1 ,price #a4jj4 ,this is the most complete book of the kind ever published4 ,it is ,thorough1 ,practical and ,reliable1 and at the same time is written in a style so plain that any workman or apprentice can easily understand it4 ,the annexed table of contents will give a better idea of its scope and value than can be had from any amount of notices or descriptions3 ,,table ,,of ,,contents4 ,,part ,i4 ,,geometry4--,straight ,lines4--,curved ,lines4--,solids4--,compound ,lines4--,parallel ,lines--,oblique or ,converging ,lines4--,plane ,figures4--,angles4--,right ,angles4--,acute ,angles4--,obtuse ,angles4--,right-angled ,triangles4--,quadrilateral ,figures4--,parallelograms4--,rectangles 4--,squares4--,rhomboids4-- ,trapeziums4--,trapezoids4--,diagonals4- -,polygons4--,pentagons4--,hexagons4-- ,heptagons4--,octagons4--,circles4--,cho rds4--,tangents4-- ,sectors4--,quadrants4--,arcs4--,concent ric and ,eccentric ,circles4--,altitudes4--,problems ,i4 to ,,xxix4--,drawing of ,angles4--,construction of ,geometrical ,figures4--,bisection of ,lines4--,trisection of ,lines and ,angles4--,division of ,lines into any ,number of ,parts4--,construction of ,triangles1 ,squares and ,parallelograms4--,construction of ,proportionate ,squares4--,construction of ,polygons4--,areas of ,polygons4--,areas of ,concentric ,rings and ,circles4--,segments of ,circles4--,the use of ,ordinates for ,obtaining ,arcs of ,circles4--,drawing an ,ellipse with a ,trammel4--,drawing an ,ellipse by means of a ,string4--,same by ,ordinates4--,raking ,ellipses4--,ovals4--,sixty-two ,illustrations4 ,,part ,,ii4 ,,arches1 ,,centres4--,window and ,door ,heads4--,semi-circular ,arch--,segmental ,arches4--,stilted ,arches4--,horseshoe ,arch4--,lancet ,arch4--,equilateral ,arch4--,gothic ,tracery4--,wheel-,windows4--,equilatera l ,tracery4--,square ,tracery4--,finished ,leaf ,tracery4--,twenty-,two ,illustrations4 ,,part ,,iii4 ,,roofs4--,saddle ,roof4--,lean-to or ,shed ,roof4--,simple ,hip-,roof4--,pyramidal ,roof4--,theoretical ,roof4--,roof with ,straining ,beam4--,gothic ,roof4--,hammer-,beam ,roofs4--,curved ,principal ,roofs4--,roofs with ,suspending ,rods4--,deck ,roofs4--,king-post and ,principal ,roof4--,queen-post and ,principal ,roof4--,roofs with ,laminated ,arches4--,strapped ,roof ,frames4--,tie-beam ,roofs4--,roofs for ,long ,spans4--,theatre ,roof4--,church ,roof4--,mansard ,roof4--,slopes of ,roofs4--,rules for ,determining the ,sizes of ,timbers for ,roofs4--,acute and ,obtuse ,angled ,hip-,roofs4--,development of ,hip-,roofs4--,obtaining ,lengths and ,bevels of ,rafters4--,backing ,hip ,rafters4--,lengths1 ,bevels and ,cuts of ,purlins4--,circular1 ,conical and ,segmental ,roofs4--,rafters with ,variable ,curves4--,veranda ,rafters4--,development of all kinds of ,rafters4--,curved ,mansard ,rafters4--,framed ,mansard ,roofs4--,lines and ,rules for obtaining various kinds of ,information4--,thirty-four ,illustrations4 ,part ,,iv4 ,,covering ,,of ,,roofs4--,shingling ,common ,roofs4--,shingling ,hip-,roofs4--,method of ,shingling on ,hip ,corner4--,covering ,circular ,roofs4--,covering ,ellipsoidal ,roofs4--,valley ,roofs4--,four ,illustrations4 ,,part ,v4 ,,the ,,mitering ,,and ,,adjusting ,,of ,,mouldings4--,mitering of ,spring ,mouldings4--,preparing the ,mitre-box for ,cutting ,spring ,mouldings4--,rules for ,cutting ,mouldings with ,diagrams4--,mitre-boxes of various forms4--,lines for ,spring ,mouldings of various kinds4--,seven ,illustrations4 ,,part ,,vi4 ,,sashes ,,and ,,skylights4--,raised ,skylights4--,skylights with ,hips4--,octagon ,skylights with ,segmental ,ribs4--,angle-bars1 with ,rules and ,diagrams1 showing how to obtain the ,angles1 ,forms1 etc4--,sash-,bars1 ,hints on their ,construction4--,twelve ,illustrations4 ,,part ,,vii4 ,,mouldings4--,angle ,brackets4--,corner ,coves4--,enlarging and ,reducing ,mouldings4--,irregular ,mouldings4--,raking ,mouldings1 with ,rules for ,obtaining4--,mouldings for ,plinths and ,capitals of ,gothic ,columns4--,mouldings around ,square ,standards4--,mitering ,circular ,mouldings with each other4--,mitering ,circular ,mouldings with ,straight ones4--,mitering ,mouldings at a ,tangent4--,mitering ,spring ,circular ,mouldings4--,description of ,spring ,mouldings4--,lines for ,circular ,spring ,mouldings4--,seventeen ,illustrations4 ,,part ,,viii4 ,,joinery4--,dovetailing4--,common ,dovetailing4--,lapped ,dovetailing4--,blind ,dovetailing4--,square ,dovetailing4--,splay ,dovetailing4--,regular and ,irregular ,dovetailing4--,lines and ,cuts for ,hoppers and ,splayed ,work4--,angles and ,mitres for ,splayed ,work4--,nineteen ,illustrations4 ,,part ,,ix4 ,,miscellaneous ,,problems4--,bent ,work for ,splayed ,jambs4--,development of ,cylinders4--,rules and ,diagrams for ,taking ,dimensions4--,angular and ,curved ,measurements4--,eight ,illustrations4 ,,part ,x4 ,,joints ,,and ,,straps4--,mortise and ,tenon ,joints4--,toggle ,joints4--,hook ,joints4--,tongue ,joint4--,lap ,splice4--,scarfing4--,wedge ,joints4--,king-bolts4--,straps1 ,iron ,ties1 ,sockets1 ,bearing-plates1 ,rings1 ,swivels and other ,iron ,fastenings4--,straining ,timbers1 ,struts and ,king-pieces4--,three ,plates1 ,sixty-,five ,illustrations4 ,,part ,,xi4 ,,hinging ,,and ,,swing ,,joints4--,door ,hinging4--,centre-pin ,hinging4--,blind ,hinging4--,folding ,hinging4--,knuckle ,hinging4--,pew ,hinging4--,window ,hinging4--,half-turn ,hinge4--,full-turn ,hinge4--,back ,flap ,hinging4--,rule-joint ,hinging4--,rebate ,hinging4--,three ,plates1 ,fifty-one ,illustrations4 ,,part ,,xii4 ,,useful ,,rules ,,and ,,tables4--,hints on the ,construction of ,centres4--,rules for ,estimating4--,form of ,estimate4--,items for ,estimating4--,remarks on ,fences4--,nails3 sizes1 weights1 lengths and numbers4--,cornices1 ,proportions and ,projections for ,different ,styles of ,architecture2 and ,tall and ,low ,buildings1 ,verandas1 ,bay ,windows and ,porches4--,proportion of ,base-boards1 ,dados1 ,wainscots1 and ,surbases4--,woods1 ,hard and ,soft1 their ,preparation1 and how to ,finish4--,strength and ,resistance of ,timber of various kinds4--,rules1 showing ,weight and other qualities of ,wood and ,timber4--,stairs1 ,width of ,treads and ,risers2 their ,cost2 how to ,estimate on them1 etc4--,inclinations of ,roofs4--,contents of ,boxes1 ,bins1 and ,barrels4--,arithmetical ,signs4--,mensuration of ,superficies4--,areas of ,squares1 ,triangles1 ,circles1 ,regular and ,irregular ,polygons4--,properties of ,circles4--,solid ,bodies4--,gunter's ,chain4--,drawing and ,drawing ,instruments4--,coloring ,drawings4--,coloring for ,various ,building ,materials4--,drawing ,papers4--,sizes of ,drawing ,papers4--,table of ,board ,measure4--,nautical ,table4--,measure of ,time4--,authorized ,metric ,system4--,measures of ,length4--,measures of ,surfaces4--,measures of ,capacity4--,weights4--,american ,weights and ,measures4--,square ,measure4--,cubic ,measure4--,circular ,measure4--,decimal ,approximations4--,form of ,building ,contract4 ,,hand ,,saws4 ,,their ,,use1 ,,care ,,and ,,abuse4 ,,how ,,to ,,select1 ,,and ,,how ,,to ,,file ,,them4 ,being a ,complete ,guide for ,selecting1 ,using and ,filing all kinds of ,hand-,saws1 ,back-saws1 ,compass and ,key-hole ,saws1 ,web1 ,hack and ,butcher's ,saws2 showing the ,shapes1 ,forms1 ,angles1 ,pitches and ,sizes of ,saw-,teeth suitable for all kinds of ,saws1 and for all kinds of ,wood1 ,bone1 ,ivory and ,metal2 together with ,hints and ,suggestions on the ,choice of ,files1 ,saw-,sets1 ,filing ,clamps1 and other ,matters pertaining to the ,care and ,management of all ,classes of ,hand and other ,small ,saws4 ,the work is intended more particularly for ,operative ,carpenters1 ,joiners1 ,cabinet-,makers1 ,carriage ,builders1 and ,wood-,workers ,generally1 ,amateurs or ,professionals4 ,,illustrated ,,by ,,over ,,seventy-,,five ,,engravings4 ,by ,,fred4 ,t4 ,,hodgson1 ,,author ,,of 8,,the ,,steel ,,square ,,and ,,its ,,uses10 8,,the ,,builder',s ,,guide ,,and ,,estimator',s ,,price ,,book10 8,,practical ,,carpentry10 ,,etc41 ,,etc4 ,price #a4jj4 ,,table ,,of ,,contents4 ,,part ,i4 ,history of the ,saw4--,saws of the ,greeks4--,invention of the ,first ,saws4--,egyptian ,bronze ,saws in the ,british ,museum4--,antiquity of ,saws4--,mention of ,saws in ,holy ,writ4--,saws of the ,stone ,age4--,saws of the ,south-sea ,islanders4--,saws for ,cutting ,stone4--,japanese ,saws4--,different ,varieties of ,saws4--,manner of ,using ,saws by the ,ancients4--,assyrian ,saws4--,invention of ,circular and ,band-,saws4--,first ,circular-,saws in ,america4 ,,part ,,ii4 ,philosophy of the ,cutting ,qualities of ,saw-,teeth4--,the 8,why and ,wherefore0 of the ,cutting ,pitch and ,angles of ,rip-,saw ,teeth4--,the ,round ,gullet-,tooth4--,chisel-,teeth and their ,action on the ,wood4-,on the ,various ,angles ,required for ,cutting ,hard and ,soft ,woods1 with ,explanations of ,space1 ,pitch1 ,gullet1 ,gauge1 ,set1 ,rake and ,points4--,names of ,saws1 with ,dimensions1 ,form of ,teeth1 ,descriptions and ,explanations4--,how to ,choose a ,saw2 with ,hints as to ,form4 ,quality1 ,make and 8,hang0 of a ,saw1 with ,remarks ,concerning ,different ,makers--,sash-,saws1 ,dovetail-,saws1 ,rip-,saws1 ,panel-,saws1 ,cross-cut ,saws1 ,bow-,saws1 ,web-,saws1 ,key-hole ,saws1 ,compass-,saws and ,tenon-,saws4 ,,part ,,iii4 ,how to ,use ,hand-,saws4--,how to ,saw ,well and ,easily4--,hints for ,sawing ,straight4--,rules for ,new ,beginners4--,french4 ,german and ,american ,workmen4--,saws ,filed to ,work on the ,pull-,stroke4--,changeable ,key-hole ,saws4--,use of ,back-,saws4--,use of ,web-,saws4--,care of ,buck-,saws4--,the ,buck-,saw2 the ,terror of ,boyhood1 and ,why4--,the ,butcher's-,saw1 the ,hack-,saw1 and the ,surgeon's-,saw with ,description of ,each1 and ,hints as to their ,management4 ,,part ,,iv4 ,filing and ,setting ,hand-,saws4--,the ,qualities ,required to make a ,good ,filer4--,rules in some ,old-time ,joiner ,shops4--,careless ,filing and its ,consequences4--,clamping ,saws for ,filing4--,the ,line of ,teeth4--,angular ,groove on ,cutting ,edge of ,saw4--,filing ,backs of ,teeth4--,jointing the ,sides of ,teeth4--,shape of ,teeth for ,cross-cutting ,hard ,wood1 ,medium and ,soft ,wood4--,cutting ,angles ,required for ,various ,degrees of ,hardness in ,woods4--,angle to ,hold the ,file--,the ,true ,theory of ,saw-,filing4--,buckling and ,twisting ,saws2 ,how ,done and ,how ,avoided4--8,hook and ,pitch40--,careless ,use of ,saws1 and the ,injuries ,done to them in ,consequence4--,the ,filing of ,different ,saws1 and why ,one ,class of ,saws ,require ,different ,treatment from ,another4 ,the ,saw that ,scrapes1 and the ,saw that ,cuts2 the 8,why0 of this ,difference4--,why ,some ,men do ,much ,more ,work than ,others1 and with ,greater ,ease1 when ,sawing4 ,,part ,v4 ,miscellaneous ,saws2 their ,uses1 ,how to ,care for ,them1 and ,how to ,use ,them4--,the ,m ,tooth1 ,teeth that ,cut ,both ,ways1 ,crenate ,teeth1 ,brier ,teeth1 ,gullet ,teeth1 ,parrot-bill ,teeth1 ,hog ,teeth1 the ,lancet and other ,fancy ,forms of ,teeth1 ,described and ,explained4--,the ,old-style 8,peg ,tooth10 for ,two-handed ,cross-cut ,saws4--,various ,examples of the 8,peg-,tooth0 ,saw4--,hack-,saws2 ,how to ,use and ,how to ,keep in ,order4--,butcher's-,saws1 ,surgeon's-,saws1 ,saws for ,cutting ,combs1 ,ivory1 ,brass1 ,gold1 and ,silver4--,circular-,saws for ,cutting ,metal1 ,ivory1 ,tortoise-shell1 and other ,hard ,materials4--,jig-,saws1 ,band-,saws2 their ,uses and ,how to ,keep them in ,order4--,scroll-,saws2 their ,uses and ,care4--,progress of the ,band-,saw2 its ,future2 ,how to ,make them do ,clean ,work4--,heating ,saws2 ,rules for their ,management4--,why ,circular-,saws ,burst4 ,,part ,,vi4 ,remarks on ,saws1 ,files1 ,sets1 and other ,appliances4--,saw-,files2 what ,constitutes a ,good ,one1 and ,how to ,select4--,different ,qualities of ,saw-,files1 and ,how to ,know the ,various ,grades4--,why there are ,different ,grades4--,hints on the ,use of ,files4--,circular-,saws that are not ,circular4--,how to ,become an ,expert ,sawyer4--,speed of ,circular-,saws2 ,table of ,same4--,speed of ,reciprocating-,saws1 or ,jig-,saws1 ,speed of ,feed for ,same4--,working ,action of ,band-,saws4--,how ,band-,saws ,became ,possible4--,french and ,american ,band-,saw ,blades4--,inside ,sawing with ,band-,saws4--,detachable ,band-,saws4--,aids to ,saw-,filing4--,saw-,clamps4--,saw-,file rs4--,saw-,sets4--,hand-,setting with ,punch and ,hammer4--,setting with 8,sets40--,machine ,band-,saw ,setters--,devices for ,holding ,saws while being ,set and ,filed4 ,,part ,,vii4 ,notes and ,memoranda4--,saw-,gauges4-,comb-,saw ,gauges4--,saw-,guides4 ,mitre-,boxes4--,circular vs4 ,band-,saws4--,emery ,sharpeners4--,small ,saws4--,machine-,saws4--,narrow ,saws4--,brazing ,band-,saws4--,remarks on ,circular-,saws4--,power ,required to ,drive ,circular-,saws4--,mill-,saws4--,saws with ,few ,teeth4 ,,transcriber',s ,,note ,illustrations in this e,book have been positioned between paragraphs and outside quotations4 ,in versions of this e,book that support hyperlinks1 the page references in the ,list of ,illustrations lead to the corresponding illustrations4 ,the index was not checked for proper alphabetization or correct page references4 ,obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources4 ,some hyphens in words have been silently removed1 some added1 when a predominant preference was found in the original book4 ,except for those changes noted below1 all misspellings in the text1 and inconsistent or archaic usage1 have been retained4 ,page #c 8laquered0 replaced with 8lacquered0 #c 8,enclyclopedia0 replaced with 8,encyclopedia0 #c 8,britanica0 replaced with 8,britannica0 #d 8minut0 replaced with 8minuti0 #f 8desereves0 replaced with 8deserves0 #bb 8scrubing0 replaced with 8scrubbing0 #bd 8similiar0 replaced with 8similar0 #cb 8uniformily0 replaced with 8uniformly0 #ci 8grass0 replaced with 8gloss0 #de 8removed0 duplicate 8of0 in 8covering of of the wad0 #eb 8,querus0 replaced with 8,quercus0 three times4 #eb 8beatiful0 replaced with 8beautiful0 #ff 8rotton0 replaced with 8rotten0 #ff 8yellok0 replaced with 8yellow0 #fi ,removed duplicate 8and0 in 8are very soft and and easily dented0 #gj ,replaced 8in0 with 8is0 in 8white variety in much lighter0 #gj 8brich0 replaced with 8birch0 #gj ,replaced 8superceding0 with 8superseding0 #ga ,removed duplicate 8a0 in 8,it has a a pink tint0 #ga 8cuttting0 replaced with 8cutting0 #gb 8maganese0 replaced with 8manganese0 #gc 8,tupentine0 replaced with 8,turpentine0 #hd 8appled0 replaced with 8applied0 #hi 8burishing0 replaced with 8burnishing0 ,ads3 8,sanatary0 replaced with 8,sanitary0 8,eygptian0 replaced with 8,egyptian0