Transcript
Xawrcncc Xibrar^ PEPPERBbb. t7
IJorrowers
may
take two books at fh. '"""^
t.me. provided no more than shall be a work of Fiction
Piate picture,
en^raVinrir^ttt
any Law, Town, City or Public punished by a fine n't
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-e than one thousandiUt/t^o',;''''"''^ doiiarak'rlct'iT
HINTS PRACTICAL INFORMATION
CABINET-MAKERS,
UPHOLSTERERS, AND
FURNITURE MEN GENERALLY.
TOGETHEB WITH
A DESCRIPTION OF ALL KINDS OF FINISHING. WITH FULL DIRECTIONS
THEREFOR— VARNISHES— POLISHES— STAINS
FOR
WOOD-DYES
FOR WOOD-GILDING AND SILVERING— RECEIPTS FOR THE
FACTORY— LACQUERS,
METALS,
MARBLES, ETC.—
PICTURES, ENGRAVINGS, ETC.— MISCELLANEOUS.
NEW YORK: THE INDUSTEIAL PUBLICATION COMPANY 1899.
CA>fOS
WEGETTVCgWm UBRAI»V
PREFACE.
While
amount
a large
in
many
work was found
of the matter contained in this
has been published before in some shape or other,
it
instances incorrect, and therefore unreliable; this was
measure owing
in a great
to the carelessness
and want
of icnowl-
edge on the part of the compilers, for there can be no doubt that the original recipes, methods, etc., were in the main correct; but in the
frequent reproductions, errors, omissions, and interpola-
tions occurred.
present work to
work as
It
has been the aim of the publishers of the
make
reliable as
all
may
necessary corrections, and to render the
be
pains have been spared, and generally
known
;
and
to this
end neither expense nor
much new matter
that has not been
before has been added to that which has been
public property for a long time.
That the work
will
be found a
valuable aid to the operative cabinet-maker, furniture man, and to
wood- workers generally, there
price has been kept
the
means
New
down
of the average
York, 1884.
to
is
not the least doubt, and
its
such a point as will not be beyond
workingman.
TABLE OF CONTENTS.
Description of Cabinet-Making, Designing, Framing, Veneering, Inlaying, Carving, Eeeding, Mouldings, Figiiues, Composition Ornaments, -
20
Filling.— Fillers wood, Sizing,
25
for
Walnut, for Light Woods, tor Cherry, for Oak, for Rose-
Application of Varnishes.
— Bru.shes for Varnishing, Varnish Pan,
-
29
.
31
--------,30
Rubbing,
Flowing and Polishing.— Flowing, Varnish,
Polishing,
-
.
-
Varieties of Finish.— Dead Finish, Varnish Finish, Wax Finish, Imitation Wax Finish, Ebony Finish, French Polishing, The Ingredients, French Polish, Improved Polish, Water-proof Polish, Prepared Spirits, Polish for Turner's Work,
38
Staintng.— Black Stain, Brown Stain, Walnut Stain, Oak Stain, Rosewood Stain, Cherry Stain, Red Stain, Mahogany Stain, Surface Stains, Crimson Stain, Purple Stain, Blue Stain, Green Stain, Yellow Stain, To Brighten Stains,
43
Dyeing Wood.— Black Dye, Blue Dye, Yellow Dye, Green Dye, Red Dye,
Purple Dye, Liquid for Brightening and Setting Colors, Orange Dve' Silver Gray Dye, Gray Dye, -47
Gilding, Silvering and Bronzing.— Gilding, The Reqnisite.s, Sizes OilSize, Parchment-Size. Gold-Size, To Prevent Gold Artherino- Oil-Gilding, Burnish-{;il(lirvii. Frcpiiiinur tlft> Wood-work, Polishing, Applying the Size, Layinsr the Gold, Biiniishiiiir. Martin;; or I)ea(l-(;old, FinishirioShellGold, Silver-Size, Composition for Frames, Ornaments, To ManipiUate
--55
Gold Leal, Bronzing,
Graining and Color
Work.— Graining. The
Process,
Graininff-Grounds
Light Wamscot Oak, Darker Wainscot Oak, Dark Oak. Very Dark Oak Mahogany, Rosewood, Bird's Eye Maple, Graining-Grounds, Mixing Cream Color, Pearl Grey, Fawn, Buff, Straw, Drab, Purple Violet French Grey Silver, Dark Chestnut, Salmon. Peach Blossom, Lead, Dark Lead, Chocolate, Light Yellow, Stone, Olive Green. Grass Green Carnation, Imitation of Gold, Colors for Outlines of Ornaments, Tones Tints Shades, Tempera, Distemper, Color Harmony in Grained Work, Chinese White, Mixing White Lead, Varnish Green, . . . Colors,
69
VARNISHES. Gums and Their Qualities.— Amber, Anime,
Copal, Oil Varnishes, Spirit Varnishes, Lac, Sandarac, Mastic, Damar, Resin, -
The Solvents.— Linseed-Oil,
Oil of
Turpentine, Alcohol, Naphtha,
-
-
71
72
TABLE OF CONTENTS. Preparation of Oil Varnishes.— Copal Varnish, Artists' Virgin Copal, Cabinet Varnish. Best Body Copal. Carriage Varnish, Wainscot Varnish, Pale
Amber
--.
Varnish,
82
Preparation of Spirit and Tirpentine Varnishes.— Best White Hard Spirit Varnish. White Hard Varnish, White Siiirit Varnish, Brown Hard Spirit Varnish, Hard-wood Lacquer, French Polish, Bleached Shellac, Lacquer for Brass, Colored Lacquers, Mastic Varnish, Turpentine Varnish, Crystal Varnish, Paper Varnish, Water Varnish, Sealing- Wax Varnish. Black Varnish, Varnish for Iron. Varnish for Cane and Basket Work,
96
POLISH REVIVERS, ETC. Polish Revivers.- French Polish Revivers, Furniture Reviver. Furniture Cream. Furniture Paste, Several Receipts for Furniture Cream, White Furniture Cream,
.....98
GLUE. Glue.- To Prepare
Glue, Mixing Glue, Glue Pot, To Prevent Glue Cracking, Strong Glue to Resist Moisture, Portable Glue, - 101 .
MISCELLANEOUS RECEIPTS. To Raise Old Veneers.— To Take Out Bruises in Furniture, To Make Paste for Laying Cloth or Leather, Cements for Stopping Flaws in Wood, Mahogany Colored Cement, Cement for Turners, Tracing Paper, Mounted Tracings, Cracks in Drawing Boards, To Temper Tools, Hardening Tools, To Cut Steel Scrapers, To Remedy Splits in Circular Saws, Brazing BandSaws, Saw Sharpening, Oiling Tools, To Mark Tools, Varnish for Tools, Boiler Incrustation, Non-Conducting Coverinirs for Steam Pipes, To ;
Harden Wood
Pulleys,
To Prevent
Belts
Sliiipiiiir. Hiisjis.
gam
Sott Files,
Amal-
Varnish, Painting and Preserving Iroiiwdrk. Prei)arin
< lb. logwood chips in 2 ounce of pearlash, and apply hot with a
destroyed.
is
quarts water; add an
Then take
brush.
2 quarts of the
logwood decoction, and }^ strain, and throw in with this, and oil.
of verdigris, and the same of copperas
Brush the work well
of iron rust.
Brown
Stain.
— Boil
i
lb.
of the
4 quarts of water,
oz.
^
;
brown pigment
until
lb.
called Terre
reduced one-third.
de Cassel with Mix two ounces (Troy) of white potash with sufficient water to disThis stain must be apsolve it, and mix with the Terre de Cassel. plied with a brush,
two or even three
it
is
times, according to the depth
of the shade required.
Walnut turpentine,
Stain.
burnt umber, stain
is
— Mix
together,
pint asphaltum varnish,
i
lb.
i
by i
stirring,
i
quart
spirits
pint of japan,
of
lb. dry-
i
dry Venetian red; apply with a brush.
This
and allows the grain of the wood
show
transparent,
to
through.
Another.
—
Boil
brown.
This stain
Another.
in
i
may
quart of water; add
each coat to dry before another
stain.
carefully as
— Add
Tliis
is
it
blisters
may be made
lighter
ounce
bi-
is
is
to a quart of water 2
ounces each of potash
a very good stain, but
tlie
produced, allowing,
applied.
it
should be used
hands and softens brushes.
The
stain
by adding more water.
—
To darken may be used Liquid ammonia laid on evenly Otiier Ocik Stains.
lowing
^
ounces Vandyke
apply a thin solution of permanganate
of potassa in water, until the desired color
Oak
2^
be used either hot or cold.
— With a brush
and pearlash.
and
ounces washing-soda,
1^2
chromate of potash,
the color of oak any of the
fol-
:
the color immediately, and
it
will
with a rag or brush
will
not fade, this being an
deepen artificial
production of result produced naturally by age.
Bichromate of a brush,
A
will
i)otash, dissolved in cold water,
produce a similar
decoction of green walnut-shells
shade or nearly black.
and
ap])lied with
result. will
bring
new oak
to
any
UPHOLSrEkKRS AND FURNITURE MEN.
Rosewood wood, put
a bottle }^
in
and
of extract of log-
lb.
pint of water; in another bottle,
i
pint of vinegar, which,
i
standing twenty-four hours, will be ready for use;
after
hard
so as to separate
it
now
are
wood
ready, and the
with the
logwood
thing in the process
first
stain
;
in
a
a
Mix in The mate-
the fibre.
pint of varnish, i^ lb. of finely-powdered rose-pink.
rials
make
brush with a piece of rattan sharpened at one end
stiff
wedge shape, pounding I
— Mix
of old iron in small pieces, and
lb.
I
Stain.
oz. salts of tartar,
I
4I
give two coats of
is
this,
to stain the
allowing the
become nearly dry before applying the second; then dip in the vinegar, and with it form the grain, after which give the work a coat of the varnish and rose pink. There can be no definite directions given for graining, except to study the With the above natural wood and imitate it as near as possible. to
first
the rattan brush
common wood
materials skilfully applied, any
semble rosewood so nearly that
it
will take
can be
made
to re-
a good judge to dis-
tinguish the difference.
Another.
— Boil
lb.
i
of logwood
double handful of walnut
and add
liquor
to
i
it
veins in
it
ammoniac,
pint of the best vinegar.
Nitric acid,
Mix and
oz.
i
shaking.
Cherry
Stain.
— Mix
off with rags.
in
;
stand
may be
Red
i
pint; metallic tin,
aside
together,
and
to
i
oz.;
sal
dissolve, occasionally
in
a
by i
stirring, lb.
i
quart of
spirits
of dry burnt sienna;
has been on
it
—Take
i
about
quart alcohol,
pulverize the latter along with
the meantime.
coats
ready
then
five
minutes
This stain takes about 12 hours to dry.
A?iother Cherry Stam.
let
set
pint of varnish,
i
apply with a brush, and after
and
It is
strain the
«
of turpentine,
blood
whole again,
boiling hot,
the following solution:
it
add a
gallon of water,
i
and when the wood is dry, form red imitation of the grain of rosewood with a brush dipped in
Apply
for use.
wipe
in
boil the
shells,
warm
i/(
2 ozs.
of dragon's-
alkanet root
oz. of
place a couple of days.
;
mix,
Shake frequently
Apply with a sponge or brush. This makes a fine stain.
Two
or three
required.
stain for Common Work.
—Archil
will
produce a very
PRACTICAL INFORMATION FOR CABINET-MAKERS,
42
good
Stain of itself
have
Ijeen
when used
cold, but
over with a hot solution of pearlash
one or two coats
after
if
applied and suftered to get
almost dry,
in water,
it
will
bruslied
it is
improve the
color.
Mahogany
Stain.
—To
mahogany, apply a weak Apply successive coats,
darken
solution of bichromate o! potash in water.
allowing each to dry, until the required shade
Surface Stains.— The
laid
size,
wiped dry
to
to
on warm with a
secured.
following are for the most part used
woods of inferior quality, The colors are all to be choicer woods. to apply
is
make them resemble
mi.xed with very thin glue
woollen material, and the
soft
wood
All the colors used in staining should
after application.
be well pulverized, and before use the liquid should be strained. Imiiation
Oak
Stain.
— Equal
umber and brown
burnt
parts
ochre.
— One — Venetian
hnitatwn Mahogany Stain. parts yellow lead.
Imitation
Rosewood
Stain.
part \"enetian
red,
and two
red
darkened with lamp-
black to required shade. Imitation in
Walnut
Stain.
— Burnt
umber and yellow
ochre, mixed
proportions to give desired shade.
Fine Crimson Stain. — Boil
i
lb.
of
good
Brazil
dust in
3 quarts of water for an hour; strain it, and add ^A oz. of cochineal boil it again gently for iialf an hour, and it will be fit for use. ;
If
you
will
have
saffron in a quart
previous to the red
2 ozs.
it
more of a
scarlet tint, boil
half an
ounce of
stain.
Purple Stain. of water; boil
it
of water for an hour, and pass over the work
-I'o
well for
i
lb.
of good chip logwood put 3 quarts then add 4 ozs. of i)earlash, and
an hour
;
of indigo pounded.
Fine Blue Stain. — into
i
lb.
of
oil
of vitriol
acid) in a clean glass phial, put 4 ozs. of indigo,
above directed
in
(sulj^huric
and proceed
as
dyeing purple.
Fine Green Stain. — To
2 pints
of the
strongest
vinegar,
UPHOLSTERERS AND FURNITURE MEN. add 4 and
^
oz.
)^ oz. of sap green,
improves the color.
—
Yellow it
fine,
of indigo.
Distilled vinegar, or verjuice,
let
pounded
of the best verdigris
ozs.
Stain. Dissolve }( lb. tumeric in stand until the tumeric settles to the bottom.
Another.
43
— A small piece of
aloes
added
i
pint alcohol
to the varnish will
have
the eftect of a bright yellow stain.
all
To Brighten
Stains.
— Any
of the stains
the surface stains) will be rendered mucli
cation of the following:
oz. nitric
i
acid, y^ oz. grain tin, 2 ozs. rain
more
named
(except
by an
brilliant
appli-
acid, ]4 teaspoonful muriatic
water.
Mix
in a bottle, at least
two days before using, and keep the bottle well corked.
DYEING WOOD. Dyeing wood
is
mostly applied for the purpose of veneers,
more generally had recourse
while staining
is
color to the
article
after
it
to to give the desired
In the one
has been manufactured.
case, the color should penetrate throughout, while in the latter the
surface
is all
that
is
essential.
In dyeing, pear-tree, holly and beech, take the best black; but for
as
most
colors, holly
young and
as
is
preferable.
newly cut
they should be allowed to
It
as possible. lie in
is
also best to
have wood
After the veneers are cut,
a trough of water for four or five
days before they are put into the copper; as the water, acting as a to the wood, brings out an abundance of slimy matter, which must be removed, or the wood will never be a good color. l)urgative
After this purificatory process, they should air for at
By
least
twelve hours.
these simple
They
be dried
in
the open
are then ready for the copper.
means the color will strike much quicker, and be It would also add to the improvement of the
of a brighter hue. colors,
if,
Always dry veneers colors.
have boiled a few hours, they are taken and again immersed in the coloring copper.
after the veneers
out, dried in the air,
in the
open
air,
for fire invariably injures
the
PRACTICAL INFORMATION FOR CABINET-MAKERS,
44
Fine Black Dye. — Put copper, with as
many
pressing too tight three hours;
;
fill
it
will
conveniently hold, without
with water, and
it
let
it
boil sloivly for
then add half a pound of powdered
pound of copperas, till
wood
the
— Procure
some
is
let
;
about
verdigris, half
ounces of bruised nut-galls
antl 4
up with vinegar as the water evaporates hours each day Another.
logwood into the
chip
of
6 lbs.
veneers as
fill
;
boil gently
it
a
the copper
two
dyed through.
liquor from a tanner's pit, or
make a
strong decoction of oak bark, and to every gallon of the liquor
add
a quarter of a pound of green copperas, and mix them well to-
make
gether; put the liquor into the copper, a4Ki
not boil
immerse the veneers
;
in
it,
and
let
hour; take them out, and expose them to the trated
its
substance
the veneers again in let
they
will
be a very
and
it,
let
vitriol,
and 4
till
it
an
for
has pene-
simmer
two or three hours;
for
the shade,
in
and
fine black.
ozs. of
the bottle
care to set
it
gradually, dry the veneers
Fine Blue Dye. — into of
air
then add some logwood to the solution, place
;
the whole cool
quite hot, but
it
them remain
a clean glass bottle put
pounded
the best indigo in
in a
I
lb.
of
oil
mortar (take
a basin or earthen glazed pan, as
it
will
ferment); then put the veneers into a copper or stone trough;
fill
water, and add as much of the it rather more tlian one-third with as will make a fine blue, which indigo (stirring it about) vitriol and
be known by trying
may
Let the veneers remain
The vitriol
color will be
with a piece of white paper or wood.
it
till
the dye has struck through.
much improved
if
the
be kept a few weeks before using
it.
better if the veneers are boiled in plain water
solution of indigo in
The till
color will strike
com])letely soaked
through, and then allowed for a few hours to dry partially, previous to being
immersed
Another. well
;
gallon
whole holly,
in the dye.
—Throw
when
pieces
settled, strain or
of quicklime
add ten or twelve ounces of the into the copi>er with
and prepared
into
soft
water;
stir
it
pour off the clear part; then to every best
turnsole;
put the
the veneers, which should be of white
as usual by boiling in water; let
them simmer
UPHOLSTERERS AND FURNITURE MEN. gently to let
A
boil in
as
it,
would
it
injure the color.
Fine Yellow Dye.— Reduce
trough
by sawing, to
veneers
till
will strike
add
—To every i
Bright Green Dye. add
;
add
2
sooner.
add
;
;
boil
the
to the infusion
colors given on two or three hours, and the
for
as in either of the previous
much
vitriolated indigo (see
page 44)
color.
Green Dye. — Dissolve sap-green and
cool,
but instead of adding aquafortis or
;
as
produce the desired
vinegar
of
brass
gallon of water neces-
through
— Proceed
produce a yellow
the brightening liquid, as will
root
liquid for brightening
berries, the
page 43, and let the veneers remain color will be very bright.
receipts to
;
of French berries
lb.
the color has penetrated
French
when through much
turning them
Bright Yellow Dye.
sary to cover the veneers,
of the
of the
a copper or
;
of aquafortis and the dye
A
lbs.
in
ozs. of turmeric and 4 gallons of water, then put in white holly veneers as the liquor will cover boil them
together for three hours, often ozs.
4
which put
dust,
add 4
;
many
as
the color has sufficiently penetrated, but be careful not
till
them
barberry,
45
4
indigo half an
ozs.
of the best verdigris, and of
ounce each,
put in the veneers, and gently boil
in 3 pints of till
the best
the color has pene-
trated sufficiently.
The hue
of the green
of the ingredients
;
and
may be
it
is
varied by altering the proportion
advised, unless wanted for a particular
purpose, to leave out the sap-green, as apt to change, or turn brown,
it is
when exposed
a vegetable color very to the air.
Bright Red Dye.— To 2 lbs. of genuine gallons of water; put in as many veneers as the boil
them
aquafortis,
for
then
add
lukewarm
until
three hours
and keep
it
Red Dye. —To
;
2 ozs. it
Brazil dust,
add 4
liquor will cover;
of alum, and 2 ozs. of
has struck through.
every pound of logwood chips, add 2 gal-
lons of water; put in the veneers,
and
boil as in the last; then
add
a sufficient quantity of the brightening liquid (see page 43) till you see the color to your mind keep the whole as warm as the finger ;
can be borne
in
it,
till
the color has sufficientlv i>enetrated.
PRACTICAL INFORMATION FOR CABINET-MAKERS,
46
The logwood widi which
when
best
chips should be picked from
generally abounds, as bark,
it
fresh
bright-red color; for
much
which may be known by
cut,
stale,
if
its
and
it is
always
appearing of a
look brown, and not yield so
will
it
foreign substances,
all
dirt, etc.;
coloring matter.
Purple Dye. — To
chip logwood and half a
2 lbs. of
pound
of Brazil dust, add 4 gallons of water, and after putting in the veneers, boil them for at least three hours; then add 6 ozs. of pearlash and
every day,
The
2 ozs.
of alum
them
let
;
two or three hours
boil for
the color has struck through.
till
make
Brazil dust only contributes to
red cast; you may, therefore, omit
if
it,
the purple of a more you require a deep bluish
purple.
Another.
—
Boil 2 lbs. of logwood, either in chips or powder, in
gallons of water, with the veneers
struck
in,
purple
is
add by degrees
;
after boiling
milk-warm
liquid in a
let
then
it
state
till
the color
indigo (see page 44)
vitriolated
of the shade required, which
with a piece of paper;
till
may be known by
is till
4
well
the
trying
it
one hour, and keep the
boil for
the color has penetrated the veneer.
This method, when properly managed,
produce a
will
brilliant
purple, not so likely to fade as the foregoing.
Liquid for Brightening and pint of strong aquafortis,
ammoniac of bottle
add
i
the size of a walnut
round with the cork
two or three days
it
will
fit
;
set
it
less likely to
by
it
;
will
sal-
in the
course of
be found an ad-
not only brightens
fade from exposure to the
Orange Dye. — Let
—To every
and a piece of
to dissolve, shake the
This
for use.
mirable liquid to add to any color, as renders
it
tin,
from time to time
out,
be
Setting Colors.
of grain
oz.
it,
but
air.
dyed by either of the and while they are still wet and saturated with the dye, transfer them to the bright red dye as in page 45, till the color penetrates equally throughout. methods given
Silver
in
the
veneers be
page 45, of a
fine
Gray Dye. — Expose
deep
}-e]low,
to the weather in a cast-iron
of six or eight gallons, old iron nails, hoops, etc.. till covered with rust; ndd i gallon of \'ine2;ar and 2 of water, boil nil well for ])0t
UPHOLSTERERS AND FURNITURE MEN. an hour
47
have the veneers ready, which must be hard-wood (not too
;
copper used to dye black, and pour the iron add i lb. of chip logwood and 2 ozs. of bruised then boil up another pot of the iron liquor to supply
them
dry), put
in the
hcjuor over them; nut-galls
;
the copper with,
hours a day,
till
keeping the veneers covered, and boiling two
the required color
Gray Dye. — Expose and from time
any quantity of old
of gun-barrels,
better, the borings
to time
obtained.
is
them with
sprinkle
acid) diluted in four
times
its
thickly covered with
rust
then to every
of water, in which
;
two or three hours
boil for
quantity of
of
salt
till
they are very
six
add a quarter
whole
a moderate temperature
of a
(muriatic
pounds add a gallon salt
of tartar;
this liquid
;
let
well soaked, then to every gallon
pound of green copperas, and keep the
of liquor at
is
vessel,
spirits
and cover them with till
what
water,
has been dissolved two ounces of
lay the veneers in the copper, it
iron, or
any convenient
etc., in
till
the dye has sufficiently pene-
trated.
GILDING, SILVERING AND BRONZING. Gilding, Silvering and Bronzing are processes
of
applying to previously prepared surfaces a thin layer of gold or silver leaf, or in bronzing, of a fine
powder, prepared from various
metals and intended to imitate the peculiar appearance of genuine bronze.
The
processes of gilding and silvering being identical, the
description of one will suffice to explain the other.
—
Gilding. Gold means of decoration,
leaf,
ordinary varnish or other preparation nices, etc., ot
which
is
is
it is
necessary
;
to
articles
two ways
in
finish, in
it
of is
furniture
as
a
applied over an
which case but
when used
or, as
;
litde special
for picture frames, cor-
applied to a specially prepared foundation, the basis
whiting,
mixed with various other ingredients suggested
by experience or fancy. adhere to the work, by ceipts for
applied
used
is
In either case, the gold leaf
which follow herewith
;
is
caused to
prepared for the purpose, rethe size being first applied to the
size specially
PRACTICAL INFORMATION FOR CABINET-MAKERS,
48
work, and when
it has become of the right consistency, the gold is upon it. Oil-Gilding and Burnish-Gilding are different methods used to obtain certain desired effects, the former principally for articles exposed to the weather, and for heightening the effect of incised carving or engraving, and the latter for pictureframes and articles having a specially prepared foundation, whose
laid
entire
surface
is
to
be gilded.
It
is
intended that the gold
adhere to the work only in the places to which the applied, but the smallest portion of
may
oil
or even a slight
shall
has been
size
dampness
cause the gold to partially adhere to the adjoining surface,
sulting in slightly ragged edges
;
to prevent
this,
the size to the desired design, the entire surface
before
is
re-
applying
covered with a
some substance perfectly free from moisture, and easily removable by water, after completion of the process. Directions thin film of
regarding this preliminary process are given under the caption
To
:
Prevent Gold Adhering.
The Requisites. — First, which
is
of two sorts
The former
gold.
— the
is
a sufficient quantity of leaf-gold,
deep gold, as
it is
the best; the latter
called,
and the pale
very useful, and
may
occasionally be introduced for variety or effect.
Second, a with rough
gilder's
cushion
:
an oblong piece of wood, covered
calfskin, stuffed with flannel several
times
doubled,
with a border of parchment, about four inches deep, at one end, to
prevent the
air
blowing the leaves about when placed on the
cushion.
Thirdly, a gilding-knife, with a straight and very smooth edge, to cut the gold.
Fourthly, several camel-hair pencils in
sizes,
a k\v long camel's hairs put between two cards, ner as hairs are put into
tin cases
for
and
tips,
made
of
same manbrushes, thus making a fiat in
the
brush with a very few hairs. Lastly, a burnisher,
wooden
long
Sizes.
when
which
is
a crooked piece of agate set in a
handle.
— These
apijlicd,
-are
of two kinds:
oil
sizes
are
those
which
present an adhesive surface, requiring the immediate
UPHOLSTERERS AND FURNITURE MEN.
49
laying of the gold-leaf upon
it; of this class is the oil-size commonly used in decorating furniture; water-sizes are those that are allowed to become dry and hard when applied, and are rendered adhesive when the gold is to be laid, by brushing over with water
for burnish-gilding these are
always employed, as
oil-size
does not
dry sufficiently hard to permit of burnishing.
for
Oil-Size
Oil-Gilding.
ficient oil of turpentine to
Parchment-Size.
make
— For
it
— Grind When
with the best and oldest tlr\ing-oil.
work
freely.
preparing Frames,
pound of parchment
shavings, or cuttings
three quarts of water,
and
nearly-half the quantity
through a
and do not
let
suet,
and grind
in a proper vessel
off the
it
—To
half a
careful in the boiling to
reduced to
till
and
fire,
keep
it
strain
it
well stirred,
Burnish-Gilding.— Grind
for
and stone
;
scrape into
well together; after which,
all
mix
in
it
fine
sal-
a litde beef
with a pallet-
proportion of parchment-size with a double propor-
tion of water.
When
about to use, add parchment-size
until
it
will
from the brush.
Another.
— Grind
lump of tobacco-pipe clay into a very stiff add a small quantity of ruddle and fine ground very fine, and temper the whole with a small a
with thin size;
])aste
black lead,
piece of tallow. until
it
then take
well with a muller
knife a small
just flow
boil
etc.
of white leather, add
burn.
Gold-Size ammoniac
Be
sieve.
;
red-ochre
calcined
desired for use, add suf-
it
When
will just flow
Another. red lead, a
ready to use, reduce with parchment-size
from the brush.
— Grind separately sufificient
in water,
i
lb.
Armenian
bole, 2 ozs.
quantity of black lead; mix, and regrind with
a small quantity of olive
oil.
Reduce with parchment-size
to the
proper consistenc}-.
To Prevent Gold Adhering. — Eitiier lowing methods
2.
one of the
fol-
prevent gold-leaf or bronze from adhering to
beyond the outlines of the sizing laid on to receive it: Whiting used dry, and ajiplied by means of a pounce bag. Whiting mixed in water, and applied with a soft brush.
the surface 1.
will
PRACTICAL INFORMATION FOR CABINET-MAKERS,
5©
When
water has evaporated, dust off the superfluous wliiting
the
with an ordinary paint duster.
By
ing of whiting remains, which
is
method a very
tliis
free
from any
thin
coat-
grittiness.
One
advantage gained by the use of whiting thus apphed a whitish ground over which clear varnish or tinctly seen
as
is,
oil-size
it
furnishes
may
be
dis-
After the leaf or bronze
the striping progresses.
has been applied, the work must be carefully washed, so as to
in-
sure the removal of the whiting.
White of egg reduced with water, and applied with a piece of
3.
sponge.
A
4.
thin
wash of starch water,
either brushed
on with a
flat
camel-hair brush, or applied with a soft sponge,
Take
5.
ball liquorice
This
with a soft brush.
any
and water, a weak
may be
and apply
solution,
kept in a bottle ready for use at
time.
Cut a new potato
6.
in two,
and rub over the part
to
be sized
the raw face exposed, allowing the juice to remain until dry.
Avith
It will
be observed that any substance which interposes a
over the varnish,
moved by
itself
water, will answer the purjjose.
Gilding.
Oil
—Applying
the
Gold.
—
finished with varnish or otherwise,
If
is
tion
necessary upon which to lay the gold-leaf;
not finished, after
it
wood
the
be
to
no additional founda-
gilded is
film
being free from tackiness and readily re-
if
the w^ood
has been smoothed and dusted, give
it
is
one or
two coats of parchment size, after it is perfectly dry and hard, again smoothing the surface with fine sand-paper. That the gold may not adhere to any part of the work except where the size is
powder the surface lightly with whiting from a pounce-bag, is a small bag made of material sufficiently loose to permit the powdered whiting to sift through as fine dust if preferred, any of the preceding receipts for that purpose can be used instead. Remove the surplus whiting with the dusting-brush, and the work Apply tliis with a sable or fit brush of is then ready for the size. hard,
which
;
the
proper
size,
carefully observing
to
the design clear and sharp, that the work
Let the
size
remain
until
it
feels tacky,
make may
the outer lines of
not appear ragged.
w'hen the gold
may be
ap-
UPHOLSTERERS AND FURNITURE MEN. This
])lied.
ence
is
the most difficult part of the operation,
is
flat
;
Turn a cut
;
perpendicularly over tip (a
it
to the
gently until
it
ujion
breathe
it
gendy, which
cause the leaf of gold to adhere to gold and carefully transfer It
will straighten
it
may
is
may be
to
it;
It
it,
much
be exposed to the weather or
— As
previously stated,
articles
coming
frequently
to his
wear, the
is
a distinct trade, the it
necessary to un-
to
for gild-
mirror frames,
cornices,
renew the foundation, a
comprehensive description of the whole process
is
Preparing the Wood-work. — After dusting the work, coat
process re-
to lay the gold,
hand ready-prepared
picture-frames,
becomes necessary
tliis
upon which
cabinet-maker seldom finds
ing; but as in repairing etc., it
and
In about an hour wash
preparation of this foundation
the
gently
it
rendered quite smooth
varnished with copal varnish.
furniture (iealer or
dertake
be upon
from the edges, with a si)Ouge and water.
Burnisll-Grilding. as the
lightly
lay the tip u[)on the leaf of
may be
quires a specially prepared foundation
and
it
sufficiently to
it
work; blow upon
with a bit of cotton.
off the superfluous gold
If the article
to the
out and adhere.
by slighdy dabbing
gilding
it
dampen
will
Take
divided.
brush used for the purpose) and after drawing
over your hair to remove any particles or dust that it,
will lay
it
proper size by bringing the knife
and sawing
it,
experi-
book upon the
leaf of gold out of the
breathe gently upon the centre of the leaf and
on the cushion
your
and
gold-leaf can be laid smoothly without a
necessary before
wrinkle or a break.
cushion
51
the frames in every part
given.
smoothing with
and
boiling-hot
parchment-size, as previously described, then mix a sufficient quantity it
of whiting with size to the consistency of thick cream, and with
by means of a brush, coat every part of the frame several times,
become perfectly dry before proceeding The wood will thus be covered with a layer of hard The or quite a sixteenth of an inch in thickness.
permitting each coat to
with the next. v.'hiting
size
nearly
must not be too
thick,
and when mixed with the whiting
should not be so hot as the preliminary coat of
size.
PKACIICAL INFORMATION FOR CABINET-MAKERS,
52
Polisllillg.
— When
the prepared frames are (piile dry, clean
To do
and poHsh them.
wet a small piece
this,
at a time,
and,
with a smooth, fine piece of cloth, dipped in water, rub the part
bumps and
the
all
where the fingers
removed; and
inequalities are
will
smooth and even
all
Where
there
mouklings to
to bring the chisels,
etc., as the
gouges,
etc., wind means make the
etc.,
their
will
it
original
sometimes be necessary sharpness by means of
preparation will be apt to
up all the is^ome-
fill
work, which must be thus restored.
finer parts of tlie
the sur-
alike.
car\ed work,
is
this
till
those parts
not enter, as the mouldings,
wet cloth round a piece of wood, and by face
for
It
limes the practice, after jmlishmg, to go over the work one e with
yellow or
fine
Roman
Applying
ochre
ttie Size.
receipts previously given
from the brush
make
;
it
but this
;
—
Select the
proper gold
size
with a
it
stiff
trom the
add parchment size until it will just flow quite hot, and apply it to the work with a
make
the
first
coat too thick;
dry and give two or three successive coats, after the
it
ing
rarely necessar\-.
;
very soft brush, taking care not to let
is
last
brush-
The work
brush to remove any inequalities.
is
then ready for the gold.
Laying the Gold. — Tbe
manipulation of the gold-leaf has
been described under the heading Oil-Gilding.
now being
viously explained
is
permitted to become hard and dry after being
must be moistened to cause the gold-leaf
a[)plied) P'or
with a long-haired camel-hair
purpo.se,
this
water, go over as
much
gold to cover; then lay explained.
Be
wet; indeed
to crack.
Proceed
in
attempt to cover too
gold
it
i)art
must be
this
to
it.
dipped
in
which the gold a
little
at once, until
ajjpear,
cover them.
is
applied
floating, or the gold will
manner
much
any flows or cracks
sufificieut to
adhere to
work as you intend the piece of the gold upon it in the manner previously
able to handle the gold with freedom. if
to
j^encil,
of the
sure that the
sufficiently
work,
In the process
described, the size used (being water-size, which as pre-
be
is
a|)t
and do not by experience you are
at a time,
In proceeding with the
immediately apply a portion of
Sometimes when the gold does not
UPHOLSTERERS AND FURNITURE MEN.
53
be necessary to draw a
appear to adhere
sufficiently tight,
j)encil quite tilled
with water close to the edge of the gold, that the
water
may
run underneath
it
Burnishing.— When bv
to dr)'
burnishing;
it
ten hours, but
of the
will it
soften the size.
work
covered with
is
gold, set
a particular state or degree of dryness,
is
experience
bv
only
there
;
and
the
will
it
which
in
moulding
the
is
probably be ready to burnish
in a
fit
state for
about eight or
in
depend on the warmth of the room or
will
it
known
state
air.
When
it
is
ready, those parts intended to be burnished must be
dusted with a soft brush; then wiping the burnisher with a piece of soft wash-leather
two
(cpiite
dry) begin to burnish about an inch or
taking care not to bear too hard, but with
in length at a tune,
a gentle and quick motion, applying the tool until
all
the parts of
the surface are equally bright.
Matting or Dead Gold. — Certain work are burnished, according
to
which the burnishing-tool can be applied
now
to be deprived of their metallic
The
be matted or dead-gold.
;
i)arts
process
is
remaming parts are make a more effective
the
lustre, to
Hie
contrast with the burnishing.
portions only of the
the fancy, and the facility with
thus treated are said to as follow
Grind some vermilion or yellow ochre very
fine,
s
:
and mix
a very
small portion either with the parchment size or with the white of
an egg, and with a very dulled
;
if
Previous to gold,
soft
brush lay
add greatly matting, the work must be
well done,
by means of a
Finishing.
it
will
it
thus
soft brush.
— In
small brush
gum-Arabic
left
beauty of the work.
well cleared of superfiuous
elaborate works
it
to lay gold-leaf into all the intricacies of
the parts
evenly on the parts to be
to the
is
frequently impossible
an elaborate design, and
bare must be finished by touching up with a
charged with shell-gold, or gold-powder, mixed with to the proper consistency.
scribes the preparation of shell-gold
Shell Gold.
—Take
The
following receipt de-
:
any quantity of leaf-gold and grind
with a small portion of honey, to a fine powder, add a
little
it
gum-
PRACriCAL INFORMATION FOR CAnTXE'l-MAKERS,
54
Arabic and sugar- candy, together
let
;
with
a
little
water,
and mix
well
it
dry.
it
—
Silver Size. Grind pipe-clay fine with a little black-lead and good soap, anil add parchment-size as directed for gold-size.
Composition for Frame Ornaments.—
orna-
i lie
moulded from some plastic substance that is somewhat tougher and more durable than the ordinary gilding foundation of whiting and size. 'i"he proper moulds being prepared they are thoroughly rubbed upon the inside with sweet oil, and the composition firmly pressed in after removing the mould the cast may be dried by a gentle heat, or while still plastic it can be applied in its j^roper place and bent into any position. Following are receipts for composition ments
for
Dissolve together 2
gilded
I lb.
lbs.
mirror-frames, etc., are
of glue in
of resin,
i
gallon of water.
gill
i
usually
In another kettle boil
of Venice turpentine, and
pint of
i
mix altogether in one kettle, and boil and stir till the water has evaporated. Turn the whole into a tub of finely-rolled
linseed oil;
whiting, Boil 7
and work lbs.
it
till
it
is
of best glue in
white resin in 3
i)ints
of the consistency of dough. 7 half-pints
of raw linseed
Melt 3
of water.
oil.
When
lbs.
of
the above has
been well boiled put them into a large vessel and simmer them for half an
not boil
hour, stirring the mixture over.
and taking care
The whole must then be turned
whiting rolled and
sifted,
and mixed
till it is
that into a
it
does
box of
of the consistency of
dough.
To Manipulate Gold Leaf.— Get a piece of paper, thin enough to show shadow of gold-leaf through, slightly wax it, lay it on gold-leaf, the latter will then adhere, and can be easily worked, and will come off clean. The paper should be slightly larger than the gold-leaf, and the fingers passed
over the paper to
make
the
gold-leaf adhere.
Bronzing. — This wood, or other
is
a process for imitating on metal, plaster,
the peculiar appearance produced by chemical action upon the surface of bronze metal. It is accomplished by spreading over the surface of the material to be ornamaterial,
UPHOLSTERERS AND FURNIJURE MEN. rnented a very thin coating of bronze-powder, which
adhere either by applying
55
caused to
is
upon a coating of any of the sizes mentioned in the foregoing ])ages, or by mixing with a vehicle, such as gum-Arabic or transparent varnish. The latter is most desirable, as
directly
it
the other case, being subject to the direct action of
in
the atmosphere, the bronze-powder soon tarnishes.
ing furniture, bronzing
generally
is
variety of bronze called
employed
In ornament-
to represent gilding, a
gold-bronze being used, which affords an
excellent
imitation but
after the
completion of the other finishing processes, the ground-
work being prepared and the
size
method
is
manner described under Oil-Gilding,
then dipped
portions,
—
in the
usually applied
It is
A
likewise applied as there described.
cotton-batting the sized
not very lasting.
is
in
small
wad
of
the bronze and passed gently over
causing the bronze
preliminaries of whiting the ground
adhere.
to
In the other
by means of a vehicle
that of applying the bronze
and
—the
sizing are not necessary, a
small quantity of bronze being simply mixed with the vehicle em-
ployed to such a degree of that condition
applied
fluidity that
witli a tine
will
it
flow easily, and in
Many
brush.
i)reparations are
used as vehicles, such as transparent varnish tlTinned with turpentine,
gum-Arabic dissolved There are
parchment-size.
and
to
produce the best
effect
color similar to that of the
pigment
is
ochre,
blue-bronze,
may
and
in
in
its
water, and
gold-size
reduced with
a variety of colors in bronze-powders,
the size or vehicle should be of a
bronze used; in gold-size the coloring place, for green-bronze, red-bronze, or
be employed respectively verditer, vermilion or
Prussian blue, a very small quantity being sufticient.
on painted work the ground should be
as
In bronzing
nearly as possible the
color of the bronze to be applied.
GRAINING AND COLOR WORK. Graining.
—This
is
a variety of painting
color or texture of different
perience
is
woods
is
by which the
imitated.
necessary to produce satisfactory results, the
of the colors to the right shade,
grain,
Considerable ex-
mixing
and the manipulation of the
PRACTICAL IXFOKMATION FOR CABINET-MAKERS,
56
simple tools in a manner to faithfully
i)iiitate the grain and markwood, requiring a higii degree of skill. Of course these remarks do not apply to that variety of graining in which only a
ings of the
rariegated surface
is
aimed
at,
any wood; that
imitation of
and no pretensions made simi)le
to a close
process requires neither
skill
nor judgment.
The
peculiar effect of graining
is
shades of paint, the lightest being
drawn by wiping
produced by the use of several applied; the design being
first
second and third or
off a certain portion of the
darker coats, while
in
still
a moist condition, the intermediate and
shades below are partially uncovered, the contrast of the
light
dif-
more prominent markings This resemblance is heightened by proand " blending " which, as indicated by
ferent shades resembling the effect of the
of the grain of wood. cesses called " stippling "
blend the shades and soften the
their titles,
The
about
hairs
lines.
are a stip[)ling-brush, which
tools required
answer the purijose; a blending-brush, wliich or badger's hair ferent sizes; a
and
like a jjcncil-rubber,
in the article,
of glue-size
through.
a brush with
or
The work
size
of the
size.
are
any knots or
they should be covered with one or two
parchment-size is
about the
there
will
made from camel's steel combs of dif-
convenient
off at the ends, to
The Process of Graining. — if coats
is
very soft; two or three
is
rubber
thumb and rounded sappy places
is
or eight inches long; a kalsominer's brush
six
to
prevent
them showing
then ready for the paint, three
different
These are called the ground-color the stip])liiig color; and the graining or oil-color, and they are laid in the order named. An infinite number of combinations of colors shades being necessary.
are
jjossible,
;
obtained by the use of various coloring pigments
in
the difterent coats, and no two grainers agree as to the precise pro-
portion of the ingredients to be used
we
give a
number
in
imitating dififerent woods;
of receipts for graining grounds, and
also for
mixing various colors; the learner can vary the proportions his taste as
experience dictates, and to
ground color the
is
suit the
work
in
to suit
hand.
The
used to represent the lightest part of the grain of
wood, the stippling color the intermediate shades, and the
UPHOLSTERERS AND FURNITURE MEN. graining color the darkest parts will
57
a close study of natural woods
;
color and depth of
therefore be necessary to determine the
each.
The proper ground being apply one or more coats
may be
pigments without
oil,
as are necessary to thoroughly
ground color
as the
This
applied.
Graining Grounds)
selected (see
many
as
As soon
cover the surface. pling coat
—
is
hard the
is
stip-
prepared by mixing the dry
with either very thin gum-water, stale beer,
The
or vinegar containing a small portion of dissolved fish-glue.
pigments to be used, as stated above, are usually about the same as those used for the ground color, but of different proportions to pro-
Apply the
duce a deeper shade. dries
beat
hairs of which, disturbing
beneath
coat
lighter
duce the
effect
stippler,
the surface of the laid coat, cause the
become
to
visible, and proNext apply the graining take the rubber and with it wipe out
indistinctly
it is
laid,
the larger veins to be shown, after each stroke
from the rubber with a cloth held
Some
wiping the paint
hand
for that pur-
grainers use a small sponge for veining,
and others a
small piece of cloth over
most convenient.
tlie
When
in the
other
thumb, but the rubber
is
probably the
the veins have been put in, to imitate as
closely as possible the markings of natural
tlie
combs
veins,
are brought into use,
wood, and the edges of the
times other portions of the work,
combed
abrupt transition from the dark to the is it,
also
now brought
the colors are
When
much
too
still
oil
color has been
brush, and
to
and some-
with them, to soften the
ligliter
The blender
shades.
use,
is
removed
render
in
required, the
veining, or
work
is
it
when a
touched up
again softened with the blender.
dry a coat of transparent varnish should siderable
various steel
and wherever the work may require more softened and blended by its soft hairs.
into
certain figure, sucli as a knot,
with a fine
it
the long elastic
of the pores of wood.
color; as soon as
pose.
and before
stippling color,
side of the
softly with the
it
Wlien
be applied, hnving con-
durable, as grained
work
is
frc(|uently
washed.
Ready made cheapest.
graining
colors
are
recommended
as best
and
PRACTICAL INFORMATION FOR CABINET-MAKERS,
58
Graining Grounds. — Subjoined
are a few
recipes for
mix
ing ground colors.
Wainscot Oak.
LigJit
the required
tint.
for very light
oak
— White
Some
work, but
for inside
but a perfect master of the
ground, and the effect,
A
lead and yellow ochre,
mixed
to
grainers prefer a perfectly white ground
always
it is
proceed
art to
work, when completed,
difficult for
any
on a white have a chalky
satisfactorily is
apt
to
even though a dark varnish be applied.
Darker Wainscot Oak.
— Mix
while lead, mitldle chrome, and
yellow ochre.
— White Venetian Oak. — White raw
Dark
Oak.
Vety
Dark
lead,
red,
Venetian red;
and yellow
and raw sienna, white
or burnt
oclu-e.
burnt umber,
sienna,
lead,
lead,
and
and burnt
umber.
These
colors,
mixed
multiplicity of tints
in
strength being of course
ponderance of white
Mahogany Grounds.
tian
red,
—There
for
The
mahogany
graining,
amongst some prechoose one
while others
cast,
reds and yellows used are Vene-
These colors can be mixed
etc.
an addition of white lead being made
turn by white.
lesser pre-
raw sienna, burnt sienna, orange
red lead, vermilion,
chrome, middle chrome, as the ])ositive reds
a
are various notions extant
grounds
a bright red.
tint required,
produce
will
graining color, their
determined by the greater or
ground of a deep yellow
approaching
proportions,
receive the
to
lead.
grainers as to the best ferring a
different
suitable
and yellows are too
in
to the
each case,
jiowerful unless diluted in
Venetian red, orange chrome, and white lead are
the colors most generally used, jnd these three
will,
according to
predominance or subordination, make such a variety of tints that the most fastidious grainer need ha\ e no misgiving that the
their
result will
not
come up
to his exi)ectati(jn,
if
he exercise due
dis-
cretion in mixing the colors.
Rosewood Ground.
— Venetian
A
little
is
too expensive for general use.
scarlet
lake
is
added
red,
vermilion,
for superior
Some
work,
painters
a small (piantity of raw sienna or chrome yellow.
and white !)ut
this
lead.
of course
mix with the reds
UPHOLSIERERS AND FUKNITUKI:: MEN. Bird's- Eye
Maple.
grainers, but
— White
the rawness of the white,
kill
and
this
make
Beginners are apt to
adoi)t.
alone
lead
is
preferred
is
the majority of painters use a
59
little
much
by some
yellow ochre to
the better plan to
the ground too
yellow, a mis-
take that should be avoided at the outset, as the varnish which has
subsequently to be coated over the work
and add a pale creamy tone, whereas,
give transparency,
will
the ground be too yellow,
if
the result will be heaviness.
Spirit
Graining for Oak.—Two
quarter of a
pound of gold
pentine
;
sienna,
ground
then
tinge your whiting with Strike out
fine.
turpentme, tinged with a
do not appear
lights
tine varnish
is
thinned
size,
clear,
)
add a
of
show the
lights.
If
your
more turpentine. Turpenthe above mentioned. This
little
a good substitute for
kind of graining must be brushed over with beer, with Strong beer must be used
brush, before varnishing.
whiting,
our lights with a fitch dipped in
color to
little
pounds
down with spirits of turVandyke brown and raw
a
clean
for glazing
up
top-graining and shading.
Oil for Graining Oak.— Grind Vandyke brown in turadd as much gold-size as will set, and as much soft soap Should it set too quickly, add a as will make it stand the comb.
pentine,
boiled
little
turpentine,
Put a teaspoonful of gold-size to half a pint of
oil.
and
as
piece, then take a
much soap
as will lie
on a twenty-five cent
soda mixed with water and take out the
little
veins.
To Prepare the Ground
for
Oak Rollers.— Stain
your white lead with raw sienna and red lead, or with chrome yellow and Venetian red; thin use.
When
the ground
whiting and a
may
little
work
is
it
with
oil
and
turps,
dry, grind in beer,
and
strain for
Vandyke brown,
burnt sienna, for the graining color; or you
use raw sienna with a
little
whiting, uml)ers, etc.
To Imitate Old Oak. —To
make
an
color for the imitation of old oak, the ground
stone ochre or orange
exceedingly is
rich
a composition of
chrome and burnt sienna; the graining color
PRACTICAL INFORMATION FOR CABINET-MAKERS,
6o is
Ijurnt
that tlie
umber
or
Vand) ke brown,
to
darken
a
it
When
or distemi)er.
add a
in turpentine,
the comb, and thin
bit of
with boiled
it
conuuon soap
a
Vandyke and make it stand
to
oil
To Imitate Pollard Oak.— The pared with
in oil
is
dry, varnish.
To Imitate Old Oak, in Oil.— ('lind whiting
Observe
little.
above colors must be used whether the imitation
ground color
pre-
is
mixture of chrome yellow, vermilion and white lead,
to a rich light buff.
The
graining colors are
Vandyke brown and
small portions of raw and burnt sienna and lake ground in ale or beer.
a large tool
Fill
the surface to be
color, spread over
witli
and soften with the badger-hair brush. Take a moistened sponge between the thumb and finger, and dapple round and round in kind of knobs, then soften very lightly; then draw a softener grained,
from one
set of
of grains,
and
knobs
to the other wliile w-et, to
finish the
When
thicker clusters than others. variety of directions,
glaze
u[)
with
form a multiplicity
knots with a hair pencil,
in
and varnish with turps and
Vandyke and
some
places in
dry put the top grain on in a
strong
To
ale.
gold-size; then
finish,
varnish with
copal.
To Imitate Mottled Mahogany. — The pared
witli
the best
portion of white lead. in
ale,
away
The
Vandyke brown,
the fiery appearance of the sienna.
pre-
and go over the
lights a
sufficient to take
Cover the surface
grained, soften with the badger-hair brush,
to
be
and while wet take a
second time,
give a variety of shade, then blend the whole of the
badger softener.
is
graining colors are burnt sienna, ground
with a small portion of
mottling-rollM-
ground
English Venetian red, red lead, and a smalV
in
order to
work with the
Put the top grain on with the same color.
^Vhen
dry, varnish.
To Imitate Rosewood. — Mix
verniilif)n
and
a
small
Take rose-pink, tinged with a little lampblack or Vandyke brown, and grind very fine in oil, then take a flat graining brush, with the hairs cut away at unequal distances, and cut down the grain as if wending round a quantity of white lead
for
the
ground.
UPHOLSTERERS AND FUKNIIURE MEN.
When
knot.
When
of nature.
Another.
comb
nearly dry, take a graining
draw down the
oak, and
grain.
This
will give
that it
dry and
oil,
ground color
made
prepared
is
very smooth, take
and with a small
tool
with
and
vermilion
When
the ground
Vandyke brown, ground
spread the color over the surface in
directions forming kind of knots.
ferent
used for
is
the appearance
dry, varnish.
—The
small quantities of white lead and crimson lake. is
6l
Before the work
is
in dif-
dry,
take a piece of leather, and with great freedom strike out the light veins
;
having previously prepared the darkest
brown, or
gum
with few hairs in
When
Vandyke
graining brush
draw the grain over the work and
it,
Rosewood Imitation which,
flat
soften.
varnished, the imitation will be excellent.
in Size.— Mix Venetian
white-lead powder, vermilion and
this
of
tint
asphaltum, immediately take the
when
cold,
common
must be that of a weak trembling
composition paint the work twice over.
dry take some lampblack, finely ground of an egg into
it;
and put on the
take the
grain.
flat
When
When
in beer,
red,
the consistency of
size,
jelly.
With
the ground
is
and beat the white
graining brush, dipped in the black, dry, stain the
first
coat of varnish
with rose pink, finely ground in turpentine, and finish the work by giving
it
a coat of clear varnish.
To Imitate Bird's-Eye Maple.— The buff,
ground
prepared with white lead, chrome yellow, and a
is
little
a light
vermil-
ion or English Venetian red, to take off the rawness of the yellow.
The
graining color
in oil to the
with
this
is
equal parts of raw
proper consistency.
color, and,
umber and sienna ground
Spread the surface of the work
having some of the same prepared a little tool or sponge, and put on the
thicker, ini mediately take a sash
dark shades, and soften with the badger-hair brush is
;
before the color
dry put on the eyes by dabbing the dotting machine on the
work.
When
dry, put
on the grain with the camel-hair pencil on
the prominent parts, to imitate the small hearts of the wood.
When
dry, varnish.
To Imitate Curled Maple.— Prepare
a light yellow for
PRACTICAI. INFORMATION FOR CABINET-MAKERS,
62
the ground, by mixing chionie yellow
The
Venetian red.
graining color
is
and white
lead, tinged with
a mixture of equal portions of
raw sienna and Vandyke, ground in ale spread the surface to be grained in an even manner; then with a piece of cork rub across ;
the work to and
When
form the grains which run across the wood.
fro, to
dry, varnish.
Curled Maple in Oil for Outside Work.— Prepare a rich ground by mixing chrome yellow, white lead and burnt
For the graining color, grind equal parts of raw sienna and umber with a little burnt copperas in turpentine, and mix with Thin the color with boiled a small quantity of grainer's cream. oil; then till a tool and spread the surface even, and rub out the sienna.
the sharp edge of a piece of buff leather, which must
lights with
now and
then be wii)ed to keep
it
clean
;
soften the edges of the
work very lightly, and when dry, put on the top grain with burnt umber and raw sienna, ground in beer, with the white of an egg beat into
When
it.
dry, varnish.
Satinwood. — This ochre,
The
ground is prepared with white lead, stone and small quantities of chrome yellow and burnt sienna.
graining color
in pale ale,
grained.
one-third of raw sienna and whiting, ground
is
very thin
;
While wet,
tling brush,
ill
then spread the color over the surface to be soften,
and have ready a wet
order to take out the
\Mien the work
the badger-hair bru.sh.
and with the same
color, put
To Imitate Yew
Tree.
brown and burnt
sienna,
When
is
is
in
—The
roller or
mot-
blend the whole with
dry, take the flat brush,
on the top again.
For the graining color grind the ground
lights;
ground
When is
a
dry, varnish.
reddish
buft".
beer ecpial ])ortions of \'aiidyke
with a small quantity of raw
sienna.
dry, s])read the surface even with the color,
and soften; then with a piece of cork with a sharp edge, rub the work cross and cross in order to form the fine grain. When dry, dij)
the tip of your fingers in the graining color to form the eyes or
knots,
and put
When
dry, put on the lojj grain,
in
the
small
touches
with a camel-hair
and when
this
is
pencil.
dry, \'arnish.
UPHOLSTERERS AND FURNITURE MEN.
63
To Imitate Black and Gold Marble.— tion of marble
is
now
demand
in great
The ground
black, or a dead color, in gold-size, drop black
Commence
coat, black japan.
veining; mix
I
iiis
descrip-
a deep jet
is
and turps; second white and yellow
ochre with a small quantity of vermilion to give a gold tinge; dip the pencil in this color, and dab on the ground with great freedom
some
large patches, from which
is
small threads
sometimes seen running with a
tached to
it;
in
number of small
g'-eat
veins at-
but care must be taken that these threads are con-
nected with, and run the thicker veins.
in
per colors, and
some degree
If durability
required in a short time,
Red Marble. — For ;
in
it
same
the
direction with
not an object, and the work
very quick
blend them together
look well.
will
the ground, put on a white tinged with
brown and white mixed
filling
in oil
up
then
;
quick drying colors, use about half turps
if in
;
When
is
distem-
in
then apply deep rich reds in patches,
the intermediate spaces with
size.
is
may be executed
it
when varnished
lake or vermilion
and gold
must be drawn
In the deepest parts of the black a white vein
various directions.
dry, varnish
;
and while the varnish
is
wet,
put in a multitude of the fine white threads, crossing the whole
work
wet varnish brings the pencil to a
in all directions, as the
fine
point.
Jasper Marble. — Put blue
;
on a white ground
of the white groun<:ls; then partly cover
browns
to
form
fossils, in
places
masses nearly
those spaces with
places running veins
spots of white in the centre of in
lightly tinged with
then put on patches of rich reds or rose pink, leaving spaces
all
;
then put
some of
the red j)atches,
white.
When
various in
a few
and leaving
dry, use the clearest
varnish.
Blue and Gold Marble.— For blue
dark
;
the ground put on a light
then lake blue, with a small piece of white lead and some
common
blue,
and dab on the ground on patches, leaving
portions of the ground to
shine between; then blend the edges
together with duster or softener; afterwards draw on veins in
some white
every direction, leaving large open spaces to
be
filled
PRACTICAL INFORM ATIOX FOR CABINET-MAKERS,
64
up with a pale yellow or gold-paint; running threads, and a coat of varnish
To Imitate Granite. — For
some
finish with
ground
the
color, stain
white lead to a light lead-color, with lampblack and a
Throw on
pink.
white
little
your rose-
black spots, with a graniting machine, a pale red,
up with white before the ground K black ground when half Another.
and
fine
at last.
fill
—
deep yellow and white
vermilion, a
spots.
To Imitate Hair Wood. — For white lead and thin
dry.
is
dry, throw in
ground
the
color,
with turpentine, and slightly stain
it
it
take
with
For the grain-
equal quantities of Prussian blue and lampblack.
ing color, grind in beer a mixture of Prussian blue and raw sienna;
when
the ground
color on the surface of the work, and soften
mottle by rubbing
coal of the
dry, spread a transparent
is
and
to
it
fro
When
long grain or mottle.
wavy but perpendicular
work, to form the fine
across the
this
directions
done, soften and top grain in
is ;
;
graining
then with the cork
when
varnish
dry.
Graining Grounds. — The
best and cheajjest and most making grounds for light oak, maple, ash, and chestnut, is pure raw Italian sienna, tinted with pure white lead, not the so-called sienna which is sold by most paint dealers under that name, but the genuine article, which can be, and should be obtained even at some cost and trouble, the said
simple
convenient
article
required,
it
little
darker.
while for
For
straw color. light oak,
more
For ash, the ground should be of the sienna will be required,
to
make
is
a
Care in
the
for a too light
the application of a greater quantity of graining color,
lighter.
produce a
Rather
remedy
as also in the glazing coat; while a ground too
made
wanted.
is
the grounds too dark.
other extreme, for the reason that there in
tone
chestnut a decidedly yellowish
must be taken not ground,
articles in
For maple ground, of course the smallest quantity being necessary only to change the white to the
faintest suggestion of
a
for
being one of the most useful and indispensable
the paint shop. is
material,
For dark oak, burnt
far better
Italian
ground than any other
dark cannot be
sienna with white will single color.
The same
UPHOLSTERKKS AND
FUKN'l
lURK MKN.
65
must be observed, however, in obtaining this color as The domestic in the case of the raw Italian sienna.
caution
recommended
substitutes for the genuine
so-called siennas will not prove
The ground
pigments.
for
black
light oak with the addition of a
Mixing Colors. — The
Italian
walnut may be the same as
for
burnt sienna and black.
little
primary colors are those that cannot
compounded froai other colors, being pure m themselves; they red, blue and yellow; and from these three are three in number From each of the three primaries in all others are compounded. be
—
combination with either of the others, colors,
termed secondaries and
and shades. the learner,
below
and an almost
obtained will
and
their
combi-
learned according to rule, with great pleasure to
at
any book
A
addition to his resources.
limitless
standard authority on these subjects
may be
derived certain groups of with the variations of tints
All of these are regularly classified,
may be
nations
is
tertiaries,
is
"
store.
enable the painter to mix
Chevreul on Color," which
The combinations named many colors that he may
require.
Cream
Color.
— Chrome yellow, the best Venetian red, and white
lead.
Pearl-Grey.
—White The
and lampblack.
lead with equal
portions of Prussian blue
blue must be used very cautiously, as
it
is
a
powerful color.
Fawn
— 'Qvwnt
Color.
sienna,
ground very
fine,
mixed with white
lead.
— White stone ochre, and vermilion. —This a mixture of pale chrome yellow and white tinged with a Venetian Straw. — A mixture of chrome yellow and white Drab. — Raw or burnt umber and white with a VeneDrab. — White lead with a Prussian blue and yellow ochre. Drab. — White lead with a yellow ochre and lampblack. Drab. — White lead with a chrome green. Fawn Buff.
Color.
lead,
lead,
is
red.
little
])ale
lead.
lead,
tian red.
little
little
little
Fitrple.
— White lead,
Prussian blue, and vermilion.
little
PRACTICAL INFORMATION FOR CABIN FI-MAKF.RS,
66 Purple.
— Prussian
blue, vermilion,
and rose madder
or crimson
lake.
Vermilion, French ultramarine, a small portion of black,
Violet.
and white
lead.
French Grey.
— White
milion; and for the
madder
lead and Prussian blue, tinged with vercoat,
last
cost
if
is
no
object, substitute rose
or lake for vermilion.
Silver.
—White
and a small portion of black,
lead, indigo,
as the
shade may require.
Dark
Chestnut.
— Mix
light red
Use red ochre when
and black.
required to lighten the color.
Salmon.
— White
lead tinged with the best Venetian red.
— White lead tinged with orpiment. Lead. — This a mixture of vegetable black and white and — White, Dark Lead —Vegetable black and Venetian Light — Lemon yellow and white and red white Light — Chrome Peach Blossom. is
red.
Chocolate.
Yellow.
lead.
yellow,
Yellow.
is
lead,
Light Yellow.
— Raw sienna mixed
required of a
warmer
cast,
—Yellow — Raw Stone — White Venetian Green. — Prussian
add a
lead.
with white lead.
little
If the color
burnt sienna.
and white lead. and white lead. burnt umber, yellow ochre, and a
ochre, burnt umber,
Stone Color.
Sto7ie
lead.
indigo.
black,
Color.
sienna, burnt umber,
Color.
lead,
Color.
little
red.
Olive
blue,
chrome
yellow,
and burnt um-
ber.
Olive Green.
—Vegetable
black,
chrome yellow, and a small
portion of burnt umber.
Grass Green.
— Several
shades of grass green
may be made by
mixing Prussian blue and chrome yellow. Carnation.
— Lake and white
Imitation of
lead.
Old Gold.—M\\ white
burnt sienna, until the proper shade
is
lead,
chrome yellow, and
obtained.
Colors for Outlines of Ornaments.— In
decorative
designs into wliich different colors enter, attention to the following
UPHOLSTERERS AND FURNITURE MEN.
based on First
work
the beauty of the
greatly increase
rules will
;
67 the rules are
scientific principles.
Any
:
color on a gold back-ground should be outlined
with a darker shade of
A
Second:
own
its
color.
be outlined with black, provided the back-ground
A
is
always
not too dark
with a light color.
in that case outline
Third :
may
gold ornament on a colored back-ground
colored ornament
on a ground of complementary
color should be outhned with a lighter tint of
its
own
color, or a
neutral color.
Fourth color,
If the
:
ornament and ground are
and the ornament
should be
still
no outline
is
Tones.
darker
;
is
the ornament
if
in
shades of the same
darker than the ground, the outline is
lighter than the
ground,
required.
— Often
shades, signify colors mixed with either
called
white or black.
Tints
are colors
Shades
are colors
Tempera
is
Distemper Color
mixed with white. mixed with black.
a mixture of powdered colors with gum-water. a mixture of powdered colors with
is
Harmony
in Grained
Work.— it
tionably essential that every painter should
and
tints
may be
used
in
is
know what
unobjectionable; indeed,
light oak, satin wood, bird's-eye
it
Green
harmonious with
all
en-
is
forms a pleasing contrast with
maple, chestnut and ash
cords with mahogany, black walnut and rosewood. tirely
unques-
plain colors
harmonious contrasts or combinations
with the various painted imitations of fancy woods. tirely
size.
these latter.
—but
Blue
dis-
en-
is
Black harmonizes with
all
the woods, as does white; but white with the lighter colored ones is
feeble
and wanting.
except black walnut with with
all,
liant as
woods harmonize with each other mahogany and rosewood. Gold is good
All the
but the contrast with the light colored ones with the dark-toned woods.
The
bright
is
not so
bril-
colors in these
deaden the usually dull tones of the black walnut and detract from
PRACTICAL INFORMATION FOR CABINET-MAKKRS,
68 it
thereby
whereas the contrast with
;
latter-named wood, with
tlie
and brightens all the contrasting Light and dark oak are best shown by them-
the Hght colored ones, improves
and shades.
tints
each other, being too coarse
selves in contrast with
in
the grain to
combuiation with maple and
exhibit
with good
wood.
In color harmony, generally, white and black harmonize
with
all
colors
and and
tint,
in
effect
Gold
but green.
but especially rich
is
good with every
with green,
color,
black, purple,
satin-
shade
carmine
blue.
—
I'lie following is recommended as the Cllinese "WllitG. Dissolve as mucii Roman best way to prepare Chinese white:
alum
then mix
—
small a quantity ot hot water as
in as it
witli
is
barely sufficient, and
two ounces and a half of honey.
Set this mixture
to evaporate to dryness in an earthen vessel, over a gentle will
fire.
It
then appear like a spongy sort of coal, which being removed
from the
fire,
must be pounded, and the ])owder placed
crucibles or cupels, so that
it
may
these to a strong red heat for an hour
;
to a strong
a porphyry slab to an whiteness.
heat,
and
in
It
may
Expose
the cupels
it
must
must be
to a free current of air for
Being then removed from the
hour longer.
shallow
after this, the powtler
be pounded again, and being replaced
exposed anew
in
very thinly on them.
lie
exceedingly fine
fire, it is
an
reduced upon
powder of an intense in the same manner
be mixed with gum-water,
as other paints are usually treated,
and
it is
not apt, like white lead,
to turn to a dusty hue.
Mixing Wtlite Lead. — To be placed
in
a can or
i)ot,
mix the white lead it should and an admixture of oil and turpentine
being at hand, a small quantity should be poured over the white lead,
and the whole
stopping-knife,
till
stirred
about with a
the dilutent has
stiff"
palette-knife or a
become thoroughly incorporated
with the white lead.
The mixture may now be
stained to the required
tint.
For
this
and added cautiously to the diluted while lead, some colors staining much more powerfully than others. The staining color should never be added in a powdered or dry state. purpose the staining color should be ground in
oil,
UPHOLSTERERS AND FURNITURE MEN.
69
Varnish Green, for Venetian Blinds, etc.— The work must first be painted once or twice with a hght lead color; when hard, grind some dry white lead in spirits of turpentine afterwards take about one-third in bulk in verdigris, or navy green, which has been ground stift" in oil then mix them both together, and atld a little common oak varnish, sufficient only to bind the color. When this has been applied it will become hard in about fifteen minutes. Add more varnish to give a good gloss. Then go over the work a second time, and, if required, a third time. Thus you will have a beautiful green with a high polish. It possesses a very drying quality, enabling the work to be completed in ;
;
The
a few hours. stituting
may be
tint
greens
different
;
and
varied according to taste, by suba bright grass-green
if
add a little Dutch pink to the mixture. This color warm, as it gives the varnish a uniform api)earance.
is
is
required,
best used
VARNISHES. Varnishes
called gums, in either
damar and common
commonly The gums prin-
resins,
turpentine, or alcohol.
amber, anune, copal,
applied are
cii)ally
oil,
various
of the
are solutions
resin.
The
hic,
varnishes are
sandarac,
mastic,
applied to the
all
surfaces of the woods, metals, or other materials, while in the fluid state,
and the solvent
is
afterwards evaporated, leaving a thin glossy
coat of the different resins as a defence from the action of the at-
mosphere, or from
Sometimes the
more
are
slight friction.
resins are used
combined according
separately to the
;
two or
at other times
qualities
required
in
the
varnish.
The Gums and durabilit}-
their Qualities.— Amber.— The
of the varnishes
is
of course mainly dependent
the comparative insolubility of the resins ness, all
and permanence of
other resins used for
color.
In
varnishes;
;
upon
their hardness, tough-
these respects
amber
excels
the
action
of
it
resists
all
ordinary solvents, and can only be dissolved for making varnish
by
fusion
at
a high
temperature;
it
is
hard
and
moderately
PKACTICAL TX^'CRMAIION FOR CABINET-MAKERS,
70
tough, and
its
but, unless
ver)'
works of
making
color
light
but
is
influenced by
little
carefully selected,
Amber
colors.
varnishes, principally
is
it
however,
is,
for
many
Anime is
crack,
Anime
used
in
high price, but
its
and does not
attain
its full
nearly as insoluble and hard as amber, and the best
is
varnishes
for delicate
little
weeks.
of a very pale color
The
but
on account of
partly because the varnish dries slowly,
hardness
the atmosphere;
too yellow
;
but
it
not nearly
is
made from anime dry
so tough as amber.
quickly, but are very liable to
and the color becomes deeper by exjiosure to light and air. in making oil varnishes, and is, however, extensively used
most of those called copal varnishes contain a considerable proportion of anime, which is substituted principally on account of its quick drying
Copal
is
selected
it
is
posure
it
is
;
qualities.
next
durability
in
amber; when very
to
more
easily dissolved
by heat than
anime, and although softer than these scratched by the terial for varnish,
ploy
it
carefully
almost colorless, and becomes rather lighter by ex-
resins,
is
either
amber or
too hard to be
Copal is, therefore, a most excellent manail. and numerous attempts have been made to em-
as the basis of a spirit varnish, but hitherto with only .partial
Pure alcohol has
success.
little effect
on copal
;
with the addition
of a small quantity of camphor, the greater portion of the copal dissolved, but the
Copal may be
camphor impairs
perfectly dissolved
is
the durability of the varnish.
by
ether, but this
spirit
evapo-
rates too rapidly to allow of the varnish being uniformly applied.
The
essential oils of spruce
warrant
and lavender have been occasionally not with sufficient success to
as solvents of copal, but
employed
its
general adoption in spirit varnishes.
Oil Varnishes.
— Amber,
anime, and copal are usually
dis-
solved for making varnish by fusing the gum, and adding linseedoil
heated nearly to the boiling point.
by
stirring
degree of stitute the
and
boiling,
fluidity
They are then amalgamated
and the varnish
by the addition of
more important of what
oil
is
reduced to the required
of turpentine.
are called
oil
They con-
varnishes, are the
UPHOLSTERERS AND FURNITURE MEN. most durable of ficiently
much
possess considerable brilliancy, and are suf-
all,
hard to bear polishing.
works of the best friction
Tliey are therefore employed for
quality, that are
exposed
to the
as coaches, house decorations,
;
Spirit Varnishes. than the above
7
resins,
weather or to
and japanning.
—
Lac and sandarac arc more soluble and are generally dissolved in spirits of
wine; but sometimes the i)yroligneous
commonly known
spirit,
as
employed as a cheaper substitute. These resins constitute the basis of what are called spirit varnishes, and are employed principally for delicate objects not exposed to the weather, such as cabinet and painted works. vegetable
Lac
is
naptha,
much
is
harder and more durable
the basis of most lackers for hard
French lac, is
Of
polish.
the latter
therefore
than sandarac, and
wood and
metal, and
the three varieties, stick-lac, seed-lac,
and
almost
exclusively
shell-
and the most soluble it used in making varnishes and
the most free from color,
is
is
also of
;
lacquers; but the palest shell-lac contains a considerable quantity of
coloring matter, that renders
tity
it
inadmissible for varnishing works
In addition, shell-lac also contains a small quan-
of a light color.
of wax, and other matters, that are only imperfectly soluble in
spirits
of wine, and therefore give a cloudy appearance to the var-
but which
nish,
not of great importance
is
may be
colored works, and
in
in
varnishing dark-
great measure avoided by
making
the solution without heat, and allowing the more insoluble jtortions
time to be precipitated.
Sandarac much
is
lighter in
and
softer
color
;
it
is
less
brilliant
than
therefore used for
shell-lac,
making
but
is
a pale var-
woods, and other works for which the dark would be unsuited. When hardness is of greater importance than paleness, a portion of shell-lac is added but when paleness and brilliancy are required, a small quantity of mastic is added. When the varnish is required to be polished, Venice tur-
nish for light-colored
color of shell-lac
;
pentine
is
added
Mastic and
is
is
to give sufficient thickness or body.
softer
than any of the resins previously mentioned,
dissolved either in spirits of wine or
oil
of turpentine; the
PRACTICAL INFORMATION FOR CABINET-MAKERS,
72 latter
more generally used on account of its cheapness. With makes a varnish of a very pale color, brilliant, works easily, and flows better on the surface to
is
either of these solvents mastic
that
is
which
it
is
is
applied than most other varnishes.
and may be
flexible,
therefore
removed by
easily
much used
for
It is also
with
friction
tolerably
hand
the
;
it
varnishing paintings, and other delicate
works.
Damar
easily dissolved in oil of turpentine,
is
fully selected
is
almost colorless;
The two
mastic.
it
makes
and when care-
a softer varnish than
combinetl, however, form an almost
and
varnish, moderately hard
flexible,
and well suited
for
colorless
maps and
similar purposes.
ComniOn Resin or linseed brittle,
but
and
common
It is also
brilliancy, but
it
is
generally dissolved
is
in
should be added
Solvents.
resin to
in
— Linseed-oil
is
hard and
make cheap
house-painting, toys,
to other varnishes in order to
and cabinet
improve
their
small quantities only, as a large
proportion of resin renders the varnishes
The
either in turpentine
with
employed
principally
purposes
added
made
Varnish
heat.
brilliant,
varnishes for
work.
with
oil
is
vehicle for the harder resins, to which
brittle.
extensively it
employed
as
a
imparts softness and tough-
ness, but causes the varnish to dry slowly
;
and unless the
oil is
of
the purest and palest quality, well clarified, and carefully combined with the resin, without excess of heat, color of the varnish
darker by age after varnishes to
bring
then
is it
when it
clarified
applied.
is
it
materially darkens is
the
become
also liable to
T.inseed-oil intended for the best
by gradually heating
skimmed and simmered in
to every gallon of
then boilefl
it
made, and
it
in a
copper pot, so as
nearly to the boiling point in about two hours;
dried magnesia,
fr'r
very gradually.
for
It is
then removed into leaden or least three
combines with the
ounce
gradually introduced by stirring; the
about another hour, and afterwards suffered
it is
when
aliout three hours longer,
the proportion of about one-quarter of an oil, is
allowed to stand for at nesia
first
oil is
to cool
tin cisterns,
and
months, during which the mag-
imi)uritics of the oil
and
carries
them
to
UPHOLSIERF.RS AND FURNIIURE MEN. the bottom, and the clarified as
by substitut'ng
as above,
and sugar of lead gallon of
pale drying
Linseed-oil
when rendered and red
lead,
drying, by
it
and gently
boiled
is
the
end of the feather
considered to be
oil is
oil,
are slowly sprinkled
stirred for
the end of a feather into
burned
is
off.
up
or curls
and
sufficiently boiled,
in,
about three hours, or
any scum, or emit much smoke.
ceases to throw up
then frequently tested by dipping
when
then skimmed,
it is
;
the proportion of about
lead, in
three ounces of each to every gallon of the whole
heated gradually to
oil, it is
about two hours
and red
litharge
and the addi-
boiling
sometimes used alone as a cheap
is
In boiling linseed
to the boiling point in
and well-dried
until
be
also
white copperas
proportions of two ounces of each to every
in the
extempore varnish.
and
may
oil
the magnesia
for
oil.
tion of litharge
it
A
black paint.
tlings are reserved for
bring
taken from the top of the cistern
oil is
required without disturbing the lower portion, and the set-
it is
made
73
It is it,
and
briskly, the
allowed to cool
is
very slowly, during which the principal portion of the driers settle
The
to the bottom.
oil
is
screened from the sun and pale as possible, dried
afterwards deposited
When
air.
the
oil
is
leaden cisterns
in
required to be as
white lead, sugar of lead, and white cop-
peras are employed instead of the litharge and red lead.
Oil of Turpentine the resins, the
of turpentine.
made
oil
varnishes
is
employed
Mastic, damar, and
into varnishes
as a vehicle for
most of
being generally thinned with hot
common
oil
are generally
resin
by dissolving them in oil of turpentine alone, moderate warmth. Varnishes made with
either cold or with very
turpentine only, dry quicker than paler colored, but not so tough
those
nishes hold an intermediate position nishes,
and
and are em])loyed
flexibility.
greatly im])roved
made
with
and durable.
])rincipally
between
oil,
and are
Turi)entine oil
and
var-
spirit
var-
on account of their cheapness
Turjjentine varies considerably in (juality, and
by age; that intended
for varnish
the best quality, clear and limpid, and he kept for or even years, before
it
is
used
;
is
should be of
many months,
and when enqjloyed alone,
as for
PRACTICAL INFORMATION FOR CABINET-MAKERS,
74
mastic varnish, care should be taken that oily measure, as
an
is
it
passed
not
tln-ougli
frequently the case in [nocuring small tjuan-
is
tities.
Alcohol, or Spirits of Wine,
employed
is
for dissolv-
make the white and brown hard hard wood or brass, and also French spirit varnishes, and lacquer for dry much quicker, harder, alcohol with varnishes made The polish. and more brilliant than those made with turpentine; but if tlie ing sandarac and
contains
spirit
shell-lac, to
a minute
more than
degree of moisture
slight
making
in
It
is
spirits
therefore of the
first
importance,
in
of wine, however, always contains a consider-
able proportion of water, and
poses by saturating a
slip of
commonly
is
tested for varnish pur-
writing-paper with
If the flame of the spirit
then ignited.
will
procure the alcohol as pure as possible.
spirit varnishes, to
Ordinary
it
solution, giving the varnish a dull, cloudy,
be precipitated from the or milky appearance.
of water,
i)ro[)ortion
and when the varnish is applied, a very the atmosphere w ill cause the resins to
scarcely dissolve the resins,
the
which
spirit,
communicates
is
to the paper,
and the whole is burned, the spirit is considered to be sufficiently good but if, as frequently happens, the paper should be so far ;
saturated with the water remaining from the evaporation spirit as to
prevent
its
burning, the
spirit
is
of the
rejected as unfit for
varnish purposes.
may be
Nearly pure alcohol
wine, by adding about one-third
obtained from ordinary its
spirits
of potash, agitating the bottle and then allowing
it
to stand fir ten
or twelve hours, during which time the potash will absorb
the water from the
then be poured
peated
until
off,
s|)iril
;in(l
and
fresh
the potash
be freed from the small
by
alkali
the bottom; the
added, and the process
remains quite dry
;
the alcohol
potash which
])or(ion of
much of may
spirit
it
is
re-
then to
holds in solution
distillation in a water-bath.
Naphtha, neous is
to
fall
of
weight of well-dried carbonate
.icid,
frequently
or the spirit procured by distillation from pyrolig-
and commonly known
employed instead of
as vegetable or wofxl na]>htha,
spirits
of wine for making cheap
UPHOLSTERERS AND FURNITURE MEN. varnishes.
the naphtha
the
dissolves
It
of wine, but
spirit
tlie
resins
varnish
very offensive.
is
more
It
is
th.m
rcadil)'
brilliant,
less
is
75 ordinary
and the smell of
employed
for
preparation
of
therefore never
the best works.
Preparation of Oil Varnishes.— owing
to
ing on
is
attended with considerable
The
tire.
risk of
partly to the necessity oil
varnish
for this
for the purpose.
precaution, and
the
varnishes are greatly improved by being kept
terns for
some months before they carried
is
materials,
setting the build-
process, should, therefore, always be conducted
detached buildings constructed ex[)ressly
that
and
heat,
and the highly inflammable nature of the
this
the process
in
The
varnishes requires the application of considerable
oil
Owing
circumstance leaden
in
cis-
are used, the preparation of
on almost exclusively
as a
oil
separate manufacture,
the details of which are greatly varied, and are mostly kept secret.
The copper pot,
pot employed to
and measures about two
and a
make
feet
the varnish
is
called a
gum-
nine inches in height, and nine
The bottom
half inches diameter externally.
is
hammered
out of a single piece of copper, and fashioned like a hat without a
brim
;
is
it
about nine inches deep, and three-eighths of an inch
The upper
in
part of the pot
is
formed as a cylinder, of
sheet copper, about two feet two inches
in
height,
thickness.
and of
sufficient
about two inches over the upper edge of the bottom piece, to which it is firmly riveted. A wide flange of copper, diameter to
slip
to support the pot,
cylinder,
is
also fixed just beneath the lower
and a strong
iron
hoop
is
fixed a
little
edge of the
above the
line of
the rivets, to serve for the attachment of the horizontal handle,
which
is
made
at the end,
The
as a nearly straight rod,
and two
stirrer
is
one inch square, flattened
feet eight inches long.
a copper rod about three-quarters of an inch di-
ameter, and three feet six inches long, flattened at the one end to
one and
a half inch in breadth for about eight inches in length,
fitted at the
The
opposite end with a short
ladle,
and
wooden handle.
which should contain about two quarts, is also of solid, and riveted to a handle of the same
copper beaten out of the
PRACTICAL INFORMATION FOR CABINET-MAKERS,
76
metal, three feet six inches long, and fitted
with a
wooden handle
like the stirrer.
The copper jac^, in the
The
contains two gallons. varnish,
is
oil
gum-pot,
into the
is
made
The
enough
large
it
brass or copper sieve, for straining the
about nine inches diameter, and contains sixty meshes
to the inch. is
pouring hot
for
form of a pitcher, with a large handle and a wide spout;
co[)per funnel, for
straining the boiling varnish,
and should be
to receive the sieve,
well
made
with
lapped seams, as solder would be melted with the heat.
The
tin
pouring-pot, to hold th.ec gallons,
formed exactly
is
like
a garden watering-pot, only smaller at the spout, and without any
This
rose.
is
never to be used for any purpose excej^t pouring
oil
of turpentine into the varnish.
A
small broom, termed
gum-pot every time
a " swish," used for washing out
after use,
is
made from
a small handle like a hearth-broom
and
the
;
head
five
is
This should be washed
round.
five inches
the
cuttings of cane tied to
inches long,
in turpentine,
and
very clean.
kei)t
A
three-footed
trevet, with
iron
The
support the gum-pot. inches
in height,
which
is
made
feet
a circular top,
of the trevet
and spread wider
of such a
at
is
employed
bottom than the
the
size that the j)Ot will
easily into
fit
to
about sixteen
are
top,
the
it,
fiange resting on the top.
An heat
should be jirepared near the fire, ujion which to gum-pot when the varnish is ready for mixing, or the
ash-bed the
place is
becoming too
great.
ashes through a fine sieve, to a half inch thick, and a
little
This
is
make
prepared by
some dry
sifting
a smooth layer about one and
than the bottom of the
larger
gum-
pot.
Place the trevet
a hollow in
in
a
that
plumbers make
either coke, coal,
the
fire
their furnaces;
or
wood ;
then
fire
set
observe that
if
;
raise a
after the
make up
charcoal, which
burn to a good strong heat,
pounds of gum copal
yard, garden, or
field,
house, where there can be no danger from fireplace round the trevet with loose bricks,
is
a
far
out-
temporary
same manner good
fire
j^referable
with ;
let
on the gum-pot with three the
fire
surround the gum-
UPHOLSTERERS AND FURNI'JURE MEN. pot any higher inside than the gum,
As soon
fire.
copper
and keep fusion and if
the mitldle of the pot,
be kept briskly up) stirring until the
by if
lifting
up the
gum
the
down
goes
it
gum
appears
rises
like oil, vvliich
fluid
He
"
is
the to
the
let
fluid
as
oil,
fire
keep
known
to be
Observe, that
carry
it
the middle of the pot, and
rises to
the ash-
to stir
it
down
put on the pot and keep stirring until
fire),
above the blade of the
ant " be ready!
tlic
mean time
(in tlie
so far as to see the blade.
stirrer
it
stiriing
then set on the gum- pot again, and
;
again (keep up a brisk
gum
gum
does not appear quite
bed whenever the
in
and
lumpy and not fluid, and rises to from the fire and set it on the ash-bed,
lift it
stirring until
great danger of taking
in
is
feels
it
;
and keep
it
begins to fuse and steam, put
cutting, dividing,
stirrer,
its
;issist
gum
the
as
77
stirrer
call
;
out to the assist-
then, with both hands, to lay hold of the
is
clarified oil, and and a half over the edge of the gumpot. Let him keep himself firm, steady, and collected, and not flinch, spill, or pour the oil, which would perhaps set all on fire.
copper-pouring jack, charged with (one gallon) lean the spout about one inch
Observe, when the out,
call
"
pour
gum
" !
If the
fire
this
is
tlie
to
assistant
last,
very
lifting
up the
stirrer
in
the
and dropping a
it if it appears clear and transparent, the and gum are become concentrated or joined together. It is
now
this
the glass it is
;
to be further boiled until
thumb;
is
it
known by once
will
string
between the finger and
every minute dropping a portion on
and taking a little between the forefinger and thumb. enough it will stick strong and string out into fine
boiled
ments, like bird-lime; but
and greasy without being carry to
oil
be tested by taking a piece of broken window-glass
portion of the varnish on oil
inches of the pot-mouth,
then to pour in the
the
hand, and with the right
left
is
maker stirring during the pouring. at this time is strong and regular, in about eight or ten gum and oil will concentrate and become quite clear;
slowly until towards the
minutes
rises within five
The
it
from the
fire
to the ash-bed,
twenty minutes, or
hand a
when not boiled enough, The moment it is
stringy.
until
it
is
where
let
it
it
is soft,
remain from
to
thick,
boiled enough,
cold enough to be mixed
sufficient quantity of oil of turpentine
If fila-
fill
;
fifteen
have
at
the pouring-
PRACTICAL INFORMAITON FOR CABINET-MAKKRS,
78
pot (two gallons); begin and pour out with a small stream, gradually increasing stirring
it,
and
the varnish rises rapidly in the pot, keep
if
constantly at the surface with the stirrer to break the
it
bubbles, taking care not to pot, for
should, the
if it
let
and the varnish would run over the pot
into vapor,
Have
pouring in at the same time. should so
if it
and cool
another, and
letting
down
it
it fall
and
tin,
open-mouthed
jars, tins,
and the longer
when
it
is
strain
it
with
into the
mixed, put the varnish sieve
carrying
copper ladle
also a
be unmanageable,
far rise as to
take the ladle
is
in a
moment
during the mixing, keep constantly stirring as well as
therefore,
and
the stirrer touch the bottom of the
of turpentine would be in part converted
oil
in
at
hand,
the assistant
let
up one ladleful after As soon as the varnish
lifting
it,
pot.
the copper funnel placed in the
the varnish immediately or cisterns, there
remains the better
let
it
will
it
;
empty
remain and
become.
it
into
settle,
Recollect
taken out, not to disturb or raise up the bottoms.
Instead of the ash-bed, a circle of loose bricks four courses high
may
be erected to support the gum-pot.
so that
when
the gum-pot
flange with the
bottom about
this brick -stand set it
from the
upon which
fire.
to
by so doing,
as,
is
the
set within, six inches
The it
will
rest
securely by
from the ground.
pot every time there
Near the stand an iron turn the gum-pot every time it
bricks are to be laid
will
is
occasion to carry
trevet after
its
Upon
it
may be is
placed,
washed
out,
always be kept clean, and cool gradually,
by cooling rapidly copper oxidizes very quickly. Near the have the swish broom and also a large wide tin jack or other vessel to receive the washings. Have also at hand a copper ladle, and a tin bottle with turj^entine, for washing with when for
trevet
wanted.
The moment
maker has emptied the gum-pot, throw into it and with the swish immediately wash it from top to bottom, and instantly empty it into the tin jack. Afterwards, with a large piece of woollen rag dipped in pumice ])Owder, wash and polish every part of the inside of the pot, performing the same operation on the ladle and stirrer; rinse them vvith the turpentine washings, and at last rinse them altogether the
half a gallon of turpentine,
UPHOLSTERERS AND FUKNIIURE MEN.
79
with clean turpentine, which also put to the washings, wipe dry, stirrer, and funnel, and lay the be completely covered with turpentine, which will
with a clean soft rag, the pot, ladle, sieve so as to
always keep
from gumming up.
it
Eight pounds of copal takes minutes
in fusing,
the time depends very
gum
much on
fusing the assistant
is
general from sixteen to twenty
heated at a separate
till
it
gets clear like oil; but
the heat of the
During the
the operator.
tion of
in
from the beginning
and the
fire
atten-
twelve minutes while the
first
must look
the
to
which
oil,
is
to
be
a copper pot, large enough to contain
fire in
double the quantity required. The oil should be brought to a smart simmer, for it ought neither to be too hot nor too cold, but
appearance beginning
in
observe
when
and,
;
to boil,
ready, call
which the
to
assistant
maker
the
is
strictly to
then immediately
;
each take hold of one handle of the boilmg-pot and carry it to the ash-bed, the maker instantly returning to the gum-pot, while the ladles the hot oil
assistant it
and placing
A
it
at the
case the gum-pot
in
copper-pouring jack, bringing
should take
wanted.
fire
should
;
be kept at
this
happen,
the assistant throw the piece of carpet quickly over the blazing
let
pot, holding
it
down
round the edges
all
;
After the
oil
surface of the contents,
the
;
and
and
when
set
if
it
it
will
pot on the
begin to
driers are to
fire,
stir
it
a few by a
all
little
at
goes down, put the
and introduce gradually the remainder of the
the time a pot in,
from
down
it
always carrying the pot to the ash-bed when the froth
being poured
no
in
the frothy head
fire
the
all
Observe
rise rapidly.
be added, scatter if
is
rises
fire
be
requires to boil from the time of the
oil
about two-thirds the height of the pot. good,
and covers
rises
on the ash-bed, or brick-stand,
a time; keep stirring, and
driers,
few minutes the
about two-thirds the height of the pot, carry
rises
it
fire,
again
in a
has been mixed with the gum, a brisk strong
should be kept up, until a scum or froth
when
and
be smothered.
fire will
is
until
holes, should
carpet, free from
thick piece of old
hand
into the
back of the gum-pot
In general,
if
the
about three and a half or four hours; but time
criterion for a beginner to
judge by, as
it
may
vary according
PRACTICAL INFORMATION FOR CABINET-MAKERS,
8o
to the weather, the fire;
glass,
quahty of the ingredients, or the heat of the
therefore, about
and keep
hour of boihiig,
the third
boiling
until
it
it
try
on a
it
bit
of
strong and stringy between
feels
the fingers, as before mentioned.
The
foregoing directions are, with very
observed
differences, to
little
quantities
Copal Varnish for Pine Paintings, eight
be
making all sorts of copal varnishes, excepting the of oil, gum, etc., a few of which will be now added.
in
pounds of
very cleanest pale African
the
when completely run
etc.— Fuse
gum
copal, and,
two gallons of hot oil let it boil until it will string very strong; and in about fifteen minutes, or while it is yet very hot, pour in three gallons of turpentine, got from the top of a
pour
fluid,
in
;
Perhaps during the mixing a consider-
cistern.
able quantity of the turpentine will escape, but the varnish will be
much
so
the brighter, transparent,
and
fluid
;
and
work
will
dry quickly, and be very solid and durable when dry. varnish has been strained, cold, heat as
much
if
it
is
found too thick, before
and mix with
turpentine
it
as will
freer,
After the quite
it is
bring
it
to a
proper consistence.
Artist's Virgin Copal. African
gum
copal, before
it
is
— From a
select parcel of scraped
broken, pick out the very fine trans-
parent pieces, which ai)pear round and pale, like drops of crystal
break these very small; dry them fire.
Afterwards,
when
in
cool, bruise or
the sim, or by a very gentle
pound
tliem
into a coarse
powder; then procure some broken bottles or flint-glass, and boil the same in soft water and soda; then bruise it into a coarse powder,
like the
from
washing
it,
gum; it
boil
it
a second time, and strain the water
with three or four waters, that
it
may be
per-
and free from grease or any impurity; dry it before When thoroughly dry, the fire, or upon a plate set in an oven. mix 2 lbs. of the powdered glass with 3 lbs. of the powdered copal after mixing them well, put them into the gum-pot, and fuse the fectly clean
gum; keep
stirring all the time;
the glass will prevent the
from adhering together, so that a very moderate
gum
to fuse.
When
it
fire will
gum
cause the
appears sufficiently run, have ready three
AND FUKNIIUKK
UI'HOLS'IERKRS quarts of clarified until
hotter than quantity, strain
if
it
between the
sooner cold; pour
immediately, and pour
it
bottle; ex})ose
it
to the
sun and moisture until
it
is
as
for,
there
an open
light,
let
Begin and mix is
boil
it
it
rather
but a small
of old turpentine,
in 5 (juarts
into
it
and
air
Afterwards,
in.
fingers.
were body varnish,
will l)e
it
very hot, to pour
oil,
strings freely
it
8l
iMKN.
jar, or
but keep
large glass
both from the
it
of a sufficient age for use.
This
is
the
finest copal varnish for fine paintings.
Cabinet Varnish. — Fuse fied oil;
it,
and put
boiled, will dry in ten minutes at all
it
;
African
three gallons of turi)entine;
This
aside for use.
but
fine
in half a gallon of pale clari-
;
afterwards strain
mix
seven pounds of very
when well dissolved, pour and when clear mix with it
gum-copal
if
properly
too strongly boiled, will not
if
with the turpentine; and sometimes,
when
boiled with the
turpentine will mix, and )et refuse to amalgamate with any other
varnish less boiled than is
itself;
therefore,
other
chill all
cipally
oil
employed
varnishes to which
and
however, more generally
oil;
pounds of
boil
and mix
may
it
it it
very apt to is
prin-
occasional use
Cabinet
varnish
for Polishing.— Fuse
gum-copal, add two gallons of clarified
and a half gallons of turpentine.
varnishes being
made
of the
finest
copal
without
the palest and best of the copal varnishes, possessing
great fluidity and pliability, but they are rather slow in drying retain for
is,
with anime than copal.
very slowly for four or five hours, until quite stringy, off with three
The above driers are
fine African
is
be added, and
coach-])ainters.
made
Body Copal Varnish
Best
requires a nicety which
as a quick drying varnish for the
of japanners, cabinet,
eight
it
This varnish
only to be learned from practice.
months so much
until they give out a moisture
are very durable.
second quality of
When gum is
and
softness that they will not polish well,
and become hard
paleness used,
is
;
after
which they
not of primary imi)ortance a
and when the varnish
is
required to
dry quickly, sugar of lead or white copperas are introduced as
combined, in the proportion of from half a one pound to each of the quantities above quoted, but
driers, either singly or
pound
to
82
PRACTICAL INKuK.MATlON FOR CABINET-MAKKRS,
driers are
varnishes.
always injurious to the color, brilliancy, and durabilily of When a varnish is required that will dry quick and
hard without
driers,
gum anime
is
substituted for the copal, but
durable and becomes darker by age.
less
is
varnish
is
mixed with copal varnish by the maker while both are
hot, in different proportions according to the quality required;
pot of
it
Frequently, anime
tlie
anime
to
two of copal being used
one
moderately
a
for
quick drying body-varnish of good quality; and two pots of anime one of copal for a quicker drying body-varnish of common
to
quality.
Carriage Varnish body-varnish,
except
quality about two
made much
is
that
to
and a half gallons of
lons of turpentine are used
oil
same
the
jiounds
eight
of
and
with driers.
five
common
as
gum
of secoml
and a half
This varnish
is
gal-
boiled
until very stringy, and is used for the wheels and under framework of coaches and other objects not requiring to be i)olished; it is in-
termediate in quality between body varnish and
Wainscot Varnish quality
gum
consists
of eight
anime, three gallons of clarified
of litharge, one-quarter
tlie
pounds of second
oil,
one-cjuarter
pound of dried sugar of
When
and
is
strong,
mixed
varnish
dries
principally used for house-painting
a darker varnish
tion of gold-size
Pale
pound
lead, one-quarter
pound of copperas, well boiled until it strings very with five and a half gallons of turpentine. This quickly,
following.
is
required, as for
may be mixed
with
it.
Amber Varnish.— Fuse
very pale transparent amber lons of hot clarified
oil.
and jai)anning. mahogany, a small por-
in
Boil
with four gallons of turpentine.
six
pounds of fine-picked
the gum-pot, and it
until
it
pour
in
two
strings very strong.
gal-
Mix
This will be as fine as body copal, and flow well upon any work it is applied to it dries slowly, but becomes very hard, and is the most durable of all varnishes. It is very excellent to mix in coi)al varnishes, to give to them a hard and durable quality. Amber varnish is, however, but little used, on account of its expense. In making all the above varnishes, it should be observed that will
work very
free,
UPHOLSTERERS AND FURNITURE MEN. the
more minutely
the
gum
ing of the
oil
and gum together
free the varnish will
mixture of
oil
is
and gum
of turpentine to thin
it,
duced, which renders
it
The
regular
extend on whatever
it
whereby less
its
durable; neither
greater proportion of
and the
will
there
oil
the
gum
Increase the proportion of
the stratum required,
the
more than its just proportion oily and gummy quality is re-
the less they are liable to crack, because
they are.
When
applied.
is
too suddenly brought to string by too
is
strong a heat, the varnish requires
laying on.
and and longer the boilcontinued, the more fluid or
fused, the greater the quantity
is
The more
the stronger the produce.
83
is
flow so well in
it
used
in varnishes,
tougher and softer
in varnishes, the thicker
firmer they will set,
and the quicker
they will dry.
body
All
varnishes, or
those intended
have one and a half pounds of it is
strained off
and
cold.
gum
to
to
be polished, should
each gallon of varnish when
All carriage or wainscot varnishes or
those not intended to be polished, should have
gum to
proper
its
boiling
has
it
But the quantity
and when boiled stronger than tine
is
required;
may be
one pound of
of
been strongly boiled, the varnish requires
commenced
full
gum required to bring it consistence, depends very much ujion the degree of undergone; therefore, when the gum and oil have not
each gallon.
to
if
the
mixmg
less
turpentine to thin
it,
usual, a larger proportion of turpenof the varnish with the turpentine
too soon, and the pot
is
is
not sufficiently cool, there
considerable loss by evaporation.
Copal varnishes should be made
at
least
three
months before
they are required for use, and the longer they are kept the better they
become
;
but
when
it is
necessary to use the varnishes before
they are of sufficient age, they should be
Preparation of Spirit nishes. scarcely
— In
is
than usual.
and Turpentine Var-
the preparation of spirit
any apparatus
left tliicker
and turpentine varnishes,
required; as, generally speaking, the pro-
is almost limited to mixing the resins and solvent together, and agitating the whole until the resin is thoroughly dissolved. Heat is not generally necessary, and although frequently resorted
cess
to in order to facilitate the dissolution of the resins, in
most
in-
84
PRACTICAL INFORMATION FOR CABINET-MAKERS,
Stances
only a nioileiate degree
sequently the preparation of
more manageable than
that of oil
warmth is recjuired conseand turpentine varnishes is far varnishes, and entails much less of
spirit
;
risk of accident.
The
be thoroughly
resins should
from moisture, and are
free
may
generally broken into small pieces, in order that they
solved more quickl)', and after
finest and clearest pieces making small quantities
for
the resins, they are finely
solvent; but, in this case,
and
superior
powdered before they are added it
necessary that the agitation
is
be maintained from the time the resin dissolved, otherwise
it
is
added
is
liable to agglutinate
to
the
should
is
thoroughly
into into
one mass,
until
it
afterwards very difficult of solution.
is
In making turpentine varnishes ten or twelve gallons, the resin
duced
of a
varnish
of
dis-
Sometimes, with the view of expediting the dissolution of
quality.
that
are generally selected
which the
set aside
be
carefully picked out;
im[nnities are
all
a number of wooden pegs or
;
nails are
driven into the stick, near the lower end, to increase generally
varnishes are
Spirit
quantities of
heat,, in
can with a wide mouth, and agitated by
into a large
with a stout stick
without
and turpentine are generally
made
intro-
stirring
mostly
its effect.
smaller quantities; and,
in
mouth of tlie vessel is In making quantimo.stly closed and the vessel itself is agitated. ties of four to eight gallons, the resm and solvent are sometimes into prevent the evaporation of the spirit
the
troduced into a small cask capable of containing about double the quantity, and
The
cask
is
mounted
made
to revolve
revolve
to
on central bearings
either
with continuous
at the ends.
motion by a
winch-handle, or with an alternating motion by means of a cord
passed arouml the barrel and terminating
in
a cross-handle, which
the operator pulls to give motion to the barrel in the one direction,
and
the
momentum
of which
suffices to coil
up the cord ready
for
the following pull, which causes the barrel to revolve in the opposite direction,
and so on continually.
Quantities of varnish not generally agitated ujion a
in
a
tin
exceeding two or three gallons, are can,
rollefl
backwards and forwards
bench covered with an old carpet or a sack; but whatever
UPHOLSTERERS AND FURNITURE MEN. method
adopted
is
for the
agitation,
out intermission, until the resin the risk of
its
but
tlie
should be continued, withdissolved to prevent
the time required for which
;
the resm and the strength of the
solubility of
commonly from
is
it
sufificiently
becoming agglutinated
depends upon spirit,
is
The further agimay be either continu-
three to four hours.
tation for the thorough solution of the resin
ous or intermitlent, according to convenience, but
abandoned
the solution
until
be complete, the varnish tion is
and
;
is
any of the
if
is
perfect
;
may
impurities
is
resin
is
bottles, large
for
to
examina-
not perfectly dissolved, the whole
When
the resin
bottom, and the clear varnish
is all
and allowed
lastly
is
to stand
use.
quantities of varnish
enough
judged
is
it
allowed to stand for a few hours, that any
settle to the
few days before
Very small
should not be
poured into another vessel
strained through muslin or lawn into bottles, for a
it
and when
returned to the vessel for further agitation.
dissolved, the varnish
85
contain
to
are
generally
made
in
glass
about one-third more than the
quantity introduced, and they are shaken up at frequent intervals
but although, from the small bulk of the ate into still,
so
when
insoluble a mass as
the agitation
is
when
resin,
it
cannot agglutin-
larger quantities are
made,
intermitted, several days are frequently
required before the resins are entirely dissolved, as the solution de-
pends more upon the amount of agitation than the length of time the resins are submitted to the action of the solvent.
Sometimes, with the view of preventing the agglutination and facilitating the
dissolution of the resins, coarsely-pounded glass
introduced with the resin and solvent
;
in this case the glass
be thoroughly washed and dried, and afterwards all
the smaller particles, which, from
little
effect in
preventing the aggregation of the
be more troublesome
When
heat
is
to separate
employed
in
sifted, to
their lightness,
alcohol spirit;
is
exclude
would have
resin,
and would
from the varnish.
making
spirit
varnishes, the lowest
tem|)erature should be used that will suffice to dissolve as otherwise there
is
should
the resins,
risk of losing a considerable portion of the
by evaporation, thereby reducing the strength of the is also liable to be made of a darker color by
the varnish
PRACTICAL INFORMATION FOR CAHIXFT-M AKERS,
86
and those containing
excess of heat,
made
hard when
spirit dissolves
heated the
with heat than
shell-lac are
when made
less
and
clear
quite cold, as the
the greater portion of the
wax contained
in
and which becomes disseminated throughout the
shell-lac,
mass; but when the solution portion of the
wax and other
is
without heat, the jmncipal
made
impurities remain undissolved at the
bottom. In making large quantities of
worm
are
ration
;
spirit
varnish with heat, a
still
and
order to prevent loss by evapo-
sometimes employed, in still is heated by a steam or water-bath, and the resins and solvent are agitated by a stirring-rod passing through a stuffQuantities of two or three gallons ing-box in the head of the still. the
are generally
made
vals into hot water, in
this
case
mersed
it is
in a tin can, which is dipped at frequent interand agitated between every dip by rolling; but
necessary to loosen the cork every time
it is
im-
the hot water, in order to allow the vapor of the spirit
in
to escape; otherwise the cork
and some of the
spirit
would be driven out with great
might be thrown on the
fire v\ith
force,
great risk
Glass bottles, although convenient from their
of serious accident.
transparehcy, should never be employed for making varnish with heat, as they are liable to break from the ture.
They
are,
however, often used
for
alternations of tempera-
making small
quantities,
and in this case the safer practice is to heat the water only in a moderate degree, and to allow of the continuous escape of the vapor through a small notch cut lengthwise in the cork, and which may be closed by the thumb when the bottle is shaken. There is, however, always some little risk of accident in making spirit varnishes near an open fire, when much heat is employed; and a water or sand-bath, placed on the top of a stove, so as to be heated only in a moderate degree, will be generally found to afford sufficient
warmth, and
arrangement
Shell-lac never
dissolve
it,
is,
perhaps, the most safe and convenient
for occasional purposes.
requires
and the
placed near a
fire
more than
solution
is
a very moderate
frequently
and shaken
made
occasionally.
in
warmth
to
stone bottles,
When
it
is
re-
UPHOLSTERERS AND FURNITURE MEN. quired to be very clear, as for metal lacquer,
through filtering-paper before It
87
should be passed
it
bottled.
it is
need scarcely be observed, that all the utensils employed in spirit varnishes should be ])erfectly clean and dry, as the
making
damp atmosphere
moisture or even a
least
liable to deteriorate
is
the quality of the varnish.
Hard
Best White
Spirit Varnish,
to bear polishing,
is made by adding two pounds of the best picked gum sandarac to one gallon of spirit of wine; they are then shaken up without in-
termission for about four hours, or until the
eighteen ounces of Venice turpentine in
make
a water-bath, to
give
it
a body
;
antl afterwards strained
and poured
fluid,
it
the whole
is
gum
quite dissolved;
is
then moderately warmed,
is
the varnish to
into
then well agitated for about one hour,
and put
which should be kept
into bottles,
well corked, to prevent the evaporation of the spirit
ing about a week, the varnish
made and
turpentine
gum
pieces of the
work does not require
When
carefully selected.
are
also
is
made
with three and a half
to one gallon of spirit of wine,
they are dissolved one pint of pale turpentine varnish
and the whole are
well shaken until thoroughly mixed.
white hard varnish
is
White
as
tlie
for
one gallon of This
violins,
together in a
may be made
can, placed in a
tin
Brown Hard manner
as white
is
made
with
two
same manner all be mixed near a fire, and
either in the
may
warm
situation
until dissolved.
Spirit
Varnish
hard varnish, but
stead of sandarac.
added,
Another
of wine, and one pint of
spirit
white hard varnish, or the ingredients
shaken occasionally
is
with two pounds of gum sandarac, one and one gallon of spirit of wine.
Spirit Varnish,
turpentine varnish.
and when
made
mastic,
to
the
one-half.
White Hard Varnish pounds of gum sandarac
pounds of mastic
may be
be polished, the proportion of Venice
to
may be reduced
pound of gum
stand-
after
be used on white work, when the clearest
sufficiently pale to
palest
;
This varnish
for use.
is fit
Thus a very
is
shell-lac
excellent
made is
in
the
same
generally used in-
brown hard
spirit
var-
55
PRACTICAL INFORMATION FOR CABINET-MAKERS,
nish that will bear polishing to
one gallon of
eighteen ounces
made
is
with two pounds of shell-lac
of wine; and, after they are amalgamated,
spirit
of Venice
turpentine
are
warmed and added,
exactly as described for the best white hard varnish.
good brown hard
spirit
Another very
varnish consists of two pounds of shell-lac,
one pountl of sandarac, and two ounces of mastic dissolved
A
gallon at spirit of wine.
lighter-colored varnish
two pounds of sandarac, one pound of After the resins are
spirit.
nish
is
added, and the whole
well
is
Hard-wood Lacquer two pounds of
nish, with
but
made,
is
agitation.
like the
brown hard
one gallon of
in
one gallon of
French. Polish,
made
is
resin, dis-
of wine.
spirit
is
var-
of wine,
spirit
with one pound of seed-lac and one
solved
one with
and one gallon of
hard-wood lacquer pound of white
Another
in
made
pint of turpentine var-
mixed by
shell-lac to
without turpentine.
shell lac,
one
dissolved,
is
made
a great variety of ways
in
but the
;
and probably the best, consists of one and a half pound of shell-lac dissolved in one gallon of spirit of wine without heat. Copal, sandarac, mastic, and gum-Arabic, are frequently used in making French polish, partly with the view of making the polish simplest,
of a lighter color, and pardy to please the fancy of the polisher; the proportions of the
but with
little
be very good
different
A
advantage. is
made
gums
are varied almost infinitely,
polish that
with twelve
is
by some considered
ounces of
shell-lac, six
of gum-Arabic, and three ounces of copal to one gallon of
When
of wine.
benzoin
is
a half
is
required, half a
sometimes added to one pound of
one gallon of
and
a dark-colored polish
spirit,
pound of
;
added
times the polish
at other
spirit
pound of
shell-lac dissolved in
or four ounces of guaiacum are shell-lac
to
ounces
is
to
one
colored
to the required tint with dragon's blood.
The
shell-lac alone
and
it
the
first
is
makes the hardest and most durable
a frecpient practice to instance than
it
is
thinned by the addition of thin originally,
it
would
make
the polish
required for use, as spirit.
rcrjuire
to
But
if it
polish,
rather thicker in it
may be readily made too
should be
be thickened by dissolving a
UPHOLSTERERS AND FURNI'lURE MEN. With the view of avoiding any
further portion of shell-lac.
the polish being
of shell lac
Other
is
resins
made
too thin in the
frequently
89 risk
of
instance, the proportion
first
made two pounds
gallon of
to the
spirit.
making the made with one and
are sometimes added, with the view of
Thus, sometimes, the
polish tougher.
i)olish is
|)ound of shell-lac, four ounces of seed-lac, four ounces of
a half
sandarac, and two ounce of mastic to the gallon of
spirit
;
at other
times the proportions are two pounds of shell-lac and four ounces of seed-lac to the gallon of
spirit.
Bleached Shellac— When polish lac,
is
required than can be
with the palest ordinary shell-
name of white lac, may be made with the white lac
the bleached lac, sold under the
The
employed with advantage. is
a lighter-colored lac varnish, or
made
at first
varnish
almost colorless, but becomes darker by exposure to the
light.
Various modes have been adopted for bleaching lac varnish.
One
process
is
pounded, are
to
wine
is
to this
;
follows
as
:
ounces
Six
to
chlorine
gas
till
coarsely
shell-lac,
a pint of
in
be added a bleaching liquor,
purified carbonate of potash in water,
with
of
be dissolved by gentle heat
made by
spirit
and then impregnating
the silica precipitates,
and the
of
dissolving it
solution be-
comes slightly colored. Of the above bleaching liquor add one or two ounces to the spirituous solution of lac, and stir the whole well together; effervescence takes place, and, when this ceases, add more of the bleaching liquor, and thus proceed till the color of the mixture has become pale. A second bleaching liquid is now to be added, made by diluting water,
and dropping
portions do not
into
become
muriatic it
acid with
thnce
pulverized red lead, white.
Of
this
till
its
weight of
the last
added
acid bleaching
liquor
small quantities at a time are to be added to the half-bleached lac solution, allowing the effervescence,
which takes place on each ad-
dition, to cease before a fresh portion
continued
till
supernatant fluid well
washed
is
poured
in
sible in a cloth.
is
in.
now white, separates from now to be j)Oured awav, and
the lac,
repeated waters, and
finally
the
This
the lac
wrung
is
licpior. is
to
be
The to
be
as dry as pos-
PRACTICAL IXFCRMATION FOR CABINET-MAKERS,
90
Another process
Dissolve five ounces of shell-lac
:
wine
rectified spirit of
;
boil for a few
a quart of
in
minutes with ten ounces of
and recently-heated animal charcoal, when a small
well-burned
quantity of the solution should be drawn off and filtered colorless, a little is
removed, press the liquor through
varnish,
and afterwards
filter
it
Dissolve, in an iron
When
to ebullition.
and impregnate
it
The
is
precipitate
consolidation
;
with clilorine gas
is
as linen absorbs
more
j)art
'yoiimal,
is
as fol-
of pearlash in eight
seed-lac,
and heat the
dissolved cool the solution,
till
the lac
is all
the color deepens
white, but
not
color
Franklm
shell or
the lac
if
;
all
fine blotting paper.
one
kettle,
add one part of
parts of water;
whole
silk,
through
Dr. Hare's process, published in the
lows:
When
more charcoal must be added.
precipitated.
by washing and
dissolved in alcohol, lac, bleached by the i)rocess
above mentioned,
yields a varnish
which
is
as free from
color as
any copal varnish.
A
may
nearly colorless varnish
lac, as in
Dr. Hare's process
;
also be
blenching
made by
it
dissolving the
with a filtered solution
of chloride of lime, and afterwards dissolving the lime from the precipitate,
then
to-
by the addition of muriatic
be well washed
alcohol, which takes
in
several
The
precipitate
and dissolved
up the more soluble portion, forming
pale but rather thin varnish, to
may be
acid.
waters, dried,
is
in
a very
which a small quantity of mastic
added.
Attempts are frequently made to combine copal with spirit varnishes, in
all
the
order to give them greater toughness and dura-
and although copal cannot be entirely dissolved, even in still a moderate portion will be taken up by strong of wine when a temperature of about 120° is employed with
bility; ]>iire
spirit
alcohol,
frequent agitation of the varnish. varnish
may be made
three-quarters of a
containing
In this
manner a light-colored pound of shell-lac,
with three-quarters of a
pound of copal
to
one gallon of
about ninety-five per cent, of
alcohol.
spirit
of wine
Tlie
copal
and may either be added to the shell-lac and spirit at the connnencement, in wliich case the shelllac should also be powdered, or the shell-lac may be first dissolved
should be powdered quite
fine,
UPHOLSTERERS AND FURNITURE MEN. and the powdered copal added;
more
9I
bul, in eillier ca^e,
it
is
only the
and the remainder setdes to the bottom to a viscid mass, from which the varnish may be decanted and strained for use. Cojjal may be added in the same manner to the white hard varnishes, and it is of the copal
soluble portion
sometimes recommended adding copal
to spirit varnishes
Lacquer for Brass, variety of
ways
;
in
it
taken
u[),
spirit,
into water
it
advantage of
but the
very questionable.
is
French
like
French
and, as in
is
copal and drop
to fuse the
attempting to dissolve
before
that
polish,
is
made
in a
polish, the simplest
great
and best
pale lacquer for works that do not require to be colored, consists
of shelldac and
spirit of
wine only,
in
the proportions of about half
a pound of the best pale shelldac to one gallon of is
required to be as clear and
bright as possible
it
;
always made without heat by continuous agitation
The
hours. tions it
lacquer
is
are precipitated,
Lacquer
spirit. is,
therefore,
for five or six
then allowed to stand until the thicker por-
when
the clear lacquer
should not be sufficiently clear,
is
it
paper into a botde, which should be
is
poured
off,
and
if
afterwards filtered through
kej)t closely
corked and out
lacquer.
would darken the color of the This may, however, be easily prevented by pasting paper
round the
bottle.
of the influence of light, which
Colored LSvCquerS. — Lacquers
are frequently required to
are
For yellow lints, turmeric, employed; and for red tints,
annotto and dragon's-blood are used
— the proportions being varied
be colored, either of yellow or red cape
aloes, saffron, or -gamboge
according to the color required.
tints.
Thus,
for a pale
yellow, about
one ounce of gamboge and two ounces of cape aloes are powdered and mixed with one pound of shelldac. For a full yellow, half a
pound of turmeric and two ounces of gamboge, and for a red lacquer, half a pound of dragon's-blood and one pound of annotto.
The
color
is
also modified
by that of the
lac
employed, the best
pale or orange shell-lac being used for light-colored lacquers, and
dark-colored shell-lac or seed-lac pale lacquers, sandarac
is
is
used for the darker
sometimes used with the
tints.
shell-lac.
For
Thus
PRACTICAL INFORMATION FOR CABINET-MAKERS,
92
a pale gold-coloretl lacquer
is
made
with eight ounces of shell-lac,
two ounces of sandarac, eight ounces of turmeric, two ounces of annotto, and a quarter of an ounce of dragon's-blood to one gallon of
of wine.
spirit
The most convenient method, however, of coloring lacquers, is to make a saturated solution in spirit of wine of each of the coloring matters, and to add the solutions pale lacquer according to the are not
coloring matters
for
yellow
tint,
ing matter for
but the whole of the
;
generally used by the
same makers, and
gamboge and dragon's-blood
solutions of turmeric,
choice
tint
proportion to the
in difterent
required
ordinary
];urposes.
turmeric
'l"he
and, with the addition of a
employed
in
making
litllc
afford sufficient
gives
gamboge,
a
greenish-
is
the color-
the so-called green lacquer used
bronzed works.
Another mode of making lacquer: Four ounces of shell-lac and a quarter of an ounce of gamboge are dissolved by agitation, without heat, solution
by the
is
in
spirit
wine.
In
is
this case, the
ordinary
pyro-acetic ether
lacquer were
made
in
small
tion being about tliree
by agitation without ;
after the mastic
for
is
a few weeks;
it
and similar
with
if
the
would
to l^e equally applied.
si)irit
is
some-
but,
more
])ur))oses,
of wine;
as the solvent, the propor-
pounds of mastic
to the gallon of tur[)entine.
is
carefully ])icked
heat, exactly as for the
varnish has been
and dissolved
best white hard var-
strained
loosely corked and exposed to this
of
dissolv-
employed
is
For the best varnish, the mastic
a bottle, which
for
almost certain to occur with
is
for painting,
quantities
generally, oil of turpentine
nish
employed
when
spirit
entirely with pyro-acetic ether, the latter
Mastic Varnisll, made
is
quantity of
of wine, owing to the presence of water; but
evaporate too rapidly to allow time for
times
its
order to prevent any but the purely resinous
being taken up, which spirit
matters not taken up
then decanted, and
is
mixed with eight times
ing the shell-lac in portions
gummy
subside; the clear liquor
required for use
The
twenty-five ounces of pure pyro-acetic ether.
allowetl to stand until the
it
is
poured into
the sun and air
causes a precipitation, from which the
clear
UPHOLSTERERS AND FUKNIIURE MEN. varnish
may be poured
kept the better
93
but the longer the varnish
off for use;
is
becomes.
it
Mastic varnish works very
but
freely,
it
is
liable to
and the
cliill,
some time after the varnish is To prevent the latter evil, it is recommended, before disapplied. solving the mastic, to bruise it slightly with a niuller, and pick out all the pieces that are too soft to break readily, and which may be surface frequently remains tacky for
used
for
from
the
common
To
varnish.
presence
prevent the chilling, which arises
Mr. W.
moisture,
of
recommends a
Neil
quart of river sand to be boiled with two ounces of pearl-ash; the
sand
is
afterwards to be washed three or four times with hot water,
and strained each
and when
it
is
The sand
time.
of a
good
is
and shaken well
})0ured into each gallon of varnish, utes
;
it
is
then allowed to
gum and
turpentine.
In making
common
the
then to be dried
in
an oven,
heat, half a pint of the hot sand
settle,
and
carries
varnish, heat
is
down
generally
is
for five
to
be
min-
the moisture of
employed
solve the mastic, and about one pint of turpentine varnish
is
to dis-
added
to every gallon of varnish.
Turpentine Varnish mon
resin dirsolved in
is
made
one gallon of
oil
with four pounds of comof turpentine.
It requires
no other preparation than sufficient warmth to dissolve the resin. Sometimes resin and turpentine are mixed together in a stone or tin bottle, which is placed near the fire, or in a sand-bath over a stove, and shaken occasionally; but varnish-makers generally mix the resin and turpentine in the gum-pot, and employ sufficient heat to fuse the resin.
This
is
a
more expeditious
tended with some danger of varnish
is
required, bleached resin
employ more heat than pentine varnish
common
is
is
When
fire. is
used,
practice, but
is
at-
a very pale turpentine
and care
is
taken not to
necessary in making the varnish.
principally used for in-door painted
Tur-
works and
painted furniture and toys.
to other varnishes to give
It is also frequently added them greater body, hardness, and bril-
liancy.
Crystal Varnish
is
a
name
varnishes employed for paper works
frequently given
— Such
to very pale
as maps, colored paints.
PRACTICAL INFORMATION FOR CABINET-MAKERS,
94
and drawings. A very good crystal varnish is made with two pounds of mastic and two pounds of damar, dissolved without heat in one gallon of turpentine. Another good but more expensive crystal varnish is made with equal quantities of Canada balsam and oil of turpentine. In making this varnish, it is only necessary to warm the Canada balsam until it is quite fluid, then add the turpentine and shake the mixture for a few minutes until The varnish may then be the two are thoroughly incorporated. placed in a moderately warm situation for a few hours, and will be ready for use on the following day. These crystal varnishes are both nearly colorless, flow freely, and are more flexible, so as to bear bending or rolling, and either of them may be employed to make a tracing paper of middling quality, by applying a thin coat of varnish on one or both sides of any thin transparent paper, such as good tissue or foreign post-paper.
Paper Vamish.,
paper-hangings
for
and
similar purposes,
made with four pounds of damar to one gallon of The damar dissolves very readily in the turpentine, is
moderate agitation or a very gentle bleached resin
is
turpentine. either with
Sometimes white or
Iieat.
used instead of the damar, or the two are com-
bined.
Water Varnish. — All or soda, but these alkalies of the lac
may be
dissolved
all
have the
eftect of
rendering the color
The solutions may, however, be employed which, when dried, will resist the aj^plication of water
much
as varnishes,
the varieties of lac
water by the addition of ammonia, borax, potash,
in nearly boiling
darker.
sufficiently well to
bear washing, especially wlien
tlie jjroiJortion
of
employed is only just sufficient to cause the dissolution o the lac, and which is also desirable in order to keep the varnish as
alkali
light-colored
as possible.
water of ammonia, ordinary water of
in
the
ammonia
The
least
color
is
proportions of about to
given with diluted sixteen ounces of
seven pints of water and two ])ounds
of pale shell-lac, to which about four ounces of gum-Arabic
added. tions are
Borax
is,
may be
however, more generally used, and the propor-
then two pounds of
'^In^ll-lnr. six
ounces of borax, and
UPHOLSTERERS AND FURNITURE MEN. gum-Arabic
four ounces of nish
is
to
95
When
one gallon of water.
the var-
required to be as light colored as possible, white lac
em-
is
ployed.
Sealing-Wax Varnish, machines, and similar purposes,
made by
one gallon of
Black Varnish
electrical
two and a
half
pound
made
with three pounds
sealing-wax and one pound of shell-lac to the gallon of fine
may be mixed
lampblack
in the
of telescope tubes are frequently blackened
made by mixing lampblack
kind,
lacquer, as
little
of the lampblack being
deaden the bright color of the lacquer. are sometimes blackened with a similar face
of black spirit,
or
with brown hard varnish or lacquer,
according to the thickness required
this
of
wine.
spirit of
niay be
of
parts
dissolving
good red sealing-wax and one and a
half pounds of shell-lac in
coating
for is
varnish.
The
interior
with a dull varnish of
with
rather
thick
brass
employed as will serve to Mathematical instruments thin varnish, and the sur-
afterwards brightened with one or two coats of lacquer ap-
is
Ordinary lampblack, however, generally contains
plied as usual.
and moisture, which render it unfit for varnish and therefore the best kind should be employed, or the lampblack should be purified by ramming it hard into a close vessel, and afterwards subjecting it to a red heat. In the workshop, when small quantities of lampblack are required, it is fregreasy impurities purposes,
quently
made
for
metal
occasion, by placing a piece of sheet metal
for the
over the flame of an works,
is
oil
lamp.
made by
A
black varnish, sometimes used
fusing three
pounds of Egyptian
asphaltum, and, when well dissolved, half a pound of shell-lac and
one gallon of turpentine are added.
Varnish for Iron. — Take
^
lb.
gum
benzoin,
i
varnish quickly, keep in a solved.
Shade
pulverized
suit
warm with
gum asphaltum, To make this
place and shake often
till
finely-ground ivory black.
it
is
dis-
Apply
This varnish should be used on iron work exposed
with a brush. to the weather.
iron furniture,
to
2 lbs.
gallon s[arits of turpentine.
It
is
also well
adapted
where a handsome polish
is
for
inside work, such as
desired.
PRACTICAL INFORMATION FOR CAIilNET-MAKERS,
g6
Varnish for Cane and Basket-Work.— Lac, pared
after the following recipe
2^
cane:
good
galls, of
long as a drop of the stone
is
thready.
Then
it,
split
linseed-oil are heated in a sand-bath, as
and when touched with the finger it feels first in small portions, one pound fat
added
copal varnish, and the vessel wherein the co^^al varnish
must be
because by the addition of the linseed
large,
deal of frothing takes place.
When
dries, preserves
a sufficient
it
elasticity,
is
heated
oil,
a great
required consistence
cold, the
given to the varnish by mixing
is
pre-
and colored
poured on a cold stove, does not run when
inclined, is
used to cover
is
It soon and may be applied with or
with turpentine-oil.
without addition of colors.
POLISH REVIVERS, ETC. French Polish Reviver. — >2 spirits
of
of camphor, 2 ozs. vinegar,
spirits
it
linseed-oil,
oz.
i
of antimony, )( oz.
of hartshorn.
Another.
Let
^
pint
oz. butter
—
stand
i
till
lb.
of naphtha, 4 oz. of shellac, y^ oz oxalic acid.
and add
dissolved,
3 ozs. linseed-oil.
Furniture Reviver. — Pale varnish and
wood
si)irits,
linseed-oil,
of each 5 ozs.
Furniture Cream. — i.
Cut
Mix
in small
raw,
10
lac
oz.;
well before using.
pieces a quarter of a
pound of yellow wax, and, after melting it, add an ounce of well powdered colophony, which is a black resin or turpentine boiled The wax and colophony bein water, and afterwards dried. ing both melted, pour in, by degrees, quite warm, two ounces of oil
When
or spirit of turpentine.
pour
it
into a tin
The method well dusted
the whole
or earthen pot, and keep
of applying
and cleaned,
it
to the
is
by spreading a
furniture,
is
thoroughly mixed,
covered
for
use.
which must be
first
it
little
of this composi-
on a piece of woollen cloth, and well rubbing the wood with and in a few days the gloss will be as firm and fast as varnish. add grad2. y^ lb. of beeswax melted in an earthenware pot ually i^ pint tnrpentine, colored with i^ oz. alkanet root add
tion it,
;
;
UPHOLSTERERS AND FURNHURE MEN. i^ pt. linseed oil
mix
;
Note
bottles for use.
Should be kept
well.
—This cream
97
wide-mouthed
in
should not be used on newly-
polished furniture.
Furniture Paste. — If
required to keep the
is
it
pound of beeswax
natural color, scrape a quarter of a
Linseed
pint of turpentine.
When
cool the
wax
pound of white wax, and an hour
sinniier for half
on the
will float
and with hot water worked
its
darken the wood.
oil will
Six ounces of pearlash in a (juarter of a
one quart of hot water;
wood
into half a
in
a pipkin.
which must be taken
top,
off,
into a paste.
Equal parts of beeswax,
spirit
and linseed
turpentine,
of
oil.
Melt well together.
Four ounces of beeswax, ten ounces of turpentine, alkanet root Melt together and strain.
to color.
To Make Furniture Paste.— Scrape
two ounces of add as much spirits of turpentine as will moisten it through. At the same time, powder an eighth part of an ounce of resin, and add to it, when dissolved to the
beeswax
into a pot or basin
much Indian
consistence of paste, as
mahogany
color.
Stir
then
;
and
up,
it
it
red
will
as, will
be
fit
oz.;
stirring,
yellow soap,
and add boiled
Soft water,
i
laid
gallon
water,
oz.;
and
oil
soap, 4
;
and add
Boil together,
2
2 oz.
oil
oz.;
50
it
to a
deep
Cream.— Yellow
Several Receipts for Furniture wax, 4
bring
for use.
oz.;
boil,
with constant
of turpentine, each 5 oz.
white wax, in shavings,
pearlash.
To
on with a paint brush, and polished
i
lb.
be diluted with water,
off with a
hard brush or
cloth.
Wax, add 4
3
pearlash,
oz.;
oz. boiled oil
and
2
oz.;
5 oz.
of
water 6 spirits
oz.
Heat
together,
and
of turpentine.
beeswax (genuine) 6 oz.; mix with and add sufficient water to reduce it to the consistency of cream for use add more water, and spread it on the wood with a painter's brush, let it dry, and polish with a hard brush or cloth. Beeswax, 3 oz pearlash, 2 oz.; water, 6 oz.; mix with heat, and Pearlash,
i
oz.;
oil,
4
water, 8 oz.;
heat,
;
;
add boiled
oz.;
turpentine
(oil) 5 oz.;
mix.
PRACTICAL INFORMATION FOR CABINET-MAKERS,
98
White Furniture Cream.— with
following receij)!
the
the vinegar must be mixed with the linseed-oil by degrees, and the
The
bottle well shaken up.
added, and well mixed.
methylated
spirit,
spirit
of antimony must afterwards be
ounces of raw linseed
Six
three ozs.
oil,
three ozs. white wine vinegar, half an ounce of
butter of antimony.
GLUE.
—
Glue. Glue is prepared from waste pieces of skin, horns, hoofs, and other animal offal. These are steeped, washed, boiled, strained, melted, reboiled and cast into square cakes, which are then dried. The strongest kind of glue is made from the hides of oxen that ;
from the bones and sinews
Good
stronger the glue. strong, dark spots,
and of a
clear
little
or
amber
no
older the aninnil the
transparent, free from
The
smell.
taminated with the lime used
transparent
sometimes con-
removing the hair from the skins
for
The
black or cloudy
sorts are
best
Inferior kinds are
color.
of which they are made.
The
weaker.
glue should be hard in the cake, of a
color, almost
and with
is
best glue swells considerably (the
more the better) when immersed in cold water, but does not disand returns to its former size when dry. Inferior glue made
solve,
from bones,
however, dissolve almost entirely
will,
To Prepare Glue. — To broken up into small will
cover
it,
for
pieces,
cold water.
j)repare glue for use
and soaked
about twelve hours.
It
in as
much
be taken to keep the outer vessel
full
should be
it
cold water as
should then be melted
a double glue pot, covered to keep the glue from
shall not burn, or
in
of water, so that
be brought to a temperature higher
allowed to simmer
in
Care must
dirt.
the glue
tlian that
of
two or three hours, then gradually melted, so much hot water being added as
boiling
will
water.
make
it
The
licpiid
glue
enough,
is
just
to run off a brush in a
stream, without ];reaking into drops.
some is
l)oiling
put away.
for
When
water should be added to
Freshly-made glue
is
the glue
make
it
is
continuous
done
with,
very thin before
it
stronger than that which has
UPHOLSTERERS AND FURNITURE MEN.
Too
been repeatedly melted.
made
l)e
the
same
bruising
in
by softening
it
several times,
pure glue
and
water, filter,
in cold water,
retained in the bag,
is
impervious
it
in
little
a linen bag beneath
quantity of methylated
By doing
and the soluble
impurities
122° without
be obtained.
bichromate of potash
moisture after exposing to the
to
with
it
color, then
impurities will be retained by the
colorless solution of glue
addition of a
washing
softened glue be heated to
some other
filtered,
and a
The
it
no longer gives out any
quantity of water at 66° Fahr.
If the
through.
jiass
till it
with the hand, and suspending
it
the surface of a large this the
large a quantity should not therefore
Glue may be freed from the foreign animal
at a time.
matter generally
99
will
spirits
greatly
will
render glue
light,
and a small
improve
keeping
its
qualities.
Mixing Glue. — A minimum good work, and
in
surfaces of the
wood
amount of glue should be used
The
should be applied as hot as possible.
it
to be united should
be clean, dry, and true;
they should be brought together as tightly as possible, so that the superfluous glue
is
glue, or the force
The
strength of
increased by the addition of a
ter
of a piece of solid
required to separate one square inch,
thousand pounds. is
The cohesion
squeezed out.
the glue the greater
its
common
powdered
little
cohesion
;
chalk.
therefore in
all
four
is
glue for coarse
work
The
hot-
large
and
long joints the glue should be applied immediately after boiling.
Glue
much
loses
therefore,
which
strength by frequent re-melting
of
its
is
newly made,
is
much
;
that glue,
preferable to that which
has been re-boiled.
Glue Pot. — A
glue pot recently perfected consists of a
cir-
made of tin, resting upon a tin bottom 8j4 The lamp is fitted with a tin chimney in place
cular kerosene lamp,
inches in diameter.
of glass, and fitted with a small aperture, covered with mica, so as to see
how
to
regulate the flame.
The
glue pot
is
made
of cop-
on the inside and supported upon a rim setting up inches from the bottom of the lamp, the rim supported I)y
per, tinned
about
six
three legs, soldered
and riveted
to the rim
and bottom of lamp
rest.
PRACTICAL INFORMATION FOR CABINET-MAKERS,
lOO
The
pot in which the bottom
phiced has a portion of the bot-
is
tom arched, to give more heating surface, and connecting with the chamber under the pot is a flue, passing out and up alongside of the pot, which carries off any smoke from the lamp, and also acts This pot is five inches in diameter, and as a draft to tiie flame. about in
set
six
inches high.
the
same it,
and
still
glue
reception of the
for the
The whole can be
quart of glue.
wish to use
The pot
an ordinary glue
as
|)0t.
and
is
hokl about a
will
carrcd to an\- place where you
have the heat kept up.
The
cost of oil
is
but a few cents a week.
Another improvemeiU will
is
in the
pot being of copper, tinned.
not corrode and spoil the glue, as
is
French cabinet-makers use a glue pot
It
the case with iron.
with an inside pan
made
of glazed earthenware and divided radially into three divisions,
one of which third
kc])t
is
strong
glue, in another weaker,
and
in
the
in
water only, with a brush or piece of sponge for cleaning off
superfluous glue fiom the work.
A
lew holes bored near the top of the inner vessel of a glue
i)ot
by admitting steam from the outer vessel will prevent the glue from solidifying on the side. They need not be bored round the whole circumference of the
i)Ot,
to allow of
pouring out the glue
if
necessary.
To Prevent Glue Cracking.— Glue because of the dryness of the
The
in
quescent
salt that
from cracking.
it
attracts
frequently cracks
rooms warmed by
addition of chloride of calcium to glue
greeable property of cracking.
will
stoves.
prevent this disa-
Chloride of calcium
is
such a
deli-
enough moisture to prevent the glue will adhere to glass, metal, etc., on labels without danger of their drop-
Glue thus prepared
and can be used ping
air
for putting
off.
Strong Glue to Resist Moisture.— Dissolve gumsandarac and mastic, of each a (|uarter of an ounce, of a i)int of
sjiirits
clear turpentine;
in
a quarter
of wine, to which add a quarter of an ounce of
now
take
strong glue, or that
has been dissolved; then, jtulting the gums into
in
a
which
isinglass
double glue-pot,
UPHOLSTERERS AND FURNITURE MEN. add by degrees the glue, constantly whole is well incor[)orated; strain
You
ready for use. half an
maj'
ounce of very
now
stirring
return
it
to the
finely-[)owciered glass
hard and dry, immerse
it
over the
fire till
through a cloth, and
it
you join two pieces of wood together with fectly
it
lOI
glue pot, and
use
;
the it
quite hot.
it
is
add If
you may, when perwater, and the joint will not
in
it,
se[)arate.
—
Glue niilk
add
to Resist Moisture. To two quarts of skimmed pound of the best glue melt them together, taking
half a
;
care they do not boil over, and you
which
will resist
damp
Portable Glue. very clear
;
thick
then pour
;
it
have a very strong glue,
or moisture.
—
boil also four
glue-pot, with half a
will
Boil
one pound of the best
ounces of
pound of
isinglass
brown
fine
put
;
sugar,
into plates or moulds.
glue, strain
it
double
boil
pretty
and
When
it
into a it
cold you
may
cut and dry them for the pocket.
This glue
is
very useful to draughtsmen, architects,
immediately dilutes
in
warm
and
water,
fastens
etc., as
dampening; or, it may be used by softening and applying it to the paper.
the process of the mouth,
it
the paper without it
in
MISCELLANEOUS RECEIPTS. To Raise Old Veneers. — First, boiling water, and, with
then place with
it
common
make
the
oil
before the
and
it
fire,
cloth,
or heat
linseed-oil, place
it
it
will
then,
wash the surface with remove dirt or grease;
with a caul
again to the
penetrate quite through
glue underneath; chisel,
a coarse
tire,
;
oil
its
surface
and the heat
the veneer,
and
soften
while hot, raise the edge gently
will
the
with a
separate completely from the ground; be careful
not to use too great force, or the work will be spoiled.
Again,
should get cold during the operation, apply more
and heat
oil,
if it it
Repeat this process till the veneer is entirely separated, then wash off the old glue and proceed to lay it again as a new-
again.
veneer.
PRACTICAL INFORMATION FOR CABINK l-MAKERS,
102
To Take Out Bruises in Furniture.— Wet with
warm water
soak
it,
and
lay
the moisture
;
it
double a piece of brown paper
on the place
with
warm
keep
;
it
water,
till
will
be
be small, merely soak
If the bruise
raised level with the surface. it
flat-iron
be not gone, repeat the
After two or three applications, the dent or bruise
process.
face
apply on that a hot
;
If the bruise
evaporated.
is
the part
five or six times,
and apply a red-hot poker very near the
sur-
continually wet, and in a few minutes the bruise will
disappear.
To Make Paste To
a
for Laying Cloth or Leather.—
best wheaten
of the
i)int
dered, about two large spoonfuls
mix them
all
well
add
flour
together, put
them
into a pan,
grees soft or rain water, carefully stirring sistence of thinnish fire,
keeping
When
right in
it,
bottom,
constantly
it
of a
it is
it is
for
it
stiff"
use
it
it
is
it
it
burn
if
over
that
stirred,
jjiece
flat
the con-
of
is
it
may
it
till
it
Be
careful
not
to stir
not well attended
get
lumjjy.
well
it
Empty
to.
from the
it
out into
on the
cold, to [jrevent a skin forming
lumj^y.
very superior for the
for cloth or baize,
with a
;
into a saucepan over a clear
it
[lurpose.
and adhesive.
To
spread the paste evenly and smoothly on
the top of the table, and lay the cloth on ing
till
powder
and add by de-
consistence, so that the spoon will stand up-
which would make
This paste
put
;
done enough.
will
a pan and cover top,
cream
very finely pow-
resin,
of alum, one S[)Oonful, in
;
of
wood;
let
it
the edges close to the cross-banding.
it,
pressing and smooth-
remain If
till
you cut
dry; then trim it
close at
first,
and look bad where it meets the banding If used for leather, the leather must be first previously all rountl. dam|)ed, and then the paste spread over it; then lay it on the table, and rub it smooth and level with a linen cloth, and cut the edges close to the banding with a short knife. Some lay their table cover with glue instead of paste, and for cloth perhaps it is it
will, in
the best
drying, shrink
method
run through.
;
but
for leather
In using
it
it
is
not proi)er, as glue
for cloth, great care
is
apt to
must be taken that
the glue be not too thin, and that the cloth be well rubbed
with a thick piece of
wood made
hot at the
fire,
for the glue
down soon
UPHOLSTERERS AND FURNITURE MEN.
By
chills.
this
method, the edges may be cut
103
oti'
close to the
border at once.
Cements for Stopping Flaws in Wood.— Put
any
made
with
quantity of tine sawtlust of the
same wood your work
is
and pour boiling water on it, stir it well, and week or ten days, occasionally stirring it; then boil it for some time, and it will be of the consistence of pulp or paste; put it into a coarse cloth, and squeeze all the moisture from Keep for use, and, when wanted, mix a sufficient quantity of it. into an earthen pan, let
it
remain
thin glue to
for a
make
it
into a paste; rub
it
well into the cracks, or
up the holes in your work with it. When quite hard and clean your work off, and if carefully done, you will scarcely
fill
dry, dis-
cern the imperfection.
Mahogany-Colored Cement. — Melt beeswax and half an ounce of Indian
two ounces of and a small quantity of
red,
yellow ochre, to bring the cement to the desired color
a pipkin
for use.
Cement ounce;
an ounce; and pitch,
mixture some very fine
it
will
keep
in
it
together halt
brickdust to give
it
a body.
When
one
beeswax,
an ounce;
stir
in the
If too soft,
nearly cold,
make
be found very useful for fastening any piece of
wood
resin;
too hard, more wax.
if
up into cakes or I'his
— Melt
for Turners.
resin, half
add more
;
*
rolls,
on the chuck, which the chuck and
it
will
is
which keep
done by applying the
adhere with
Tracing Paper. — A mixture of six parts
for use.
spirits
good
roller of
cement
to
sufficient force.
firm
tissue
jjaper
washed with a
of wine^ one of resin, one of nut
oil.
Apply with a sponge.
— Canada balsam and
Another.
a varnish which,
answer
must be
well.
if
If
turpentine, equal parts, will
make
applied to one side of a good thin paper, will
it is
meant
to take
watercolor, a coat of ox gall
laid on.
Another.
— Dissolve a piece of white beeswax, about the
size
of a
walnut, in half a pint of spirits of turpentine; then, having pro-
cured some very
fine white,
woven
tissue-paper, lay
it
on a clean
PRACTICAL INFORMATION FOR CABINET-MAKERS,
i04
dipped
board, and, with a soft brusli
and then turn
side,
in
it
a place free from
dust, to dry.
hjuid, go over one
to the
It will
hang
otlier;
be ready
for use
a small quantity of resin, or use resin
Some add
days.
and apply
over,
this
in it
m
it
up
a few
instead of
wax.
Mounted Tracings.— Tightly strain board, by means
damp
ably good quality, but do not
mentioned.
after
across an old drawing-
of tacks slightly driven, a piece of cotton of toler-
has not been used
Work
the
it,
last in well
except with paste, as herewith a painter's brush that
any other purpose.
for
It
is
advisable to soak
the brush, before using, for a few hours in cold water, so as, by expansion of the handle and constriction of the cordage, to tighten
the hairs, and prevent them coming out with the paste. Paste also the back of the tracing, and, obtaining the assistance of another person, hold it by the corners over the strained fabric, allowing it to sag well,
come
and lower
gently until the middle of the tracing
it
into contact with the celico, after
neously lay
down each
dabbed with a clean
first
which gently and simulta-
The tracing may now be gently commencing at the middle, and work-
corner.
cloth,
ing out the blisters to the edge.
A
needle
may sometimes be
used with advantage to puncture small holes and set free the air in some of the obstinate blisters but do not trouble to remove them ;
all,
as the smaller ones will quite disappear in drying.
Do
not rub
wet without the intervention of a sheet of large Allow the tracthin lining paper, such as is used for lining walls. ing to dry gradually on the board without fire heat, and do not remove it until thoroughly dry. Draw on the scale before mountthe tracing whilst
that
ing, so
ing,
it
be always
may, by contracting and expanding with the drawThe tracing, when mounted, presents a better
true.
surface for coloring than before.
The board should be cleaned
before using.
Cracks in Drawing Boards.— The used
in
stopping
the above
chalk,
worked up
board
in a soft state,
paper.
to
the
is
a cornjjosition
material generally
made
of glue and
consistency of putty, and applied to the
allowed to dry, and smoothed off with sand-
UPHOLSTERERS AND FUKNl'lURE MEN.
To Temper
Tools.
— The
uniform throughout; uideed, pered rather too hard than at
any time
best
plunge
it
out, rub
it
;
when
to these directions, it
in his
If a
power
saw
When let
little
to give a proper
may
it
sur-
it
gets
then
;
is
the
cool.
If
repeat the process with-
off,
plunge
sufficiently hot,
it
By a proper every workman
practice,
temper
its
that it
and vinegar mixed.
and a
too hard,
is
it is
surface
its
and
the tallow,
and,
till
the steel assumes a straw
turn blue.
it
wipe the grease
spring-water, or water
If
yourself, the
minutes,
which rub till
soft,
should be too
out the tallow
let
again with
it
a few
for
there
it
color; but be careful not to case, take
reduce the temper.
quantity of lead to immerse the
melted lead
and keep
in again,
it
will
Having previously brightened
melt a candle, with
sufficiently hot to
plunge
use
soft, for
in.
into the
it
of the steel should be
quality
always better to have them tem-
to melt a sufficient
is
cutting part of the tool face,
is
necessrry to perform the operation
it is
method
it
105
to
the tools he
into cold
attention will
have
may
be tempered by the same means
use. ;
but
would be not only expensive, but in many cases impossible to do it at home, a plumber's shop is mostly at hand, where the process may be repeated when they are melting a pot of lead. But as
it
here observe that the temper necessary
is
different to other cutting
you must wait till the steel just begins to turn blue, which is a temper that will give it more elasticity, and, at the same time,
tools
;
hardness.
sufficient
Hardening Tools. — A chanic
says
:
cutting tools.
ened
in
Mercury
The
mercury,
made from to a
"
tools from
cut
steel
communication
the
best steel,
will
ordinary
deep straw
is
best
when forged
hardened
to cut
peditious
way
it
is
to
tlie
mark
shape and hard-
I
in
mercury."
Steel Scrapers.— Part
into
Mesteel
comparative ease with cutting
broken saw makes the best scrapers difficult
hardening
have seen articles which have been hardened and tempered
tool steel,
To Cut Good
into
almost anything.
color, turned with
good
to the English
liquid for
;
but, as
required form. it
it
The
of the blade of a is
hard,
best
it is
very
nnd most ex-
out to the size wanted, and then to
place the blade or steel plate in a vise whose chaps shut very close,
PRACTICAL INFORMATION FOR CABINK I-.MAKERS,
lo6 placing
tlie
mark even with the
cut to waste above the vise,
and the
face of the vise,
part to be
com-
with a cohl-chisel, or a
'i'hen
mon
steel-firmer that lias
vise
and rather inclined upwards, begin at one end of the steel and w ith a sharp blow of the hammer it will cut it. Keep
its
broken
basil
holding
off,
it
close to the
plate,
going on by degrees, and you quired
;
rubbing
with ease cut
will
shape
to the
it
re-
then grind the edges of your scraper level, and tinish by it
on your Turkey-stone.
To Remedy
Saws.— Three
Circular
in
Splits
methotls Drill a small hole in the
holes about
Drill six
saw
at the
^ inch
crack, taking care that one of
bottom of the
split.
diameter, along the line of the
in
them
falls
just inside
countersink
it;
the five outer holes on both sides, and rivet nicely up with hot rivets shghtly less in
Cut a
diameter than the holes.
series of dovetails across the split,
and
cop-
insert therein
per dove-tails, which must be riveted tight by hammering on each side.
The edges
of the holes must be
dove-tail pieces
must
fit
must not be
(juite
an acute angle
to
filed
from each side of the saw, half the thickness of
and the copper
it,
long enough to
fill
the hole, but
width exactly, and of course must be well annealed,
in
and considerably thicker than the saw.
When
riveletl, file oft' level
with saw.
Brazing Band-Saws.— Good fasten, then take a small
ends,
and
in
pan of charcoal, and place
direct the flame of a
soon become red hot, sprinkle
copper,
is
:
put into solution
ot
sal
it
under the
As the ends will some powderetl borax upon them, blowpipe on
and add the solder with a piece of iron. cast in ingot and file away
solder melt
rich
brass,
Bring the two ends of the saw close together and
generally used.
ammoniac
in
it.
The way ;
collect
water,
make
the
the filings,
and
to
and so keep
until
wanted.
Saw Sharpening. — file,
three-square
point of the
file
file it is
I'o
sharpen the saw, take a triangular
called, the
handle
in
the right hand, the
between the thumb and forefinger of the
left
hand,
UPHOI.SIEREKS AND KURNllUKK MKN. apply
te)
it
operator.
front of the
llic
tiist
Let the point of the
the saw, give three or four or
tooth that
away from
leans
the
towards the point of
incline
file
107
more rubs of
the
and the point
file,
of the tooth will be sharpened, and the front brought to a sharp edge, and as the
tooth
it
have passed over the tO[) of the next down, and the point partly sharpened.
file will
also will be filed
Now
apply
the
file
wards the operator, so the handle of the saw.
to tlie
tooth
the front of this
point of the
must
file
;
it
leans
to-
incline towards
Give, as before, three or four rubs, accord-
ing to the state of the saw, and the point of this tooth will also be
sharpened, and
its
front
Go
brought to a sharp cutting edge.
on
way alternately, always remembering that when the tooth leans away from the operator the point of the file must incline to the point of the saw, and when the tooth leans towards the operain this
it must incline towards the handle of the saw. saw has been sharpened before, it will be advisable to first run the file along the top of the teeth, to bring them all to a level.
tor,
then
If the
Oiling Tools. bench-plane.s
is
— An
the bench for a short time, but the their durability
When
English authority says:
a set of
French-i)olished, they certainly look very well
or usefulness, and,
but a workmanlike appearance.
I
think,
My
plan
gives is
to
them anything knock the irons
out,
weigh them, and then drop them into the linseed-oil
and
let
them stay there a week;
again to ascertain
how
mucli
goes right to the heart of the
oil
on
French-polish does not add to
I
then take and weigh
they have absorbed.
jjlanes,
and
as
it
sets
it
barrel,
them
The
oil
makes them
and they may be dej^ended upon for kee[)ing their shape. Rubbing them over every dinner hour for a week or two will give them a beautiful surface, and they will not show scratches or dents
hard,
as they
would
if
they were French-polished.
—
To Mark Tools. Coat over the tools with a thin layer ot wax or hard tallow, by first warming the steel and rubbing on the wax; warm until it flows and let it cool. When hard, mark the name through the wax with a graver and apply some aquafortis (nitric acid); after a few moments wash oft" the acid thoroughly
PRACTICAL INFORMATION FOR CABINET-MAKERS,
Io8 witli
water,
warm
metal enough to melt the wax, and wii)e
ilie
off with a soft rag.
The
he found etched into the
letters will
Varnish for Tools. — Take
2 oz. tallow,
resin
oz.
i
it
steel.
melt
;
together and strain, w hile hot, to remove the specks which are in
Apply
the resin. will
keep
coat
a slight
on
the
tools with a brush,
and
it
off the rust for an\- length of time.
Boiler Incrustation. -The
following remedies have been
used, with varying success, to prevent the incrustation of boilers. 1.
weight one-fiftieth part that of the water, pre-
Potatoes, in
vents the adherenc'.; of scale. 2. 12 parts of salt, zy^ parts of caustic soda, y% part of extract of bark, i^ part of potash.
3.
Pieces of oak-wood suspended
the
in
boiler
renewed
and
'monthly. 4.
ounces of muriate of ammonia
2
5.
A
6.
12^
the boiler twice a week.
in
coating, consisting of 3 parts of black-lead and 18 parts of tallow, applied hot to the inside of the bo'ler every few weeks.
of molasses, fed
lbs.
prevented incrustation for 7.
Mahogany
or oak
six
into an 8-horse boiler at intervals,
months.
saw-dust
small
in
Use
quantities.
this
with caution, as the tannic acid attracts iron. 8.
Carbonate of soda.
Non-Conducting Covering for Steam Pipes.— Sawdust mixed with
flour
conducting covering
for
should be stirred
in.
and water
into a thick
made into a very The adhesion of
with
it
is
])aste,
this
composition
necessary to wash them
|)otter's
clay, until
sawdust and paste
will
a small trowel
all
is
it
forms a
first
thin
adhere firmly. that
is
It
necessary.
coats one-fifth of an inch thick.
etc.
is
a non-
The
flour
and then the sawdust
thin
applied on clean surfaces of wrought or cast pipes
paste
steam pipes, cylinders,
iron
coating, is
;
but on copper
clay-wash,
with a
is
when
very great
is
after
made
which the
very simple to api)ly
Lay on
five
successive
Let the pipes or other objects to
be covered be kept warm by the aid of a
little
coat be perfectly dry before applying a second.
steam, and
let
one
Should the pipes
UPHOLSTERERS AND FUKNlTUKIi MEN. be outside, exposed not necessary. cleanse
it
to tlie
open
tliem
waterproof, but
make
of coal tar to
air,
well to pass
It is
wood which
purpose.
It
much
is
coats it
is
are always to
Steam pipes so covered
known
than when covered by any other that
tliree or four
inside a building
if
sawdust through a riddle to
the
from the coarse fragments of
be found amongst sawdust.
for
give them
IO9
expensive
less
lose less heat
or patented process sold
and much more
efficient.
Wood
To Harden in the
will
prove beneficial
timber and render gear
Pulleys.
construction of friction
will slip
more
To Prevent
liable to split,
less
it
after
If
maple
is
it
number of ways.
a
in
— Soft
pulleys.
often used
is
boiled in olive-oil It
it
harden the
will
but at the same time the
such treatment.
Belts Slipping.— A
piece of rubber belting
fastened around the belt pulley of an engine will keep
the belt
from slipping.
Hasps. — A
farrier's
rasp
quantity of the material to be
is
an excellent tool
is
rough piece of wood or ivory
required to be
more convenient than the axe
a somewhat
tool
similar
for
preparing a
Where only
the lathe.
for
removed
it
will
There
or paring-knife.
a small
be found is
also
used by shoemakers which, for smaller
jobs, will be found equally efficient.
Soft Piles.
— Small
shapes not hardened,
watchmaker's
tools,
single-cut
may be met
which are
files
with at
some of
the
dealers in
useful in finishing small
articles in
hard wood, ivory, and also gold and times by
"floats" of various
or
on
jewellers for finishing,
silver
;
they are used some-
account of their leaving a
smooth surface behind them instead of a rough one, file
as a cross-cut
does.
—
Amalgam muth,
tin
Varnish. Melt together equal parts of bisand quicksilver; when melted and cooled make it into a
varnish with white of egg. of- Paris figures
It is
used for the varnishing of plaster-
and others of the
like kind.
Some people recom-
no
PRACTICAL INFORMATION FOR CABINET-MAKERS,
mend
soon becomes tarnished, but
lead, but lead
and bismuth
tin
keep bright.
will
Painting and Preserving Ironwork.— A good paint for coarse ironwork
black
may be made by mixing plumbago
with
Equal parts of asphaltum and resin dissolved in comturpentine make also a good, cheap covering for heavy iron-
hot coal-tar.
mon
For machinery, dissolve
work.
and
2
with
shell-lac, in
lbs.
any other paint
2
a
as
painted with white-lead as follows
The ironwork
:
4
is
with wire brushes
it
resin,
lbs.
may be
used
first
made
this
done,
;
the cavities and fissures are filled up with a putty of litharge,
and white-lead
linseed-oil, varnish, is
This
Wrought-iron bridges are
vehicle.
clean by scrubbing and brushing all
india-rubber,
lbs.
5 gallons of benzine.
Afterwards a paint
repeated.
of white-lead, 10 gallons of boiled
nish
crude linseed
oil,
i
paint
Rusting
is
is
consists
employed
powder and
of re-
is
with
A
also to prevent rusting.
of zinc
chiefly
lbs.
or 2 gallons
i
Galvanizing
sand.
galvanizing
being dry, brushing
applied, consisting of 300
This paint J^ gallons turpentine. sufficient!)' dry, and finally evenly overspread
and
linseed-oil,
peated when wl'.ite
this tilling
;
is
var-
oil
by rubbing the red-hot iron with Rubbing with heavy petroleum is
further prevented
wax, tallow, pitch, or coal-tar.
also well adapted for keeping ironwork clean.
Preparing Soft Solder. — riie soldering i^ oz.;
without
quicksilver,
oz.
Mix
Take
lead,
I
fire
j{
or
lamp
oz.;
block
the whole together. 1
part;
tin,
i
following
may prove tin
filing, i oz.;
Another
part; bismuth,
soft 2
directions
useful
spirits
solder for
parts;
this
for
Bismuth,
:
of
salts,
tin, etc.:
melts
in
boiling water.
To Clean
Silver Filigree.
water and cream of flannel, leave
as
good
tartar,
— Make a
thin paste with cold
spread over ornaments thickly, fold
a week, then wash off with water, and they
will
in
be
as new.
Bronzing on Metal. — The
article
must be
cleaned up, brushing with a mixture of fine pumice phuric acid, rinsed
in
pure water
and
dried.
in
chemically dilute sul-
The bronze
liquor
HI
UPHOLSTERERS AND FURNITURE MEN.
must be applied quickly and evenly with a camel's-hair brush, having first heated the article, just so as it can be held without burning the fingers.
Polishing Metals. cleaning metals
is
solved in 4 oz. water;
moistened sponge
—A
is
dipped
in
for
carbonate of
oz.
i
polishing and
ammonia
dis-
mixed i6 oz. Paris white. A the powder, and rubbed lightly over which the powder is dusted off, leav-
with this
the surface of the metal, after
compound
useful
composed of
is
ing a fine brilliant lustre.
Imitation Marble.
— Mix
i
lb.
finely-powdered lime into a
and add 3^ lb. of colophony, or, what is Allow the mixture to stand for some better, Venice turpentine. time, and then work up w-ith it suitable cjuantities of fine white chalk and various colored earths, adding a few drops of olive oil A soft mass is thus obtained, which can be moulded, if necessary. thick
like
paste with
water,
plaster-of-Paris,
any desired form, or
to
it
can be rolled out
on a warm metal plate, or passed under wooden rollers, into thin sheets, which can be glued to the surface to be decorated, like
ordinary veneers, and
Any
left
to harden.
It
that appear
good surface. some of the composition mixed with position will keep fit for use for some cavities
oil
hardens and takes a
must be
filled
time,
if
up with
The com-
of turpentine.
covered with a
damp
cloth while moist.
To Polish Marble. — It
sometimes happens that the cab-
inet-maker has a table top of marble to remount, which
and requires re-polishing.
The
following
is
is
scratched,
the j^rocess used by the
willj therefore, be acceptable in a work like the present. With a piece of sandstone with a very fine grit, rub the slab backward and forward, using very fine sand and water, till the marble
mason, and
appears equally rough, and not
in scratches;
next use a finer stone
gone over; then, emery-powder and a piece of felt or old hat wrapped round a weight, rub till all the marks left by the former process are worked out, and it appears with a comparative gloss on its surface.
and
with
finer sand,
till
its
surface appears equally
fine
Afterward
finish the polish with
putty-powder and
fine,
clean rags.
PRACTICAL INFORMATION FOR CABINET-MAKERS,
112
As soon as powder on pear as
if
fresh
Another.
good gloss, do not put any more and in a short time it will ap-
the face appears of a
the rags, but rub
it
well,
from the mason's hands.
— Make
and vigorously rub
a thick i)aste with rotten-stone and olive the marble with
on a
it
To Polish Black Marble. — Wash and
and when dry rub
water,
warm soap
with
it
well with furniture paste or
it
To Clean Marble. — Mix for twenty-four hours
water, and
it
;
the
then clean
let
The
with
soap-lees
on the stone,
lie
it
and wash
off,
it
appear as new.
will
strongest
milk;
French
After one or
and then rub it with an old silk handkerchief. two trials it will become quite bright.
polish,
quicklime to the consistency of
oil,
cloth.
polish
etc.,
soap and
w-ith
will
require to be
gill
of turpentine,
renewed by the process given above. Another.
— Mix with y^
pipe
sufficient
clay
rather thick paste. after a
Apply
day or two, when quite second or third time
carefully
wash
To Clean and
the picture
is
fresh
after
;
the process soft
till
sjjonge,
linseed-oil.
— Wash
very dirty, take it
a soft rag.
quite clean. spirits
of
salt
with a sponge or a soft leather a
it
;
handkerchief.
silk
out of
it
quite wet, lay
wet for two or three days one
is
off.
When
frame, procure a clean
its
on the face of the
from time to time with clear
it
off with
it
Stains on Marble.— Apply
Pictures.
making
towel, and
a
the marble
till
and dry by rubbing with
water,
sprinkling
rub
dry,
this a
To Remove and
^
pint of soapdees,
and bullock's gall to make the whole into a Apply it to the marble with a soft brush, and
soft
take the cloth off
water;
let
and renew
picture,
it
it
remain with a
wiping the picture with a clean wet sponge, repeat
all
and
the dirt let
Spirits of
it
is
soaked out; then wash
get dry
;
rub
it
wine and turpentine
with
may
some
it
well with a clear nut or
be used to dissolve
the hard old varnish, but they will attack the paint as well as the varnish
if
the
further
action of the spirits
proper time by using water
freely.
is
not stopped at the
UPHOLSTEPERS AND FURNITURE MEN.
Cleaning Varnished Pictures where the above simple process
will
—
I3
I
There are conditions
not accomplish what
re-
is
where a thick coating of varnish has been applied to the picture, and it has been hung in a smoky room, and dust and dir^: quired
;
has been allowed lights will
be
perhaps the figures
sky
will
Under these removed or the smoke and
foreground very indistinct.
in the
must be
conditions the varnish dirt
and remain; then it is that no high be dirty, no distance visible, and
to gather
visible, the
either
must be brought out of the varnish.
to try the latter, the following receipt will
purpose
:
wood
2 oz.
naptha,
If
oz. spirits
i
it
is
thought desirable
be found valuable
for the
of salts, y^ pint of lin-
seed-oil.
Mix It
the above well together,
can be used as follows
and before using shake the
Get some
:
soft
linen rag,
mouth of the bottle when commence rubbing the motion, and when nearly dry again give the of mixture, and continue this mode of prowhen the picture will gradually come out in
a soft pad, which place on the
some of
the mixture
picture with a circular
pad another dressing cedure for some time,
bottle.
and make up and shake up
the pad,
into
all its detail.
Cleaning Engravings. board, cover
it
lemon
upon the
juice
thinly with
— Put
common
salt
smooth
the engraving on a
salt finely
powdered.
Squeeze
so as to dissolve a considerable portion
end of the board so that it may form an angle of Pour on the engraving boiling water from about 45 or 50 degrees. a tea kettle until the salt and lemon juice be all washed off The engraving then will be perfectly clean and free from stains. It must be dried on the board or some smooth surface gradually. If of
it;
elevate one
dried by the
fire
or the sun
it
will
be tinged with a yellow color.
Cleaning Engravings. — Presuming proceed
in the following
perfectly clean knife
;
manner:
Cut a
these to be mounted,
stale loaf in half, with
pare the crust away from the edges.
place the engravings on a perfectly
flat table,
a
Now
and rubbing the
sur-
face with the fresh-cut bread, in circular sweeps, lightly but firmly
performed, will remove
all
superficial
markings.
Now
soak the
prints for a short time in a dilute solution of hydrochloric acid, say
PRACTICAL INFORMATION FOR CABINET-MAKERS,
114 I
part acid to loo of water,
and then remove theni
into a vessel
containing a sufficient quantity of clear chloride lime water to cover
Leave them there until bleached to the desired point. remove, rinse well by allowing to stand an hour in a pan in which a constant stream of water is allowed to flow, and finally dry ofif by spreading on clean cloths. Perhaps the sheets may require them.
Now
ironing between two sheets of clean i)aper.
To Smooth a Damaged times get convex and concave
— Paintings
Picture.
some-
patches on their surface, owing to
pressure on one side or the other, and these inequalities cause a
The most
great deal of trouble to bring out.
well wet both sides of the picture on the
pressure to take
way
and keep
it
is
to
under
With small pictures the quickest way would be stretclier and lay them in a press, with a light
dry.
till
them
successful
si)Ot,
off the
pressure between soft sheets of paper.
Embossed Gilding figures scrij^s,
and is
letters
performed with
shell
the characters
may be drawn
nacum made
in
almost drv
;
they
water,
may
for
of
the enibellislunent of inanu-
gold tempered with
gum water; or gum amma-
with a milky solution of
and gold
leaf applied
upon them when
again be sufficiently moistened for receiving
the gold by breathing on
paper or i)archment
for Illuminating.— Gilding
on pai)er and
Letters raised from the surface,
them.
in the
manner of embossed work, such
seen on ancient manuscripts,
may
be formed either by
if
as are
friction
on a
proper body with a solid piece of gold, or by leaf gold.
The former method with strong
when they ])olishing,
The
gum
is
practiced by tem|)ering pulverizers' crystal
water, and with
paste forming the letters
and the letters will appear as if gilt with burnished gold. formed with an embossed figure, either of the separor of whole words cut in steel, and each letter of these
letters are
ate letters
stamps when they are used, fill
this
are dry, they are rubbed with a piece of solid gold as in
is
oiled
evenly with a feather.
these concave letters with the above ])aste,
in a
and
strike the
Then stamps
perpendicular direction on the paper or vellum laid on sheets
of soft paper.
UPHOLSTERERS AND FURNITURE
When
the embossed letters are formed with leaf gold, the follow-
ing or a similar composition must be used.
of eggs
with as
much
consistence of paste
vermilion as
use
;
this
stamps as before, and when the
tlie
almost dry cover the
is
Thicken beaten whites
necessary to give them the
is
are dry moisten them by a small pencil
when
I15
^lEN.
letters
water, and
with leaf gold, })ressing
letters
them with cotton wool
close to every part of
gum
strong
witli
Gold for Illuminating. — Procure
when
;
a book
it
dry, burnish.
of leaf gold,
take out the leaves gently and grind them in a mortar with a piece
of honey about the size of a hazel-nut, until
it is
thoroughly
inter-
mixed with the gold, then add a little water and re-work it; put the whole into a vial and shake it well. Let it remain an hour or two, and the gold will deposit at the bottom of the vial.
Pour
the liquor,
oft"
make
sufficient to
When
it
and add weak prepared gum
in its
stead;
flow freely from the pen or camel's-hair pencil.
required for use, shake
it
occasionally.
To Stain Horn in Imitation of Tortoise Shell.— Mix an equal lees, lay
it
quantity of quicklime and red lead w'ith strong soap
on the horn with a small brush,
mottle of tortoise-shell
when
;
dry, repeat
it
in
To Stain Ivory or Bone Red. — Boil cloth in water, tracted
;
a
little
and add by degrees roach alum,
through a linen cloth.
it
(nitrous acid) diluted with out,
it
Be
mind. let
and put
it
and
ness on liquid, v\-ith
its
twice
into your scarlet
its
dye
if
too
long
in
it.
you observe the acid has
is
in
ex-
then
aqua-
quantity of water, then the color
till
surface, take
it
Try
just
is
first
with a
caused a
trifling
it
out immediately, and put
which must be warm, but not too
these
the color
will clear the color;
to
your
careful not to let your aquafortis be too strong; neither
your ivory remain
ivory,
shavings of scarlet
till
Steep your ivory or bone
strain fortis
take
jiearlash
now added,
imitation of the
two or three times.
cautions, will enable
you
hot.
A
it
slip
of
rough-
into the red
little
practice,
to succeed according to
your
wishes; cover the places you wish to remain unstained with white
wax, and the stain ivory of
its
will
not penetrate
natural color.
in
those places, but leave the
PRACTICAL INFORMATION FOR CABINET-MAKERS,
Il6
To Stain Ivory or Bone Black. — Add tity
of nitrate of silver (lunar caustic) three times
and steep your ivory or bone in it hour, and expose it to the sunshine
take
;
any quan-
to
bulk of water,
out again in about an
it
to dry,,
its
and
it
be a perfect
will
black.
To Stain Ivory or Bone Green.— Steep a solution
ut
verdigii.-^,
hal-aniniuniac
and weak
your work
proportion ot two parts of the former to one of the
mentioned
careful to use the precautions
To Stain Ivory, according to the
etc.,
})rcvi()us
Blue.
process,
—
in
aquafortis, in the latter,
for staining red, as
bemg
above.
Stain your materials green
and then dip them
in
a strong
and water.
solution of pearlash
To Stain Ivory,
Yellow.— Put
etc.,
your ivory
in
a
and keep the whole some time nearly boiling; then take them out and mimerse them in a hot mixture of turmeric and water, either with or without the addition of French berries; let them simmer for about half an hour, and Ivory or bone should dry your ivory will be of a beautiful yellow. strong solution of alum
very gradually, or
in
water,
or crack.
will split
it
To Soften Ivory. — Slice and put ivory;
it
let
a quarter of a i)ound of mandrake,
which put your
into lialf a ])int of the best vinegar, into
the whole stand in a
warm
place for forty-eight hours,
Avhen vou will be able to bend the ivory to \our mind.
To Bleach Ivory. — Take
a double
handful of lime, and
by sprinkling it with water; then odd three pints of water, and stir the whole together let it settle ten minutes, and pour Take the ivory, and steep it in the limethe water into a pan.
slake
it
;
water for twenty-four hours, after whi( h boil
water one hour, and dry
it
in
it
a strong alum-
in the air.
Artificial Ivory.— Two
parts of
caoutchouc are dissolved
36 i)arts (M" chlor4
of chip
lb.
and apply
it
of logwood, boil
i^ oz. of copperas
;
strain
of rusty steel filings; with this go over the work
a second time.
Brown by boiling
Stain. i
part
— Paint
catechu,
over the
wood
with a solution
cutch, or gambier, with
made
30 parts of
water
and a litde soda. This is allowed to dry in the air, and then the wood is painted over with another solution made of
I
part of bichromate
of potash and 30 parts of water.
By
PRACTICAL INFORMATION FOR CABINET-MAKERS,
125 a
mode
ditTerence in the
little
of treatment, and by varying the
strength of the solutions, various shades of color these materials, which will be permanent,
may be
and tend
given with
to preserve the
wood.
Red
stain.
—
i.
Take
water, boil 3 hours with
i
i
lb.
wood
of Brazil
oz. of pearlash,
brush
it
to
gallon of
i
hot on the wood,
and while hot brush the wood with a solution made with 2 oz. of alum in i quart of water. 2. An infusion of Brazil wood in stale urine, in the proportion of a pound to a gallon for wood to be laid on when boiling hot, and should be laid over with alum water ;
before
dries.
it
may be
Or, a solution of dragon's-blood in
Red
Stain for Bedsteads and
Archil will produce a very good stain of if,
after
dry, will
spirits
of wine
used.
Common
itself
one or two coats being applied and
it is
suffered to get almost
brushed over with a hot solution of pearlash
improve the
Chairs.
when used cold; but in water,
it
color.
Walnut stain. Vandyke brown, 2^
— Water, oz.;
i quart; washing soda, i^ bichromate of potash, i^ oz. Boil
10 minutes, and apply with a brush,
in either
hot or cold
state.
oz.;
for
IISTDEX. Anti-attrition, 122. Belts, to prevent slipping, 108. Black stain, 127. Boiler incrustation, 108.
Bronzing,
Fillers, 23.
cherry, 25. light-wood, 24. oak, 25.
rosewood,
54.
inlaid work, 127. on metal, no.
Brown
25.
sizing, 25.
stain, 127.
Bruises in furniture, to take out, 102. Brushes lor varnishing, 29. Cane-chair bottoms, to restore elasticity, 118.
walnut, 24. Finishing, 20. processes of,
22.
varieties of, 31. dead-finish, 32.
ebony finish, 33. French polishing,
Carbon-paper, to make, 118. Carpets, to clean, 118. to destroy moths in, 118. Carving, reeding etc., 18.
34.
varnish
for aquariums, 118. for china, 117. for glass, 117. for joining leather, 117. for leather and wood, 117 for stopping flaws, 103. for turners, 103. Circular saws, to remedy splits in, 106.
liiiish, 33. finish, 33. finish, imitation, 33. flowing, 30.
wax wax
Cements
Color harmony in grained work, 67. Colored woods, metals, etc., 11. Colors for outlines of ornaments, 66. Colors, to mix, 66. bufi", 66.
Floors, to polish, 120.
Framing work,
ii.
French polish, 34, 36. French polishing, 31. Furniture cream, 96. Furniture paste, 97.
General remarks on designs
for
cabinet work,
Gilding, 47. Gilding, burnish, 51 applying the size, 52. burnishing, 53.
carnation, 66. chestnut, dark, 66. Chinese white, 65. chocolate, 66.
finishing, 53.
cream,
drab, 65.
preparing the woodwork, gilders' cushion, 48.
fawn,
oil, 50.
laying the gold, 52. matting 01 dead gold, 53. polishing, 52.
65.
65.
French grey, 66. gold, imitation of, 66. green, grass, 66. green, olive, 66. lead, 66. peach blossom,
sizes for, 48. to manipulate gold leaf, 54. oil size for, 49. parchment size for, 49. gold size for burnish, 49. the requisites, 48.
66.
to prevent gold adhering. 49. Gilding, embossed, for illuminating, 114. silvering a.. d bronzing, 47.
pearl, 65.
purple, 66.
salmon, 66.
tests for, 96.
silver, 66.
Glue, 98.
stone, 66. straw, 65. varnish green, 69.
portable, 10 1.
mixing, 99
violet, 66.
white lead,
68.
yellow, 66.
Composition for frame ornaments, Cracks in drawing-boards, 104. Dye, black, fine, 44.
49.
Glue
to prepare, 98. to prevent cracking, 100. to resist moisture, 100. pot, 99.
Graining, 55. grounds,
58.
blue, fine, 44.
bird's-eye maple, 59.
gray, 46. green, 45.
mixing
colors, 58.
mahogany,
liquid, for brightening
and
58.
oak, 59.
setting, 46.
piirpie, 46. red, 45.
rosewood, 58. the pmcess, 56. Grease, to remove (rem cloth, 97.
yellow,
Gums and their
orange, 46.
Dyeing wood,
fine, 45.
43.
Ebonizing, 124.
Ebony
51.
finish, 33. to clean, 113.
qualities, 69.
amber, 69. anime, 70. bleached shellac,
Engravings,
copal, 70.
Files, soft, 109
dama',
Filigree, silver, to clean,
no.
lac,
71.
72.
81.
g.
b^-iu INDEX.
130 Gums,
masiic, 71. resin, 72.
saiidarac, 71. Horn, to polish, 120. to stain in imitation of tortoise shell, 115. to boil linseed-oil, 123. Imitation mahogany, 126. India ink, to erase, 119. to prevent running, 119
How
Stain, yellow, 43. Staining, 38. Stains, surface, 42. to brighten, 43. to remove from
wood,
121.
.Steampipes, non-conducting covering Steel scrapers, to cut, 105.
Tempera,
for,
Tests
with shaded wood, 16. Ironwork, painting and preserving, 110
for gilding, 122. remove oil stains from, 120. Tints. 67. To imitate Botany Bay wood, 127. To imitate inlaying of silver strings, 17. To raise old veneers, 14.
Ivory,
To remove
Ingredients, 35.
Ink
stains, to
Inlaying,
Tiles, to
remove,
119.
15.
artificial, 116. to bleach, 116. to soften, 116. or bone, to stain black, 116. blue, 116. red, 115.
for brass, 91. hardwood, 88.
glasses, to clean, 120.
to clean, 112. to polish, III. to remove stains on, iia. Mastic, gum, 71. Metals, polishing, in. Mordants for staining wood, 124. Moths in carpets, to destroy, 118.
Moulding ornaments, etc., Painting on zinc, 125. to
Tools, oiling, 107. to harden, 105. 107.
of, iis.
Tracing-paper, 103. Tracings, to mount, 104. Turpentine, oil of, 73. Varnish, amalgam, 109. amber, pale, 69. bl.ick, 95.
brown hard
spirit,
87
cabinet, 81. carriage, 82. copal, 80. crystal, 93. for cane and basket for iron, 95. for paper, 93. for tools, 125. violin, 126. for tools, 108.
18.
119.
make
work, 96.
lacquer, hardwood, 88. mastic, 71. sealing-wax, 95. turpentine, 93. wainscot, 82. water, 94.
French, 36. improved, 37. prepared spirits, 37. revivers, 96.
white spirit, 87. Varnishes, 69. application of, 26.
water-proof, 37. Putty, 123.
Rasps,
109. stain, 128.
gums and
their qualities, 69.
70 preparation of, 75. spirit and turpentine, 71. " " preparation o(| 83.
for bedsteads, 128.
oil,
Resin, 72.
Rubbing,
mark,
to to
transparent, 119. Paste for laying cloth or leather, 102. Picture frames, 125. Pictures, to clean, 112. to smooth damaged, 114. Polish for turner's work, 38.
Red
from cloth, 122,
126.
67.
to polish, 120.
Marble, imitation, in.
Parchment, tintingon,
gre.tse
To stain beech, Tones,
temper, 105. varnish for, 108. Tortoise shell, imitation
yellow, 116. Lac, gum, 71. Lacquers, colored, 91.
Looking
oil,
30.
Sandarac, gum, 71. Saws, band, brazing, 106. circular, to
remedy
solvents, 72. .ilcohol,
splits in, 106.
;?4.
liiisecd-oil, 72.
sharpening, 106.
naphtha,
Shell-gold, 53.
74.
turpentine, 73.
Silver-size, 54.
Solder, solt, preparing, Stain, black, 38. blue, fine, 42.
brown,
11a
Varnish pan,
remove from wood|
to
to raise old,
cherry, 41.
Walnut
crimson, fine, 43.
Wateiproof
mahogany,
Wax,
42.
29.
X2I.
Velvet, to clean, 121.
Veneers,
40.
101.
stain, 128.
polish, 37.
black, 120.
oak, 40. purple, 42.
finish,
red, 41.
green, 120. pulleys, to harden, 109.
rosewood, 41. v.alnul, 40.
108
67.
33.
imitation, 33.
Wood
Established 1870.
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THE STEEL SQUARE AND
ITS
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Being a Description of the Square and Its Uses in Obtaining the Lengths and Bevels of all kinds of Rafters, Hips, Grroins, Braces, Also, IlS Brackets, Purlins, Collar-Beams, and Jack-Kafters. Application in Obtaining the Bevels and Cuts for Hoppers, Spring By Fred. T. Moldings, Octagons, Stairs, Diminished Stiles, &c. Hodgson, author of "Practical Carpentry," "The Builders' Guide," and Greatly Enlarged. Illustrated Third Edition, Revised ce. Cloth, gilt. . >y Nearly One Hundred Fine Engi-avings. $1
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This is the only practical work on the steel square and its uses ever published. Confounding terms and It is thorough, accurate, clear, and easily understood. Bcientific phrases have been religiously avoided where possible; and everything in the book has been made so plain that a boy of twelve years of age, possessing ordinary intelligence, can understand it from end to end.
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by nearly one hundred handsome be used for solving nearly every problem in the whole art of carpentry. The carpenter who possesses this book need not waste time and material " cutting and trj-iug." He can lay out his work to a hair's breadth, and "cut to the line." And, in these days, the workman who can not lay out his work accurately at the first attempt stands no show. The book is absolutely indispensable to evei'y person who may have to use a This
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all who build a fence, tinker a gate, 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
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COMMON SENSE
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Story of Failures and Successes, including a full account of 1,000 hens and what they did. With a complete description of the houses, coops, fences, runs, methods of feeding, breeding, marketBy ing, &e., and many new wrinkles and economical dodges. J. P.
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